Woodcut Prints and Multiples

Jacques La Grange, 'The Start of the Race, 1899', color woodcut, edition 500, 1934. Signed and numbered '21/500' in pencil. A fine impression, with fresh colors, on cream wove paper,...

This woodcut print on paper is composed of a central, circular shape in violet on a blue patterned background. The monotype brings to mind the tradition of Japanese printing while be...

Salvador Dali (1904-1989) Paradadise 6 - The Heaven of Mercury From the Divine Comedy (Dante) Woodcut in color Signature printed in the plate 1960/63 On BFK Rives vellum 32,8 x 26,4...

Charles Turzak, 'La Salle and Washington Street (Chicago, Illinois)', woodcut, c. 1935, edition c. 25. Signed and titled in pencil. A fine, richly-inked impre...

circa 1950. Woodblock print in black and gray ink on Japon laid paper, 10 1/4 x 15 3/4 inches (260 x 398 mm), full margins. With the artist's embossed chop mark in red ink in the l...

Skadi Engeln, a Berlin- and France-based artist, studied sculpture at FH Ottersberg with Robert van de Laar and painting with Michael Kohr and Hermanus Westendorp. Her work has been ...

This piece titled "Philly Street XIII" is an original piece by Alexis Nutini and is made from a woodcut and found object stencil monoprint. This piece me...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Komposition (Composition), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Laz...

MAN is an original woodcut print by the renowned American and Mexican woman printmaker and sculptor, Elizabeth Catlett. Hand printed on white Rives BFK printmaking paper, 100% acid f...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Zwei Reiter vor Rot (Two Riders Against Red), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Dire...

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...

Marc Chagall (1887-1985) - Poèmes, Planche IX Woodcut print from 1968. An unnumbered and unsigned impression from the total edition of 238; this impression is on Japon paper, one o...

Salvador Dali (1904-1989) Hell 22 - The Liars, 1963 Wood engraving from "Divine Comedy" with the signature printed in the plate On BFK Rives vellum 32,8 x 26,4 cm (c. 13 x 10") REF...

Georges Rouault Crucifixion Woodcut and embossing (Raymond Jacquet workshop) Printed signature in the plate On Arches vellum 15 x 11" (38 x 28 cm) INFORMATION : Woodcut published i...

JUN'ICHIRO SEKINO (1914-1988) TWO SIAMESE CATS Japanese Woodblock Print, c. 1960, 1st edition, pencil signed, titled and numbered 90/200 with red Sekino pub...

Ohara Koson, 'Hollyhock and Dragonflies', color woodblock, 'oban tate-e', 1934. Signed 'Shoson' with the 'Shoson' red seal, lower right. A superb, life-time impression, with fresh, ...

Karl Michel, 'Venus, Ex Libris - Hanns U. Herta Heeren', woodcut, 1923, edition not stated but small. Signed, dated, and numbered 'op.154' in pencil. Signed in the block, lower left. A fine impression, on cream Japan paper, with full margins (15/16 to 2 11/16 inches), in good condition. Printed by the artist. Matted to museum standards (unframed). . Translation: Venus Ex Libris for Hanns and Herta Heeren. Image size 5 15/16 x 4 inches (156 x 102 mm); sheet size 9 5/8 x 6 inches (245 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Artist: Mel Chin, American (1951- )
Title: Imperfect Pearls in the Ether of Infinite Labor
Year: 1997
Medium: Woodcut and Lithograph on Okawara, signed, titled, number...

Woodcut print on paper. Not signed. Matte included : 39 x 29 cm. Very good condition.

Woodcut print realized by Escher in 1948. Hand signed in pencil and annotated in pencil lower right "eigen druck". Monogrammed and dated in the plate "MCE/X-'48 upper right. One o...

John Tarrell Scott, 'St. George', woodcut, edition 20, 1992. Signed, dated, titled, and numbered '18/20' in pencil. A fine, black impression, on off-white, laid Japan paper, with ful...

