Wolfgang Paalen Art

"Midnight Wolf" is a framed signed limited edition abstract inuit native people's work by Northwest Coast Haida artist Clarence Mills. The print depicts a st...

Stanton Macdonald-Wright Woodblock on Laid Paper 1966-67 Departing Spring Hesitates Appears to be an artist proof. The pencil text and signature a...

This original mid-century modern woodcut print on linen, titled "Shapes", is by renowned American artist Edward Marecak (1919–1993). A striking example of his abstract work, this pie...

Werner Drewes Untitled Mid Century Modern Abstract Woodcut, 1974 Woodcut fold-out card on Rives BFK paper with deckled edges 9 1/5 × 6 1/4 inches Unframed Rarely seen, this twice sig...

Poem 71-25 (Me) Color woodcut with cement mold embossing, 1971 Signed, titled and numbered in pencil (see photos) Edition 100 (55/100) (see photo) Signed with the artist's stamp lowe...

Keshin (Incarnation (Moku) Color woodcut, 1958 Signed and dated lower left in pencil (see photo) An impression is in the collectionof the Asian Art Museum, No. 2012.93, which is not a richly inked s this impression. Another impression is in the National Museum of Art, Smithsonian, accession no. S2019.3.1297 A third impression is in the collectionof the Art Gallery of Greater Victoria This appears to be the best and most colorful impression of the museum holdings. The image is thought to depict a flying crame Condition: Wrinkles to large sheet of handmade paper. Not objectionable. Image size: 29 15/16 x 21 1/4 inches Sheet size: 37 3/8 x 27 1/4 inches Reference: Tadashi Nakiyama Life & Work, Plate F Tadashi Nakayama - Sosaku hanga artist Tadashi Nakayama initially studied oil painting at Tama Art College, but began creating woodblock prints in 1951. In the 1960s, he traveled to Turkey, Greece, England, and Italy, absorbing influences from Persian and Byzantine art and the renaissance master Paolo Ucello. Throughout his long career, his subjects have included flowers, butterflies, women, and perhaps most famously, horses...

Four trees. Paper, wood carving, 29x29 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1...

Charles Arthur Arnoldi (b. 1946) Macchu Picchu 4, 2019 Woodcut in colors on wove paper Edition: 25/30 Signed, editioned, and dated in pencil along lower edge Printed by Peter Kosowicz, Thumbprint Editions, London Published by Harvey Bayer...

Xylon 21 Naoko Matsubara USA Woodcuts, two which are printed in color, 1970 2 of the 5 woodcuts signed in pencil (see photos) Five original woodcuts, two of which are signed in penci...

Matsu (Pine) Woodcut, 1968 Signed: "'Matsu' Naoko Matsubara" in pencil by the artist (see photo) Annotated in pencil "Ed 25" (see photo) Edition: 25 Condition: 7" long waterstain at ...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

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...