Woodcut Figurative Prints

Paul Landacre 'Sultry Day', wood engraving, 1935. Edition 60, 1935; second edition of 150 (only 7 impressions printed); third edition 200, American Artists Group, 1937. Wien 170. Sig...

Munehiro Hasegawa, 'Seven Kabuki Actors in a Dragon Boat,' woodblock print, c. 1850, Osaka-e, Kamigata-e. Signed 'Munehiro' in the block, upper left. A fine impression with fresh co...

Woodcut on laid paper, 8 3/8 x 9 1/8 inches (212 x 233 mm), the full sheet. In excellent condition with text and portraits of Empedocles, Sapho, Zeuxis and others on the verso, as is...

Kawase Hasui, 'Chihan no Ame, Matsue' (Lakeside Shower, Matsue), color woodblock print, 1932. A fine, atmospheric impression, with fresh colors; the full sheet, from a postwar editio...

Kawase Hasui, 'Rain at Shinagawa, Ryoshimachi' from the series 'Selection of Views of the Tokaido', woodblock print, 1931. A very fine, atmospheric impression, with fresh colors; the...

This 18.75" x 15.75" framed, woodblock print was produced by German Renaissance artist, Albrecht Dürer, circa 1511. The 5.75" x 4.63" print floats on white mat board and is presented...

Paris: Sagot, 1889. Wood engraving on cream laid Japon paper with full deckle edges, 8 3/8 x 5 3/4 (212 x 145 mm). Signed, numbered 9/35, and inscribed "1er Etat" in pencil in the l...

Naoko Matsubara, 'Drop of Life' for the portfolio 'Solitude', color woodcut, 1971. A fine impression with fresh, vivid colors, on cream laid Japan paper, the full sheet with margins,...

Set of 12 woodblock prints in colors on handmade, laid mulberry paper, 6 3/4 x 10 1/4 inches (170 x 258 mm), printed in Ka-ei 4 (1851). Each print with minor handling wear, otherwise in excellent condition with bright and fresh color, and with details printed in silver ink. The images themselves contain several illusive characters indicating the publisher which are obfuscated by figures, as intended. Presented loose, as issued. A fine set. The astrological commentary print has a large and meandering blind stamp with a bird and palm frond motif. This print lists various phrases concerning the Twelve Zodiac Animals as historically counted in Japan, and appears to include erotic commentary on the traits of people born under each of the twelve signs. These Shunga images were issued in books that paralleled (in an erotic fashion...

Andreani, Andrea, after Andrea Mantegna The Triumph of Caesar: Plate IV of IX 1599. Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and thr...

Morris Blackburn, 'Avalon South', wood engraving, 1951, edition 30. Signed, titled, and numbered '12/30' in pencil. A fine black impression on cream wove Japan paper, with wide margins (1 3/8 to 2 1/4 inches), in excellent condition. Archivally sleeved, unmatted. Image size 5 x 7 inches (127 x 178 mm); sheet size 8 5/8 x 10 7/8 inches (219 x 276 mm). ABOUT THE ARTIST Morris Blackburn was a prominent painter, printmaker, and graphic artist, as well as a respected teacher at the Philadelphia Museum School of Industrial Art and the Pennsylvania Academy of Fine Arts. Born in Philadelphia, where he spent most of his career, Blackburn was a descendant of the notable colonial portrait artist Joseph J. Blackburn (c. 1700–1780). He developed an interest in art early on and studied architectural drawing at the Philadelphia Trade School. In 1922, he took classes at the Graphic Sketch Club and later attended the School of Industrial Art. While working for the well-known Philadelphia furniture designer Oscar Mertz, he studied at the Pennsylvania Academy of the Fine Arts from 1925 to 1929. During his studies, he learned painting from Henry Bainbridge McCarter...

