Mari Ito Mixed Media

Paper size is 12 x 9 inches. Letraset, ink and pigment stick on handmade paper. Framed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before ...

Abstract Geometric Composition with Handmade Paper, Fibers and Acrylic on Canvas (Red) Whimsical abstract composition by an unknown artist (20th Century). Red acrylic paint makes up...

"Enshoku Sanju-roku Kasen" (Thirty-six Enchanting Flowers) Woodblock on paper Elegant woodblock print by Toyohara Kunuchika (Japanese, 1835-1900). Three women are in talking with each other inside, while a man waits outside holding a bag of some kind. The colors in this piece are rich and saturated, primarily blues, greens, and purple. Mat size: 16"H x 20"W Paper size: 14.75"H x 9.88"W Born in 1835, Toyohara Kunichika grew up in the Kyobashi district of Edo in the midst of merchants and artisans. In 1848, at age 13, he was accepted as an apprentice into the studio of Utagawa Kunisada I...

This large abstract contemporary statement painting by Roger Mudre features many light circle shapes, layered over one another in a concentric fashion and a cool blue and silver pale...

Kabuki actor Nakamura Shikan II by Utagawa Kunisada Japanese Woodblock Print Wonderful portrait of Nakamura Shikan II, a prominent kabuki actor, in the role of Kisen Hoshi Toyokuni ...

Lesley Anne Spowart (American, born 1957) "Where the Wild Things Are" 2025 Acrylic Paint, Oil Paint, Mixed Media, Paper, Glue, Wood Panel The artist signed the bottom middle and the ...

"Toy Horse Dance" Japanese Woodblock Triptych with Beauties and Mt Fuji Vibrant three-panel woodblock print by Utagawa Toyohiro (Japanese,...

Mitate of a Daimyo's Procession Crossing Ryogoku Bridge - Woodblock Print Woodblock print of a procession by Keisai Eisen (Japanese, 1790–1848). Terrific triptych of a procession of...

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...

Page from "Spring View in Takanawa" Mid 18th Century Ukiyo-e Print Left page from the triptych print "Spring View in Takanawa" by Utagawa Kunisada (Toyokuni III) (Japanese b. 1786 d...

"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...

Paper size is 14 x 10 inches. Letraset, ink and pigment stick on handmade paper. Framed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before...