Utagawa Hiroshige (Ando Hiroshige) Art

Marsha Feigin's print Slam, brings home the drama we all love about tennis. She GETS IT! There's something about the energy and maybe torque of the body here that makes us think "I ...

About Vestiges of Edo in Tsukuda (Tsukuda ni Nokoru Edo no Omokage) Artist: URBANOWICZ Mateusz Woodcarver: SEKIOKA Senrei III Printer: ITO Tatsuya Year: 2020 Our first original landscape ukiyo-e depicting Tsukuda, a neighborhood next to Tsukishima station in the east of Tokyo. This artwork highlights the striking contrast between the modern architecture and historical elements, that co-exist in harmony in Tsukuda today. The Japanese title Tsukuda ni Nokoru Edo no Omokage translates to “the vestiges of Edo in Tsukuda” - the word omokage (vestige) refers to the river, an aspect of old Edo that has continued to exist to this day, despite the fact that other things may have evolved or disappeared with time. When we trace back the history of ukiyo-e, we can see that there have been many foreign ukiyo-e artists who created important shin-hanga works in the 20th century, such as Paul Jacoulet, Elizabeth Keith...

Tokyo Tower in Shiba Color woodblock, 1960 Signed and sealed lower right Signed with the artist's name:" Keimei" (see photo) Signed with the artist's seal in red (see photo) Publishe...

This amazing bird's-eye-view of an ancient European town is a wonder to behold. There is such detail and interesting perspective. Maybe the artist (unknown...

"Early Summer Horse Fair" from 53 Stations of the Tokaido Woodblock print of a group of horses, originally by Hiroshige (Ando) Utagawa (Japanese, 1797 - 1858). Several groups of hor...

This is an exclusive handprinted limited edition cyanotype. "Misty Sailboat Journey" is a handmade cyanotype print portraying a daytime sailboat journey...

"Grave of Santa Anna's Leg" Original Woodblock Print, Signed Artist's Proof Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a segment of a grave, with a headstone that has a skull and cross. There are two bright green plants flanking the headstone. Below the headstone and plants, there is a large arched blue shape, with a crescent moon and stars. A red leg, bent at the knee, cuts across the blue arch. Signed "Carol Summers" along the right edge of the blue shape. Numbered and titled "A/P Grave of Sant Anna's Leg" along the left edge of the blue shape. Presented in a silver colored aluminum frame. Frame size: 32.245"H x 27.25"W Paper size: 29.75"H x 24.5"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...

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

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

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

Mitate of a Daimyo's Procession Crossing Ryogoku Bridge - Woodblock Print Woodblock print of a procession by Keisai Eisen (Japanese, 1790–1848). Terrific triptych of a procession of...

Kiyomizu Temple, Scenes of Famous Places along Tôkaidô Road - Woodblock on Paper Full Title: Kyoto: Kiyomizu Temple (Kyô Kiyomizudera), from the series Scenes of Famous Places along...