Woodcut Prints and Multiples

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

"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...

Artist: Kiyoshi Saito – Japanese – (1907-1997) Title: Katsura, Kyoto (L) Year: 1964 Medium: Woodblock Image size: 18 x 24 inches. Sheet size: 21.5x 28.5 inches. Signature: Signed, ...

The Bathers Woodengraving, 1873 As published in Harper's Weekly, August 2, 1873 (p. 668) Provenance: Wunderlich & Co., Inc., New York, NY (Their stock no. 84.003.8 in pencil recto a...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) SEA TREASURES...

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...

This contemporary woodcut print on paper evokes the peacefulness of ocean waves depicted in bright, cerulean blue and vibrant cobalt. The woodcut print brings to mind the tradition o...

GUSTAVE BAUMANN (1881 – 1971) THE WAGON SHOP, 1910 (Chamberlain 24) Color woodcut signed in pencil. Unnumbed from an edition 100 as published in the Hills o’ Brown...

Camille BELTRAND (1877-1951) Seascape : Sailboats at Belle Isle, 1929 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind st...

Poem 71-25 (Me) Color woodcut with cement mold embossing, 1971 Signed, titled and numbered in pencil (see photos) Edition 100 (55/100) (see photo) Signed with the artist's stamp lowe...

"Toy Horse Dance" Japanese Woodblock Triptych with Beauties and Mt Fuji Vibrant three-panel woodblock print by Utagawa Toyohiro (Japanese,...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

NUREMBERG CHRONICLE, 1493 THE GOLDEN CALF (THE CALF OF GOD) 1493 Woodcut. from "Liber Chronicarum." Printed by Anton Koberger text by Hartmann Sc...

This piece titled "J.P.'s Trip" is an original piece by Alexis Nutini and is made from a woodcut and and found object stencil monoprint mounted on panel ...

This Winslow Homer woodcut engraving entitled "Making Hay", was published in Harper's Weekly in the July 6, 1872 edition. It depicts a two men hand cutting high grass on a hill. The man in the foreground is looking at a young boy and a girl (presumably his children), who are sitting on the ground with a picnic basket. This beautiful Homer woodcut engraving is presented in a brown wood frame and a light beige fabric mat with a black inner mat. The print is in excellent condition. There are two other Homer woodcut engravings in identical frames and mats that are listed on 1stdibs. See LU117326148332 and LU117326148272. These would make a wonderful display grouping. A discount is available for the purchase of two or all three of these prints. This Winslow Homer engraving...

Honoré BROUTELLE (1866-1929) Mythology : Grape Harvest with Faun and Centaur, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Bathing is a print realized by Aristide Maillol in the early 20th Century. Woodcut on paper. Good conditions. Aristide Maillol, (born December 8, 1861, Banyuls-sur-Mer, France—die...

Louis JOU (1881-1968) Mythology : Danae Sleeping, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the edit...

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...

This work is immediately recognizable as the work of Haku Maki (1924-2000). It is one of his well-known abstract compositions. The print is in very good condition, with no flaws noted on the surface. There is some very, very light toning in the margins, barely visible only under bright light. Maki Haku (巻白, 1924–2000) is the artistic name of Maejima Tadaaki, who was born in Ibaraki Prefecture. He was a sōsaku-hanga artist in 20th Century Japan. During World War II, Maejima Tadaaki was trained as a kamikaze pilot in the Japanese air force, but the war ended before he was assigned a mission. Haku had no formal art training, but studied for two years with the sōsaku-hanga artist Onchi Kōshirō...

Two minor villains from "Medley of Tales of Revenge" square off, as performed at the Kiri theatre, Tokyo, in May of 1794. Toyko: Tsutaya Juzaburo, 1794. Woodblock (nishiki-e) with ...

Edition of 75 1 Color Woodcut on Somerset Satin White, 300 gsm

Title "The Golden Pavilion" 金阁 Date 1933; (posthumous edition, likely 1950's/60's). Publisher Yoshida Family Studio Image Size 9 5/8 x 14 3/4 Impression Very Fine. Sk...

Study of Utagawa Hiroshige's "View of Hara-Juku" 53 Stations of the Tokaido Road Hand painted study of Utagawa Hiroshige's "View of Hara-Juku", (by unknown artist), from "53 Station...

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...

