Woodcut Prints and Multiples

Medium: original woodcut. This impression on thin wove paper was printed in 1902 and published by Gazette des Beaux Arts. Image size: 8 1/8 x 5 1/2 inches (207 x 140 mm). Signed in t...

"The Bighorn at Night" is an original woodcut signed and titled by the artist, Carol Summers. It is edition 48/50. Catalogue raisonné listing: cat. 105...

Original leaflet from Johann Prüss' 1479 printing of "Das Heldenbuch." The Heldenbücher is the title given to a group of late medieval/early renaissance Germanic manuscripts primari...

This original mid-century modern woodcut print on linen, titled "Shapes", is by renowned American artist Edward Marecak (1919–1993). A striking example of his abstract work, this pie...

Edition 1/5 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Medium: original woodcut. This original Raoul Ubac woodcut was issued in 1958 for the hard-to-find XXe Siecle (No. 10), published in Paris by San Lazzaro. Sheet size 12 3/8 x 9 1/2 i...

Utagawa Kuniyoshi Title Feast of the Seven Herbs ( the Five Festivals 五節句 ) Size Oban Year 1843～1847 FREE SHIPPING

This artwork Titled "Fishing Boats in Cap Muroto" c.1950, is an original woodcut on paper by Japanese artist Gihachiro Okuyama, 1907-1981. It is hand signed and inscribed in Japanese...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama 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. Frame: 37 x 37 in This is an artist's proof from the edition of 100 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 nonwestern 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...

HIROSHIGE UTAGAWA I, Edo 1797 - 1858 The Suruga District in Edo (Tôto Suruga-chô), from the series Thirty-six Views of Mount Fuji (Fuji sanjûrokkei) Nishiki-e. Color woodcut, signed...

Tracey Emin, Billy and Traci in a Pub, 1984 Woodcut in dark blue on Japon paper, signed and inscribed 'lots love Traci xx' in pencil on the backboard, printed by the artist This is q...

From the Paintings series. Woodcut, Lithograph, screen print and collage on Arches 88 paper. Hand signed, dated and numbered by Roy Lichtenst...

Ex Libris  - Angelo Balbi  is an Artwork in Mid 20th Century. Woodcut. Good conditions.

Ex Libris  - Ada Balbi is an Artwork in Mid 20th Century. Woodcut. Good conditions.

"Bon Apetit" is an original black and white woodcut by Carol Summers. It depicts a table set for four people. The artist signed the piece in t...

Amsterdam is an artwork realized by Frans Masereel, 1933. Woodcut print representing Amsterdam. 75 x 55 with frame; 17h x 12 cm each work. Good conditions.

Lyonel Feininger, 'Three Masted Ship, 2 (Dreimastiges Schiff, 2)', woodcut, 1937, one of a small but unknown number of letterhead proofs; Prasse W296. Feininger estate stamp and inventory no. 'W 865' in pencil, bottom left sheet corner. Annotated 'W 296' and 'on block : 3702a' in pencil, bottom right sheet corner. A fine impression, on cream, laid, letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 2 11/16 inches; sheet size 10 x 6 3/4 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

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...

London: The Studio, 1898. Wood engraving on blue wove paper, 8 x 5 3/8 inches (202 x 137 mm), full margins. As published in The Studio, Volume 12, 1898, with the blindstamp in the l...

Jim Dine The First Woodcut Gate (The Landscape) Hand Embellished Woodcut, 1983 Size : 35.75” x 44.75” inches Edition number 27 of 49 with 7 APs Signed and dated in pencil Printed ...

Isaac (sometimes Isac) Friedlander's large wood engraving, My People, 1944, reflects his genuine social interest. After a youth of extreme hardship, including incarceration in a czar...

Dangerous: The Appearance of a Contemporary Geisha of the Meiji Era Color woodcut, 1888 Plate 28 from the series "Thirty-two Aspects of Customs and Manners" (Fuzoku Sanjuniso) Format...

"White Horse" is an original wood engraving by Howard Thomas, signed in plate. A white horse trots past the foreground of the image, spirals in it's eyes and spots on its hide. A bla...

Les Deux Aristocraties is a vintage Woodcut Print realized by Hermann Paul (1864-1940). Good condition on a grey cardboard. No signature. Hermann R...

A charming rural scene by the British artist Charles William Taylor. A sheepdog watches over the penned flock in the foreground, with the lively fair beyond. Inscribed with the artis...

Yunkers, Adja (American, born Latvia, 1900-1983). NANIGOS - CUBA, 1927. Miller 1. Color Woodcut. Edition of 250 published in Sweden in 1942 in the magazine Creation (Miller notes an ...

Raoul Ubac - Rythm - Original Woodcut Title: Rythm Dimensions: 32 x 24 cm Revue Art de France The painter-sculptor Raoul Ubac was born in 1910 in Malmédy (Ardennes, Belgium). He wen...

Gadwall is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Name...

Shieldrake is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Na...

Goosander is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Nam...

