Paul Vera Prints and Multiples

This is a signed woodcut engraving entitled "Mine Shaft" created by Albert Abramovitz in 1935, after a trip to the Soviet Union. It depicts two Russian workers constructing a mine sh...

Limited edition vintage lithographic reproduction poster of "Le Théâtrophone" by Jules Cheret, published in 1968 by The Sunday Times (London). Offered unframed. Ships rolled This li...

Shunga: Twelve Signs of the Zodiac - Goat Color woodcut with gauffrage (embossing) Unsigned (as usual) Format: Shikishiban Publisher: Privately produced Unusually well preserved with the fugitive blue still intact Image size: 5-1/8 x 5-3/4" Sheet size: 5 3/8 x 6 1/4" From Wikipedia, the free encyclopedia In this Japanese name, the surname is Isoda. Isoda Koryūsai (礒田 湖龍斎, 1735–1790) was a Japanese ukiyo-e print designer and painter active from 1769 to 1790. Life and career Koryūsai was born in 1735 and worked as a samurai in the service of the Tsuchiya clan. He became a masterless rōnin after the death of the head of the clan and moved to Edo (modern Tokyo) where he settled near Ryōgoku Bridge in the Yagenbori area. He became a print designer there under the art name Haruhiro in 1769, at first making samurai-themed designs. The ukiyo-e print master Harunobu died in 1770, and about that time Koryūsai began making prints in a similar style of life in the pleasure districts. Koryūsai was a prolific designer of individual prints and print series,[1] most of which appeared between 1769 and 1881. In 1782, Koryūsai applied for and received the Buddhist honour hokkyō ("Bridge of the Law") from the imperial court and thereafter used the title as part of his signature. His output slowed from this time, though he continued to design prints until his death in 1790. Works Koryūsai created a total of 2,500 known designs, or an average of four a week. According to art historian Allen Hockley, "Koryūsai may ... have been the most productive artist of the eighteenth century". The series Models for Fashion: New Designs as Fresh Young Leaves (Hinagata wakana no hatsumoyō, 1776–1781) ran for 140 prints, the longest known ukiyo-e print series of beauties. He designed at least 350 hashira-e pillar prints, numerous kachō-e bird-and-flower prints, a great number of shunga erotic prints, and others. Ninety of his nikuhitsu-ga paintings are known, making him one of the most productive painters of the period. Legacy Despite Koryūsai's productivity and popularity—both in his time and amongst later collectors—his work has attracted little scholarship. The first ukiyo-e histories written in the West in the 19th century elevated certain artists as exemplars; Koryūsai's work came to be seen as too indebted to Harunobu, who died in 1770, and inferior to that of Kiyonaga, whose peak period came in the 1880s. An example is Woldemar von Seidlitz's Geschichte des japanischen Farbenholzschnittes ("History of Japanese colour prints", 1897), the most popular of the early ukiyo-e histories, which paints Koryūsai as a successor to Harunobu and a rival of Kiyonaga in the 1770s who slipped into mediocrity and imitation of his rival by the end of the decade.[5] Interest lay mainly in the details of Koryūsai's life—a samurai who received court honours was unusual in the proletarian world of ukiyo-e. In 2021, contemporary woodblock printmaker David Bull...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Frau in der Wanne (Woman in Tub)" Series: Die Aktion *Unsigned edition Year: 1915 Medium: Original Woodcut on cream smooth w...

Rockwell Kent, 'The Bather', wood engraving, 1931, edition 120, Burne Jones 63. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 1/2 to 3 1/4 inches); slight skinning at the top sheet edge, verso, otherwise in excellent condition. Archivally matted to museum standards, unframed. Image size 5 3/8 x 7 7/8 inches (137 x 200 mm); sheet size 11 1/8 x 14 1/2 inches (283 x 368 mm). Impressions of this work are held in the following public collections: Burne Jones Collection (Illinois), Chazen Museum of Art, Chegodaev Collection (Moscow), Kent Collection (New York), National Gallery of Art, Philadelphia Museum of Art; SUNY Plattsburg Art Museum, Princeton University Library, Pushkin Museum (Moscow), Smithsonian American Art Museum, Spector Collection (New York), University of Illinois. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock...

