Woodcut Figurative Prints

AFTER - WINSLOW HOMER (1836-1910) THANKSGIVING IN THE ARMY - After Dinner: the Wishbone, 1864 Original wood engraving as published by Harpers Weekly December 3, 1864, after a drawing by Winslow Homer. Image 9 3/4" x 14, Sheet 10 3.\/4 x 15 3/4" . Generally good condition, a small stain in the upper right margin. Homer contributed drawings to Harper's Weekly from 1857 to 1875. They were converted to wood engravings by Harper's craftsman and published in Harper's Weekly. Although after his original drawings, they are now accepted as an important part of his body of work by museums and collectors. They were very large editions. As such, they occur often in the marketplace. Harper's published during the Civil War years as this was, were widely read and kept as people followed the war first hand and its aftermath over the years continuing today as both Homer and Civil War collectables

Lon Megargee 1883-1960 "The War Bonnet" Wood block print Signed: original pencil signature, lower right Image size: 11 x 11 inches Frame size 22 x 22 inches Creator of Stetson's hat logo "Last Drop from his Hat" Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew...

Medium: original woodcut. Signed in pencil by Peter Trumm and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch der Marees Ges...

The artwork "Nipples & Peas" by Tina Heck, created in 1983, is a print that combines elements of realism and abstraction. The technique appears to be a combination of printmaking, ...

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Printed in Germany in 1922 for the rare Ganymed portfolio of "Das vierte Jahrbuch der Marees...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

Vincent van Ojen is a true master of the woodcut technique. Through years of dedication and research, he has perfected this ancient medium, resulting in works of remarkable depth and...

Warrington Colescott Your Day in Court, from the portfolio Wisconsin Graphics, 1971 Drypoint, etching, aquatint, woodcut, & soft-ground etching, w roulette, vibrograver, letterpress ...

Death of Goetz von Berlichingen is a woodcut print on ivory-colored paper, realized by Hotelin et Reguier after Eugène Delacroix in 1845, and published in "Magazin Pittoresque". Sig...

Sacrificio di 60 donne Suliote is an artwork realized from 1856 to 1862 . Black and white woodcut. Published on the book "Usi e costumi di tutti i popoli dell'universo", Milano Bor...

View of Mount Fuji in Winter is a woodcut print realized by Katsushika Hokusai in the early 19th Century, probably around 1835. From the book "Fugaku hyakkei" (100 views of Mount Fu...

Vintage chinese woodcut print depicting a theatrical mask. Realized in the mid-20th Century. Framed under glass.

Der Kopf is an original Rare Book llustrated by the Expressionist German artist Ernst Barlach (1870- 1938) and written by Reinhold von Walter (St. Petersburg, 1882 - Ravensburg, 196...

Bluebreast is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Na...

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....

MORIN-JEAN (1877-1940) Fish Market in Brittain, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor...

Maximilien VOX (1894-1974) Vanity : Death, my old Captain , 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp o...

Ex Libris - Maria Guillermina - Duarte Catarino - Alves De Azevedo is a Modern Artwork realized in 1970, by the Portoguese Author Miguel Antonio. Ex Libris. B/W woodcut on ivory ...

Woodcut in colors on vélin paper. Paper Size: 19 x 18 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Così fan tutte. Dramma giocoso in due atti. Musi...

Raphaël DROUART Mythology : The Hesperides Nymphs, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25 cm (c. 12,7 x 9,5 in) Edited for the 'Imagier de la ...

Image dimensions: 9.5 x 12.5 cm. Mississippi is a black and white xylograph on paper, realized in 1890 by anonymous artist. Of little dimensions but high fineness, this original print portrays a historical view on the New Orleans port...

Raoul DUFY The Hunt, c. 1910 Original woodcut Signed with the stamp of the artist's studio Numbered on /220 Titled in the board 50.5 x 65.4 cm (c. 19.6 x 25.5 inch) Excellent condi...

John DePol, 'Reflections', chiaroscuro wood engraving, 1979, edition 160 in 1983. Signed, dated and titled in pencil. Signed in the block, lower right. A superb impression, on cream ...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

The Beach is an artwork realized by Raphael Drouart in the mid-20th Century. Woodcut. Good condition. Hand signed..