Margo Humphrey, 'The Garden (Adam and Eve)', reductive color woodcut, 1989. Signed, dated, and annotated 'A/P' in pencil. Signed and dated in the image, lower right. A fine, richly-inked, artist's proof impression, with fresh, vivid colors, on BFK Rives, heavy, off-white wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Scarce. Image size 27 1/4 x 39 1/8 inches (692 x 994 mm); sheet size 29 1/2 x 42 inches (749 x 1,067 mm). ABOUT THIS WORK "Humphrey continued to reinterpret stories from the Bible with African American figures. In 1989 she published the woodcut print 'The Garden' at Magnolia Editions in Oakland, CA. For this rare foray into relief printmaking, she employed the reductive method, which uses only one block that is successively carved for each color segment, reducing the block with each cutting. Technically challenging, this lush and elaborate print is a testament to Humphrey’s skills as a printmaker. A youthful Adam and Eve are depicted in a luxuriant tropical landscape. Here, Humphrey chooses not to include the traditional symbols of humanity’s downfall but instead portrays them as being protected by angels in an atmosphere of idyllic bounty. ...Although Humphrey challenges traditional representation of Christian themes, her images are not iconoclastic but present a broader, more inclusive engagement with religious spirituality." — Adrienne L. Childs, 'Margo Humphrey, The David C. Driskell Series of African American Art: Volume VII,' Pomegranate Communications, Inc., 2009, page 71. ABOUT THE ARTIST American printmaker, illustrator, and art teacher Margo Humphrey was born in Oakland, California, in 1942. She earned a BFA in Painting and Printmaking from the California College of Arts and Crafts and a Master of Fine Arts degree in Printmaking from Stanford University. Humphrey began teaching in 1973 at the University of California Santa Cruz and has since taught at the University of Texas at San Antonio, the San Francisco Art Institute, and the School of the Art Institute of Chicago. She has also taught at the University of the South Pacific in Suva, Fiji; Yaba Technological Institute of Fine Art, Ekoi Island, Nigeria; the University of Benin in Benin City, Nigeria; the Margaret Trowell School of Fine Art in Kampala, Uganda, and the Fine Art School of the National Gallery of Art, Harare, Zimbabwe. In 1989, she was appointed Department Head of Printmaking at the University of Maryland in College Park. Humphrey has worked in lithography, monoprint, and woodcut with significant printmaking ateliers, including the Rutgers Center for Innovative Print and Paper, the Bob Blackburn Printmaking Workshop, and the Tamarind Institute in New Mexico. She was one of the earliest African-American woman artists to distinguish herself as a lithographer in a highly technical, male-dominated profession and was the first to have her prints published by Tamarind in 1974. Humphrey’s imagery combines historical perspective, autobiography, and fantasy to illuminate her experience as an African American woman. Bold, saturated color, animated figures, and syncopated rhythmic arrangements are hallmarks of Humphrey's oeuvre. Though Humphrey labels her distinctive style "sophisticated naive," the narrative complexity and technical skill of her works attest to her artistic virtuosity. Joyful, expressive, and at times humorous, her works offer engaging commentary on the presumptions of American culture and myth while embracing her personal vision of authenticity and spirituality. She developed her 1987 work The Last Bar-B-Que, a vividly colored transformation of the Last Supper, following a three-year period during which she examined portrayals of the iconic subject by artists from Pietro Lorenzetti to Emil Nolde. Her narrative work The Garden, a monumentally scaled reductive woodcut, is a further example of an archetypal subject—Adam and Eve in the Garden of Eden—debunked and rendered with fresh, life-affirming vibrancy. Since her first solo exhibition in 1965, Humphrey’s works have been exhibited internationally. They are held in major institutions, including the Museum of Modern Art, The Smithsonian American Art Museum, the Philadelphia Museum of Art, the Hampton University Museum, the Victoria and Albert Museum (London), the Museum of Modern Art, Rio de Janeiro, and the National Gallery of Modern Art, Lagos. In 1996, she was invited to be part of the World Printmaking Survey at the Museum of Modern Art, New York. In 2011, Hampton University Museum mounted a 45-year retrospective of Humphrey’s work Her Story: Margo Humphrey Lithographs and Works on Paper, jointly curated by Robert E. Steele, executive director of the David Driskell...

'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Kitakata Japan pape...

Lynd Ward, 'Wild Pilgrimage', No. 26, wood engraving, 1932, edition not stated but very small. Signed in pencil. A fine, black impression, with full margins (1 1/16 to 3 3/16 inches), on tissue-thin cream Japan paper, in very good condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed. Created by Lynd Ward for his narrative book of illustrations without words, 'Wild Pilgrimage', published by Harrison Smith...

