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Medium: Woodcut
Recognized Seller Listings
Fountain
By John Buck
Located in Boca Raton, FL
John Buck is well known for his carved wood and bronze sculptures and monumental woodblock prints. In recent years, he has turned his attention to creating ever-more-complex mechanic...
Category
1980s Contemporary Woodcut Landscape Prints
Materials
Woodcut
An Eagle Ceremony at Tesuque Pueblo
Located in Fairlawn, OH
An Eagle Ceremony at Tesuque Pueblo
Woodcut printed in two colors, 1932
Unsigned as usual; initialed in the plate lower left (see photo)
As published by Elmer Adler in "The Colophon:...
Category
1930s American Modern Woodcut Landscape Prints
Materials
Woodcut
Daybreak over Lake Yamanaka
By Kawase Hasui
Located in Fairlawn, OH
Daybreak over Lake Yamanaka
Color woodcut, 1931
Published by the Watanabe Color Print Co.
Watanabe seal "D" (1931-1941) See photo
Pre-war design and pre-war printing
Lake Yamanaka i...
Category
1930s Woodcut Landscape Prints
Materials
Woodcut
February -- Orchid. (Nigatsu - Ranjo no saku).
Located in Storrs, CT
February -- Orchid. (Nigatsu - Ranjo no saku). 1956. Woodcut with hand-applied color from the verso. Kodansha vol.9 No. 125. 17 x 13 (sheet 18 1/4 x 21 1/2). Series: Calender in the ...
Category
Mid-20th Century Modern Woodcut Landscape Prints
Materials
Watercolor, Woodcut
'Taos Placita' — 1940s Southwest Regionalism
Located in Myrtle Beach, SC
Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed.
Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm).
Collections: New Mexico Museum of Art, Phoenix Art Museum, Wichita Art Museum.
ABOUT THE ARTIST
Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest.
"A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West."
—Lewis I. Sharp, Director, Denver Art Museum
Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels.
Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal.
Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923.
In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique.
Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape.
Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike.
A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.”
In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts.
Baumann’s woodcuts...
Category
1940s American Modern Woodcut Landscape Prints
Materials
Woodcut
House in Kyoto
Located in Fairlawn, OH
House in Kyoto
Color woodcut, 1963
Signed in white brush bottom left of image, along with the artist's red stamp (see photo)
Titled, dated and numbered in pencil bottom margin (see p...
Category
1960s Contemporary Woodcut Landscape Prints
Materials
Woodcut
WINTERSONNE
By Erich Heckel
Located in Portland, ME
Heckel, Erich (German, 1883-1970). WINTERSONNE. Dube 318. Drypoint, 1913. Edition size not known. Signed and dated "Heckel 1913" in pencil. Printed on heavy wove paper. 4 3/4 x 6 1/...
Category
1910s Woodcut Landscape Prints
Materials
Woodcut, Drypoint
Fleet Street, London
Located in Fairlawn, OH
Fleet Street, London
Soft ground etching & aquatint, c. 1936
Signed in pencil by the artist (see photo)
Condition: Very good condition with brown paper tape along the edges of the la...
Category
1930s Woodcut Landscape Prints
Materials
Etching, Woodcut
Lingering Snow Mount Yoshino
Located in Fairlawn, OH
Lingering Snow Mount Yoshino (Shidzuka-gozen toiling through snow after her last farewell to Yoshitsune)
Signed: Ichiyusai Kuniyoshi ga
Censor seal: Tanaka
Series: Kenjo hakkei
...
Category
1840s Woodcut Landscape Prints
Materials
Woodcut
Tokyo Tower in Shiba
Located in Fairlawn, OH
Tokyo Tower in Shiba
Color woodblock, 1960
Signed and sealed lower right
Signed with the artist's name:" Keimei" (see photo)
Signed with the artist's seal in red (see photo)
Publishe...