"Various Himochi" Wagashi Festival Japanese Woodblock Print by Utagawa Toyokuni Rare oversized early 19th century 5-tiered woodblock by Utagawa Ichiyosai Toyokuni, (Japan, 1769-1825), a Japanese lord and wife oversee a sekku festival of food, music, and dolls or toys. '"oshi" is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. Many kinds of hishi-mochi appear in this picture of hina ningyo (dolls associated with Hinamatsuri, or the Girl’s Day) from Omochae. The custom of eating special dishes at events throughout the year and at milestones in people's lives has existed since ancient times. This paragraph specifically focuses on the annual event called sekku, and life events that involve eating sweets. Joshi is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. According to the Keiso saijiki, in ancient China, on the third day of the third lunar month, people ate “ryuzetsuhan,” which is the juice of gogyo (Jersey cudweed) mixed with rice flour and nectar. In Japan, there is a record in the Heian period history book Nihon Montoku tenno jitsuroku [839-5] that it was an annual event to make kusamochi using gogyo on the third day of the third month of the lunar calendar, which may have been influenced by Chinese customs. The tradition of eating kusamochi on the third day of the third month of the lunar calendar continued after that. By the Edo period, however, hishimochi had come to be used as a sweet to serve on the third day of the third month. A picture of a hishimochi is included in the Morisada manko , which we mentioned in Part 1. According to it, hishimochi in the Edo period were often three layers of green-white-green instead of the now common red-white-green. However, it is possible to see from our collection that not all hishimochi were made in this way. Omochae published in 1857, is a good example. Omochae is a type of ukiyoe print...

Kristen Martincic earned her BFA from Bowling Green State University and her MFA from the University of Nebraska-Lincoln. The artist, who currently lives and works in Columbia, Misso...

This artwork "Christ, from La Passion" 1939, is a wood engraving by French artist Georges Rouault, 1871-1958. (Block engraved by Georges Aubert) It is signed in the block as issue. ...

Wonderful genre woodcut of a scene from Emily Bronte's "Wuthering Heights" titled "Death of Earnshaw" by Clare Leighton (British/American, 1898 - 198...

Orphée (for Le bestiaire ou Cortège d’Orphée de G. Apollinaire) Raoul Dufy French (1877–1953) Date: 1911 Woodblock, signed in pencil lower right Image Size: 10 x 8 inches Frame Siz...

Woodcut print realized by Mathilde Hérouard in the 1920s. Mounted on paper. Signed in the plate. Very good condition.

Gauguin came back to Paris in August 1893 from his first stay in Tahiti, In the luggage numerous drawings and preparatory work for a book designed by him. In collaboration with the writer Charles Morice, parts of the text "NOA NOA" were created in Paris in the winter of 1893-1894. The plan was for a preferred edition with 10 almost identical woodcuts, all of which were made in the winter of 1893-1894. According to the individual proto-prints by Gauguin, the artist left the artist to Louis Roy...

MORIN-JEAN (1877-1940) Allegory of Spring, 1923 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Ima...

Peace Woodcut printed in orange red ink on japanese paper Signed and titled in pencil lower right (see photo) Titled lower left (see photo) Created along with an illustrated book project Song of Peace, 1950-1959. Condition: Excellent Image: 10 1/2 x 4 7/8" Sheet: 16 1/8 x 7"; Anton Refregier (March 20, 1905 – October 10, 1979) was a painter and muralist active in Works Progress Administration Federal Art Project commissions, and in teaching art. He was a Russian immigrant to the United States. Among his best-known works is his mural series The History of San Francisco, located in the Rincon Center in downtown San Francisco, California. It depicts the city's history across twenty seven panels that he painted from 1940 to 1948. Life and early career Refregier was born in Moscow and emigrated to the United States in 1920. After working various odd jobs in New York City, he earned a scholarship to the Rhode Island School of Design in 1921. After finishing school, Refregier moved back to New York in 1925. To earn a living, Refregier worked for interior decorators, creating replicas of François Boucher and Jean-Honoré Fragonard paintings...

Field, Sabra Johnson.(American, born 1935). FULL MOON. Color Woodcut, c. 1968. Edition of 50. Titled, numbered 37/50, and signed in pencil. 16 x 8 3/4 inches (image), 20 5/8 x 12 inc...

Isac Friedlander, 'Run Little Chillun' also 'Revival', wood engraving, 1933, edition 50. Signed, titled and annotated 'New York 1933' in pencil. A sup...

"Casa Marquez" Original Woodblock Print, Signed and Numbered 93/100 Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a closeup on a large stone building, with a landscape reflected in the windows. The building has carved ornamentation in a classical style. There is a bright red sunset in the background behind the building. The title refers to the author Gabriel García Márquez. Signed "Carol Summers" in the lower right corner. Numbered and titled "93/100 Casa Marquez" in the upper right corner. Presented in a silver colored aluminum frame. Frame size: 19.25"H x 23.25"W Paper size: 16"H x 20"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...