Hajime Namiki, 'Weeping Cherry 16 A', color woodblock print, 2012, edition 200. Signed in pencil with the artist’s red seal. Titled, dated, and numbered ...

A modernist fantasy winter scene created by Werner Drewes, this print brings key aspects of the period together. His cubist-inspired woodcut technique is utilized here to bring the s...

Woodcut print realized by Escher in 1948. Hand signed in pencil and annotated in pencil lower right "eigen druck". Monogrammed and dated in the plate "MCE/X-'48 upper right. One o...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

circa 1950. Woodblock print in black and gray ink on Japon laid paper, 10 1/4 x 15 3/4 inches (260 x 398 mm), full margins. With the artist's embossed chop mark in red ink in the l...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Karl Michel, 'Der Gartner' (The Gardener), woodcut, c. 1925. Signed, titled, and numbered '15/50' in pencil. Signed in the block, lower left and right. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 5 1/4 x 3 7/8 inches (133 x 98 mm); sheet size 10 x 7 3/4 inches (254 x 198 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919 - 1933). In 1920, his work was featured in the influential German graphic design magazine Das Plakat...

Albrecht Dürer, German (1471 -1528) - Diptych from First Edition of The Ship of Fools, Year: 1494, Medium: Woodcut and Engraving, Image Size: 7 x 12.25 inches, Frame Size: 10.75 ...

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

Derek Boshier Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges Hand signed, numbered 38/50 and dated on lower front with printer's and publishe...

PARR (1893-1969) KINNGAIT (CAPE DORSET) HUNTER HAULING A SEAL, 1966 #2, Stonecut, signed, titled numbered 28/50 Dorset 1966. Image 14 x 22 ¼. Full sheet ...

Tom Huck SCUDS Year: 2011 Woodcut from 2 blocks Edition: 36 Paper: German Etching Paper Size: 39.5 x 23 inches Image Size: 35 x 19 inches Signed and numbered by hand COA provided To...

Karl Michel, 'Mehr Sonne fur 1924. Viel Gluck Wunscht Karl Michel U. Frau', woodcut, 1924, edition 20. Signed, dated, and numbered 'op. 162' and '15/20' in pencil. Signed in the image, lower left. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in very good condition. Printed by the artist. Scarce. Matted to museum standards, unframed. New Year's Greeting – English translation: "More Sun for 1924. Good Luck Wishes from Karl Michel and his Wife." Image size 4 5/8 x 4 3/4 inches (118 x 121 mm); sheet size 7 3/4 x 10 inches (198 x 254 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat...

Woodcut on rice paper Edition 4 of 15 48.5 x 20 cm (19 x 7.8 in) Signed and numbered on the front Mint. Minor undulation due to nature of the paper Printed at the Adachi Foundation, ...

Fritz Eichenberg, 'The Aquarium', wood engraving, 1933, edition 200. Signed and titled in pencil. Initialed in the block, lower right. A superb, richly-inked impression, on pale yel...

Raoul Dufy, 'La Danse' (Dance), woodcut, 1910. A proof impression before the second edition of 220 in 1953; with the estate stamp 'ATELIER RAOUL DUFY' in the lower right margin; the blind stamp 'GG' in the lower left sheet corner. Annotated 'E/Z' in pencil, beneath the estate stamp; and 'bois original' in the margin, lower left. Titled in the block, lower right. A superb, richly-inked impression, on heavy, cream wove paper; the full sheet with wide margins (3 1/2 to 6 3/4 inches); slight toning at the bottom and right sheet edges, well away from the image, otherwise in excellent condition. Archivally sleeved, unmatted. Image size 12 5/16 x 12 1/2 inches (313 x 318 mm); sheet size 19 3/4 x 25 3/4 inches (502 x 654 mm). Collections: Art Gallery of New South Wales (Australia), Brooklyn Museum, Cleveland Art Museum, Fine Arts Museums of San Francisco, Minneapolis Institute of Art, Museum of Fine Arts, Boston, The Nelson-Atkins Museum of Art, Nasher Museum of Art (Duke University), Toledo Art Museum. From the suite of four woodcuts entitled 'Les Plaisirs de la Paix' (The Pleasures of Peace), published by Éditions de La Sirène, Paris in 1926. The other three works in the series are 'La Peche' (Fishing), 'La Chase' (The Hunt), and 'L'amore' (Love). See our other listings for 'La Peche' and 'L'amore'. Collections: Brooklyn Museum, Art Gallery of New South Wales, Cleveland Museum of Art, Dallas Museum of Art, Fine Arts Museums of San Francisco, Minneapolis Art...