Category
1960s Other Art Style Woodcut Landscape Prints
Materials
Woodcut
The Bridge
Located in Santa Monica, CA
B. J. O. NORDFELDT (Bror Julius Olsson) 1878-1955)
THE BRIDGE, 1906
Color woodcut signed, dated 1906 and numbered 150 in pencil. Image 8 x 10 - small margins as issued. 4 corners tipped to acid free support board. Nordfelt is one of the most important early twentieth century American Masters of the Color woodcut. This 1906 work predates many of the other woodcut masters. Nordfeldt had a peculiar numbering system. The number is not necessarily the edition number.
Frances H. Gearhart, Blanche Lazzell, William S. Rice, Gustave Baumann, Margaret Patterson, Norma Basset Hall. Waldo Chase.
Category
Early 1900s American Modern Woodcut Landscape Prints
Materials
Woodcut
Quincaillerie by Ludovic-Rodo Pissarro - Wood engraving
Located in London, GB
Quincaillerie by Ludovic-Rodo Pissarro (1878 - 1952)
Wood engraving
10.4 x 12.6 cm (4 ¹/₈ x 5 inches)
Initialled in the plate, signed lower right, Ludovic Rodo and numbered, 1
Exhib...
Category
1910s Post-Impressionist Woodcut Landscape Prints
Materials
Woodcut
High Tide
Located in Lyons, CO
Color woodcut, Edition 30
The left panel of High Tide captures the reflections of the edge of a pond and surrounding trees and hills. The right panel depi...
Category
21st Century and Contemporary Contemporary Woodcut Landscape Prints
Materials
Woodcut
Alhambra XII
Located in New York, NY
Antonio Frasconi created the color woodcut entitled “Alhambra XII” in 1963. This piece is signed titled, and dated in pencil. The edition is 12, and paper size is 18 x 24 inches. “...
Category
1960s American Modern Woodcut Landscape Prints
Materials
Woodcut
View of Venice II - Bacino
Located in New York, NY
Antonio Frasconi created the color woodcut entitled "View of Venice II – Bacino" in 1968. It is signed, titled, dated, and inscribed “13/18” in pencil. The paper size is 24 x 36 inch...
Category
1960s American Modern Woodcut Landscape Prints
Materials
Woodcut
View of Venice I - San Giorgio
Located in New York, NY
Antonio Frasconi created the color woodcut entitled "View of Venice I – San Giorgio" in 1968. It is signed, titled, dated, and inscribed “17/20” in pencil. The paper size is 24 x 36 ...
Category
1960s American Modern Woodcut Landscape Prints
Materials
Woodcut
BY SALT MARSHES
Located in Portland, ME
(Dow, Arthur Wesley)illus. BY SALT MARSHES: PICTURES AND POEMS OF OLD IPSWICH by Everett Stanley Hubbard. (Artists of the Book in Boston, #74). Ipswich, MA. 1908, Privately printed. ...
Category
Early 1900s Woodcut Landscape Prints
Materials
Woodcut
ON THE ISLAND
By Thomas Willoughby Nason
Located in Portland, ME
Nason, Thomas. ON THE ISLAND. BPL 213. Wood engraving, 1937. Inscribed "Ed. 80" and signed and dated in pencil. 5 3/8 x 10 inches (image), 10 1/4 x 13 1/2 inches (sheet). In excellen...
Category
1930s Woodcut Landscape Prints
Materials
ABS, Engraving, Woodcut
SAN JACINTO
Located in Santa Monica, CA
FRANCES H. GEARHART (1869-1958)
(Mt.) SAN JACINTO c. 1926
Color block print. Signed in pencil. Unknown edition but uncommon. Image 6 5/8 x 4 1/8 inches. On Gearhart's typical fibr...
Category
1920s American Impressionist Woodcut Landscape Prints
Materials
Woodcut
Sailing by Moonlight
Located in Palm Springs, CA
Pencil signed and numbered from the edition of 102. This traditional color woodcut of a sailing boat on a brightly lit moonlight night off the California coast shows Schwaberow great...
Category
2010s Contemporary Woodcut Landscape Prints
Materials
Woodcut
KYOTO (B)
Located in Santa Monica, CA
KIYOSHI SAITO (Japanese 1907 - 1997)
KYOTO (B) 1966
Color woodcut, signed, titled, dated and no. 5/100 in pencil. Edition 100. Image 14 3/4 x 20 5/8 inches. Full margins with deckle...
