RoGallery

Juan Alfonso Abril (active in the 17th century in Valladolid) Head of Saint Paul Oil on canvas, cm. 48,5 x 62 - with frame cm. 63 x 76,5 Shaped wooden f...

A woodblock print in color, of a girl looking up at a giant flower bouquet by Irving Amen ( American, 1918-2011) . The lithograph entitled "The Heart is a Garden " is signed Amen and...

An original woodblock print dated 1965, titled "Our Town" but signed illegibly.

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...

More a wood engraving rather than a woodcut, Glintenkamp's Farmyard scene was given all the care and detail of the artist's more complex images. It is signed and numbered in pencil. ...

"Leaf Ocean" is a dramatic cyanotype and woodcut monoprint with contrasting layers and objects abstracted from nature. Black, silver, and white leaves float on top of a watery background. In her creative process, Katherine scans organic material which she then refines into digital files. The images are then then cut out of wood using a laser cutter. Katherine prints the inked wood shapes in combination with ink washes, in different arrangements making each print unique. For more works by Katherine Warriner and new listings, follow our storefront at Colibri Gallery...

Elia Shiwoohamba (* 1981 , Windhoek, Namibia ) Harvesting Time • African School • Linoleum cut • Sheet ca. 34.5 x 43 cm (Image is smaller) • Bottom left numbered 8/50 and titled • ...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...

FLORENTINE SCHOOL [?] XVth century. Woodcut. 223 x 234mm. Pasted on laid paper. Two tears (4 cm each) in the upper left corner (a small loss of a few mil...

Hermann Kätelhön (German, * 22. September 1884, Hofgeismar; † 24. November 1940, München) Coal Miners • Woodcut, sheet measures ca. 55 x 40 cm • The sheet is mounted (fixed at the...

Engelina (Engelien) Reitsma-Valença (3 May 1889 - 11 July 1981) Amsterdam, Netherland. The portrait is of a violinist playing what appears to be an enervating piece. An engraver, st...

Ando HIROSHIGE, ou Utagawa HIROSHIGE I Edo (Tokyo) 1797 † 1858 Minakuchi: les célèbres pins au pied du mont Hiramatsu (Minakuchi, meishō Hiramatsu yama no fumoto). 1855. Ôban tate-e...