Shunga is an original modern artwork realized by Katsukawa Schuncho (1726 – 1793) in the half of the 18th Century. Oban yokoe. Erotic scene from the series "Koshuko zue juni ko" (Erotic pictures...

Charles Turzak, 'North Bank of the Chicago River', color woodcut, c. 1935, edition 50. Signed and titled in pencil. A fine, richly-inked impression, with...

Woodcut shunga print attributed to Keisai Eisen and realized in the early 19th century. Good condition except for some signs of time.

Dancers Georges Rouault, French (1871–1958) Date: 1936 Woodcut, initialed in the stone Size: 3 x 2 in. (7.62 x 5.08 cm) Frame Size: 9.5 x 8.25 inches

Georges Rouault Crucifixion Woodcut and embossing (Raymond Jacquet workshop) Printed signature in the plate On Arches vellum 15 x 11" (38 x 28 cm) INFORMATION : Woodcut published i...

Alex Katz (b. 1927) Untitled, from the portfolio 'A Tremor in the Morning', 1986 Woodcut on wove paper Edition 32/45 Signed and numbered in pencil lower left Sheet: 20 x 19.75 inches...

Bijinga is an original modern artwork realized by Utagawa Kunisada in 1842. Woodcut Print Oban Format. From the series "Joshi kyôkun kyôka awase" (A collection of comic poems for t...

The Battle of Dan-no-ura in Yashima, Nagato Province in the First Year of the Bunji Era (1185) Tokyo c. 1830 Woodblock print (nishiki-e) with ink and hand-coloring in watercolor on handmade mulberry paper, 14 7/16 x 9 15/16 inches (367 x 252 mm), ōban tate-e, the full sheet. In good condition with some handling creases. Colors are fresh and extremely vibrant. The right panel from the triptych by Yoshitora depicting one of Japan's most storied naval battles. An impression of this work may be found in the permanent collection of the Honolulu Museum of Art. The great naval battle of Dan-no-ura in 1185 was the final climax in a long series of bitter wars between two powerful families in feudal Japan...

Yakushae Aizurie is an original artwork realized in 1840-1843 by Utagawa Kuniyoshi (January 1, 1798– April 14, 1861). Woodcut Print. Actor in the r...

An exquisite black & white wood engraving by the collectable English/American artist, Clare Leighton (1898-1989). Presented in a fine gilt-effect frame. Unsigned. On paper.

Baumann, Gustave. AN EAGLE CEREMONY AT TESUQUE PUEBLO. Color woodcut, 1932. Publshed in The Colophon, December, 1932 in an edition of about 3000. Unsigned, as issued. 6 1/2 x 6 1/2 i...