Woodcut in colors on vélin paper. Paper Size: 19 x 18 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Così fan tutte. Dramma giocoso in due atti. Musi...

Shirasuga, Shiomi -zaka zu (View of Shima Slope) is a superb polychrome woodblock print (nishiki-e, ink and colour on paper) by Utagawa Hiroshige (Japanese, 1797-1858). This is the p...

Amsterdam is an artwork realized by Frans Masereel, 1933. Woodcut print representing Amsterdam. 75 x 55 with frame; 17h x 12 cm each work. Good conditions.

Woodcut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, miró graveur II. 1961-1973, 1989. Published by Daniel Lelong, éditeur...

Paul Jacoulet ( France, Japan 1902 - 1960 ) Title: La Mariée Seoul, Corée Medium: Woodblock Print Size: 15.5 in. x 12 in. Movement: Showa Markings: Si...

No. 45, View of Akasaka from "Comical Views of Famous Places in Edo" Woodblock Whimsical woodblock print by Utagawa Hirokage (Japanese, active 1855–1865). Four people are sitting on...

This artwork titled "Heron Moon" c.1990, is a color woodblock print on paper by noted Canadian/Japanese artist Suezan Aikins, b.1952. It is signed, titled and numbered 58/150 in pencil by the artist. The artwork (image) size is 8.5 x 21 inches, framed size is 15.75 x 28.25 inches. Custom framed in a silver metal frame, with double off white matting. It is in excellent condition, the frame have some small minor rubs, barely visible. About the artwork: This artwork required have 5 different carved wood blocks and 9 layers of colors to complete. About the artist: Born in Montreal in 1952, Suezan was influenced early in her life by the works of modern Japanese woodblock printmakers which hung throughout her parents’ home. She attended the Fine Arts programme at Mount Allison University in Sackville, New Brunswick (1969 - 1971), The Ontario College of Art (1971-73), L’ ecole du Musee des Beaux Arts (1974), Nova Scotia College of Art and Design -BFA (1975) as well as a very intensive year of study with Toshi Yoshida in Tokyo (1984-85). She has exhibited extensively in both public and private galleries throughout North America and Japan. Recent exhibitions include solo shows in Tokyo, Osaka, Okinawa, and Boston with group exhibitions at the Wenniger Gallery, Boston, Royal Canadian Academy in Toronto and the Canadian Museum of Nature in Ottawa. Her paintings and woodblock prints are found in many collections such as The Canada Council Art Bank, The Nickle Art Museum, The Art Gallery of Nova Scotia, The Royal Bank of Canada, Prince Takamanonamiya Norihito, the Embassy of Canada in Tokyo, The Thomas Moore Institute as well as private collections. Suezan Aikins was awarded the Elizabeth Greenshields Foundation grant in 1983, Nova Scotia Department of Culture - Development Grants in 1980, 1987 and 1988. She was elected to the Royal Canadian Academy of Art in 1990 and received the Canadian Progress Club- Women of Excellence Award for Culture in 1993. Her work has been featured in a number of television documentaries as well as many Canadian magazines. STUDIES: Yoshida Woodblock Print Studio Tokyo, 84-85 Nova Scotia College of Art & Design, Halifax, 74-75 BFA Ecole du Musee des Beaux Arts, Montreal, 74 Ontario College of Art, Toronto, 71-73 Mt. Allison University, 69-72 SELECTED SOLO SHOWS: 25 Year Retrospective of Woodblock Prints traveled to three Public Galleries in Germany: Dornum Castle; Tollhousverein, Leer; Rastede Palace, Oldenberg 2000-2001 color catalog and reviews. Private Exhibitions, Falmouth, Mass., July 1996; Montreal, November 1996; Gibson Island, Md., April 1999. Gold Paintings and Woodblock Retrospective, travelling: Kabutoya Gallery, Tokyo; Genkan Gallery, Tokyo American Club; Blue Nile Gallery, Osaka; Kanda's Gallery BOQ, Okinawa; May 1994 (color catalogue) Edo Gallery, Boston, November 1992, Private Exhibitions, Chatham, Mass, July 1992, Toronto, Oct. 1991 New Paintings and Woodblocks Kabutoya Gallery, Tokyo, May 1991, and also in 1987. Japanese Garden and Pavilion Foundation, Montreal, September 1990, Ownens Art Gallery, Mount Allison University 1988 Zwickers Gallery, Halifax, NS, 1979; Gallery 78; Fredericton, November, 1983; Robertson Galleries, Ottawa, November, 1982 SELECTED GROUP SHOWS: "A New Leaf" 30 foot instalation of mixed media/ goldleaf reliefs, Artsplace, Annapolis Royal, N.S., 2000 color catalog "Far and Wide" Juried Bienials, Art Gallery of Nova Scotia; 1996 to '99, travelling, catalogs "Moku Hanga Travelling Exhibition: Contemporary Japanese Woodcuts...