Rockwell Kent, 'Mountain Climber', wood engraving, 1933, edition 250, Burne Jones 93. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 9/16 to 3 5/8 inches); slight skinning at the top sheet edge verso, where previously hinged; otherwise, in excellent condition. Archivally matted to museum standards, unframed. Image size 7 7/8 x 5 7/8 inches (200 x 149 mm); sheet size 14 x 11 1/8 inches (356 x 283 mm). Printed by Pynson Printers, New York. Distributed by The Print Club of Cleveland, Publication No. 11, 1933. Literature: 'Rockwellkentiana,' Harcourt, Brace and Company, New York, 1933. '101 of The World’s Greatest Books', edited by Spencer Armstrong, 1950. Impressions of this work are held in the following museum collections: Akron Art Institute, Burne Jones Collection, IL; Cincinnati Art Museum; Cleveland Museum of Art; Columbus Gallery of Fine Arts; Crystal Bridges Museum of American Art; Davis Museum at Wellesley College; Fine Art Museums of San Francisco; H. M. de Young Museum; Hermitage Museum; Kent Collection, NY; Library of Congress; Memorial Art Gallery, University of Rochester; Metropolitan Museum of Art; New York Public Library; Philadelphia Museum of Art; Princeton University Library; Smithsonian American Art Museum, Spector Collection, NY; SUNY, Plattsburg. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock. In 1905 Kent moved from New York to Monhegan Island in Maine, home to a summer art colony, where he continued to find inspiration in nature. Kent soon found success exhibiting and selling his paintings in New York, and in 1907, he was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting (Thayer’s niece), with whom he had five children. The couple divorced in 1924, and Kent married Frances Lee the following year. They divorced after 15 years of marriage, and the artist married Sally Johnstone. For the next several decades, Kent lived a peripatetic lifestyle, settling in several locations in Connecticut, Maine, and New York. During this time he took several extended voyages to remote, often ice-filled, corners of the globe, including Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors, and his travels to these rugged, elemental locations inspired his visual art and his writings. He developed a stark, realist landscape style in his paintings and drawings that revealed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly in his work, often allude to the mythic themes of isolation, individualism, heroism, and the quest for self-connection. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920, featuring Kent’s Alaska drawings...

Original vintage travel poster: METZ (France), artist: Alfred Pellon, signed A. Pellon. Size 34.75" x 36". Year: c 1906. Stone lithograph. ...

Father Stefan Fridolin, "Schatzbehalter" (Treasury of the True Riches of Salvation): The 30th Figure - Astrological Diagram with Scene of the Nativity Woodcut, 1491 Unsigned, as issued Published by Anton Koberger Diagram has Zodiac signs on outer ring, planets in the lower registers, and Nativity in the center. Condition: Very good for a 15h century woodcut, with the usual slight age stains Sheet size: 11 1/2 x 8 1/4 inches Wogelmut was the teacher of Albrecht Durer and employed young Durer in many project of the last decade of the 15th century. Michel Wolgemut Biography Wolgemut trained with his father Valentin Wolgemut (who died in 1469 or 1470) and is thought to have been an assistant to Hans Pleydenwurff in Nuremberg. He worked with Gabriel Malesskircher in Munich early in 1471, leaving the city after unsuccessfully suing Malesskircher's daughter for breach of contract, claiming she had broken off their engagement. He then returned to his late father's workshop in Nuremberg, which his mother had maintained since Valentin's death. In 1472 he married Pleydenwurff's widow and took over his workshop;[3] her son Wilhelm Pleydenwurff worked as an assistant, and from 1491 a partner, to Wolgemut. Some consider Wilhelm a finer artist than Wolgemut, however he died in January 1494, when he was probably still in his thirties. Wilhelm's oeuvre remains unclear, though works in various media have been attributed to him. Woodcuts Michael Wolgemut, Danse Macabre, 1493 Two large and copiously illustrated books have woodcuts supplied by Wolgemut and his stepson Wilhelm Pleydenwurff; both were printed and published by Germany's largest publisher, the Nuremberger Anton Koberger, who was also Dürer's godfather. The first is the Schatzbehalter der wahren Reichthumer des Heils (1491); the other is the Historia mundi, by Schedel (1493), usually known as the Nuremberg Chronicle...

Kawanabe Kyosai (1831-1889) Above: Tokyo kaika meisho (Famous Sites of Civilized Tokyo): Kaianji Below: Samezu Myojin koji (Ancient Event Involving Samezu Myojin) Color woodcut, 1875...

"Fernand Clément & Cie" framed lithograph poster by Pal (Jean de Paléologue.) Inscription on side reads Imp. Paul Dupont, 4 Rue du Bouloi, Paris. Recreation 84 Wannabe Affiche, Ltd. ...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Stehendes nacktes Mädchen im Profil (Standing Naked Girl in Profile)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut on cream wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Sheet size: 8.5" x 5.38" Image size: 6.5" x 3.57" Reference: Schapire No. 220, page 45; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Condition: Toning to sheet (as normal). In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcuts by Schmidt-Rottluff. Text by Alfred Brust. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

Tokyo Tower in Shiba Color woodblock, 1960 Signed and sealed lower right Signed with the artist's name:" Keimei" (see photo) Signed with the artist's seal in red (see photo) Publishe...