Luigi Spacal Interior Prints

"House Cleaning in Preparation for the New Year" - Japanese Woodblock on Paper House cleaning scene by Kitagawa Utamaro (Japanese, 1753-1806). This print was originally published around 1796-1799, with this example being a later reprint. The full scene is five sheets - there are two more sheets to the right that show more members of the house. However, it is these three sheets that contain the majority of the action - a maid sweeping at a mouse, a lady fainting, and a painting moved aside to allow for cleaning. Presented in a new black mat. Mat size: 24"H x 38"W Paper size: 17.75"H x 33"W Print Impression: 14.63"H x 29.5"W Utamaro Kitagawa...

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...

GUSTAVE BAUMANN (1881 – 1971) THE RUG WEAVER, 1910 (Chamberlain 26) Color woodcut signed in pencil. Unnumbed from an edition 100 as published in the Hills o’ Brown...

Ukiyo-e Style Woodcut Untitled, c. 1900 Woodcut print Sight: 13 1/2 x 28 3/4 in. Framed: 22 1/4 x 37 1/4 in.

An American painter, printmaker, and illustrator. His work was featured in "The Masses" and at the Metropolitan Museum of Art and Pennsylvania Academy of the Fine Arts. This wood en...

A nice rare woodcut by the noted American Artist Will Barnet. This woodcut is from 1939 and is titled and pencil signed on the base "Early Morning", Will...

The Case Against (XL), 2023 Woodcut on paper 67 9/10 × 46 7/10 in (172.5 × 118.5 cm) Edition of 50 Hand-signed and numbered by the artist Happiness: The Case Against is a body of ...

Untitled Woodcut print Sight: 16 x 29 1/2 in. Framed: 23 x 36 1/2 in.

Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm). Literature and Exhibition: Back cover illustration of the catalog of the artist’s prints, 'Helen Hyde', Smithsonian Institution Press, 1990; 'The International Block Print Renaissance, Then And Now, Block Prints In Wichita, Kansas, A Centennial Celebration — 1922-2022', Barbara J. Thompson, Wichita Art Museum, 2022 (back cover). Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art. ABOUT THE ARTIST Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth. Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work. Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown. After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors. Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene. Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago. During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence. In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California. Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints...

"Incredible String Band" is an original color woodcut, serigraph, and monotype by Carol Summers. It depicts classical architecture surrounding Summer...

Japan: circa 1770. Woodcut on cream laid paper, 7 1/4 x 2 1/2 inches (182 x 63 mm), narrow margins. Laid down to non-archival board with scattered soiling and some adhesive staining...

André DESLIGNIERES (1880-1968) Old Trades : Laundress, 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...