Bamboo Paper Prints and Multiples

The „Camel Print" represents a peaceful picture of an animal in the desert. Size: 34 x 24 inch Material: Coventry Rag 320gsm paper Medium: 6 colour silkscreen Edition of: 100 Signa...

Guy Allen Dachshund and Butterfly Etching Edition Size: 75 Year Completed: 2015 Image Size: H 40m x W 54 cm Approximate Size When Framed: H 69c...

Barbed Wire Dove Collage, 2023 Screen print by Shepard Fairey on thick cream Speckletone paper 45.72 x 60.96 cm 18 x 24 inches Signed by Shepard Fairey Numbered edition of 450

Two Actors - Japanese Woodblock by Toyohara Chikanobu (豊原周延, 1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延). Colorful and expressive court scene. Two actors...

Cut It Up – Do It Yourself (Blue). 18 x 24 inches. Silkscreen on true white Speckle Tone paper. Signed by Shepard Fairey. Numbered edition of 122/500. Released exclusively at Beyond ...

"Midcentury Blocks" is an abstract contemporary monoprint by Texas artist Roberta E. Laine. In this one-of-a-kind print, layers of mulberry papers have been run through an etching pr...

"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...

Mixed media abstracted landscape composition on handmade paper of a town on the edge of a lake, in monochromatic orange tones with white accents, by Grace Eichholz (American, b. 1927...

Wonderful tropical Woodcut print of Palm Tree on island. Signed "Wessels" with a KW chop in a box above and 2012 lower edge. Presented in speckled pain...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of travelers passing beside a tea-house between steep slopes in Okabe, Shi...

A beautiful turn-of-the-century lake view of Chicago by an American artist known for his Texas landscapes. Etching with drypoint on watermarked Umbria laid paper with deckle edges, 7 1/4 x 10 7/8 inches (182 x 275 mm), full margins. Signed and numbered 4/25 in pencil, lower margin. In good condition with adhesive residue at the sheet edges on the verso, does not show through to the recto. A lovely Lake Michigan landscape...

"The Space Between I" is an abstract contemporary monoprint by Texas artist Roberta E. Laine. In this one-of-a-kind print layers of mulberry papers have been run through an etching p...