Expressionist Figurative Prints

The Prisoner is an original offset and lithograph realized by George Grosz. The artwork is part of the suite of 10 offset and lithographs realized by Gro...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Ma...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 99-100. Published by Aimé Maeght, Éditeur, Paris; printed by Éditi...

Helio etching on hand-made paper, 1930 by Paul Klee. From portfolio " Paul Klee, Handzeichnungen 1921-1930. Here no 64. Image: 7.4 x 5.71 in ( 18,8 x 14,5 cm ), Framed: 15.16 x 13.4...

Artist: Teo Tobiasse (French/Israeli, 1927-2012) Title: "The Songs of Songs of King Solomons" Year: 1975 Medium: Color lithograph Edition: Numbered LVII/C in pencil Paper: Jap...

This artwork titled "Le Bal Masque" Giuseppe Verdi Opera, (Variant) 1967 is an original color lithograph on Japan paper by renown Austrian expressionist artist Oskar Kokoschka, 1886-...

Georg Baselitz (1938) Elke Up Side Down : Tribute to Woman Original etching On Rives vellum 66 x 50 cm (c. 26 x 20 in) Authenticated with Chalcographie of Louvre Museum blind stamp ...

This artwork titled "Untitled I" 1995 is an original woodcut on thin Japan paper by Brazilian artist Francisco Jose Maringelli, b.1959. It is hand signed and numbered 1/30 in pencil by the artist. The image (block mark) size is 13.85 x 8.75 inches, sheet size is 20.5 x 16.25 inches. It is in excellent condition, has never been framed. About the artist: Education: Bachelor Fine Arts, ECAUSP (1984-1989) and Architecture FAUUSP (1979-1985). Professor at Centro Universitário Belas Artes de São Paulo Main Exhibitions: 2018 CONTRAGOLPES; obras recentes de Biba Rigo, Cláudio Caropreso e Francisco Maringelli, São Paulo(SP) Graphias quinze anos, São Paulo(SP) 2017 ROSTOS LAVRADOS-XILOGRAVURAS,Museu Casa da Xilogravura, Campos do...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Marc Chagall, 1965. Published ...

Lithograph on vélin bouffant d'Alfa paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Dur Désir de Durer, illustré par Marc Chagall, ...

Walter Becker was born in 1893 in Essen, Ruhr, Germany. Considered an important graphic artist of the "lost generation", Becker is well known for his depictions of figures and portraits in a style that combined elements of German Expressionism, Dada, and French modernism. He worked in a variety of print media, including color lincut, lithography, woodcut and etching. After a short military service, Becker studied under the German Sculptor Karl Albiker at the Dresden Academy of Fine Arts. He moved to southern France where he lived and worked from 1924-1935, and was in contact with George Braque, Thomas...

This listing is for a single print, pictured, from the Das Werk portfolio by Gustav Klimt and k.k. Hof-und Staatsdruckerei, published by H.O. Miethke. Gu...

Pierre AMBROGIANI (1907-1985) Relaxing in the Countryside, 1974 Original Lithograph (Gourdon Workshop) Signed with the artist's stamp On vellum 38 x 28 cm (c. 14.9 x 11 in) Excelle...

Maryan S Maryan (Pinchas Burstein) (Poland, 1927-1977) 'Autumn', 1975, Lithograph on paper, 25 x 21 in., Edition of 75 Ref: BUR1102-001 Maryan S. Maryan (Pinchas Burstein), a renown...

Karl Michel, 'Viel Gluck 1923 Wunscht Karl Michel', etching, 1923, edition not stated but small. Signed, dated, and numbered 'op. 136' in pencil. Signed in the image, lower right. A...

Maryan S Maryan (Pinchas Burstein) (Poland, 1927-1977) 'Summer', 1975, Lithograph on paper, 21x25 in., Edition of 75 Ref: BUR1102-004 Maryan S. Maryan (Pinchas Burstein), a renowned...

"Qui a raison?" Chassidic boy, Yeshiva student with open book. Judaica, Jewish scenes from a ghetto. Saul Yaffie, a.k.a. Paul Jeffay, (1898–1957) was a Scottish Jewish artist. Kno...

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...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Marc Chagall, 1965. Published ...

