Kim Lim Art

An original woodblock print by American artist Werner Drews. This composition comes in an archival frame presentation which measures 26 x 30 on the wall. Werner Drewes (1899-1985) Werner Drewes, painter, printmaker, and teacher was born in Canig, Germany in 1899. His father, a Lutheran Minister, hoped he would become and architect but Werner chose the life of an artist. After he served on the front line in France during the war, Werner was admitted to the Bauhaus in 1921 where he studied under Klee, Itten, and Muche. Later, he traveled through Europe to study such old masters as Tintoretto, Velasque, and El Greco. After marrying Margaret Schrobsdorff, they traveled throughout South America, North America, and Asia. In 1930, Werner immigrated to New York City with his family. In New York City, despite the Depression, Werner joined other Bauhaus artists such as Mondrian and Feininger to make a living as an artist. This group became the core of the American Abstract Artists group. Werner taught at Columbia University, worked on the design of the 1939 Worlds Fair building...

Toshi Yoshida, 'Woman In Bagdad', color woodblock print, 1954, edition not stated. Signed, dated, and titled, in pencil. A fine, richly-inked impression, with fresh colors, on cream-wove Japan paper; the full sheet with margins (1/2 to 7/8 inch); minor toning in the margins, otherwise in excellent condition. Self-carved, self-printed. Archivally sleeved, unmatted. Image size 14 13/16 x 9 7/8 inches; sheet size 16 1/4 x 11 inches (oban tate-e). Exhibited: 'Color in Relief: Wood Block Prints from Origins to Abstraction', Georgetown University Library, 2016. Literature: Oliver Statler, Modern Japanese Prints: An Art Reborn, 1959, pp.168-169; Eugene M. Skibbe, Yoshida Toshi 1911-1999: Diversity, Change, and Continuity in the Yoshida Art Tradition, Andon 53, Society for Japanese Arts, 1996, pp. 5-14; Kendall H. Brown, Yoshida Toshi: The Nature of Tranquility, in, A Japanese Legacy: Four Generations of Yoshida Family Artists, The Minneapolis Institute of Arts, 2002, pp. 72-80; p. 91, no. 55 Exhibition: Japan & Beyond: The Yoshida Family Legacy in Japanese Woodblock Prints, curated by Kendall Brown and Quyen Le, The Ruth and Sherman Lee Institute for Japanese Art, Hanford, CA. February 3, 2004 - March 27, 2004. Collections: Art Institute of Chicago, Clark Center for Japanese Art and Culture, Minneapolis Institute of Art, University of California Merced, University of Oregon (The Lavenberg Collection of Japanese Prints). ABOUT THE ARTIST Yoshida Toshi (1911-1995) began training at the age of 14 under his father, Yoshida Hiroshi, one of the most acclaimed artists of the Japanese 20th-century printmaking revival movement shin-hanga (’new prints’ created in the traditional collaborative system of Japanese printmaking). He studied from 1932 to 1935 at the Taiheiyo-Gakai (Pacific Painting Association), co-founded by his father. Before the Pacific War, Toshi traveled widely with his father in Asia, Europe, Egypt, and the United States. Later he continued his worldwide travels, especially in Mexico, the United States, Canada, and Africa. Following his father’s death in 1950, Toshi began his very personal exploration of abstraction, joining the sôsaku-hanga movement (’creative prints’ wherein the artist is creator, carver, and printer). During this richly creative period (1954 to 1973), Toshi created over three hundred nonobjective designs. In the early 1960s, Toshi returned to large-scale figurative work, concentrating on scenes of African wildlife in its natural habitat, and in 1984 he published the first of many illustrated children's books on African wildlife (Dobutsu Ehon Shirizu), which he continued to produce until the early 1990s. In 1966 he published a book with the artist Yuki Rei...

A very good impression of this color woodcut and lithograph diptych. Signed and dated in pencil by Dine. From a limited edition of 12.

Schanker, Louis (American, 1903-1981). GREEN & BLACK. Color Woodcut, 1941 Brooklyn Museum Booklet 53. Edition of 55 plus 20 trial Proofs. Signed, titled, and numbered 10/55 and inscr...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró II Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: In v...

Shusaku Arakawa Double Point Blank, 1979 Lithograph on paper with deckled edges Hand signed, numbered 13/45 and titled with publisher's and printer's blind stamp on lower front and p...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró VII Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 71 cm Observations: Li...

Impression B Color woodcut, 1959 Signed and dated lower right (see photo) Titled lower left (see photo) A trial proof, prior to the edition of 100, signed and numbered Condition: Excellent Image size: 14 1/2 x 9 3/4 inches Provenance: Estate of the artist by decent to his heirs "Printmaker and painter Toshi Yoshida was born on July 25, 1911, into the respected Yoshida family of artists of Tokyo, Japan. Father Hiroshi was a celebrated landscape painter and printmaker, and mother Fujio established herself as the first female Yoshida artist as well as an Abstract artist later in her career. Younger brother Hodaka was an Abstract printmaker whose style, completely separate from his family's historic traditional bent, later influenced Toshi. Hodaka's wife Chizuko would become a pioneering female Japanese artist whose own exploration of Surrealism and Abstraction challenged the status quo. Toshi, however, as the eldest sibling, was expected to follow in his father's footsteps, and from an early age he was trained by Hiroshi in his studio. Unable to attend formal schooling due to the polio-induced paralyzation of his leg, Toshi would instead help with his family's printmaking studio and go on sketching trips with Hiroshi. As he got older, these trips would include India and Southeast Asia, working from morning to night taking night trains to get from one destination to another. Among Toshi's favorite subjects were the animals he discovered along the way. However, these trips ended as Japan entered military dictatorship in the mid 1930s, and artists whose work showed signs of Western influence were barred from exhibiting. At this time, Toshi left Japan for China and Korea, where he would remain for the duration of the war. He stuck to patriotic themes to remain in business, and after the end of World War II, as Japan struggled to recover from wartime economic depression, he earned his living creating traditional Japanese woodcut landscapes...

oel Shapiro Woodcut (butternet and cherry) on Crown & Sceptre laid paper, 1987 Pencil signed and numbered 18 of 29 on the front Published by PACE Editions, NY (with original label ve...

John von Wicht, American (1888 - 1970) - Improvisation, Blue-Brown, Year: circa 1965, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 2/15, Image Size: 17 x 8...

Santomaso, Giuseppe. UNTITLED. Lithograph, 1952. Edition of 60. Numbered 39/60, signed and dated in pencil. 19 3/4 x 13 1/4 inches (image), plus margings. In very good condition. Fr...

Joel Shapiro Woodcut (butternet and cherry) on Crown & Sceptre laid paper, 1987 Pencil signed and numbered 18 of 27 on the front Published by PACE Editions, NY (with original label v...