Zodiac Signs - Cancer is original Black and white xilography artwork, realized by Italian artist Piero C. Antinori. Excellent condition. Written on the lower left; original woodcut...

Original Woodcut in colors on Japanese paper. Carol Summers has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving m...

The Courtesan Kashiwagi and the Kamuro Wakano - Japanese Woodblock Print Original Toyokuni III/Kunisada (Japanese, 1786 - 1864) Japanese Woodblock Print "The Courtesan Kashiwagi and...

Von Guenewaldt was known for his woodcuts of exotic animals, birds especially. They are technically refined with a lovely color range, and in a generally arts and crafts style. Our p...

Medium: original woodcut. This impression on wove paper was printed in 1919 for Das Kestnerbuch, an important collection of original prints published during the height of the German ...

Myril Adler "Antique" portrait c.1960s Woodcut on tissue affixed to orange paper 3.5"x5.5" site unframed Signed and titled in ink Myril Adler, was born on...

Yakushae is an original modern artwork realized by Utagawa Kunisada in 1856. Woodcut print Oban from a tryptich. An elderly lady has a worried conversation with a pretty young woma...

FLOWERS is an original limited edition woodcut print by the African-American painter and sculptor, Otto Neals. The woodblock used to print FLOWERS was hand carved by Otto Neals and printed in two colors - burnt orange and black on Rives BFK printmaking paper, 100% acid free, enhanced with hand colored accents. FLOWERS portrays an exotic portrait of a young black woman posed in profile with long dark wavy hair, looking downward wearing a lively floral print dress and large silver hoop earrings...

Title: Fireworks 花火 Series: The Second Collection of Modern Beauties (Gendai bijin shū dai nishū 現代美人集第二輯) Date: 1932 A young woman is shown enjoying the summer fireworks, her face shown in profile as she looks towards the display. She holds a summer fan on her lap, and her kimono features large blue stripes and is tied with a colorful obi that features a morning glory pattern. The summer evening sky is a soft grey rather than a deep black, perhaps reflecting the brightness of the fireworks. Numbered verso, from a limited edition of 250 prints. Condition: Excellent impression, color and condition. Publisher: Watanabe Shôzaburô Literature: See “All the Woodblock Prints of Shinsui Ito...

Woodcut. Signed by the artist and dated in pencil, lower right. Titled in pencil, lower left, and numbered "28" in pencil, lower center. This woodcut was made by Esherick to ill...

Woodcut print realized by Escher in 1931. It belongs to the series "Emblemata". Signed with initials in the plate lower right. Ref. F.H. Bool, J.R. Kist, J.L. Locher and F. Wierda...

Antique bird egg colour woodblock , 1880, from Francis Orpen Morris’, 'A Natural History of the Nests & Eggs of British Birds', 1875. The woodblocks ...

Susan Kiefer Rex Woodcut on paper Year: 2000 Size: 27x22in COA provided Ref.: 924802-1663 Framed woodcut print. A nude male figure in an armchair with striped and patterned backgrou...

Henri Clement-Serveau Art Deco : Women with Doves, 1925 Original woodcut Handsigned in pencil Numbered /160 On Perrigot vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp o...

Woodcut print realized by Paul Emile Colin in the early 20th Century. Beautiful proof of 2nd state, in only 2 copies. Edition 1/2. Hand signed and numbered in pencil.

Zodiac Signs - Capricorn is original Black and white xilography artwork, realized by Italian artist Piero C. Antinori. Excellent condition. Written on the lower left; Original xilo...

Stephen White - The Bead Seller, Year: 1978, Medium: Woodblock on Japon, signed, dated, titled and numbered in pencil, Edition: 6/150, Size: 26.75 x 24.5 in. (67.95 x 62.23 cm)

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

Artist/Designer; Manufacturer: Roy Lichtenstein (American, 1923-1997) Marking(s); notes: signed, blind stamp, marking(s); PP 1/2 aside from the edition of 60; 1989 Materials: lithogr...

edition 2/5 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...

The Celestial Staircase from the Series "The Divine Comedy" by Dante Alighieri is an woodcut print realized in 1963. Good conditions. Not signed. Plate n.21 (as reported on the ba...

Paul Jacoulet, 'Une Histoire très Drôle, Mongols', color woodblock print, 1949. A fine impression, with fresh colors, on the artist's handmade, personally watermarked Japan paper, in...