Category
1960s Modern Woodcut Landscape Prints
Materials
Woodcut, Color
Willow Border
Located in Santa Monica, CA
WILLIAM SELTZER RICE (1873 – 1963)
WILLOW BORDER, ca 1915-20 Color woodcut. Signed Wm. S. Rice and titled in pencil, both very lightly. Image 10 x 9 inches. On fibrous paper. Sheet...
Category
1910s Other Art Style Woodcut Landscape Prints
Materials
Woodcut
Bougival
Located in Fairlawn, OH
Bougival
Woodcut, 1914
Signed and numbered in pencil
Edition 30, this numberd 22
Printed on laid Van Gelder Zonen paper
Published by Henri Kanweiler, Paris
Printed by Paul Birault, Paris
Bougival is located west of Paris, on the left bank of the River Seine.
This woodcut was inspired by Vlaminck's 1905 Fauvist masterpiece of the same title in the collection of the Detroit Institute of Art.
An impression of this image is in the Yale Univeristy Art Gallery,
Condition: Very slight sun staining, otherrwise very good
Image/block size: 13 1/4 x 16 1/4 inches
Sheet size: 19 1/8 x 22 1/8 inches
Reference: Walterskirchen 11b
Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse, he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense colour.] Vlaminck was one of the Fauves at the controversial Salon d'Automne exhibition of 1905.
Life
Maurice de Vlaminck was born on Rue Pierre Lescot in Paris. His father Edmond Julien was Flemish and taught violin and his mother Joséphine Caroline Grillet came from Lorraine and taught piano His father taught him to play the violin.[3] He began painting in his late teens. In 1893, he studied with a painter named Henri Rigalon on the Île de Chatou In 1894 he married Suzanne Berly. The turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23 and already active in anarchist circles in Paris, met an aspiring artist, André Derain, with whom he struck up a lifelong friendship.] When Vlaminck completed his army service in 1900, the two rented a studio together, the Maison Levanneur, which now houses the Cneai,[6] for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain. He painted during the day and earned his livelihood by giving violin lessons and performing with musical bands at night.
Vlaminck participated in the controversial 1905 Salon d'Automne exhibition. After viewing the boldly colored canvases of Vlaminck, Henri Matisse, André Derain, Albert Marquet, Kees van Dongen, Charles Camoin, and Jean Puy, the art critic Louis Vauxcelles disparaged the painters as "fauves" (wild beasts), thus giving their movement the name by which it became known, Fauvism.
In 1911, Vlaminck traveled to London and painted by the Thames. In 1913, he painted again with Derain in Marseille and Martigues. In World War I he was stationed in Paris, and began writing poetry. Eventually he settled in Rueil-la-Gadelière, a small village south-west of Paris. He married his second wife, Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but continued to paint primarily along the Seine, near Paris. Resentful that Fauvism had been overtaken by Cubism as an art movement Vlaminck blamed Picasso "for dragging French painting into a wretched dead end and state of confusion". During the Second World War, Vlaminck visited Germany and on his return published a tirade against Picasso and Cubism in the periodical Comoedia in June 1942. Vlaminck wrote many autobiographies.
Vlaminck died in Rueil-la-Gadelière on 11 October 1958.
Artistic career
Two of Vlaminck's groundbreaking paintings, Sur le zinc (At the Bar) and L'homme a la pipe (Man Smoking a Pipe) were painted in 1900.
For the next few years Vlaminck lived in or near Chatou (the inspiration for his painting houses at Chatou), painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. At this time his exuberant paint application and vibrant use of colour displayed the influence of Vincent van Gogh. Sur le zinc called to mind the work of Toulouse-Lautrec and his portrayals of prostitutes and solitary drinkers, but does not attempt to probe the sitter's psychology—a break with the century-old European tradition of individualized portraiture. According to art critic Souren Melikian, it is "the impersonal cartoon of a type. In his landscape paintings, his approach was similar. He ignored the details, with the landscape becoming a vehicle through which he could express mood through violent colour and brushwork. An example is Sous bois, painted in 1904. The following year, he began to experiment with "deconstruction," turning the physical world into dabs and streaks of colour that convey a sense of motion. His paintings Le Pont de Chatou (The Chatou Bridge), Les Ramasseurs de pommes de terre (The Potato Pickers...
