Sumi Ink Prints and Multiples

This serigraph print is for sale from Roy Fairchild's Personal Collection. This print will come with a certificate of authenticity from London Contemporary Gallery and a unique signed letter from Roy Fairchild himself authenticating the work and detailing that this is from his personal collection. Roy Fairchild-Woodard was born in 1953 in Surrey, England. He currently lives and works most of the year in the peaceful environment of his Country home. The rest of the year he travels throughout Europe; Italy in particular, to obtain new sources of inspiration. His affinity with Italy is the painters of the Renaissance, especially their frescos, tapestries and paintings. The plasterwork of the frescos is alluded to in his use of plaster as a base for his acrylic and oil overpaints. Also the influence of Egon Schiele and Gustave Klimpt can be seen in his occasional reference of line and decoration. He received a degree in graphic design and started working under the name Woodard to produce more commercial...

Louise Bourgeois Be Calm Butter or Trinket Dish, 2017 Screenprint on Ceramic 6 × 4 × 1 inches Unframed Stamped by artist's estate, bears printed copyright and name stamp of The Easto...

Set of 12 woodblock prints in colors on handmade, laid mulberry paper, 6 3/4 x 10 1/4 inches (170 x 258 mm), printed in Ka-ei 4 (1851). Each print with minor handling wear, otherwise in excellent condition with bright and fresh color, and with details printed in silver ink. The images themselves contain several illusive characters indicating the publisher which are obfuscated by figures, as intended. Presented loose, as issued. A fine set. The astrological commentary print has a large and meandering blind stamp with a bird and palm frond motif. This print lists various phrases concerning the Twelve Zodiac Animals as historically counted in Japan, and appears to include erotic commentary on the traits of people born under each of the twelve signs. These Shunga images were issued in books that paralleled (in an erotic fashion...

Tracey Emin My Heart is With You Always, framed with hand signed and inscribed tag, 2015 Embroidered Linen Handkerchief, Hand Signed, dated and Inscribed in Ink on attached tag Signe...

KERRY JAMES MARSHALL Set of Six (Six) Scout Series Embroidered Patches, 2017 Rayon thread on poly twill backed embroidered patches, set of six. Brand new in original packaging. Large...

Rome: 1795. Each an engraving with extensive hand coloring on laid paper, some with a partial heraldic watermark, each 6 5/8 x 4 3/4 inches (165 x 120 mm); (sheet) 10 1/4 x 7 1/8 in...

The unapologetic Portrait of Maya #10 (2024), originally conceived as a monumental 8-foot-tall artwork as part of the Broad Collection 2017, is a bold celebration of love and sexuali...

Andreani, Andrea (Italian, about 1558–1610), after Andrea Mantegna (Italian, 1431-1506) Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and...

Engraving on light weight laid paper with an small indiscernible, alphabetic watermark, 9 x 7 1/2 (230 x 188 mm); sheet 11 1/4 x 8 1/2 inches (284 x 215 mm), wide margins. In very go...

Title: Portrait Of Samurai Medium: Woodblock Print Style: Ukiyo-e Size: 13 1/2"" x 9 1/2"" Frame Size: 18 1/2"" x 14 1/2"" Signature: Kunisada Provenance: Collection from E...

"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...

Mixed media Year: 2009 Signed and dated by hand Size: 23.0 × 16.4 on 28.3 × 20.3 inches COA provided Solo exhibitions (selection) (K)=catalogue (B)=artist book 1992 GO -TO, WMF-Haus/Leipzigerstrasse, Berlin 1995 ÖL,ÖL,ÖL, Croxhapox, Gent, Belgium 1995 COOKIE PARK, Wiens Laden, Berlin (B) 1997 QUIT, Museumsakademie, Berlin (B) 1998 HEAVEN HAS HOLES, Boekie Woekie, Amsterdam, Netherlands 1998 QUALITY STREET, Eine Vitrine, Stiftung Bauhaus Dessau (B) 1999 HEAVEN HAS HOLES, Galerie Barbara Wien, Berlin 1999 0,0 TOTAL, Museum Folkwang, Essen (B) 2000 0,0 TOTAL, Galerie Barbara Wien, Berlin 2001 DOSENZIMMER/BERNSTEINZIMMER (room of cans / room of amber), mit Friederike Feldmann, Galerie Station, Mousonturm, Frankfurt a. M. 2002 MOTORGIRLS, Kunstbank, Berlin 2003 MOTORGIRLS, Galerie Thomas...