Georg Baselitz (German, born 1938) 45 – August, 1990 Medium: Woodcut on paper Dimensions: 124.2 x 68 cm Edition of 30: Hand-signed, numbered and dated in pencil Condition: Excellent

Jill Moser, Ariadne, 2021 Woodcut print on Khadi 100 % cotton paper Signed and numbered by the artist on recto Paper size: 8.25 x 8 in Edition of 18 Published by Eminence Grise Editions, New York Printed by Andrew Mockler...

Two women fishing is an original modern artwork realized by Harunobu Hishikawa in the Late 19th Century. Very good reprint, glued at upper corners. Passepartout. Woodcut Print Oba...

Salvador Dali (1904-1989) - The Inferno, Canto 27 - Un diable logicien Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Referenc...

Salvador Dali (1904-1989) - The Inferno, Canto 26 - The Dwellers of Prato Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Refer...

Salvador Dali (1904-1989) - The Inferno, Canto 28 - Bertan de Horn Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: C...

Salvador Dali (1904-1989) - The Inferno, Canto 25 - The Centaur Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: Cata...

Salvador Dali (1904-1989) - The Inferno, Canto 24 - Les Voleurs Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: Cata...

Salvador Dali (1904-1989) - The Inferno, Canto 23 - Le Supplice de hypocrites Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. R...

Plate from Kanadeon Chushingura is an original modern artwork realized by Utagawa Kuniyasu in 1820 ca. Woodcut Print Oban Dyptich Format. Enya Hanga...

Ex Libris Georges Goury is an original Modern Artwork realized in the 1920s. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimension...

Roman Vestal Virgins is an original woodcut print on ivory-colored paper realized by Paul Baudier (1881-1962) in the 1930s. Good conditions. Paul Baudi...

Medium: original woodcut. This is a richly inked impression printed on laid paper, executed for the hard to find XXe Siecle Christmas issue (No. 13), published in Paris in 1959 by Sa...

The bearer in the Blue Coat is a superb original print, realized by the great japanese master of the Edo period, Utagawa Kunisada (1823-2880). The quality of the support, the freshn...

Karl Schmidt-Rottluff, German (1884 -1976) - Kopf, Year: 1915, Medium: Woodcut on wove paper, Image Size: 6.75 x 9.5 inches, Size: 10.25 x 13.75 in. (26.04 x 34.93 cm), Descripti...

Karl Michel, 'Viel Gluck 1923 Wunscht der Graphikverlag, J.G. Holzwarth/Bad Rothenfelde', woodcut, 1922, edition 20. Signed and numbered op. 135d and 20/20 in pencil. Signed in the image, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine, richly-inked impression, on heavy, cream Japan paper, with full margins (5/8 to 1 1/8 inches), in good condition. With the artist’s blind stamp in the top left margin. Printed by the artist. Matted to museum standards, unframed. New Year's Greeting - "1923, Good Luck Wishes from the Graphic Press, J.G. Holzwarth/Bad Rothfelde." Image size 5 x 3 1/2 inches (127 x 89 mm); sheet size 6 5/8 x 5 7/8 inches (168 x 149 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...

Medium: woodcut (after Kandinsky). Printed in 1959 for the art revue of XXe Siecle (issue number 13) and published in Paris by San Lazzaro. Image size: 8 1/2 x 8 3/4 inches (217 x 22...

Salvador Dali (1904-1989) - The Inferno, Canto 22 - The Liars Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: Catalo...

Salvador Dali (1904-1989) - The Inferno, Canto 20 - Devins et sorciers Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Referenc...

Salvador Dali (1904-1989) - The Inferno, Canto 19 - The Simonists Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: Ca...

Salvador Dali (1904-1989) - The Inferno, Canto 13 - La Fôret des suicidés Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Refer...

Salvador Dali (1904-1989) -The Inferno, Canto 17 - The Usurers Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: Catal...

Salvador Dali (1904-1989) - The Inferno, Canto 18 - Les Trompeurs Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: C...

Salvador Dali (1904-1989) - The Inferno, Canto 16 - The Mount of Geryon Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Referen...

Salvador Dali (1904-1989) - The Inferno, Canto 15 - The Hard Margins Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference:...

Salvador Dali (1904-1989) - The Inferno, Canto 14 - Blasphémateurs Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference: C...

"Farewell" is an original color woodcut by Carol Summers. The artist signed the piece. This woodcut depicts a river flowing through green hills beneath a blood-red sky. The edition number is 20/50. 24 1/4" x 37" art 32" x 45" frame Carol Summers 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...

Hand Fan Clown is an original xilography artwork realized by Mino Maccari. Included a white Passepartout: 49 x 34 cm. The state of preservation is very good. The artwork represen...

Back to the Land “Farming” by Ludovic-Rodo Pissarro (1878-1952) Colour wood engraving 19.3 x 10.5 cm (7 ⁵/₈ x 4 ¹/₈ inches) Initialed and titled in the plate and numbered, 4th state ...

"Ragards sur le passé" - is an original woodcut engraving of Wassilij Kandinsky which was edited by Nina Kandinsky from his work from 1912. The work is in the artist's characterist...