Silkscreen on vélin d’Arches paper. Paper Size: 14 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks in the Pages of Life, 1998. Published by The Limited Editions Club, New York; printed by Drexel Press, Inc. Long Island City, 1998. Excerpted from the folio, CCC examples, designed, hand-set in Monotype Perpetua, printed, and hand-bound by Michael and Winifred Bixler, Skaneateles, New York. Paper made in France at Arches. Silkscreens printed by the Drexel Press, Inc. Long Island City, New York. PHOEBE BEASLEY...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Etching in colors on Somerset vélin paper. Paper Size: 20 x 23 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Music, Deep Rivers in My Soul, 2003. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengili, Hinsdale, 2003. Excerpted from the folio, This edition of Music, Deep Rivers in my Soul consists of CD examples printed on Somerset paper. Dan Carr and Julia Ferrari designed the typography. Cast the Spectrum and Romulus type in metal, handset the type and printed the text at Golgonooza Letter Foundry and Press in Ashuelot, New Hampshire. The color etchings were printed by hand on Somerset paper by Peter Pettengili at Wingate Studio in Hinsdale, New Hampshire. DEAN MITCHELL...

Etching in colors on Somerset vélin paper. Paper Size: 20 x 23 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Music, Deep Rivers in My Soul, 2003. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengili, Hinsdale, 2003. Excerpted from the folio, This edition of Music, Deep Rivers in my Soul consists of CD examples printed on Somerset paper. Dan Carr and Julia Ferrari designed the typography. Cast the Spectrum and Romulus type in metal, handset the type and printed the text at Golgonooza Letter Foundry and Press in Ashuelot, New Hampshire. The color etchings were printed by hand on Somerset paper by Peter Pettengili at Wingate Studio in Hinsdale, New Hampshire. DEAN MITCHELL...

Etching in colors on Somerset vélin paper. Paper Size: 20 x 23 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Music, Deep Rivers in My Soul, 2003. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengili, Hinsdale, 2003. Excerpted from the folio, This edition of Music, Deep Rivers in my Soul consists of CD examples printed on Somerset paper. Dan Carr and Julia Ferrari designed the typography. Cast the Spectrum and Romulus type in metal, handset the type and printed the text at Golgonooza Letter Foundry and Press in Ashuelot, New Hampshire. The color etchings were printed by hand on Somerset paper by Peter Pettengili at Wingate Studio in Hinsdale, New Hampshire. DEAN MITCHELL...

Etching in colors on Somerset vélin paper. Paper Size: 20 x 23 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Music, Deep Rivers in My Soul, 2003. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengili, Hinsdale, 2003. Excerpted from the folio, This edition of Music, Deep Rivers in my Soul consists of CD examples printed on Somerset paper. Dan Carr and Julia Ferrari designed the typography. Cast the Spectrum and Romulus type in metal, handset the type and printed the text at Golgonooza Letter Foundry and Press in Ashuelot, New Hampshire. The color etchings were printed by hand on Somerset paper by Peter Pettengili at Wingate Studio in Hinsdale, New Hampshire. DEAN MITCHELL...

Men from Ecce Homo is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 80 from the porfolio Ecce Homo published between 1922/1923,edition of D...

MAX PECHSTEIN (1881 -1955) DER SCHATTEN II 1918 (Knupp 79, Fecher 143 I/ii) Rich drypoint, signed and annotated, FIRST STATE. Image: 8 1/4 x 6 inches on japan paper; 15 x 11 1/4 i...

Jean Jansem (1920-2013) Mère et enfant, 1986, état noir Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 67,5 x 51 cm / 76 x 54 cm Très rare exemplaire D'une édition à 30 exemplaires sur Arches de l'état noir. Bibliographie: Imprimeur: Mourlot, Paris Editeur: Galerie Matignon, Paris Bibliographie: Jansem Lithographe, 1984-1993, Flora Jansem, Paris, n. 50, reproduit p. 56, référencé p. 109. "Ma première lithographie date de 1954. Elle représente un enfant en haillons portant deux seaux d'eau, d'après un croquis rapporté de Cordoue lors de mon voyage en Espagne en 1952. Je l'exécutai sur pierre, au pinceau et à l'encre lithographique. Je fus déçu du résultat et n'en tirai qu'un essai et une épreuve. Quatre ans plus tard, je réalisai une dizaine de nouvelles lithographies, toujours sur pierre, la plupart en noir. Au lieu d'employer l'encre et le crayon...

