Woodcut Prints and Multiples

Ex-Libris is an Artwork realized in 1947. Woodcut B./W. print on ivory paper. The work is glued on cardboard. Dated on the back. Total dimensions: 20 x 15 cm. Good conditions. T...

The Earthly Paradise - The Divine Comedy is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as i...

Ex-Libris is an Artwork realized in the Late 19th Century, by the Author Willem Hendrik Gout. Woodcut B./W. print on ivory rice paper. The work is glued on cardboard. Total dimens...

Osakae is an original artwork realized in the 1861 by Ichiyôsai Yoshitaki. Woodcut print Chuban Diptych. The actor Nakamura Jakuemon I as Matsushita Kaheiji, Arashi Rikan III as Ak...

Ex Libris Giorgio Balbi is an artwork realized by Franco Rognoni, in 1942.  Etching, 9 x 10 cm; It includes passepartout 24 x 30 cm. Handsigned and dated bottom right. Good condit...

The Negligent -  "The Divine Comedy" - Song 4 -  Purgatory is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. ...

Ex-Libris Luis Fabregas is an Artwork realized in Mid 20th Century, by Luis Fabregas. Woodcut B./W. print on ivory paper. The work is glued on ivory cardboard. Total dimensions: ...

The Lustful from the Series "The Divine Comedy" - Purgatory plate 25 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dan...

Flaubert in Paris is an original woodcut print realized by Hermann Paul (1864-1940) in the early 20th Century. The original work is contained in a white passepartout (50x31.5 m). G...

Saigyo-Zakura is a wonderful color xylograph on paper, made by the Japanese master Tsukiota Kogyo (1869-1927). The artist's signature is in the red seal printed in the lower left corner From the series "One Hundred No Dramas" (Nogaku Hyakuban), published by Matsuki Heikichi (Daikokuya) and published in 1925. This modern artwork represents Saigyo-zakura, the poet-monk Saigyo Hoshi reflecting on the splendor of cherry blossoms in Kyoto. In excellent conditions, except for some light decolorations, this original print preserves his freshness of line and colors. The texture of the kimono has a precious silver hatch, and the beauty of the cherry blossoms are exalted. Tsukioka Kōgyo, Sometimes called Sakamaki Kōgyo, (1869 - 1927) was a Japanese artist of the Meiji period, a student and adopted son of Tsukioka Yoshitoshi, and also studied with Ogata Gekkō...

Portrait of Dante - The Divine Comedy is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante...

Mimasu Daigoro IV is an original modern artwork realized by Utagawa Hirosada (Japanese, active 1825–75) in 1851. Original Woodcut Chuban Dyptich, 1851. Mimasu Daigoro IV in the rol...

Womanly Preoccupation is an original woodcut print on ivory-colored paper realized by Paul Baudier (1881-1962) in the 1930s. On the lower right description in French. Very good con...

The Logical Devil - from the Series "The Divine Comedy" - Song 34 - Hell- is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by ...

Ex Libris P. de Sanctis is a colored woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czec...

Bullfighter is a woodcut print on cream-colored paper realized by Mino Maccari in the 1965. Hand-signed on the lower in pencil Good conditions with minor folding along the margins....

Marine is an original artwork realized by Giancarlo Isola in 1970s. Mixed colored woodcut print. Includes metal frame: 32 x 2.5 x 38 cm. Hand signed on the lower margin. Numbered...

"Lago di Ninfea" is an original woodcut print on ivory-colored paper, realized by Angelo Rossini. The state of preservation of the artwork is very good. The signature of the Artist...

Serena is an original woodcut realized by Arturo Martini. Title and signature printed on the lower margin. The State of preservation is good. The artwork is representing a woman beside a vase of flowers in a frame through intense bla...

The Two Crown - Purgatory, Plate - 26 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issu...

Cacciaguida Sees Dante's Exile in God is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as iss...

The temple is an artwork realized by Mizuno Toshikata (1866-1908). Woodcut print, early 20th Century. 33 x 43 cm with frame. Good conditions

The Betrayers of their Hosts - Hell, Plate-22- Divine Comedy is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri...

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. 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. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 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...

Ferruginous Duck is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colored, published by Lo...

Ex-Libris de Adelino Xavier Esteves is an Artwork realized in 1931, by Adelino Xavier Esteves Woodcut print on paper. The work is glued on ivory cardboard. Total dimensions: 21 x...

