Keiji Shinohara Landscape Prints

FRANCES H. GEARHART (1869-1958) DESERT BARRIER c. 1933 Color block print, unsigned 12 x 9 ¼”. Typical original margins on good fibrous japan paper. Many very good impressions by G...

Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...

Signed in bottom right corner. Also signed and on the reverse, This is unique color woodcut monoprint numbered 1/1. An abstracted view into foliage at night.. In January 2018, the ...

This is an unique one-off Artist Proof, in a rare Extra-Large square format. A special Proof that only 3 have been made with hand gilded Gold Leaf. The outstanding hand-painted qua...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) SEA TREASURES...

FRANCES H. GEARHART (1869-1958) (Mt.) SAN JACINTO c. 1926 Color block print. Signed in pencil. Unknown edition but uncommon. Image 6 5/8 x 4 1/8 inches. On Gearhart's typical fibrous japan paper. Sheet 10 ½ x 5 7/8 inches. Generally fresh with her usual pinholes along right margin for printing, slight bit of discoloration in the margins Provenance: Whitmore - Print Corner, Hingham MA. Their Gearhart inventory no. They were Gearhart's principal East coast dealer in the 30's. Obtained from the Whitmore Collection’s grandson in 1995. Old Print Shop...

WILLIAM SELTZER RICE (1873 – 1963) WIND BLOWN POPLARS c. 1915-20 Color woodcut, Signed and titled in pencil. 9 x 12”. On thin paper....

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...

"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...

Beautifully executed original hand colored lithograph using gouache and watercolor. Scene in Surrey, England. Signedxwith monogram in plate lower left, Myles Birket Foster. Published by M. H. Long. Condition is very good. In original 2 inch wide birdseye maple antique frame with thick museum mat with gold innner edge. Overall 22 by 26 inches. Biography Myles Birket Foster (4 February 1825 – 27 March 1899) was a popular English illustrator, watercolour artist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster. Life and work Foster was born in North Shields, England of a primarily Quaker family, but his family moved south to London in 1830, where his father founded M. B. Foster & sons — a successful beer-bottling company. He was schooled at Hitchin, Hertfordshire and on leaving initially went into his father's business. However, noticing his talent for art, his father secured an apprenticeship with the notable wood engraver, Ebenezer Landells, where he worked on illustrations for Punch magazine and the Illustrated London News. On leaving Landells' employ, he continued to produce work for the Illustrated London News and the Illustrated London Almanack. He also found work as a book illustrator and, during the 1850s, trained himself to paint in watercolours. His illustrations of Longfellow’s Evangeline and books of poetry by other contemporaries were a great success, and he quickly became a successful artist in watercolours. Birket Foster became an Associate of the "Old" Watercolour Society (Later the Royal Watercolour Society) in 1860 and exhibited some 400 of his paintings at the Royal Academy over more than 2 decades. Birket Foster travelled widely, painting the countryside around Scotland, the Rhine Valley, the Swiss lakes and in Italy, especially Venice. In 1863 he moved to Witley, near Godalming in Surrey where he had a house ("The Hill") built. Being friendly with Edward Burne-Jones and William Morris, he had the house decorated and furnished in contemporary style, with tiles and paintings by Burne-Jones and Morris' firm, Morris and Company. The same year he published a volume of "English Landscapes," with text by Tom Taylor...

"Covered Bridge Near Columbia" - Woodblock Landscape on Tissue Paper Bold woodblock print by Charles Surendorf (American, 1906-1979). A covered br...

FRANCES H. GEARHART APRIL c. 1928-30 Color block print, signed and titled in pencil. Image 9" x 5". sheet 11 1/8 x 7 1/8. Very good impression. The usual tack holes at the right she...