Salvador Dali (1904-1989) Hell 24 - The Thieves woodcut Plate signed 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFERENCES : Field p. 189 à 200 / ...

OTTO MUELLER (German 1874 – 1930) POTSDAMER KUNSTSOMMER, 1921 (1968) (Karsch 6) Woodcut. Edition of 25 and numbered 11. There are no known impressio...

The Centaur - Hell, Plate-26 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued. Goo...

Il Revoit le Thabor Georges Rouault, French (1871–1958) Woodcut, initialed in the block Size: 12 x 8 in. (30.48 x 20.32 cm) Frame Size: 18.5 x 14.5 inches

This evocative woodcut-style print depicts a coastal scene in shades of blue, featuring weathered structures and boats against a stylized sky. The composition balances geometric form...

Kyoka-Tokaido is an original modern artwork realized after Utagawa Hiroshige (1797 – 12 October 1858) in 1925. Woodcut print Chuban Yokoe Format. Signed...

This artwork titled "Tahiti" 1941 Is a original woodcut by noted French/German artist Wolfgang Wolff, 1909-1994. It is hand signed in pencil by the artist at the lower right corner, ...

The Negligent -  "The Divine Comedy" - Song 4 -  Purgatory is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. ...

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

Original wood engraving, 1930-31, 14.6 x 6.7 cm. (5.7 x 2.6 in.)

Byzantine Court is an artwork realized from 1856 to 1862 . Black and white woodcut. Published on the book "Usi e costumi di tutti i popoli dell'universo", Milano Borroni and Scotti...

Mexican is an original woodcut print realized by an unknown artist of early 20th century. Very good condition on a brown cardboard. No Signature.

This piece titled "Tending to a Perishing Bloom" is an original print by Samantha Mendoza and is made by woodcut relief. This piece measures 38"h x 26...

A lovely chiaroscuro woodcut by Antonio Maria Zanetti the elder after a work by Parmigianino (Girolamo Francesco Maria Mazzola). Printed on cream laid paper, laid down to a cream lai...

Portrait of Anger - Multilayer Woodblock in Ink on Paper Bold and saturated woodblock print of a screaming man by Michael Dow (American, 20th Century). The man is centered in this m...

The three dancers is a woodcut print realized by Raphaël Maurice (1884 - 1972) in 1920s Hand-signed and numbered, edition of 160 prints. Good conditions.

Philip Sutton Artist Mother - 1967 Print - Woodcut 29'' x 24.25'' Edition: signed and numbered in pencil 7/25 Image Size; 18"x 18" Condition Note; Handling Creases. Philip Sutton s...

This is a signed woodcut engraving entitled "Mine Shaft" created by Albert Abramovitz in 1935, after a trip to the Soviet Union. It depicts two Russian workers constructing a mine sh...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Red Sand by Rod Nelson [2022] Please note that insitu images are purely an indication of how a piece may look Red Sand is a beautifully crafted woodcut prin...

The high-ranking courtesan Shiragiku Bijinga is an original modern artwork realized by Keisai Eisen in the 1821-23. Woodcut Print Oban Format. From the ...

Courtesan in her chamber is an original artwork realized in the Early 20th Century after Kastukawa Shunsho. Reprint. Good conditions.

Stevan Dohanos was an accomplished draftsman who work was widely known through the Saturday Evening Post. This print 'Backyard,' however, leaves aside the illustrative magazine work ...

Genjie is an original artwork realized in 1852 by Utagawa Kunisada (1786-1865). Oban yokoe. From the series "Sono Sugata yukari no utsushi-e" (Faithful images of the Radiant Princ...