Visit is an original artwork realized by Jules Chadel (1870-1941). Woodcut print. Hand signed on the lower right. Is not dated but we can attribute the period late 19th Century. Passpartout cm 44,5x32,5 The artist presents an interior of a room with men talking around a bad. Good condition. Jules Chadel (1870-1941) was a french artist who was born in 1870. He studied in Paris at the Ecole des Arts Décoratifs. Around 1903 his skills as a draftsman landed him jobs with jewelry designers. This also led him to discover Japanese...

La Voute Celeste is an Original Color Woodcut Print realized by Carlègle (Charles Emile Egli, 30 March 1877 – 11 January 1937). Belongs to the suite "Les Travaux D'Hercule". Good condition on a yellowed cardboard. Titled, Stamp Signed on the lower margin Charles Émile Egli (known as Carlègle; 30 March 1877 – 11 January 1937) was a Swiss-born illustrator and painter who spent most of his life in Paris. Charles Émile Egli was born in Aigle, Switzerland on 30 March 1877. He was educated in Aigle and then at the college of Vevey. When he was eighteen he attended engraving classes of Alfred Martin...

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

Ex Libris - Eroticis M.B. is a colored woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a C...

Ex Libris - Malz- is a colored woodcut print created by Michel Fingesten, in 1936. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a...

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...

Forest of suicides - The Divine Comedy is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as iss...

Angel of Mercy - The Divine Comedy is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued....

In the Cage is a print realized in the early 20th century by an anonymous artist. Woodcut print on paper. Good conditions. The artwork is a well-balanced composition.

A L'Image Notre Dame is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - Méthode pour apprendre le dessein, ou l'on donne les regles générales de ce grand Art.. enrichie de cent planches representant differentes parties du Corps Humain.. et quelques etudes d`Animaux & de Paysage. Paris: C.A. Jombert, 1755” The plates of this important study were mainly dedicated to anatomical studies, physiognomy and proportions, many taken from works by famous artists such as Raphael, Guido Reni and Titian, as well as classical works including the Farnese Hercules and the Medici Venus.

Charon, Hell, Plate-3 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued. Good condi...

Le Jardin De Montmagny by Maurice Utrillo. it is one of 12 signed limited edition wood engravings from the portfolio "Estampes" by Robert Rey, 1950. Edited by L'Image Litteraire, N...

The Men Who Eat Each Other - Hell, Plate - 30 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed...

Little Owl is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colo...

TECHNICAL INFORMATION Alex Katz Ada 2011 Japanese woodblock in 31-colors on New Hosho paper 22 x 30 in. Edition of 70 Pencil signed & numbered Accompanied with COA by Gregg Shi...

Hell Plate - 29 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, ...

From a series of wood engravings by Eric Gill. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Eric Gill (1882-1940) Border for The Canterbury Tales...

Ex Libris Vieira is an Artwork realized in 1956. Woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimensions: 20.5 x 15 cm. The artwork represents...

Roller is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colored, published by London, Bell...

Confession is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued. Plate n.32 (as report...

Long-Eared Owl 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....

Man with the Dragon is a hand-colored Woodcut, realized by the great master of ukiyo-e print, Utagawa Toyokuni II (1769-1825) With vivid colors (on burnis...

Charon from the Series "The Divine Comedy" - Hell tav. 3 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. N...

La Casetta del Cipresso (translated "House by the Cypress")is an original woodcut print realized by Cesare Vincenti in the early 20th century. Good conditions. The artwork is depic...

Ex Libris - J.Piny Soleris is a Modern Artwork realized in Mid-20th Century. Ex Libris. B/W woodcut on paper. The work is glued on cardboard. Total dimensions: 21x 15 cm. Ex...

The Sodomites - from the Series "The Divine Comedy" - Song 15 Hell is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Ali...

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

Dante's Repetance from the Series "The Divine Comedy" - Plate n. 30 Purgatory is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" ...

Eagle Owl is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London...

Portrait is an original xilography, realized in mid 20th Century by Marguerite Callet-Carcano. The artwork is dated 1969 and hand-signed. Provenance: Vente de l'atelier Bruxelles 1969 Good conditions. Marguerite Callet-Carcano was an Italian-Belgian graphic artist, who illustrated books like Drame by Iwan Gilkin (1926), Les Chimères by Georges Rency (1928), René by François-René Chateaubriand and a reprint by Benjamin Constant. In addition to the xilograph technique, she also used linoleum...

The Fraudulents from the Series "The Divine Comedy" -Plate n. 20 - Hell is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by ...

Portrait is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.