Mizuno Toshikata Art

Abstract figurative woodblock print of a beach landscape with a boat. The print is stamped by the artist and titled and editioned in pencil. This print is editioned 47 of 86 and the print is not currently framed. Artist Biography: Born in Gastonia, North Carolina in 1924, John Biggers studied at Hampton Institute (now Hampton University) under Viktor Lowenfeld and muralist Charles White. In 1943, Biggers' mural, Dying Soldier, was included in the exhibition curated by Lowenfeld, Young Negro Art, at the Museum of Modern Art in New York. After serving in the United States Navy, Biggers transferred to Pennsylvania State University where he earned his bachelor’s and master’s degrees as well as his doctorate in art education. In 1949, Biggers accepted a faculty position at Texas State University for Negroes (now Texas Southern University) in Houston, where he founded and chaired the art department until his retirement. In the early 50s, he won prizes for his work at annual exhibitions held at the Museum of Fine Arts, Houston and the Dallas Museum of Art. In 1957, he traveled to Africa on a UNESCO fellowship to study Western African cultural traditions, becoming one of the first black artists to study the culture first-hand rather than through library research. His work was profoundly influenced by his experiences in Africa. He was known for his murals, but also for his drawings, paintings, and lithographs, and was honored by a major traveling retrospective exhibition from 1995 to 1997. He created archetypal imagery that spoke positively to the rich and varied ethnic heritage of African Americans, long before the Civil Rights era drew...

"Thirsty: the appearance of a town geisha in the Ansei era" - Woodblock on Paper From the series "Thirty-two Aspects of Customs and Manners" (Fuzoku sanjuniso) Lively woodblock of a...

Two kabuki actors posing a samurai's. The print is printed on rice paper and is not framed. It is stamped by the artist with details about the actors in ...

EARLY JACOULET PAUL JACOULET (1896 – 1960) UNE AVERSEA METALANIM, PONAPE , EST CAROLINES, 1935 A DOWNPOUR AT METALANIM PONOPE EAT CAROLINAS (Miles 29) Color woodcut, with metallic ...

This print is from a highly regarded series by the Edo woodblock artist Utagawa Kuniyoshi: in the period, there were at times prohibitions in depicting a...

From the Paintings series. Woodcut, Lithograph, screen print and collage on Arches 88 paper. Hand signed, dated and numbered by Roy Lichtenst...

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

Stevan Dohanos was an accomplished draftsman who work was widely known through the Saturday Evening Post. This print 'Backyard,' however, leaves aside the illustrative magazine work ...

The print 'Jones Island' is something of a self portrait. In the image, an artist stands before and easel, depicting the docks and buildings on the coast. The title indicates that this is Jones Island in Milwaukee, the peninsula along Lake Michigan that today is home to largely industrial buildings. The buildings and figures in the print suggest that this might be a view of the last of the Kashubian or German immigrant settlements on the peninsula before they were evicted in the 1940s to make way for the development of the harbor. The artist in the image thus acts as a documentarian of these peoples. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures and buildings looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 13.43 x 12.43 inches, frame Signed "GS" in the print block,upper left Entitled "Jones Island" lower left (covered by matting) Inscribed "Wood Engraving" lower center (covered by matting) Artist name "Gerrit V. Sinclair" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Gerrit Sinclair studied at the Art Institute of Chicago from 1910 - 1915, under Vanderpoel, Norton, and Walcott. In World War I, he served in the Army Ambulance Corps and later recorded his experiences in a series of oil paintings. He taught in Minneapolis before arriving in Milwaukee in 1920 to become a member of the original faculty of the Layton School of Art. He was also a member of the Wisconsin Painters & Sculptors. Sinclair's paintings and drawings were executed in a lyrical, representational style, usually expressing a mood rather than a narrative. His paintings reveal a great sensitivity for color and atmosphere. His subject matter focused on cityscapes, industrial valleys, and working-class neighborhoods, captured from eye-level. A decade before the popularity of Regionalism, Sinclair's strong interest in the community was reflected not only in his paintings, but also in his encouragement to students to return to their communities as artists and teachers. Joseph Friebert...

Woodcut on vélin supérieur paper. Unsigned and unnumbered, as issued. Good condition. Published by Maeght, éditeur, Paris; printed by Mourlot Frères, Paris, January 17, 1947. Notes: ...

In the 1950s woodcuts started to get bigger and bigger as they competed with paintings for a space on the wall. This California print by Joseph Zirke...

Reclining Nude, from Expressionist Woodcut Series (C. 172). Woodcut in colors with embossing, 1980, on Arches Cover. Hand signed, numbered and dated in ...