Art by Medium: Woodcut

Mokuchu URUSHIBARA Herons, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 32.5 x 22 cm (c. 12.59 x 8.66 in) INFORMATION : Engraving published by Mo...

Mokuchu URUSHIBARA Koi Carp, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 30 x 24 cm (c. 11.81 x 9.44 in) INFORMATION : Engraving published by Mo...

Mokuchu URUSHIBARA White-billed Pie, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 32 x 26.5 cm (c. 12.59 x 10.23 in) INFORMATION : Engraving pub...

Mokuchu URUSHIBARA The Flight of the Crows at Sunset, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 39.5 x 28 cm (c. 15,35 x 11.02 in) INFORMATIO...

Mokuchu URUSHIBARA Horse Turning Around, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 37 x 27 cm (c. 14,5 x 10,6 in) INFORMATION : Engraving publ...

Adolpho DE CAROLIS (1874-1928) Hylas and the Nymphs, 1925 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the e...

Sergio Hernández (Mexico, 1957) 'Lluvia Espesa', 2011 woodcut on paper Velin Arches 300 g. 46.5 x 82.7 in. (118 x 210 cm.) Edition of 10 Unframed

Sergio Hernández (Mexico, 1957) 'Pareja' (Couple), 2016 woodcut on Verlin Arches paper 400 g. 82.7 x 46.9 in. (210 x 119 cm.) Edition of 30 Ref: HER-205

Sergio Hernández (Mexico, 1957) 'La Maja', 2017 woodcut on paper Velin Arches 400 g. 46.9 x 82.7 in. (119 x 210 cm.) Edition of 30 Series # available:...

This large, horizontal diptych of two woodcut prints on paper evokes the peacefulness of ocean waves depicted in shades of blue, bright royal blue offset by soft, pale blue tones. Th...

Karel Appel (1921-2006) - Le Philosophe Woodcut print from 1977. The edition: 91/100. Dimensions of work: 65.5 x 49.5 cm The work is in Excellent condition. Fast and secure ship...

Louis JOU (1881-1968) Crucifixion (Stabat Mater), 1924 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the edit...

Susan Kiefer Rex Woodcut on paper Year: 2000 Size: 27x22in COA provided Ref.: 924802-1663 Framed woodcut print. A nude male figure in an armchair with striped and patterned backgrou...

Nicolas Party (Swiss, b. 1980) Portrait with Shells, 2021 Medium: Woodcut on HM-5 Gampi-shi Dimensions: 45.7 x 38.1 cm (18 x 15 inches) Edition of 50: Hand-signed and numbered Condit...

Fernando Aceves Humana (Mexico, 1969) 'Se volvió a salir el perro' (The dog came out again), 2007 woodcut on paper 17.6 x 23.1 in. (44.5 x 58.5 cm.) Edition of 10 ID: ACE-103 Unframed

"New Day" is an original wall-hanging sculpture by Dennis McNett made from woodcarving, sculpted epoxy head, woodcut prints and acrylic . This pieces measures 21.5"h x 19.5"w x 4.5"d...

Rudolph Carl "R.C." Gorman (1932-2005) "Sora" 1981 Original color woodcut print Hand signed and dated "1981" in pencil by the artist Numbered XV/XXV in Roman numerals 23 x 19 inches ...

Karl Schmidt-Rottluff, German (1884 -1976) - Kopf, Year: 1915, Medium: Woodcut on wove paper, Image Size: 6.75 x 9.5 inches, Size: 10.25 x 13.75 in. (26.04 x 34.93 cm), Descripti...

Color woodcut on Japan paper. Signed by the artist in ink, lower right. Titled and numbered 22/100 in pencil, lower left. Strong, vibrant colors; a richly-inked impression. Cata...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Orientalisches (Oriental), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Laz...

Woodcut in black (sumizuri-e) realized by Hokusai between 1807 and 1811. Plate from the series "Chinsetsu Yumiharizuki" (Strange Tales of the Moonbow). A lifetime impression, in ver...

Jules PERRICHON (1866-1946) Cannes : View from California Park, 1928 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind sta...

Will barnet, 'Child Reaching', woodcut, 1940, edition 25, Cole 82. Signed and titled in pencil. A fine, black impression, on fibrous Japan paper, with full margins (5/8 to 1 3/4 inch...

I created this work with the intention to buff up and transform bodies. I chose red as a monochrome colour to connect to a feeling of heat and warmth. I want the viewer to tune to th...

Created to accompany poetry in the book Si je mourais la-bas by Guillaume Apolliaire, this lovely woman detailed in a soft delicate profile we can only a...