Lithograph on vélin bouffant d'Alfa paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Dur Désir de Durer, illustré par Marc Chagall, ...

Jean Jansem (1920-2013) Le couple au bouquet vert, 1974 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 69 x 51,5 cm ...

Incantation from Le Reincarnations du Pere Ubu Georges Rouault, French (1871–1958) Date: 1928 Aquatint on Arches, signed in the plate Image Size: 12 x 8 inches Size: 17 x 12.5 in. (4...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

This artwork titled "Portrat Der Bildhauerin Germaine Richier" 1950 is an original colors lithograph by Swiss artist Cuno Amiet, 1868-1961. It is hand signe...

After Gustav Klimt, Max Eisler #18, Der Tod und das Leben; multi-color collotype after original painting (1910-1916) in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AF...

Jean Jansem (1920-2013) Stéphanie au collant à damier, 1989 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 50 x 65 cm / 54 x 76 cm Bibliographi...

An excellent impression of this large color aquatint. Numbered in pencil 99/175. Printed by Lacourière, Paris. Published by Vollard, Paris. Catalogue reference: Chapon/Rouault 141; ...

Interrogation is an original offset and lithograph realized by George Grosz. The artwork is from the book "Kobes" by Heinrich Man, that Grosz illustrated with 10 drawings reproduce...

Bernard Kretzschmar (1889-1972), Auction, etching, drypoint, and burnished aquatint, 1921, signed and dated (’20) in pencil lower right [also initialed in the plate lower left] Refe...

Artist: Francisco Zuniga, Mexican (1912 - 1998) Title: Dos Mujeres Sentadas Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: VIII Size: 22.5 in. x 31 in. (57.15...

Vintage Soviet Government propaganda lithographic poster titled with Ukrainian text that reads “Corrupt Petliura has sold Ukraine to the Polish landowners. Landowners burned and plundered Ukraine. Death to landowners and Petlyurovites.” Originally issued April 1920 following the Treaty of Warsaw (also the Polish-Ukrainian Agreement). The agreement was a military-economical alliance between the Second Polish Republic, represented by Jozef Pilsudski, and the Ukrainian People’s Republic, represented by Symon Petliura, against Bolshevik Russia. The artwork features Jozef Pilsudski running away with a sack of goods. Good condition. Artist unknown. The Bolshevik Era (1917-1921) was a life and death struggle for the Bolsheviks and their ideology. The propaganda poster...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 99-100. Published by Aimé Maeght, Édit...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Chagall Lithographe 1957-1962, 1963; published by André Sauret, éditeur, Monte Carlo; printed by Mourlot Frères, Paris. Excerpted from the volume (translated from French), It was pulled, 150 examples on Grand Vélin d'Arches, numbered on the colophon from 1 to 150, signed by the artist and the publisher. Also included are two original lithographs specially made for this separate draw. MARC CHAGALL (1897-1985) Russian-Jewish painter...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

MAX KAUS (German 1891-1977) KOPF (Head( (Rifkind 1387) Woodcut, unsigned, monogram in block. As issued as plate 1 from “Genius” Zeitschrift für werdende und alte Kunst, vol. 2, no. ...

Serenade from Ecce Homo is an original offset and lithograph, realized after a pen drawing by George Grosz. The artwork is the plate n. 70 from the portfolio Ecce Homo published between 1922/1923, edition of Der Malik-Verlag Berli, that includes offset lithograph prints. Numbered on plate on lower margin. Good conditions except for a yellowing of paper due to the time and some minor defects along the margin. Ecce homo is a selected compendium of 100 artworks (16 watercolors and 84 drawings) that Grosz realized from 1915 to 1922. The book is a real satire of post-war German life, with prostitutes, politicians, mutilated veterans,capitalists, and drunks in different states of despair, lust, and rage. The German government banned his artworks and Grosz was put on trial for public offense. George Grosz (1893 -1959) was a German artist known especially for his caricatural drawings and paintings of Berlin...

