Bamboo Paper Landscape Prints

Shin-machi Bridge at Hodogaya - Japanese Woodcut Print on Rice Paper Woodblock print of travelers on a bridge by Utagawa Hiroshige (Japanese, 1797-185...

Kiyomizu Temple, Scenes of Famous Places along Tôkaidô Road - Woodblock on Paper Full Title: Kyoto: Kiyomizu Temple (Kyô Kiyomizudera), from the series Scenes of Famous Places along...

Procession Of A Daimyo - Original Woodblock Print Original woodblock print depicting the procession of a Daimyo. Ten Japanese soldiers are seen as they aid in transporting the Daimy...

An 18th century view of the first permanent water fountain in London. London: J.Boydell, 1753. Engraving with hand coloring in watercolor on white laid paper, laid down to a modern...

Mitate of a Daimyo's Procession Crossing Ryogoku Bridge - Woodblock Print Woodblock print of a procession by Keisai Eisen (Japanese, 1790–1848). Terrific triptych of a procession of...

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...

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...

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...

Rome: 1795. Each an engraving with extensive hand coloring on laid paper, some with a partial heraldic watermark, each 6 5/8 x 4 3/4 inches (165 x 120 mm); (sheet) 10 1/4 x 7 1/8 in...

"Casa Marquez" Original Woodblock Print, Signed and Numbered 93/100 Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a closeup on a large stone building, with a landscape reflected in the windows. The building has carved ornamentation in a classical style. There is a bright red sunset in the background behind the building. The title refers to the author Gabriel García Márquez. Signed "Carol Summers" in the lower right corner. Numbered and titled "93/100 Casa Marquez" in the upper right corner. Presented in a silver colored aluminum frame. Frame size: 19.25"H x 23.25"W Paper size: 16"H x 20"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...

In image of the Tokugawa family paying homage to Tosho-gu Shrine in Nikko. Tokyo: Matsuki Heikichi, 1896 Woodcut in ink with embossing and hand-coloring in watercolor on handmade m...

Tokyo: Yokoyama Ryohachi, 1892 Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, the full ...