Showa Prints and Multiples

Ohara Koson (1877-1945), 'Eagle on Snow Covered Pine', color woodblock print, c. 1905. Signed 'Koson' with the artist’s red seal 'Koson'. A very fine impression, with fresh colors on cream Japan paper; embossing in the snow-laden branches and the falling snow rendered with hand-splashed ‘gofun.' The full sheet in excellent condition; stamped 'MADE IN JAPAN' lower left, verso. Published by Nishinomiya Yosaku; a pre-WWII impression. Image size 13 11/16 x 7 7/16 inches (348 x 189 mm); sheet size 14 1/2 x 8 1/8 inches (368 x 206 mm). Archivally sleeved, unmatted. Literature: 'Crows, Cranes, and Camellias: The Natural World of Ohara Koson', Newland, Amy R.: Jan Perree & Robert Schaap, Leiden: Hotei Publishing, 2001. pg. 86, pl. 67. ABOUT THE ARTIST Koson Ohara...

"Farewell" is an original color woodcut by Carol Summers. The artist signed the piece. This woodcut depicts a river flowing through green hills beneath a blood-red sky. The edition number is 20/50. 24 1/4" x 37" art 32" x 45" frame Carol Summers 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...

Hooves. 1927. Woodcut. 7 1/2 x 12 (sheet 11 7/8 x 15 1/8). Printed on heavy Japanese mulberry paper. Signed, dated, and titled in pencil. An example of this work is in the collectio...

Anonymous, Japanese Kimono Fabric Design, color woodcut, c. 1930. A superb impression, with fresh colors, fine graduations, and metallic gold motifs, on ...

Avery, Milton. NIGHT NUDE. Woodcut, 1953. Edition of 25 in black and white (there were a further 25 printed in black and blue). Signed, dated and numbered "6/25" in pencil, and also ...

Shoko Uemura, 'Inside the Flowers (Java Sparrow and Peach Blossoms)', color woodcut, c. 1950s, edition 300. Signed in ink with the artist’s red seal beneath. A fine impression, with ...

Hokuto Tamamura (1893-1951), 'The Spirit of the Wine' (Shuten Dōji) - from Dai Chikamatsu Zenshu (The Complete Works of Chikamatsu)', color woodblock, 1923-26. Signed 'Hokuto'. A fin...

Hajime Namiki, 'Weeping Cherry 16 A', color woodblock print, 2012, edition 200. Signed in pencil with the artist’s red seal. Titled, dated, and numbered ...

"Arroyo" is an original woodcut and monotype by Carol Summers. The artist signed the piece. It is from an edition of 120 and depicts an abstract landscape in blues and greens. 14 1...

This Winslow Homer woodcut engraving entitled "Making Hay", was published in Harper's Weekly in the July 6, 1872 edition. It depicts a two men hand cutting high grass on a hill. The man in the foreground is looking at a young boy and a girl (presumably his children), who are sitting on the ground with a picnic basket. This beautiful Homer woodcut engraving is presented in a brown wood frame and a light beige fabric mat with a black inner mat. The print is in excellent condition. There are two other Homer woodcut engravings in identical frames and mats that are listed on 1stdibs. See LU117326148332 and LU117326148272. These would make a wonderful display grouping. A discount is available for the purchase of two or all three of these prints. This Winslow Homer engraving...

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

Elia Shiwoohamba (* 1981 , Windhoek, Namibia ) Harvesting Time • African School • Linoleum cut • Sheet ca. 34.5 x 43 cm (Image is smaller) • Bottom left numbered 8/50 and titled • ...