Clare Leighton, 'Snow Shovellers, New York', 1929, wood engraving, edition 45, Boston Public Library 146. Signed, titled, and numbered '29/45' in pencil. A...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: Abstract Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins, Luiz Sacilotto and hiró. Guersoni was awarded a scholarship by the French government, and traveled to Paris, where he began work in engraving. Back in Brazil, in 1951, he founded the Art Workshop, in São Paulo. In 1954, he returned to Europe for a year, financed by the International Labor Organization (ILO). In Geneva, he studied engraving with René Cottet (1902 - 1992) and worked in Stanley william Hayter's studio, Atelier 17, in Paris (1901 - 1988). From 1956 to 1957, he became director of the Union of Plastic Artists of São Paulo. From 1960, he attended, as a trainee, some art schools in the United States and Japan such as The New York School of Printing and Osaka University. In 1971, also in Japan, he attended the workshop of I. Jokuriti. Two years later, he was voted Best Recorder of the Year by the Paulista Association of Art Critics - APCA. He took part in a special room at the Ibero-American Biennial in Montevideo in 1983. The Pinacoteca do Estado de São Paulo - Pesp presents a retrospective of his work in 1994. Odetto Guersoni explores the wide spectrum of possibilities of the engraving. In addition to using techniques such as metal etching, lithograph, serigraph, linocut and, especially, woodcut he developed, in the 1950s, the philigraphy, in which the forms he developed gained points of embroidery made by Bonadei (1906 - 1974) . And, in the 1960s, the plastigraphy, in which he makes engravings on pasty surfaces, obtained from gypsum or other soft material. In the 1970s, technical investigations were associated with pictographic, ideographic, archaic symbol searches, Brazilian cave paintings and plant forms. The drawings are reduced to stylized, geometric shapes and transformed into abstract graphic elements. The artist works with few matrices, which, organized in rectangles, squares or circles, become modules to be combined. Guersoni juxtaposes them, adds, changes colors, and thereby composes colorful mandalas and structural geometries. Based on concise compositions, it produces color vibrations through optical illusions. In many of his woodcut works of the 1980s he uses smooth wood, knives, saws, gouges, punches, avoiding the natural textures of wood. In printing, it leaves the vibrant color and employs dosed inks with colorless masses, obtaining transparencies by superpositions. New journeys of study and specialization in engraving techniques took him in 1954 to Switzerland, 1960 to the United States, and in 1966 to Germany and Austria. Today, after having performed more than 40 individuals including 16 abroad and having participated in more than 50 collectives in several countries, Guersoni is considered one of the most notable Brazilian engravers. Conquered awards in several shows. CHRONOLOGY Individual exhibitions 1946 - Sao Paulo SP - 10th Salon of the Artists' Union, at the Prestes Maia Gallery 1947 - São Paulo SP - 19 Painters, at the Prestes Maia Gallery 1948 - Paris France - Peintres et Graveurs Etrangers at the École des Beaux-Arts 1949 - São Paulo SP - 13th Salon of the Artists' Union, at the Prestes Maia Gallery 1951 - São Paulo SP - 1st Paulista Salon of Modern Art, at Prestes Maia Gallery - silver medal 1953 - São Paulo SP - 2nd International Biennial of São Paulo, at MAM / SP 1954 - São Paulo SP - 3rd Paulista Salon of Modern Art, in the Prestes Maia Gallery 1955 - Rio de Janeiro RJ - 4th National Salon of Modern Art 1955 - Salvador BA - 5th Baiano Salon of Fine Arts, in Belvedere da Sé - honorable mention 1962 - São Paulo SP - Leirner Prize for Contemporary Art at the Folha Art Gallery - 1st printing award 1963 - Curitiba PR - 20th Salão Paranaense de Belas Artes, at the Public Library of Paraná 1963 - Rio de Janeiro RJ - Individual, no MAM / RJ 1968 - Bradford England - First International Print Biennale 1970 - São Paulo SP - Antonio Henrique Amaral, Odetto Guersoni, Tomie Ohtake, Pedro Tort and Gerda Brentani, in the Alberto Bonfiglioli Gallery 1971 - São Paulo SP - 11th International Biennial of São Paulo, at the Biennial Foundation - acquisition award 1973 - Punta del Este Uruguay - 1st Engraving Meeting of the Prata Basin Countries - International Prize 1977 - São Paulo SP - The Groups: the 40's, at the Lasar Segall Museum 1982 - São Paulo SP - Ismenia Coaracy, Odetto Guersoni and Alice Brill...

Study of Utagawa Hiroshige's "View of Hara-Juku" 53 Stations of the Tokaido Road Hand painted study of Utagawa Hiroshige's "View of Hara-Juku", (by unknown artist), from "53 Station...

Kiyomi Barrier & Seiken Temple Near Okitsu - Japanese Woodcut Print on Rice Paper Woodblock print of boats in a harbor by Utagawa Hiroshige (Japanese, 1797-1858). Originally publish...

Raoul Dufy, French (1877 - 1953) - Tirez les Premiers, Messieurs les Francais, Year: 1915, Medium: Woodcut and Pencil Drawing, signed, dated and numbered in pencil, Edition: 25/10...

A mischievous tableau with sexual overtones. Tokyo: Shuei-Sha, 1768. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 inches (273 x 200 mm), full margins. I...