Category
1910s Fauvist Woodcut Landscape Prints
Materials
Woodcut
Matsu (Pine)
Located in Fairlawn, OH
Matsu (Pine)
Woodcut, 1968
Signed: "'Matsu' Naoko Matsubara" in pencil by the artist (see photo)
Annotated in pencil "Ed 25" (see photo)
Edition: 25
Condition: 7" long waterstain at bottom edge of sheet starting ca. 6" in from lower left corner. Does not effect image. Light foxing throughout, especially in margins. Matting covers the foxing up.
Image size: 22 x 43 1/4 inches
Naoko Matsubara (1937 - )
Matsubara Naoko (松原直子) was born in 1937 on Shikoku Island into an old Shinto family, and grew up in Kyoto, where her father was a senior priest. She was educated at the Kyoto Academy of Fine Art (BFA, 1960); and was a Fulbright Scholar at what is now Carnegie Mellon University, Pittsburgh (MFA, 1962). She was also a Special Invited Student at the Royal College of Art in London (1962).
After travelling extensively in Europe and Asia, Naoko Matsubara returned to Japan for two years, before being lured back to the United States. There she worked as personal assistant to the late Prof. Fritz Eichenberg, and also taught at the Pratt Institute of Graphic Art in New York, as well as at the University of Rhode Island. Subsequently she lived in Cambridge, Mass.
In 1972 Naoko Matsubara moved to Canada, and now lives in Oakville, Ontario. She has continued to be extremely active as an artist: locally, nationally and internationally. Since 1960 she has had some 75 solo exhibitions, in the USA, Canada, Japan, England, Ireland, Germany, Austria, Switzerland, Holland and Mexico. She has also participated in numerous group exhibitions.
Public collections owning work by Naoko Matsubara include: Albertina, Vienna; Art Institute of Chicago; British Museum; Carnegie Institute; Museum für Kunst und Gewerbe, Hamburg; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Cincinnati Art Museum; Detroit Institute of Art; Fogg Art Museum, Harvard University; Haifa Museum, Israel; Kyoto National Museum of Modern Art; Royal Ontario Museum; The White House, Washington DC; Tokyo National Museum of Modern Art; Yale University Art Gallery.
Naoko Matsubara has published some 20 books and portfolios of her work, including most recently Tibetan Sky (Calgary: Bayeux Arts Publishers, 1997; Preface by the Dalai Lama); Tokonoma (Bath, England: Old School Press, 1999); and Konjaku monogatari (Tokyo: ALIS, 2002). Her work also includes a large mural and donor pillar for the new YMCA building in Oakville, Ontario (2003); mixed-media screens; and paintings. In 2005, the Royal Ontario Museum commissioned two large works from Naoko Matsubara for the Museum's Bloor Street window case. The artist generously donated a third work, Emerald Summer (2006). The three works (each 195 cm. high by 95 cm. wide) will be rotated at regular intervals into the outside window. This is the first commissioned artwork to be displayed on the Museum’s Bloor Street Plaza.
Recent major exhibitions have been in Tokyo, Kyoto, Indiana, and Toronto (Royal Ontario Museum). Further exhibitions are currently being planned in Seattle and Tokyo; new books in process include In Praise of Hands. She also continues to travel widely; is frequently invited to speak about her work; and also publishes essays, in both English and Japanese.
Naoko Matsubara’s work has been the subject of countless articles and reviews; documentary films (including two from the Canadian Broadcasting Corporation); and several book-length publications: notably Mokuhan: The Woodcuts of Munakata and Matsubara (text by Joan Stanley-Baker; Victoria, BC: Art Gallery of Greater Victoria, 1976); Naoko Matsubara: Development of Artistic Style and Technique (text by Barbara Woodworth; MFA thesis, Harvard University, 1985);.and Tree Spirit...
