Bamboo Paper Landscape Prints

Dueling with Cherry Blossoms - Tales of Genji - Japanese Woodblock Rightmost panel a triptych, depicting a group of children and a samurai watching a "duel" with cherry blossoms. Th...

"Grave of Santa Anna's Leg" Original Woodblock Print, Signed Artist's Proof Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a segment of a grave, with a headstone that has a skull and cross. There are two bright green plants flanking the headstone. Below the headstone and plants, there is a large arched blue shape, with a crescent moon and stars. A red leg, bent at the knee, cuts across the blue arch. Signed "Carol Summers" along the right edge of the blue shape. Numbered and titled "A/P Grave of Sant Anna's Leg" along the left edge of the blue shape. Presented in a silver colored aluminum frame. Frame size: 32.245"H x 27.25"W Paper size: 29.75"H x 24.5"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...

A stunning 18th century optical view of London from the Thames. London: 1760. Copper plate engraving with hand coloring in watercolor on cream laid paper with a large circular wate...

A rich and tonal image of an icon of Manhattan architecture. Etching with drypoint, 11 7/8 x 7 3/8 inches (300 x 186 mm), full margins. Edition of 100. Signed in pencil, lower right...

Paris: Gebbie & Co., 1895. Photogravure and engraving on cream wove paper, 6 11/16 x 9 5/8 inches (169 x 244 mm), full margins. In good condition with minor toning and three scatter...

c. 1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...

Umewaka Shrine, from an untitled series of prints depicting Tokyo. A woman braces her umbrella against the rain and a man waits out the storm next to his jinriksha in this view of th...

Shichirigahama, Sagami Province. A beauty in the foreground waves to her young companions, who run towards her on the beach. The beauty at left wears a western-style golden ring. We ...

A superb, dark impression of a well known scene by Arms. Etching with aquatint on watermarked handmade F.J. Head & Co. laid paper, 12 3/8 x 13 15/16 inches (315 x 354 mm), full marg...

Etching on antique laid Japon paper, 14 1/2 x 7 5/8 inches ( 368 x 195 mm), full margins. Signed, dated and inscribed "Ed. 100 II" in pencil in the lower margin. One of 100 impressio...

A fine and early state impression from an almost unparralled 19th century Parisian collection curated by Loys Delteil. Etching, drypoint, and roulette on buff laid Japon paper, 5 7/16 x 9 13/16 inches (137 × 249 mm) full margins. In very good condition with light and unobtrusive scattered foxing. Some pencil inscriptions in the margins, recto, as well as the Alfred Beurdeley collection stamp (Lugt 421) in black ink in the lower left margin on the recto. There are some light scattered inscriptions in pencil on the verso, as well as a numerical stamp in blue ink, which we believe is the lot number from part III of a well-known series of sales of Beurdeley's collection organized by Loys Delteil. This portion of the sale of Beurdeley's massive collection focused on Modern Prints, and took place on May 19 – 20, 1920, in Paris. In regard to the content of the sale, Fritz Lugt states "Meryon's work included all the beautiful pieces about Paris." A rich and tonal impression. [Delteil & Wright 9; Schneiderman 12]. A note on the provenance: Alfred Beurdeley (1847-1919) was the son of one of the first antique dealers in Paris...