Woodcut Prints and Multiples

Signed on plate with Felix Vallotton's F.V. monogram. Image Dimensions : 16 x 12.5 cm Passepartout included : 39.5 x 34.5 cm This artwork is shipped from Italy. Under existing legis...

All The Things - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yoursel...

Myril Adler "Antique" portrait c.1960s Woodcut on tissue affixed to orange paper 3.5"x5.5" site unframed Signed and titled in ink Myril Adler, was born on...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-19...

Little Spring Horse is an original modern artwork realized by Keisai Eisen in 1820-30. Woodcut Print Oban Format From the series "Osana asobi" (Children'...

Berenice Color woodcut, 1900-1910 Signed with the artist's red ink stamp (see photo) Edition: 50 (46/50) Signed with the artist's red ink initials stamp, Lugt 1771, Sup. Condition: E...

Sailor is an original xilograph on ivory-colored, realized by the Italian Artist Lorenzo Viani in 1930ca. Monogram of the artist on the lower left" LV"....

Medium: original color woodcut. Reference: Dupin 1289. Published for the Jacques Dupin catalogue raisonne "Miro Graveur I" in 1984. Sheet size: 12 1/2 x 9 3/4 inches (320 x 248 mm). ...

1922 Initialed, titled, and dated in pencil, lower margin Woodcut on cream wove paper with original colophon (Edition of 125) 10 x 15 inches (25.4 x 38.1 cm), sheet This work is ...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Shore Break by Rod Nelson [2021] limited_edition and hand signed by the artist Woodcut Print on on Somerset Satin 300gsm acid free paper Edition number of ...

Visit is an original artwork realized by Jules Chadel (1870-1941). Woodcut print. Hand signed on the lower right. Is not dated but we can attribute the period late 19th Century. Passpartout cm 44,5x32,5 The artist presents an interior of a room with men talking around a bad. Good condition. Jules Chadel (1870-1941) was a french artist who was born in 1870. He studied in Paris at the Ecole des Arts Décoratifs. Around 1903 his skills as a draftsman landed him jobs with jewelry designers. This also led him to discover Japanese...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Frame: 37 x 37 in This is an artist's proof from the edition of 100 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. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Medium: original woodcut. Printed in 1947 in an edition of 950 on Rives wove paper for "Pierre a feu / Les miroirs profonds" and published in Paris by Maeght. Image size: 8 1/4 x 6 1...

Medium: original woodcut. Catalogue reference: Colnaghi 142. Published in London in 1921 by Herbert Furst at the Little Art Rooms for inclusion in the "Modern Woodcutters 4" volume, ...

Kabuki Actor is a woodcut print realized by Utagawa Kunisada in 1848/49. Lifetime impression in very good condition, except for some very minor sign of time.

Great Northern Diver is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored pap...

Actor in onnagata role accompanied by a kamuro is an original artwork realized in the 1850s by Utagawa Kuniyoshi (January 1, 1798– April 14, 1861). Woodcut Print. Sign.: Ichiyusai ...

Meishoe is an artwork realized in the 1865 by Utagawa Hiroshige II (Ni-daime Utagawa Hiroshige, 1826 – 17 September 1869). Woodcut Print Oban Format. From the series "Suehiro gojus...

This is a unique working proof for one of six images that comprise the group of prints called The Gathering. Signed and titled in pencil, Working Proof II. Reyes attended The Schoo...

Zodiac Signs - The Two Fish is original Black and white woodcut, realized by Italian artist Piero C. Antinori. Excellent condition. Written on the lower left; Original woodcut of P...