Category
1960s Abstract Woodcut Landscape Prints
Materials
Woodcut
VILLAGE SCENE / TOWN FESTIVAL
By Herbert Gurschner
Located in Santa Monica, CA
HERBERT GURSCHNER (Austrian / English (1901-1975)
VILLAGE SCENE / TOWN FESTIVAL ca.1924
Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...
Category
1920s Modern Woodcut Landscape Prints
Materials
Woodcut, Linocut
DAITOKUJI KYOTO
Located in Santa Monica, CA
KIYOSHI SAITO (Japanese 1907 - 1997)
DAITIKUJI KYOTO, 1957
Color woodcut, signed, titled, dated and no. 42/100 in pencil. Edition 100. Image 15 x 20 5/8 inches. Full margins with de...
Category
1950s Modern Woodcut Landscape Prints
Materials
Woodcut
"Sin Fin"
Located in Lyons, CO
Color woodcut.
Rafael Ferrer depicts the intense life of the Caribbean in his paintings and prints. With hot colors, deep shadows and mysterious ...
Category
1990s Contemporary Woodcut Landscape Prints
Materials
Woodcut
Moon At Dawn
Located in Palm Springs, CA
Signed and numbered from the edition of 88. This tranquil scene of the moon at night by the waters' edge shows Schwaberow's technicque at its best. The grain of each piece of wood plays into the image perfectly.
Micah Schwaberow was born in Eugene, Oregon and currently resides In Santa Rosa, California. The rolling hillsides, cloudscapes and coastline of Sonoma County are a major motif in his woodcuts. Seascape with light reflecting on the water just after sunset.
Micah learned the art of Japanese woodblock art...
Category
2010s Contemporary Woodcut Landscape Prints
Materials
Woodcut
APRIL
Located in Santa Monica, CA
FRANCES H. GEARHART
APRIL c. 1928-30
Color block print, signed and titled in pencil. Image 9" x 5". sheet 11 1/8 x 7 1/8. Very good impression. The usual tack holes at the right she...
Category
1920s Impressionist Woodcut Landscape Prints
Materials
Woodcut
'Chion-in Temple Gate' from 'Eight Scenes of Cherry Blossoms' — Jizuri Seal
By Hiroshi Yoshida
Located in Myrtle Beach, SC
Hiroshi Yoshida, 'Chion-in Temple Gate (Sunset)' from the series 'Eight Scenes of Cherry Blossoms (Sakura hachi dai: Sakura mon)', color woodblock print, 1935. Signed in brush 'Yoshida' and in pencil 'Hiroshi Yoshida'. A superb, early impression, with fresh colors; the full sheet with margins, on cream Japan paper; an area of slight toning in the top right sheet corner, not affecting the image, otherwise in excellent condition. Marked with a jizuri (self-printed) seal, upper left margin. Self-published by the artist.
Image size 9 5/8 x 14 3/4 inches (444 x 375 mm); sheet size 10 7/8 x 16 inches (276 x 406 mm). Archivally sleeved, unmatted.
Provenance: M. Nakazawa, Tokyo.
Literature: Japanese Landscapes of the 20th century (Hotei Publishing calendar), 2001, May.
Collections: Honolulu Museum of Art, Museum of Fine Arts, Boston.
ABOUT THE IMAGE
Located in Kyoto, Chionin is the main temple of the Jodo sect of Japanese Buddhism, one of the most popular Buddhist sects in Japan, having millions of followers. The Sanmon Gate, Chionin's entrance gate, standing 24 meters tall and 50 meters wide, it is the largest wooden temple gate in Japan and dates back to the early 1600s. Behind the gate, a wide set of stairs leads to the main temple grounds.
ABOUT THE ARTIST
Painter and printmaker Yoshida Hiroshi (1876-1950) is regarded as one of the greatest artists of the Japanese 'shin hanga' (New Print) movement.
Yoshida was born as the second son of Ueda Tsukane in Kurume, Fukuoka Prefecture, a schoolteacher from an old samurai family. In 1891 he was adopted by his art teacher Yoshida Kasaburo in Fukuoka and took his surname. In 1893 he went to Kyoto to study painting, and the following year to Tokyo to join Koyama Shotaro's Fudosha private school; he also became a member of the Meiji Fine Arts Society. These institutions taught and advocated Western-style painting, greatly influencing Yoshida’s artistic development.