This exquisite woodcut after Wassily Kandinsky (1866–1944), titled Klange (Sounds), from the album XXe Siecle, Decembre 1966, originates from the 1966 edition published by Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1966. Klange reflects Kandinsky’s revolutionary synthesis of sound, color, and emotion, merging visual rhythm and spiritual resonance in a poetic abstraction that embodies the birth of modern non-objective art. Executed as a woodcut on velin paper, this work measures 12.5 x 9.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Wassily Kandinsky (1866–1944) Title: Klange (Sounds), from the album XXe Siecle, Decembre 1966 Medium: Woodcut on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Unsigned and unnumbered as issued Date: 1966 Publisher: Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Decembre 1966, published by Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris; printed by Mourlot Freres, Paris, 1966 About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs and woodcuts printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Wassily Kandinsky (1866–1944) was a visionary Russian-born, later French, painter, printmaker, and pioneering theorist whose quest to translate music and spirituality into pure visual form helped birth abstract art and irrevocably transform the modern aesthetic. Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-based Der Blaue Reiter and later teaching at the prestigious Bauhaus school—fusing his deep interests in Russian icon painting, folk ornament, theosophy, color theory, and the experimental energy of early 20th-century artistic innovation. Influenced by predecessors such as Cezanne, Matisse, and the non-European masks and forms he encountered, Kandinsky worked alongside and in dialogue with contemporaries including Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, and Man Ray—artists united by a fearless rejection of conventional representation and a shared impulse toward radical visual invention. His compositions of floating geometric forms, vibrant chromatic symphonies, and lyrical abstractions not only charted new territory for the avant-garde in his own time but also inspired innumerable later artists—from the Abstract Expressionists like Jackson Pollock and Mark Rothko, to the Color Field painters, post-war neo-expressionists, and contemporary abstractionists who continue to echo his bold experimentations with color, line, and composition. Kandinsky’s works remain cornerstone acquisitions for major museums worldwide and prime offerings in the global collector market. His auction record stands with Murnau with Church II (1910), which sold for £37,196,800 (≈$44.9 million) at Sotheby’s, London, on March 1, 2023. Wassily Kandinsky Klange...

Kent, Rockwell. HAIL AND FAREWELL. Burne-Jones 55. Wood engraving, 1930. Edition of 120. 8 x 5 1/2 inches, 203 x 140 mm. Signed in pencil. In excellent condition.

Sergio Hernández (Mexico, 1957) 'Lluvia de Estrellas', 2011 woodcut on paper Velin Arches 300 g. 45.7 x 81.9 in. (116 x 208 cm.) Edition of 10 Unframed

Woodcut print realized by Renzo Alessandri in 1950s. Hand signed in pencil. Very good condition.

Michael Rothenstein Clench – 1969 Print – Colour linocut, photo screenprint black 23” x 31.25” Edition: Signed in pencil and marked 44/125 Unframed in Good Condition. Condition no...

Irving Amen (American, 1918–2011) The Heart is a GardenSigned Numbered Color Woodcut Print, Circa 1964 A beautifully expressive work by acclaimed American printmaker Irving A...

This exquisite woodcut after Wassily Kandinsky (1866–1944), titled Orientalisches (Oriental), from the album XXe Siecle Paris, Hommage a Wassily Kandinsky, originates from the 1975 e...

Pioneering female illustrator Gwenda Morgan creates an exuberantly complex image of a squad of broom-riding - pointed-hatted witches with black cats in tow. They fly through an inky black moonlit sky and are witnessed by only a rooftop owl. With the simple means of black and white, Morgan has rendered a highly charged composition that pluses with electricity. The whole image is on the cusp of being abstract while being representational. It is brilliantly designed with great attention to detail and is evocative of a sorcerer's malignant powers. Unframed. not signed Printed from the original block as part of the suite of 8 prints that accompanied the limited edition book Diary of a Land Girl, Whittington Press, 2000. The suite of prints was included with the first 50 copies of the book, and a further 8 suites were printed, from which this print comes. Gwenda Morgan (1 February 1908 – 1991) was a British wood engraver. She lived in the town of Petworth in West Sussex. Early life Morgan was born in Petworth, her father having moved there to work at the ironmongers, Austen & Co, of which he later became proprietor. He was the son of a Welsh-born military farrier. Education Following school in Petworth and at Brighton and Hove High School, Morgan, studied at Goldsmiths' College of Art in London from 1926. From 1930 she attended the Grosvenor School of Modern Art in Pimlico where she was taught and strongly influenced by the principal, Iain Macnab. The Grosvenor School was a progressive art school and the championing of wood engraving and linocuts fitted with its democratic approach to the arts. Works Morgan was commissioned to illustrate a number of books published by private presses. For the Samson Press she produced the frontispiece for Duke Hamilton...

Woodcut print realized by Hermann Paul in 1923. Not signed, as issued. Very good condition.