Hunger is an original litograph, realized by George Grosz in 1924, from Hunger Hilfe Von Künstlern, edition of Neuer Deutscher Verlag, Included a frame. In very good conditions. Here representing a family, with a child, outside of bakery shop looking with desire and despair through the bread of shop, the title of the artwork, Hunger, critically demonstrated an allegorical and dramatic representation of Grosz's moral perspective regarding war. George Grosz (1893 -1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic. He studied drawing at the Dresden Academy 1909-11 and at the School of Arts and Crafts in Berlin 1912-14, He was in the army 1914-15 and again for a short time in 1917, but spent the rest of the war in Berlin where he made violently anti-war drawings, in which his main focus was attacking the social corruption of Germany (capitalists, prostitutes, the Prussian military caste, the middle class). His artworks had great impact in the Berlin Dada movement 1917-20 and collaborated with John Heartfield and Raoul Hausmann in the invention of photomontage. Many of his drawings were published in albums (Gott mit uns...

Mademoiselle Irma from Reincarnations du Pere Ubu Georges Rouault, French (1871–1958) Date: 1928 Aquatint Etching, signed in plate Edition of 305 Image Size: 11.5 x 7 inches Frame Si...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marc Chagall, Dessins Pour La Bible, Verv...

William Goliasch (1922-1986) Geneva Artist Print on art paper with frame, numbered and signed by hand. Total size with frame is 70x54 cm

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marc Chagall, The Jerusalem Windows, 1962. Published by André Saur...

Fille Nue from Le Reincarnations du Pere Ubu Georges Rouault, French (1871–1958) Date: 1928 Aquatint on Arches, signed in the plate Image Size: 10.5 x 6.5 inches Size: 17 x 12.5 in. ...

Le Politicard from Le Reincarnations du Pere Ubu Georges Rouault, French (1871–1958) Date: 1928 Aquatint on Arches, signed in the plate Image Size: 12 x 7.5 inches Size: 17.5 x 12.5 ...

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

Artist: Francisco Zuniga, Mexican (1912 - 1998) Title: La Senal Year: 1982 Medium: Lithograph, signed and numbered in pencil Edition: 135 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm) ...

This artwork titled "Portrait of a Young Boy" 1949 is an original lithograph by Swiss artist Cuno Amiet, 1868-1961. It is hand signed and numbered 12/200 in...

Lady Rose is an original painting by Lawal Ibrahim. Ibrahim created Lady Rose with a Colored pen, watercolor, and fabrics on 24W by 36H inches of paper. "Lady Rose" is a captivating...

Jacob Otto Pins (17 January 1917 – 4 December 2005) was a German-born Israeli woodcut artist and art collector, particularly of Japanese prints and paintings. Jacob Pins was born in Höxter, Germany, the son of Dr Leo Pins, a veterinarian, and his wife Ida Lipper. He immigrated to Palestine in 1936 to study art. His father tried to discourage him from becoming an artist for financial reasons. Pins' younger brother, Rudolph, (1920-2016) moved to the United States in 1934. His father was sent to Buchenwald. In July 1944, both parents died in the Riga ghetto. Pins first lived on a kibbutz, which was disbanded in 1941. He moved to Jerusalem and studied woodcut and linocut under woodcut master and painter Jacob Steinhardt, also a German immigrant, at his small private school. He lived in poverty in a tiny room, subsisting on a meagre diet. He continued his studies at the new Bezalel Academy of Art and Design. Pins was married to Elsa, the subject of a number of his prints. They had no children. Pins bought his first Oriental print in 1945, and acquired a house on Ethiopia Street, opposite the Ethiopian church, where he lived for the rest of his life. He continued collecting until his death and was one of Israel's foremost art collectors. His book on Japanese Pillar Prints, Hashira-e is the definitive work on the subject. Pins died in Jerusalem in December 2005. Pins' artwork was heavily influenced by German expressionism and traditional Japanese wood block printing. From 1956 to 1977, he taught at Israel's leading art schools, most notably Bezalel, where he later became a professor. He was known as a demanding teacher, emphasizing strong technical skills and discipline. In the 1950s, Pins helped to found the Jerusalem Artists' House, a centre for the city's artists to meet and exhibit. Legacy Pins' extensive collection of Japanese woodprints...