In 1899 Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art), making the first of many visits to the US and Europe. In 1902 he helped reorganize the Meiji Fine Arts Society, renaming it the Taiheiyo-Gakai (Pacific Painting...
Category
1930s Showa Woodcut Landscape Prints
Materials
Woodcut
'Garyu no sakura' (The Lying Dragon Cherry Tree, Gifu) — Contemporary Japanese
Located in Myrtle Beach, SC
Hajime Namiki, 'Garyu no sakura (The Lying Dragon Cherry Tree, Gifu)', color woodcut, 2003, edition 200. Signed in pencil and with the artist’s red seal....
Category
Early 2000s Contemporary Woodcut Landscape Prints
Materials
Woodcut
Der Wald (portfolio of 9) 1 of 12 - grouping, woodblock prints on art paper
By Peter Hoffer
Located in Bloomfield, ON
Der Wald or The Forest consists of nine wood block prints in a single portfolio. In each of the nine images a single tree is printed cleanly in solid black on manila colored archival...
Category
2010s Contemporary Woodcut Landscape Prints
Materials
Woodcut, Archival Paper
The Beach at Kaiganji in Sanuki Province — Lifetime Impression, 1934
By Kawase Hasui
Located in Myrtle Beach, SC
The Beach at Kaiganji in Sanuki Province (Sanuki Kaiganji no hama), from the series Collected Views of Japan II, Kansai Edition (Nihon fûkei shû II Kansai hen), woodblock print, 1934. A very fine, atmospheric impression, with fresh colors; the full sheet, in excellent condition. Signed 'Hasui' with the artist’s seal 'Kawase', lower left. Published by Watanabe Shozaburo with the Watanabe ‘D’ seal indicating an early impression printed between 1931 - 1941. Stamped faintly 'Made in Japan' in the bottom center margin, verso.
Horizontal ôban; image size 9 3/8 x 14 1/4 inches (238 x 362 mm); sheet size approximately 10 5/16 x 15 1/2 inches ( 262 x 394 mm).
Collections: Art Institute of Chicago; Austrian Museum of Applied Arts (Vienna); Honolulu Museum of Art; Museum of Fine Arts, Boston; National Museum in Warsaw; University of Wisconsin-Madison.
ABOUT THE ARTIST
“I do not paint subjective impressions. My work is based on reality...I can not falsify...(but) I can simplify…I make mental impressions of the light and color at the time of sketching. While coloring the sketch, I am already imagining the effects in a woodblock print.” — Kawase Hasui
Hasui Kawase...
Category
1930s Showa Woodcut Landscape Prints
Materials
Woodcut
THE THAW
Located in Santa Monica, CA
WILLIAM SELTZER RICE (1873 - 1963)
THE THAW c 1915-20
Color woodcut, signed and titled in pencil. Image 8 7/8 x 12 inches, sheet 10 3/4 x 14 3/8 inches. On textured fibrous paper. V...
Category
1910s American Modern Woodcut Landscape Prints
Materials
Color, Woodcut
JOSHUA TREE
Located in Santa Monica, CA
FRANCES H. GEARHART (American, 1869-1958)
JOSHUA TREE c. 1925-30
Color block print. Signed in pencil. 6 1/2 x 4 1/2 inches. Edition unknown, bur likely ab...
Category
1920s Modern Woodcut Landscape Prints
Materials
Linocut, Woodcut
'Laguna Cove' — 1930s American Modernism
Located in Myrtle Beach, SC
Paul Landacre, 'Laguna Cove', wood engraving, 1935; edition 60 (16 printed), 2nd edition 150 (6 printed), Woodcut Society 200, Wien 247. Signed and titled in pencil. A brilliant, black impression, on cream wove Japan, with full margins (3/4 to 1 3/4 inches), in excellent condition. Archivally matted to museum standards, unframed.
This impression is from the edition published for the Twentieth Presentation Print of the Woodcut Society, 1941. Printed by Torch Press, Cedar Rapids.