Kawanabe Kyosai (1831-1889) Above: Tokyo kaika meisho (Famous Sites of Civilized Tokyo): Kaianji Below: Samezu Myojin koji (Ancient Event Involving Samezu Myojin) Color woodcut, 1875...

Mokuchu URUSHIBARA White-billed Pie, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 32 x 26.5 cm (c. 12.59 x 10.23 in) INFORMATION : Engraving pub...

Salvador Dalí’s Divine Comedy is a series of 100 color wood engravings, each corresponding to a canto from Dante Alighieri’s epic poem. Created between 1960 and 1964, these engraving...

Elegant Amusements of Eastern Genji - Japanese Triptych Woodblock Print on Paper Dynamic woodblock print with several elegantly dressed figures by Utag...

A lively image by a female artist who was part of a vibrant generation of British printmakers who were pushing the boundaries of color and technique during the early 20th century. N...

This Winslow Homer woodcut engraving entitled "Skating on the Ladies' Skating-Pond in Central Park, New York", was published in Harper's Weekly in the January 28, 1860 edition. It depicts a large number of men, women and children skating on a recently opened pond in Central Park. At the time of publication of this engraving, Central Park was in the early stages of construction. This engraving documents the very early appearance of Frederick Law Olmstead and Calvert Vaux's masterpiece of landscape design. According to Olmsted, the park was "of great importance as the first real Park made in this century – a democratic development of the highest significance". The people of New York were very proud of the plans for their park. It was stated at the time: "Our Park, which is progressing very satisfactorily under the management of the Commissioners, will undoubtedly be, one of these days, one of the finest place of the kind in the world...Those who saw the Park before the engineers went to work on it are amazed at the beautiful sites which have been contrived with such unpromising materials; all fair persons believe that the enterprise is managed with honesty and good taste." Skating was rapidly rising in national popularity in part due to the opening of Central Park’s lake to skaters on a Sunday in December 1858 with 300 participants. The following Sunday it attracted ten thousand skaters. By Christmas Day, a reported 50,000 people came to the park, most of them to skate. There were rules governing who could use the skating pond. “The Ladies’ Pond...

Mokuchu URUSHIBARA Crows on a branch, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 38.5 x 28 cm (c. 15,15 x 11.02 in) INFORMATION : Engraving pu...

Hajime Namiki, 'Tree Scene 159', color woodcut, edition 200, 2022. Signed in pencil and with the artist’s red seal. Titled, numbered '37/200' and dated, in pencil. A very fine impres...

Jose Luis Cuevas (Mexico, 1934-2017) Artist Proof 'Fantasmas del Centro Histórico V', 2004 woodcut on paper Guarro Biblos 250g. 20.9 x 16 in. (53 x 40.5 cm.) Edition of 60 Unframed I...

Shoko Uemura, 'Inside the Flowers (Java Sparrow and Peach Blossoms)', color woodcut, c. 1950s, edition 300. Signed in ink with the artist’s red seal beneath. A superb impression, with fresh, delicate colors, on cream wove Japan paper; the full sheet with margins (9/16 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Image size 12 3/4 x 18 1/2 inches (324 x 470 mm); sheet size 14 3/4 x 20 3/16 inches (375 x 513 mm). Published by The Momose Print Company of Tokyo. ABOUT THE ARTIST Uemura Shoko (1902-2001) was the son of the famous shin-hanga artist Uemura Shoen...

Artist: Hirst, Damien Title: Bromobenzotrifluoride Series: Spots Date: 2010 Medium: Woodcut Unframed Dimensions: 36" x 36" Framed Dimensions: 44" x 43.75" Signature: Pencil s...

Cerberus - Hell  plate 6 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Good conditions. Limited editio...

Mokuchu URUSHIBARA Pair of horses playing (red), c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 28 x 39 cm (c. 11.02 x 15.35 in) INFORMATION : Engr...

"Alberto Castro Leñero (Mexico, 1951) 'Untitled III', 2020 woodcut on paper Velin Arches 300 g. 62.6 x 31 in. (159 x 78.5 cm.) Edition of 30 ID: ...

