The Second Tournament with the Tapestry of Samson and the Lion
By Lucas Cranach the Elder
Located in Chicago, IL
Watermark: Bull's Head with Serpent and Cross (Briquet 1575, dated 1492 by Briquet) Provenance: Martin Folkes (Lugt 1034) Reverend G. L. Blake (Lugt 1172) Reference: Bartsc...
Woodcut
Christ on the Mount of Olives
By Albrecht Altdorfer
Located in New York, NY
A brilliant and early impression of this woodcut. Dark, well-inked, with strong contrasts and no sign of wear. From "The Fall and Salvation of Mankind Through the Life and Passion of Christ."
Woodcut
$150
H 10 in W 14.5 in
"Zen Horse 1" Showa Period Japanese Woodblock Print on Paper Red, Cream, Gray
Located in Austin, TX
Page Size: 10 x 14.5 Frame Size: 13 x 17.5 Signed in Block, bottom right. An elegant woodblock print by that masterfully balances fluid motion with the minimalist restraint of Zen a...
Woodcut
Nature Studies from the Royal Library at Windsor Castle
By Leonardo da Vinci
Located in New York, NY
Leonardo da Vinci "Nature Studies from the Royal Library at Windsor Castle" The J. Paul Getty Museum, November 15, 1980 - February 15, 1981 Exhibition Poste...
Offset
$2,800
H 31.75 in W 24.25 in D 1 in
"La Deese de Cythere" from the suite "l'Art d'Aimer d'Ovide"
By Salvador Dalí
Located in San Francisco, CA
This artwork titled, "La Deesse de Cythere" from the suite, "l'Art d'Aimer d'Ovide" 1976. is an original wood engraving on Japan nacre paper by artist Salvador Dali 1904-1989. It i...
Woodcut
$1,757
H 20.95 in W 17.01 in D 0.4 in
The Inferno, Canto 6 - Cerberus, Original Woodcut, Modern, 1960, Framed
By Salvador Dalí
Located in OPOLE, PL
Salvador Dali (1904-1989) - The Inferno, Canto 6 - Cerberus Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heures C...
Woodcut
$475
H 16 in W 20.63 in
"A Game of Lacrosse": A Hand-colored 19th Century Woodcut Engraving by Hall
Located in Alamo, CA
A colorful and attractive hand-colored 19th century woodcut engraving entitled "A Game of Lacrosse" after a drawing by W. H. Hall. It was published in New York in Harper's Weekly on May 10, 1884. It depicts a scene from an intense lacrosse game. This hand-colored woodcut engraving is presented in a red mat that measures 16" high x 20.63" wide. The sheet measures 10.63" high x 15.88" wide. There is a central fold, as issued. The print is in excellent condition. Lacrosse is the oldest sport in North America, possibly originating as far back as the 1400's. The sport was first invented by Native Americans, who originally played it as a means to toughen braves for war or to settle tribal disputes. It was played by between 100 and 1,000 participants at a time. There were no strict boundaries and the game could cover miles and take days to complete. It was very violent with many injuries, which were sometimes fatal. The game was unknown to whites until the 17th century when a Jesuit priest observed Heron Indians playing it. He thought the stick and netting resembled the "crosier" carried by bishops during religious ceremonies, This led to the name "la crosse". A Canadian dentist standardized the rules of the game in 1867 and the 1st college team was created at New York University in 1877. The game gained national attention and popularity in 1956 when the Hall-of-Fame football player Jim Brown...
Woodcut
Chocolate Pie
By Wayne Thiebaud
Located in London, GB
Woodcut on wove paper Edition of 10 Signed and dated.
Woodcut
$1,575
H 32.25 in W 32.25 in D 1.5 in
Framed Rubbing of 1550 Brass Monument in Grote Kerk Church, Breda, Netherlands
Located in Alamo, CA
This is an engraving of a tomb monument rubbing that has been highlighted with gold color on a dark grey to black background. The rubbing is of a brass plaque on a stone slab. It has...
Engraving
$8,650
H 29.14 in W 10.04 in
Tsukioka Yoshitoshi -- Kintaro Snaring a Giant Carp (Kintaro rigyo o torau)
By Tsukioka Yoshitoshi
Located in BRUCE, ACT
Tsukioka Yoshitoshi Kintaro Snaring a Giant Carp (Kintaro rigyo o torau) Meiji period, 1885 Woodblock print Vertical oban diptych: each sheet approx. 37x 25.5 cm The lower sheet sign...
Woodcut
Green Column/Figure
By Robert Mangold
Located in New York, NY
Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...
Etching, Woodcut
$5,268
H 20.95 in W 17.01 in D 0.04 in
Poèmes, Planche IX, Trial Proof Woodcut, Surrealist, 1968, Framed, Excellent
By Marc Chagall
Located in OPOLE, PL
Marc Chagall (1887-1985) - Poèmes, Planche IX (trial proof) Woodcut print from 1968. Trial proof - unique work. Dimensions of sheet: 32.5 x 25 cm Dimensions in frame: 53.2 x 43.2...
Woodcut
Spina Manciù - Woodcut by Jean Lurçat - 1948
By Jean Lurçat
Located in Roma, IT
Spina Mnciù is a vintage woodcut print realized by Jean Lucrat in 1948. Good condition on a cream colored paper. No signature, on the back the title in f...
Woodcut
Sold
H 12.88 in W 22.5 in D 2 in
Moses and the Pillar of Cloud by Lucas Cranach the Elder and Studio
By Lucas Cranach the Elder
Located in New Orleans, LA
Lucas Cranach the Elder and Studio 1472-1553 German Moses and the Pillar of Cloud Oil on panel Moses and the Pillar of Cloud is a bold and evocative composition that showcases the signature intense color and intricate detail of Lucas Cranach the Elder’s celebrated oeuvre. The remarkable 16th-century oil on panel by Lucas Cranach and his studio captures the narrative moment when Moses leads the Israelites out of Egypt and encounters God manifested through a large pillar of cloud. Moses stands at the precipice of a bridge and turns back to soldiers helping to lead the group of Israelites who huddle closely together. Cranach depicts Moses with his traditional iconography, rendering the rays of light on his head which came to be interpreted as "horns" in the translation of the Bible. Using his traditional walking staff, Moses gestures toward the pillar, seemingly acknowledging that God will protect the group as they cross the bridge to the other side, leaving exile and entering a promised land. In a nod to Cranach’s Germanic locale, he renders the figures and setting in a manner that feels decisively more akin to European aesthetics than those of the Red Sea. Soldiers wear elaborate, gothic suits of armor that recall the livery of Northern European guardsmen. The terrain appears more like a European forest giving way to a sweeping valley than the arid landscape the Israelites trekked through on their journey across the Red Sea. Though still clearly recounting a story from the Old Testament, Cranach renders the cast of characters and setting in an earthly, familiar manner. This aesthetic shift speaks to Cranach’s own changing beliefs as he found himself at the center of the Protestant Reformation. After first gaining recognition in 1505 as the official painter of Frederick the Wise, Cranach established a thriving painting and print studio in Wittenberg, Germany. Cranach was renowned for his court portraits and genre paintings and was also well known for his association with the famous protestant reformer Martin Luther, then under the protection of Frederick the Wise. As Wittenberg became a bastion of new religious thought, Cranach soon befriended Luther and played an active role in creating the printed materials that proliferated throughout the Reformation...
Oil, Panel