Literature: Reproduced in 'James Swann...
Category
1930s American Modern Woodcut Landscape Prints
Materials
Woodcut
'Hill' — 1930s American Modernism
Located in Myrtle Beach, SC
Paul Landacre, 'Hill', wood engraving, 1936, edition 60 (only 54 printed); only 2 impressions printed in a second edition of 150. Signed, titled, and numbered '49/60' in pencil. Wien...
Category
1930s American Modern Woodcut Landscape Prints
Materials
Woodcut
Jonah
Located in Santa Monica, CA
SADAO WATANABE (Japanese 1913-1996)
JONAH, 1959
Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...
Category
1950s Modern Woodcut Landscape Prints
Materials
Stencil, Woodcut
The Infant Christ and St. John Playing with the Lamb, after Peter Paul Rubens
Located in Fairlawn, OH
The Infant Christ and St. John Playing with the Lamb,
after Peter Paul Rubens (1577-1640)
Woodcut, trimmed and tipped to support
Initialed in the block bottom ...
Category
1630s Old Masters Woodcut Landscape Prints
Materials
Woodcut
SEA TREASURES
Located in Santa Monica, CA
FRANCES H. GEARHART and Sisters (THE GEARHARTS)
SEA TREASURES...
Category
1920s American Impressionist Woodcut Landscape Prints
Materials
Woodcut
!6th c. VIEW OF FLORENCE
Located in Santa Monica, CA
SEBASTIAN MUNSTER (1488-1552)
FLORENCZ - -- FIGUR UND GELEGENHEIT DER EDLEN UND HOCH BERHÜMPTEN STATT FLORENTZ. . c 1550 (Fauser, #3925.)
Woodcut f...
Category
16th Century Old Masters Woodcut Landscape Prints
Materials
Woodcut
CALLE EX CONVENTO, TASCO.
Located in Portland, ME
Pappe, Carl. CALLE EX CONVENTO, TASCO. Woodcut, c.1940s-60s. Edition unstated. This print is one of a series of 16 images, all of scenes in Taxco, distinguished by the strength of the carving and the richness of the blacks. 12 x 14 1/4 inches (image), 13 1/2 x 15 3/4 (sheet). Titled and signed in pencil. In excellent condition.
Carl Pappe...
Category
1940s Woodcut Landscape Prints
Materials
Woodcut
WARM DAY
Located in Portland, ME
Nagai, Kiyoshi (Japanese, 1911-1984). WARM DAY. Color woodblock, 1971. Edition of 252. Signed, datted, and numbered 156 - 252, all in pencil. 15 1/2 x 11 1/2 inches, framed to 20 1/2...
Category
1970s Woodcut Landscape Prints
Materials
Woodcut
River Reflections
Located in Fairlawn, OH
River Reflections
Color woodcut, c. 1910
Unsigned
Provenance: Dow Family Album, Cincinnati
Condition: Excellent
Image size: 2 1/2 x 4 inches
Sheet size: 3 1/8 x 4 7/8”
A color varian...
Category
1910s American Modern Woodcut Landscape Prints
Materials
Woodcut
HAYING
Located in Portland, ME
Lankes, Julius J. HAYING. Wood Engraving, 1937. Published by American Artists Group (AAG). Edition of about 200, of which 30 were titled, signed in pencil, and inscribed "Ed 30." 7 5...
Category
1930s Woodcut Landscape Prints
Materials
Woodcut
Original Japanese Watercolor and Woodblock Print of Orchid and Swallows
Located in Burbank, CA
Orchid and small swallows (Hokuri, kotsubame). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparatory watercolo...
Category
1890s Art Deco Woodcut Landscape Prints
Materials
Woodcut, Watercolor
House in Kyoto
Located in Fairlawn, OH
House in Kyoto
Color woodcut, 1963
Signed in white brush bottom left of image, along with the artist's red stamp (see photo)
Titled, dated and numbered in pencil bottom margin (see p...
Category
1960s Contemporary Woodcut Landscape Prints
Materials
Woodcut
KATSURA KYOTO I
Located in Portland, ME
Saito, Kiyoshi. KATSURA KYOTO I. Color Woodblock, 1962. Edition of 200. Titled, dated and numbered 84/200 in pencil. Signed in the block (prints from thi...
