Colette Pettier Art

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

"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...

Japanese Artisans - Japanese Woodblock Print J Japanese woodblock depicting six women, all wearing vibrant kimonos, working on crafts by Tosa Mitsuoki (Japanese, 1617-1691). Japanese,c. 1600. Handcraft depiction (dye works).Section from a painted screen with presentations of handcraft.Kita-in, Saitama. Stamped lower left. Presented in a white mat and giltwood frame. Frame: 19"H x 14"W Mat: 18.25"H x 13.25"W Image: 14.5"H x 9.5"W Tosa Mitsuoki was a Japanese painter, reinvigorating the Yamato style of classical Japanese painting. Yamato-e originated from interest in reproducing early Tang dynasty paintings, and was later reinvented and further refined to fit Japanese cultural perceptions in the late Heian period. Yamato, sometimes referred to as wa or kazu had become synonymous with the Tosa-ha by the Muromachi period as a way for Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e. Yamato-e incorporated various visual and literary techniques for establishing narrative. Works were not always accompanied with text and may rely on heavily on period specific visual motifs, icons, and symbols to relay a story or theme. Tosa style by the time of Mitsuoki focused heavily on depicting themes of plants and nature, famous places, meisho, the four seasons, shik, bird-and-flower, kacho. Many of these popular symbols and icons from mimicking Chinese practices, treating the original Chinese masterwork as a sort of prototype to improve upon. Popular formats for Mitsuoki's pictures were wall scrolls kakemono, or handscrolls that would be read from right to left with the accompanied story, sliding doors fusuma and folding screen panels byobu that featured up to six panels. Mitsuoki's style incorporated the depth and calligraphy techniques of ink wash brushwork similar to Song dynasty and Yuan dynasty Chinese court paintings...

Color softground etching with aquatint and spitbite aquatint. Edition of 50

Set of 12 woodblock prints in colors on handmade, laid mulberry paper, 6 3/4 x 10 1/4 inches (170 x 258 mm), printed in Ka-ei 4 (1851). Each print with minor handling wear, otherwise in excellent condition with bright and fresh color, and with details printed in silver ink. The images themselves contain several illusive characters indicating the publisher which are obfuscated by figures, as intended. Presented loose, as issued. A fine set. The astrological commentary print has a large and meandering blind stamp with a bird and palm frond motif. This print lists various phrases concerning the Twelve Zodiac Animals as historically counted in Japan, and appears to include erotic commentary on the traits of people born under each of the twelve signs. These Shunga images were issued in books that paralleled (in an erotic fashion...

"First Horse Day, 1896" - Chiyoda Palace - Japanese Woodblock by Chikanobu Yoshu Colorful and expressive court scne by Toyohara Chikanobu,"Yoshu" (Japanese, 1838-1912). This is the r...

"Candy Seller" (飴売りうずまつ 市村羽左衛門) Japanese Woodblock on Rice Paper This piece depicts Ichimura Uzaemon as the Candy Peddler Uzumatsu. He is playing a stringed instrument (the shamisen) to attract people to come buy canbdy. The spiral on his clothing is the symbol of the candy seller, along with his crest of the mandarin orange. This Utagawa Yoshiiku print, titled "Umegoyomi mitate hachi shojin" (梅暦見立八笑人), depicts a scene from the Edo period. The print features a prominent male figure playing a shamisen, a traditional Japanese stringed instrument. The text on the print is in Japanese, and the overall style is characteristic of Ukiyo-e, a genre of Japanese woodblock prints. Utagawa Yoshiiku was a significant artist of the Meiji era, known for his contributions to woodblock printmaking. He was a student of Utagawa Kuniyoshi and worked alongside Tsukioka Yoshitoshi. His works often portray historical events, scenes from Kabuki plays, and contemporary life. This print, in particular, showcases the artist's skill in capturing the details of clothing, facial expressions, and the musical instrument. Presented in a new blue mat with foam core backing. Mat size: 18"H x 14"W Paper size: 16"H x 12"W Born the son of teahouse proprietor Asakusa Tamichi in 1833, Utagawa Yoshiiku (also known as Ochiai Yoshiiku) became a student of ukiyo-e artist Utagawa Kuniyoshi toward the end of the 1840s. His earliest known work dates to 1852 when he provided the backgrounds to some actor prints by his master. Yoshiiku's earliest works were portraits of actors (yakusha-e), beauties (bijin-ga), and warriors (musha-e). He later followed Kuniyoshi into making satirical and humorous pieces, and became the leading name in the field after Kuniyosh's death in 1861. He illustrated the Tokyo Nichi Nichi...

Karlis Miesnieks (1887.31.I – 1977.25.X) Studied in the studio of J. Madernieks (1910), in Petersburg society of Imperial art promotion school (1911) and he graduated class of theat...

Rembrandt van Rijn 1606-1669 Dutch Woman Bathing Her Feet in a Brook Etching on paper New Hollstein's 309, second state of II Signed and dated "Rembrandt f. 1658" (upper left) Created from observations of a live model, this work started as a figure study before evolving into a more imaginative setting. It remains ambiguous whether the scene is set indoors, as suggested by the cushion the figure is seated on, or outdoors, indicated by the foliage in the background. The omission of her feet, suggesting they may be dangling in a brook, adds a charming touch to Rembrandt’s imaginative scene. The figure seems unaware of the viewer, presenting a dignified yet sensual demeanor. The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman...

Color softground etching with aquatint and drypoint. Edition of 35

20th century figurative etching print by Polish artist Leszek Rozga. This piece is signed by the artist. LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska pri...

Kabuki Actor in Water Lily Robe with Samurai Sword- Japanese Woodblock Print Finely detailed woodblock by Utagawa Toyokuni (Japanese, 1769-1825). A kabuki actor ("Master Haranyuki Sawamura") is standing on stage with mountainous backdrop, wearing a robe in a water lily pattern. He is wearing a samurai sword. Presented in a gold colored frame with a silk mat. Frame size: 20"H x 14.25"W Image size: 14"H x 9"W Utagawa Toyokuni (Japanese, 1769-1825) was born in Edo, the son of Kurahashi Gorobei, a carver of dolls and puppets...