The Bride is an artwork made by Nino Aimone (1932-2020) in 1975. Woodcut. Stamp signed on high margin and title on low margin. Excellent condition.

Vol. In-Folio 45,2x34,2 cm., 205 pp. Edition of 220 copies including a xylographic vignette, 14 xylographic illustrations (on heads and footers of chapters) and 22 original lithograp...

Luis Miguel Valdes (Cuba, 1949) 'La Lengua Castellana (Blue)" (The Spanish Tongue/Language), 2015 woodcut, manual intervention on paper 47.3 x 84.7 in. (120 x 215 cm.) Edition of 10 ...

Signed proof copy from edition of unknown size. Most of Wolff's prints were done in very small numbers, and each was often unique. Born in 1922 in San Francisco, William F. Wolff ...

MORIN-JEAN (1877-1940) Fish Market in Brittain, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor...

Lawrence Nelson Wilbur (1897-1988), 'Tranquil Harbor' (Gloucester, Massachusetts), wood engraving, edition 55, 1958. Signed in pencil, and signe...

Maurice De LAMBERT Art Deco : The Harvest, 1927 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagier de la Gravure sur Bois...

"Grave of Santa Anna's Leg" Original Woodblock Print, Signed Artist's Proof Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a segment of a grave, with a headstone that has a skull and cross. There are two bright green plants flanking the headstone. Below the headstone and plants, there is a large arched blue shape, with a crescent moon and stars. A red leg, bent at the knee, cuts across the blue arch. Signed "Carol Summers" along the right edge of the blue shape. Numbered and titled "A/P Grave of Sant Anna's Leg" along the left edge of the blue shape. Presented in a silver colored aluminum frame. Frame size: 32.245"H x 27.25"W Paper size: 29.75"H x 24.5"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of light yellow, very pale sky gray blue and soft lave...

Henri Clement-Serveau Art Deco : Women with Doves, 1925 Original woodcut Handsigned in pencil Numbered /160 On Perrigot vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp o...

Tom Huck SCUDS Year: 2011 Woodcut from 2 blocks Edition: 36 Paper: German Etching Paper Size: 39.5 x 23 inches Image Size: 35 x 19 inches Signed and numbered by hand COA provided To...

Sergio Hernández (Mexico, 1957) 'Lluvia de Estrellas', 2011 woodcut on paper Velin Arches 300 g. 45.7 x 81.9 in. (116 x 208 cm.) Edition of 10

Sergio Hernández (Mexico, 1957) 'Corral II', 2011 woodcut on paper Velin Arches 300 g. 29.6 x 41.4 in. (75 x 105 cm.) Edition of 10 Unframed

This piece titled "Fragments" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 19"w. Born in Mexico City, A...

Oriental figures is an original modern artwork realized after Katsushika Hokusai in the late 19th Century. Black and white woodcut print. Includes a gilded frame.

Sergio Hernández (Mexico, 1957) 'El Circo' (Circus), 2010 woodcut on paper Velin Arches 300 g. 45.7 x 78 in. (116 x 198 cm.) Edition of 40 Unframed

Ex libris realized by Renzo Alessandri in 1959. Woodcut print on paper. Hand signe. Excellent condition.

Fritz Eichenberg, 'The Pimp', wood engraving, 1980, artist's proof before the edition. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 3/16 to 3 1/2 inches), in excellent condition. Archivally sleeved, unmatted. Image size 12 x 9 3/4 inches (305 x 248 mm); sheet size 18 x 14 inches (457 x 356 mm). ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Woodcut in black (sumizuri-e) realized by Hokusai between 1807 and 1811. Belongs to the series "Chinsetsu Yumiharizuki" (Strange Tales of the Moonbow). A lifetime impression, in ver...

February -- Orchid. (Nigatsu - Ranjo no saku). 1956. Woodcut with hand-applied color from the verso. Kodansha vol.9 No. 125. 17 x 13 (sheet 18 1/4 x 21 1/2). Series: Calender in the ...

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of violet, from lilac to dark eggplant purple. The mon...

This artwork titled "Amos" 1960 is an original woodcut on paper by noted American artist Leonard Baskin, 1922-2000. It is hand signed, titled and numbered 35/50in pencil by the artis...

Ex Libris  - Giorgio Balbi is an Artwork realized in Mid 20th Century. Woodcut. Good conditions.

Pan with Flutes - Original Bay Area Woodblock Print Bold and dynamic print of the mythological figure Pan playing double flutes by John S. Cheatham (American.) Pan stands...

Woodcut in colors on vélin paper. Paper Size: 19 x 18 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Così fan tutte. Dramma giocoso in due atti. Musi...

This woodcut print evokes the peacefulness of ocean waves depicted in bright pink and deep, dark cobalt blue bringing2 to mind the tradition of Japanese printing while being distinct...