Betty Woodman Art

RIVER VIEWING STUDIO SCREEN (INV# NP3740) Betty Woodman mixed media approx: 22 x 49.5”

TURQUOISE BASKET (INV# NP3744) Betty Woodman glazed earthenware 13 x 18 x 12” 1987

UNTITLED STILL-LIFE PLATTER (INV# NP3743) Betty Woodman glazed earthenware 1.75 x 17.5 x 14” circa 2000 signed by artist

FALL GARDEN BASKET AND VASE (INV# NP3739) Betty Woodman glazed earthenware 13 x 18.5 x 12” 1987 signed by artist

KOREAN WRAPPING VASES 2 (INV# NP3741) Betty Woodman paper, pencil, acrylic paint, ink approx: 21.5 x 50” 2008 signed by artist very rare.

Betty Woodman (American, 1930-2018) Monoprint with gold leaf image size - 11 x30'' frame size - 20 x 39 x 1.75" 1991 Impeccably framed! signed “Betty Woodman, ‘91, AP1” printed by SO...

Rare! Betty Woodman glazed earthenware 2017 signed by artist

Nile View (INV# NP3631) Betty Woodman color woodcut with chine collé 40.25 x 30” 1996 # P.P. 2/2, outside the edition of 30 signed

Pompeian Garden (INV# NP3632) Betty Woodman color woodcut 29 x 34.75” 1992 # P.P. 2/2, outside the edition of 15 signed

Kabuki Space (INV# NP3629) Betty Woodman color woodcut 37 x 25” # P.P. 2/2, outside the edition of 30 2000 signed Betty Woodman (1930 - 2018) was a leading American ceramist whose dazzling inventions with form and color have moved beyond the traditional domain of craft and consistently challenged the limits of the medium. Betty Woodman first became interested in crafts because her father was a woodworker. In high school, one ceramics course was sufficient to convince Woodman that she wanted to be a functional potter. Studying pottery at the School for American Craftsmen at Alfred University, she developed a strong interest in the history of ceramics. Her first job after graduating in 1950 was as a production potter, and that technical facility and experience were to be the foundation of her subsequent innovations. In 1952 Woodman traveled to Italy, where exposure to traditions such as majolica opened her eyes to the potential of clay. It was not until the seventies that Woodman completely abandoned her functional approach. Collaborating with important figures in the Pattern and Decoration movement, such as Joyce Kozloff and Cynthia Carlson...

Kimono Still Life Vase (INV# NP3630) Betty Woodman color woodcut with chine collé 27.5 x 41.5 1992 # W.P. 1/2, outside the edition of 15 signed

Boardwalk Vase (INV# NP3628) Betty Woodman color woodcut with chine collé 37.88 x 36.75” 1998 # P.P. 2/2, outside the edition of 30 signed Betty Woodman (1930 - 2018) was a leading American ceramist whose dazzling inventions with form and color have moved beyond the traditional domain of craft and consistently challenged the limits of the medium. Betty Woodman first became interested in crafts because her father was a woodworker. In high school, one ceramics course was sufficient to convince Woodman that she wanted to be a functional potter. Studying pottery at the School for American Craftsmen at Alfred University, she developed a strong interest in the history of ceramics. Her first job after graduating in 1950 was as a production potter, and that technical facility and experience were to be the foundation of her subsequent innovations. In 1952 Woodman traveled to Italy, where exposure to traditions such as majolica opened her eyes to the potential of clay. It was not until the seventies that Woodman completely abandoned her functional approach. Collaborating with important figures in the Pattern and Decoration movement, such as Joyce Kozloff and Cynthia Carlson...

After Mexico in Kyoto (INV# NP3627) Betty Woodman color woodcut with chine collé 27.25 x 36.25” 1997 # P.P. 2/2, outside the edition of 30 signed Betty Woodman (1930 - 2018) was a leading American ceramist whose dazzling inventions with form and color have moved beyond the traditional domain of craft and consistently challenged the limits of the medium. Betty Woodman first became interested in crafts because her father was a woodworker. In high school, one ceramics course was sufficient to convince Woodman that she wanted to be a functional potter. Studying pottery at the School for American Craftsmen at Alfred University, she developed a strong interest in the history of ceramics. Her first job after graduating in 1950 was as a production potter, and that technical facility and experience were to be the foundation of her subsequent innovations. In 1952 Woodman traveled to Italy, where exposure to traditions such as majolica opened her eyes to the potential of clay. It was not until the seventies that Woodman completely abandoned her functional approach. Collaborating with important figures in the Pattern and Decoration movement, such as Joyce Kozloff and Cynthia Carlson...