Jacques La Grange, 'Racing in a Storm, 1885', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, wit...

Ex Libris  - Woman Perfected is an Artwork realized for Giorgio Balbi in Mid 20th Century. Woodcut. Good conditions.

A striking triptych by Utagawa Yoshiharu (1828-1888), from the series 'An Assortment of Beauties of the Highest Popularity in Temporary Quarters in Fukagawa' (Fukagawa karitaku zense...

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: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale 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...

Shunga is an original artwork realized in the 1850s by Utagawa Kunisada (1786-1865). Making love in the winter on a terrace, behind the couple stone sculpture of the Jizo-Bosatsu. ...

Ohtsu Kazuyuki, 'Kyo no Aki - Komyō-ji' (Komyō-ji temple at Autumn in Kyoto), large-scale color woodblock print, ed. 100, 2012. Signed, titled in Japanese, numbered 78/100, and date...

Chiaroscuro woodcut on cream laid paper with a partial anchor in a circle watermark, printed from two blocks in black and olive-green, 10 3/4 x 8 3...

Charles Turzak, 'Under the Bridge', color woodcut, edition c. 50, 1934. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan paper; th...

A mischievous tableau with sexual overtones. Tokyo: Shuei-Sha, 1768. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 inches (273 x 200 mm), full margins. I...

FRANCES H. GEARHART (1869-1958) STORM LINED c.1936 Color block print, signed and titled in pencil 13 ¼ x 10 1/8, full sheet 14 3/8 x 11 ¼” with deckle edge on her typical fibrous Ja...

Shunga is an original modern artwork realized by Katsukawa Schuncho (1726 – 1793) in the half of the 18th Century. Erotic scene from the series "Koshuko zue juni ko". A courtesan with a customer under a kimono stand...

Imao Keinen, 'Tree Peony and Blue and White Flycatcher' from the series 'Birds and Flowers of the Four Seasons', color woodblock Oban dipty...

Ex Libris is a woodcut print created by Michel Fingesten in 1937. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czech painter an...

Composition is a contemporary artwork realized by Luigi Spacal (Trieste, 1907 - Trieste, 2000) in the 1970s. Original Colored woodcut print on cardboard. Image Dimensions: 18 x 14 cm Good conditions. Lojze Spacal...

Tiger Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: Excellent Image/sheet size: 15 3/8 x 10 7/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

Shunga, Love plays is an original artwork realized in the 1850s by Utagawa Kunisada (1786-1865). Good print with gold. Backed, restored wormholes and missing oarts, glued at upper ...

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue re...

Kawase Hasui, '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...

Charles Arthur Arnoldi (b. 1946) Macchu Picchu 4, 2019 Woodcut in colors on wove paper Edition: 25/30 Signed, editioned, and dated in pencil along lower edge Printed by Peter Kosowicz, Thumbprint Editions, London Published by Harvey Bayer...

FRANCES H. GEARHART (1869-1958) VALLEY RAMPARTS 1933 Color block print, signed and titled in pencil. 10 1/8 x 12 inches. Very large and good impression In generally good condition. ...

Artist: Damien Hirst Title: Norcamphor from “40 Woodcut Spots" Year: 2011 Medium: Woodcut on 410gsm Somerset White Paper Edition: 43/55; signed (recto) and numbered (verso) in penci...

Salvador Dali (1904-1989) Hell 24 - The Thieves Original woodcut Printed signature in the plate 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFERENCE...

Mokuchu URUSHIBARA Horse bowing, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 26 x 35 cm (c. 10.2 x 13.7 in) INFORMATION : Engraving published by...

Peter Green Midnight Flower Paper Size = 26½" x 38½" inches Signed in pencil, titled, dated and marked 1/30 Born in 1933, Peter Green studied at Brighton College of Art and the In...

Minimal image in black ink on buff rice paper. Taro leaves are a simple form inspiring this woodcut print. Three leaves (taro) - Landscape Print - Woodcut Print By Marc Zimmerman T...