Woodcut Landscape Prints

The print 'Jones Island' is something of a self portrait. In the image, an artist stands before and easel, depicting the docks and buildings on the coast. The title indicates that this is Jones Island in Milwaukee, the peninsula along Lake Michigan that today is home to largely industrial buildings. The buildings and figures in the print suggest that this might be a view of the last of the Kashubian or German immigrant settlements on the peninsula before they were evicted in the 1940s to make way for the development of the harbor. The artist in the image thus acts as a documentarian of these peoples. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures and buildings looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 13.43 x 12.43 inches, frame Signed "GS" in the print block,upper left Entitled "Jones Island" lower left (covered by matting) Inscribed "Wood Engraving" lower center (covered by matting) Artist name "Gerrit V. Sinclair" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Gerrit Sinclair studied at the Art Institute of Chicago from 1910 - 1915, under Vanderpoel, Norton, and Walcott. In World War I, he served in the Army Ambulance Corps and later recorded his experiences in a series of oil paintings. He taught in Minneapolis before arriving in Milwaukee in 1920 to become a member of the original faculty of the Layton School of Art. He was also a member of the Wisconsin Painters & Sculptors. Sinclair's paintings and drawings were executed in a lyrical, representational style, usually expressing a mood rather than a narrative. His paintings reveal a great sensitivity for color and atmosphere. His subject matter focused on cityscapes, industrial valleys, and working-class neighborhoods, captured from eye-level. A decade before the popularity of Regionalism, Sinclair's strong interest in the community was reflected not only in his paintings, but also in his encouragement to students to return to their communities as artists and teachers. Joseph Friebert...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

 Ex Libris - Maria Schotte is a Modern Artwork realized in the mid-20th Century. Woodcut print on paper.  The work is glued on a cardboard. Good conditions

Ex Libris - Johan Souverein is a Modern Artwork realized in the mid-20th Century. Woodcut print on paper.  Monogrammed on the lower. The work is glued on a cardboard. Good condit...

Ex Dr. Vencl is a Contemporary Artwork realized in the mid-20th Century.  Colored Lithograph with watercolor on ivory-colored paper.   The work is glued on cardboard.  Total dimen...

Ex Libris Fanderlik  is a Contemporary Artwork realized in the mid-20th Century.  B/W woodcut print on ivory-colored paper.   The work is glued on cardboard.  Total dimensions: 21...

Ex Libris Rudolfa Haly  is a Contemporary Artwork realized in the mid-20th Century.  B/W Lithograph with a Green decoration Artwork on ivory-colored paper.   The work is glued on c...

Ex Libris Marta Cinner is a Contemporary Artwork realized in the mid-20th Century.  Artwork on ivory-colored paper. The title is inscripted in the center in red and black. The work ...

Ex Libris Marta Cinnerova is a Contemporary Artwork realized in the mid-20th Century.  B/W Lithograph Artwork on ivory-colored paper.   The work is glued on cardboard.  Total dime...

Ex Libris Cinner  is a Contemporary Artwork realized in the mid-20th Century.  Lithograph Artwork on ivory-colored paper. The title is inscripted on the right corner in red.   The ...

Ex Libris Marta Eterka is a Contemporary Artwork realized in the mid-20th Century.  Colored Lithograph Artwork on ivory-colored paper.   The work is glued on cardboard.  Total dim...

Ex Libris Puty is a Contemporary Artwork realized in the mid-20th Century.  B/W woodcut print on ivory-colored paper.   The work is glued on cardboard.  Total dimensions: 21 x 15 ...

Ex Libris Dolezal is a Contemporary Artwork realized in the mid-20th Century.   Woodcut print on ivory-colored paper.   The work is glued on cardboard.  Total dimensions: 21 x 15 ...

Louisa Chase was born in Panama City, Panama. Seven years later, her family moved to Lancaster, Pennsylvania. She studied painting and sculpture at Syracuse University and at the Yal...

 Ex Libris - Spoorenberg is a Modern Artwork realized in the mid-20th Century. Woodcut print on paper.  The work is glued on a cardboard. Good conditions.

Ex Libris Benes  is a Contemporary Artwork realized in the mid-20th Century.  B/W woodcut print on ivory-colored paper.   The work is glued on cardboard.  Total dimensions: 21 x 1...

Ex Libris Marta Cinnerova is a Contemporary Artwork realized in the mid-20th Century.  B/W Lithograph Artwork on ivory-colored paper.   The work is glued on cardboard.  Total dime...

Ex Libris Obratil  is a Contemporary Artwork realized in the mid-20th Century.  Woodcut print Artwork on ivory-colored paper. Hand-signed in pencil on the lower right corner. The w...

"Trees" is an original wood engraving print by Betsy Ritz Friebert. It features a man walking down a large path underneath tall barren trees. Unsig...

Ross, John T. UNTITLED (LIGHTHOUSE, HOUSES AND BOATS). Color woodcut, not dated. Inscribed "proof," lower left, and signed lower right, in pencil. 9 x 14 7/8 inches (image), on a lar...

Richard Bosman (b. 1944) is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New ...

Peasants is a woodcut print realized by Augusto Monari in the Early-20th Century. Good conditions. The artwork is depicted through confident strokes in a well-balanced composition.

Brad Davis has exhibited at The Museum of Modern Art in New York, the New Museum of Contemporary Art in new York, the Hudson River Museum, the Uni...

View of the Palace of Onnay in Japan is a woodcut on creamy-colored paper realized by Ernest Breton in 1843. Signed on the plate, titled on the lower. Good conditions. The artwork...