Woodcut on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Jean Arp, Dreams and Projects, 1951-1952. Published by Curt V...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi, First Exhibition of ''Hever Omanim'' First Exhibition of ''Hever Omanim'' Steimatzky Gallery, Jerusalem 1936 Artists: Gutman, Nachum Holzman, Shimshon Mokady, Moshe Sima, Miron Rubin, Reuven Steinhardt, Jakob Ben Zvi, Zeev Ziffer, Moshe Allweil, Arieh Group Exhibition Group Exhibition Katz Art Gallery, Tel Aviv 1939 Artists: Avni, Aharon Holzman, Shimshon Gliksberg, Haim Gutman, Nachum Ovadyahu, Shmuel Shorr, Zvi Schwartz, Chaya Streichman, Yehezkel Tagger, Sionah Rubin, Reuven A Collection of Works by Artists of the Land of Israel A Collection of Works by Artists of the Land of Israel The Bezalel National Museum, Jerusalem 1940 Artists: Shemi, Menahem Rubin, Reuven Avni, Aharon Mokady, Moshe Jonas, Ludwig Steinhardt, Jakob Ticho, Anna Krakauer, Leopold Gutman, Nachum Budko, Joseph Ardon, Mordecai Sima, Miron Castel, Moshe Pann, Abel Struck, Hermann Gur Arie, Meir Ben Zvi, Zeev Litvinovsky, Pinchas Artists in Israel for the Defense, Tel Aviv Museum of Art, Helena Rubinstein Pavilion, Tel Aviv 1967 Artists: Avraham Binder, Motke Blum, (Mordechai) Samuel Bak, Yosl Bergner, Nahum Gilboa, Jean David, Marcel Janco, Lea Nikel, Jacob Pins, Esther Peretz...

Portrait of Giorgio Morandi is an original modern artwork realized the half of the XX Century by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original woodcut print o...

This artwork titled "The Sun Flower" c.1990, is an original colors woodcut on Wove paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, titled and numbered 9/20 in...

Dahlias Color woodcut, 1939 Unsigned (as usual) Format: oban Publisher: Takemura Hideo Stamp verso: "Made in Japan" Provenance: Robert O. Muller Biography Hodo Nishimura...

Deutzia Flowers: The Wife of Kasamori - Original Woodblock Print Deutzia Flowers: The Wife of Kasamori, from the Series "Beauties of the Floating World Associated with Flowers" by S...

'Flower Piece' shows the artist, John Billmyer, to be a highly accomplished wood engraver. There are endless patterns and created details -- all executed flawlessly. Mostly made up o...

Sculptor at work is an artwork realized in the Early 20th Century after Takakane Fujiwara. Sheet dimensions: 30 x 19.5 cm. Reprint. Good conditions.

Hard Margins - Hell Plate 19, is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued. G...

This intricate woodblock print is a fine demonstration of Kunisada's later works. Depicting a beautiful lady dressing in floral kimono and decorative hair pieces. The signature to th...

This Japanese woodblock print is by the noted sosaku hanga artist Hiroyuki Tajima (1911-1984). It measures 24 x 18 inches, (25 x 19.5 inches the sheet, 33.25 x 26.25 inches framed). ...

edition 1/5 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

MARIA STELMASZCZYK (born in 1983) Studies at the Faculty of Graphic Arts and Painting Laboratory of Woodcut Techniques and Artistic Book at the Academy of Fine Arts Władysław Strzemi...

Untitled is a beautiful black and white xylograph on ivory-colored paper, realized in 1945 by the French artist Simon Martin. Signed, dated and numbered in pencil on the lower margi...

Leonard Baskin (1922-2000) Untitled, Late 20th Century Woodcut Framed: 32 x 24 1/4 x 1/4 in. Edition 26/50 Signed and numbered lower right A highly respected draftsman, printmaker, ...

Modern black and white abstract woodcut print. The piece features lush trees and foliage growing in a yard behind a house. There are three central figures standing next to a pole and...

The Japanese tea ritual is a breathtaking ukiyo-e, a original woodblock print on paper, realized at the half of trhe 19th century by the great master, Utagawa Toyokuni II...

Short-Eared Owl is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870...

Alex Katz (b. 1927) Untitled, from the portfolio 'A Tremor in the Morning', 1986 Woodcut on wove paper Edition 32/45 Signed and numbered in pencil lower left Sheet: 20 x 19.75 inches...

Seibutsu (Still Life) A Vase and Apples Color woodcut, 1925 Signed on the mount (support sheet) From: Dojin zasshi, Hanga Magazine, Volume 8, No. 8 Condition: Excellent Image/Sheet ...