Salvador Dali (1904-1989) Purgatory 15 - The Envy From the "Divine Comedy" Wood engraving from "Divine Comedy" with the signature printed in the plate 1960/63 Printed on paper Vél...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Agostino CARRACCI, after Jacopo TINTORETTO Sapientia Martem depellente Pax et Abundantia cogaudent; Mars driven away from Peace and Abundance by Minerva Engraving on handmade laid ...

Charles Turzak, 'Dancers', 1939, wood engraving, edition 100. Signed, titled, and numbered 72/100 in pencil. A fine, richly-inked impression, on off-white Japan paper, with full marg...

A limited edition woodcut on paper print by Mychael Barratt of Vincent Van Gogh in his bedroom with his dog. Sunflowers appear in the background, brightening up a blue and purple room. Additional information: Mychael Barratt  Once upon a time in London, Morning Woodcut on paper Signed and titled in pencil Numbered from the edition of 100  Image size Height: 27.5 cm Width: 27 cm Complete size of sheet Height: 39.6 cm Width: 37.5 cm Depth: 0.2 cm ARTIST PROFILE: Mychael Barratt was born in Toronto, Canada, however, considers himself to be a Londoner since arriving for what was supposed to be a two-week stay thirty years ago. He is a narrative artist whose work is steeped in imagery relating to art history, literature, theatre and everything else that overfills his bookshelves. He was an artist in residence for Shakespeare’s Globe Theatre...

"Charge of the Revolutionist Cavalry" - 1931 Woodcut On Paper 1931 Black and white woodcut print titled "Charge of the Revolutionist Cavalry" by Leo...

Duel by Irving Amen, American (1918–2011) Date: 1964 Woodcut, signed, titled, numbered and dated in pencil Edition of 36/200 Image Size: 16 x 21 inches Frame Size: 23.25 x 27.75 inches

Medium: original woodcut. Catalogue reference Roethel 145. Printed in Paris in 1938 for the art revue XXe Siecle (issue number 3). Image size: 7 x 8 1/2 inches (170 x 218 mm). Sheet ...

Packard, Emmy Lou (American, 1914 - 1998). WOMAN DRAWING. Color Woodcut, not dated. Edition size not known. Signed in pencil. 18 1/16" x 14 1/8" inches (...

Lou Barlow (Louis Breslow), 'On the Beach' (Coney Island) wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. Stamped 'FEDERAL ART PROJECT NYC WPA' in the bottom left margin. A fine, richly-inked impression, with all the fine lines printing clearly, on cream wove paper, with full margins (1 1/2 to 3 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 11 x 8 1/8 inches; sheet size 16 x 11 3/8 inches. Created during the Great Depression for the Works Progress Administration (WPA), Federal Art Project, New York City. Impressions of this work are in the permanent collections of the Amon Carter Museum of Art, Illinois State Museum, and the New York Public Library. ABOUT THE IMAGE Due to Coney Island's proximity to Manhattan, Brooklyn, and other New York boroughs, it began attracting vacationers in the 1830s and 1840s. Most of the vacationers were wealthy and went by carriage roads and steamship services that reduced travel time from a formerly half-day journey to two hours. By the late 1870s, the development of Coney Island's amusement park attractions and hotels drew people from all social classes. When the Brooklyn Rapid Transit Company electrified the steam railroads and connected Brooklyn to Manhattan via the Brooklyn Bridge at the beginning of the 20th century, Coney Island turned rapidly from a resort to an accessible location for day-trippers seeking to escape the summer heat in New York City's tenements. In 1915, the Sea Beach Line was upgraded to a subway line, and the opening of the Stillwell Avenue station in 1919 ushered in Coney Island's busiest era. On the peak summer days, over a million people would travel to Coney Island. In 1937, New York City purchased a 400-foot-wide strip of land along the shoreline to allow the boardwalk to be moved 300 feet inland. At this point, Coney Island was so crowded on summer weekends that parks commissioner Robert Moses...

Meishoe is an artwork realized in the 1865 by Utagawa Sadahide (1807 – c. 1878–1879). Woodcut Print Oban Format. From the series "Suehiro gojusan ts...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Richard Seewald, 'Der Hirte (The Shepherd)', woodcut with hand coloring, c. 1919. Unsigned as published in 'Genius', Vol 1, no. 1, 1919. A fine, richly...