The present artwork is a vibrant and colorful example of the woodcut prints of Carol Summers. The image is dominated by the form of a red tropical flower, closely cropped around the petals like in the photographs of Imogen Cunningham and the paintings of Georgia O'Keeffe. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 9.63 x 11.63 inches, artwork 21 x 23 inches, frame Edition 16/50 in pencil, lower right Titled in pencil, lower right Signed in pencil, lower center Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile gold gilded wood moulding. 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 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Loi, Bible, Dogme is a woodcut print realized by in 1903 by Louis Willaume (1874-1949). Signed on Plate. Good condition. The artwork is depicted through soft strokes in a well-bal...

"Red, Yellow, Blue & Green" is an original color woodcut by Carol Summers. The artist signed the piece in the lower left. This woodcut depicts four color fields. The edition number i...

The River through Threes is a woodcut print on paper realized after a photograph by M. Renaud artist in the 20th century. Signed on the plate and Monogrammed. With another artwork ...

Boats in Porto San Giorgio is an original woodcut print realized by Attilio Giuliani in 1924. Signed and dated on plate. The artwork depicts a scene from the habour of Porto San Gio...

L'Abbeveratoio (translated: The Watering Place) is an original woodcut print realized by Carlo Zuccarini in the early 20th century. Good conditions. The artwork is depicted through...

Calapai, Letterio. ROCKWELL KENT'S STUDIO. Wood engraving, 1980. Titled, numbered 7/75 and signed in pencil. 6 x 8 7/16 inches, 153 x 216 mm. In very good condition. Framed.

The Celebration is an original woodcut print realized by an Anonymous artist in the early 20th century. The artwork is a composition of figures in sem...

Viterbo is an original woodcut print realized by Carlo Zuccarini in the early 20th century. The artwork is a glimpse of the Medieval architecture...

Ex Libris Fery Sarolta is an original Contemporary Artwork realized in the mid-20th Century . Original Colored woodcut artwork on ivory-colored paper. The work is glued on card...

Ex Libris Florian Spychalski is an original Artwork realized in the half of the 20 Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. ...

Ex Libris Klubu Ksiazki is an original Contemporary Artwork realized in the half of the 20th Century. Original colored woodcut print on ivory-colored paper. The work is glued on...

Ex Libris Ludwika is an original Artwork realized in the half of the 20th Century. Original B/W woodcut on ivory-colored paper. The work is glued on cardboard. Total dimension...

Ex Libris Okolskich is an original Contemporary Artwork realized in 1955. Original woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimensions: 21 x...

Ex Libris Nawrockiego is an original Modern Artwork realized in the half of the 20th Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. ...

Ex Libris Zdena Zezulkova is an original Artwork realized in the 1970s. Original B/W woodcut print on ivory-colored paper. Hand-signed in pencil on the lower right corner. The...

Ex Libris Alma Parna is an original Contemporary Artwork realized in the first half of the 20th Century. Original B/W woodcut print on ivory-colored paper. The work is glued on ...

Ex Libris Istvan is an original Artwork realized in the half of the 20th Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimen...

Trieste: l'Androne degli Orti is an original woodcut print by Alberto Zanverdiani in the early 20th Century. Good conditions. The artwork is depicted through stong strokes in a wel...

Aimé Jourde Imprimeur is an original Original Woodcut realized by an unknown artist in 1920. Ex Libris Aimé Jourde, no signature. Very good condition included a white cardboard pas...

Ex Libris Pavelky is an original Modern Artwork realized in the Half of the 20th Century. Original B/W woodcut on ivory-colored paper. Hand-signed in pencil on the lower right co...

Ex Libris Vlasaka is an original Artwork realized in the Second half of the 20th Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. To...

Tisvilde is an original Woodcut from "Old King", realized by Ebba Holm in 1925. Good conditions. The artwork is depicted through perfect hatching in a well-balanced composition.

Composition is an original Woodcut from ""quaderni dell'Eroica", realized by Giorgio Wenter Marini in 1925. Good conditions. The artwork is dep...

The present artwork is an excellent example of the woodcut engravings of Auguste-Louis Lepère (1849 - 1918). He was the son of the sculptor Francois Lepère, a...

Ex Libris KRCMY is an original Modern Artwork realized in 1934. Original Ex Libris paper. Hand-signed and dated by the artist on the lower right corner in pencil. Original Colored ...

Ex Libris Stindl is an original Contemporary Artwork realized in the 1970s Hand-signed by the artist on the lower right corner in pencil. The work is glued on cardboard. Total di...

Figures is an original woodcut realized by Ernesto Romagnoli in 1963. No signature, in very good conditions. The artwork is after Mino Maccari.

Colle di Val d'Elsa is an original woodcut print realized by Ernesto Romagnoli in 1963. No signature, in very good conditions, mounted on a white cardboard (49 x 34 cm). The artwor...

Florenz is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Lette...

Childhood Memory is an original Modern artwork realized by Luigi Spacal (Trieste, 1907 - Trieste, 2000) in the half of the 20th Century. Original B/W woodcut on cardboard. Excellent conditions. Lojze Spacal...

Battle of Neuwe Chapelle is an original woodcut on paper realized by Frank Brangwyn. Passepartout including: cm 40 x 30. Very good conditions. On the bottom center, an inscription ...

Landscape is an original woodcut realized in the 1970s by Raffaele De Grada Signed on the lower right. The State of preservation is very good. Passepartout...

Landscape is an original xilography artwork realized by Mino Maccari in 1925 ca. Hand-signed on the lower left Included a white Passepartout: 37 x 52 The state of preservation is v...

Riverside Houses is an original woodcut on paper realized by an Anonymous artist of the XX century. With the monogram of the artist on the lower left....

Modern Landscape is an original xylograph realized during the half of the 20th Century by an anonymous artist. The artwork represents a view of a village with several buildings and ...