Tim Engelland (American, 1950-2012) Dim Sum!, 1991 Woodcut 8 1/2 x 11 in. Signed dated lower right: T. Engelland, '91 Titled lower middle: Dim Sum! Numbered lower left: 73/150 A lifelong artist, Engelland specialized in oil portraits and landscapes, and also worked extensively in woodcuts and linocuts. He was born on Jan. 5, 1950, in Ames, Iowa, the son of Charles Wilbur “Will” Engelland and Patricia Fairman Engelland.. Tim grew up in Terre Haute, IN, attending Fairbanks Elementary School and Indiana State University’s Laboratory School. He knew he wanted to be an artist from an early age, and was mentored by Lab School’s John Laska, graduating in 1968. He received a BFA from Temple University’s Tyler School of Art; was a Norfolk Fellow at Yale University; and received his MFA from Cornell University, teaching there for two years after graduation. He spent the majority of his career, from 1976-2004, at Deerfield Academy, a prestigious preparatory school in Deerfield, Mass. There he taught art and photography, coached basketball and lacrosse, and served as faculty resident. When the school began accepting female students, Tim designed The Deerfield Girl, a bronze statue to accompany The Deerfield Boy statue standing in the school’s Memorial Building. Along with John O’Brien and Peter Fallon, Tim founded the Deerfield Press, publisher of limited-edition illustrated poems and stories; James Dickey, John McPhee, and Seamus Heaney are among the authors whom the Press published. For several decades, Tim served on the faculty at the Advanced Placement Summer Institute in St. Johnsbury, Vt., and as a consultant to the College Board. He spent sabbaticals in New York City and Boston, and he has exhibited in galleries in those cities and many other venues. His work can be found in the National Library of Ireland, Boston’s Museum of Fine Arts, and in private collections worldwide. In 2004, Tim returned to Indiana. He was married to Susan Karen Carpenter...

Signed and numbered from the edition of 88. This tranquil scene of the moon at night by the waters' edge shows Schwaberow's technicque at its best. The grain of each piece of wood plays into the image perfectly. Micah Schwaberow was born in Eugene, Oregon and currently resides In Santa Rosa, California. The rolling hillsides, cloudscapes and coastline of Sonoma County are a major motif in his woodcuts. Seascape with light reflecting on the water just after sunset. Micah learned the art of Japanese woodblock art...

Woodcut on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Jean Arp, Dreams and Projects, 1951-1952. Published by Curt V...

Tree is a woodcut realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Woodcut on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Jean Arp, Dreams and Projects,...

Pierre Eugène VIBERT (1847-1902) Classical Portrait, 1926 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...

Japanese Christmas Tree is an original modern artwork realized by a Japanese artist in the mid-20th Century. Original colored woodcut on cardboard. Image Dimensions: 15 x 10 cm Th...

Little Owl is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colo...

The Greatest Beauty of Beatrice - The Divine Comedy is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not s...

Libro de Miguel Angel Dieguez is a Modern Artwork realized in 1903, by the Spanish Artist Joaquín Diéguez y Díaz. Coloured woodcut on paper. Hand signed on the back The work is g...

Haren Das - Untitled Woodcut on Paper 12.28 x 9 inches, 1991 ( Unframed & Delivered ) This 1991 print by Haren Das beautifully captures a serene rural scene with fine detailing and ...

Aracne -  "The Divine Comedy" - Song 12 -  Purgatory  is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not s...

Large scale limited edition woodcut print of an an abstracted scene with landscape elements and rough figural forms including a dog, house and tree that emerge from chaotic linear ab...

Delicate makeup in fashion is an original modern artwork realized by Utagawa Kunisada in 1830s. Woodcut Print Oban Dyptich Format. From the series "Jisei usugesho" (Delicate makeup in fashion). An actor prepares him self for a rolle as Onnagata in a Shosagoto play, with the ghost characters of the sister Matsukaze and Murasame. He sits in front of a makeup table and applies makeup to his eyebrows, behind him on a black lacquer shelf...

Vibrant multi-layer woodblock print by Robin Blake (American, 1955). Three layers of neon ink (yellow, magenta, and blue) form a zoomed-in composition of pills. The bright colors cre...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

The station Yui on the coast and Mount Fuji is an original modern artwork realized after Utagawa Hiroshige, in the early 20th Century. Woodcuc Print format Oban Yokoe. Frame is inc...