Category
1960s Woodcut Landscape Prints
Materials
Woodcut, Adhesive
FISH MARKET
Located in Santa Monica, CA
FRANCES H. GEARHART (1869 – 1958)
FISH MARKET 1930
Color block print, Signed and titled in pencil. Image 11 x 9 inches. Full sheet with deckle edges 14 3/...
Category
1930s Woodcut Landscape Prints
Materials
Woodcut
Farm in the Woods
Located in New York, NY
Werner Drewes (1899-1983), Farm in the Woods, woodcut, 1933, signed and dated in pencil lower right (also numbered 1-xxx and titled lower left). Reference: Rose 83. In very good cond...
Category
1930s American Realist Woodcut Landscape Prints
Materials
Woodcut
Fountain of Sea Horses, Rome — Early 20th Century
Located in Myrtle Beach, SC
Rudolph Ruzicka, 'Fountain of Sea Horses, Rome', wood engraving, c. 1915. Signed, dated, and titled in pencil. Initialed in the block, lower left. A fine, richly-inked impression, on...
Category
1910s American Modern Woodcut Landscape Prints
Materials
Woodcut
Japanese Beauty Admiring Kirifuri Waterfall
Located in Burbank, CA
A beauty turns to admire the Kirifuri Waterfall in Nikko Province. She holds the handle of an umbrella and wears fashionable clothing that is beautifully printed. This series pairs f...
Category
1890s Edo Woodcut Landscape Prints
Materials
Mulberry Paper, Handmade Paper, Woodcut
Tree at Night
Located in Santa Monica, CA
WERNER DREWES (German-American 1899-1985)
TREE AT NIGHT, 1964 (Rose 241)
Color woodcut Signed titled, dated and numbered 40 /210 all in pencil below image. Image 11 1/8 x 15 7/8 inc...
Category
1960s Abstract Expressionist Woodcut Landscape Prints
Materials
Woodcut
CALMNESS
Located in Portland, ME
Junichiro Sekino (Japanese, 1914-1988). CALMNESS. Color woodblock print, 1954. Edition size not known. Signed in pencil and with the artist's chop. 13 x 17 inches (image), on a large...
Category
Mid-20th Century Woodcut Landscape Prints
Materials
Woodcut
Ship Rock
By Norma Bassett Hall
Located in Santa Monica, CA
NORMA BASSETT HALL (1889 - 1957)
SHIP ROCK, c. 1940
Color woodcut signed and numbered in pencil, edition 40 on stiff fibrous paper.
10 x 14 inches, Sheet size 11 1/8 x 15 inches...
Category
1940s American Modern Woodcut Landscape Prints
Materials
Woodcut
Original Japanese Watercolor and Woodblock Print of a Lark, Barley and Beans
Located in Burbank, CA
Barley, broad beans and a lark (Omugi, soramame, hibari). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparator...
Category
1890s Art Deco Woodcut Landscape Prints
Materials
Watercolor, Woodcut
Kintai Bridge at Iwakuni in Suo Province (Suo iwakuni kintai-bashi), 1859
By Hiroshige II
Located in Myrtle Beach, SC
Utagawa Hiroshige II (1829-1869), 'Kintai Bridge at Iwakuni in Suo Province' (Suo iwakuni kintai-bashi), from the series 'One Hundred Views of Famous Pla...
Category
1850s Edo Woodcut Landscape Prints
Materials
Woodcut
Beauties on the Beach with view of Mount Fuji
Located in Burbank, CA
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 ...
Category
1890s Edo Woodcut Landscape Prints
Materials
Mulberry Paper, Handmade Paper, Woodcut
Woodcut landscape prints for sale on 1stDibs.
Find a wide variety of authentic Woodcut landscape prints available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add landscape prints created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, yellow, green and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Marc Zimmerman, Eve Stockton, Carol Summers, and Utagawa Hiroshige. Frequently made by artists working in the Modern, Contemporary, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Woodcut landscape prints, so small editions measuring 0.01 inches across are also available
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