Sentences with phrase «woodcut in»

Woodcut in 8 colors on buff laminated Nepalese handmade paper, 31 1/2 x 21 1/2 in.

Woodcut in 102 colors on 3 sheets of TGL handmade paper, 41 3/4 x 79 1/2 in.

HELEN FRANKENTHALER Essence Mulberry (H. 57) woodcut in colors, 1977, the colors fresh, on buff Maniai Gampi handmade, signed and dated in pencil, numbered 21/46, published by Tyler Graphics Ltd., Bedford Village, New York, with their blindstamp, the full sheet printed to three sides, soft rippling throughout (characteristic of this paper) stronger along the upper edge, several vertical hairline fissures in the center of the image (common to this edition), soft crimping at the extreme lower edge of the sheet, otherwise in very good condition S. 39 1/2 x 18 3/4 in.

HELEN FRANKENTHALER Cameo woodcut in colors, 1980, on TGL gray - pink handmade, signed in pencil, numbered 28/51 (there were also 10 artist's proofs), with the Tyler Graphics blindstamp, the full sheet, in excellent condition, framed S. 42 x 32in.

HELEN FRANKENTHALER All About Blue (H. 235) lithograph and woodcut in colors, 1994, on handmade Kozo, signed and dated in ink, numbered 5/38 (there were also 12 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, apparently in excellent condition, not examined out of the frame S. 48 1/2 x 29 in.

HELEN FRANKENTHALER East and Beyond (W.C. 44; S. 25) woodcut in colors, 1973, on beige Nepalese handmade, signed and dated in pencil, inscribed «Artists proof» and numbered 6/6 (the edition was 18), with the ULAE blindstamp, with full marginsin excellent condition, framed S. 32 x 22in.

Helen Frankenthaler Grove 1991 Woodcut in colors, on off - white Awagami - Fujimori handmade paper, with full margins, I. 16 7/8 x 20 7/8 in.

-- A colored woodcut in pristine condition dating from 1478 by Anton Sorg.

HELEN FRANKENTHALER (B. 1928) Cedar Hill (Harrison 121) woodcut in colors, 1983, on handmade Mingei Momo, signed and dated in pencil, numbered 43/75 (there were also 18 artist's proofs), published by Crown Point Press, Oakland, the full sheet, the colors very slightly attenuated, the palest light - staining, otherwise in very good condition, framed S. 20 1/4 x 24 3/4 in.

HELEN FRANKENTHALER (b. 1928) Cedar Hill (Harrison 121) woodcut in colors, 1983, on Mingei Momo, signed and dated in pencil, numbered 42/75 (there were also 18 artist's proofs), published by Crown Point Press, the full sheet, in excellent condition, framed S. 20 1/8 x 25in.

HELEN FRANKENTHALER Freefall (H. 233) woodcut in colors, 1993, on hand - dyed TGL, signed and dated in pencil, numbered 7/30 (there were also 12 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, apparently in very good condition, not examined out of the frame S. 78 1/2 x 60 1/2 in.

HELEN FRANKENTHALER Cedar Hill woodcut in colors, 1983, on Mingei Momo handmade, signed and dated in pencil, numbered 33/75 (there were also 18 artist's proofs), with the Crown Point Press blindstamp, the full sheet, in excellent condition, framed S. 20 1/4 x 25in.

HELEN FRANKENTHALER Savage Breeze (W.C. 51; S. 29) woodcut in colors, 1974, on beige Nepalese handmade, signed and dated in pencil, inscribed «H / C» and numbered 4/4 (the edition was 31 plus 4 artist's proofs), published by ULAE, with full margins, in excellent condition S. 32 x 27 1/2 in.

Helen Frankenthaler Tales of Genji V, from Tales of Genji 1998 Ukiyo - e woodcut in 49 colors from 21 woodblocks, with pochoir, on TGL handmade paper, the full sheet, S. 42 1/4 x 47 in.

Yoshitomo Nara's Words Mean Nothing at All is a Ukiyo - e woodcut in an edition of 25, mounted on archival cardboard.

These themes are also present in a separate two - part woodcut in which street performers dressed in Donald and Daisy Duck costumes are observed in a moment of repose, with their duck heads detached from their bodies and their human heads exposed for all the world to see.

Woodcut in More...

HELEN FRANKENTHALER (B. 1928) East and Beyond (Harrison 41) woodcut in colors, 1973, on Nepalese handmade, signed and dated in pencil, numbered 4/18 (there were also 6 artist's proofs), with the ULAE blindstamp, West Islip, New York, with full margins, a few soft creases in the upper margin, hinged to the support in two places at the reverse of the upper margin edge (slightly showing through), otherwise in very good condition, framed B. 23 5/8 x 17 7/8 in.

HELEN FRANKENTHALER All About Blue (H. 235) lithograph and woodcut in colors, 1994, on handmade Kozo, signed and dated in ink, numbered 24/38 (there were also 12 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, in very good condition, framed S. 48 1/2 x 29 in.

HELEN FRANKENTHALER Radius (H. 234) woodcut in colors, 1992 - 93, on White TGL handmade, signed and dated» 93» in pencil, numbered 30/30 (there were also 8 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, one small area of surface soiling in the upper left sheet corner, hinged to the support in places at the reverse of the sheet edges, otherwise in very good condition, framed S. 28 x 28 in.

Helen Frankenthaler (American, 1928 - 2011), «Geisha,» 2003, Ukiyo - e woodcut in 23 colors on Torinko paper, pencil signed and dated lower right, edition 39/50, published by Pace Editions, Inc. (New York, NY), gallery label (Lillian Kornbluth Arts, Santa Barbara, California) affixed verso, image / sheet: 38 «h x 26 «w, overall (framed): 42 «h x 30 «w. Provenance: Estate of Lillian Kornbluth (Paterson, New Jersey / Santa Barbara, California)

HELEN FRANKENTHALER Cameo (H. 75) woodcut in colors, 1980, on TGL handmade, signed in pencil, numbered 10/51 (there were also 10 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, a minute abrasion with associated ink loss in the lower left quadrant, otherwise in very good condition, framed S. 42 1/8 x 31 7/8 in.

HELEN FRANKENTHALER (B. 1928) Cameo (Harrison 75) woodcut in colors, 1980, on TGL handmade, signed in pencil, numbered 10/51 (there were also 10 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, the colors attenuated, otherwise in good condition, framed S. 42 1/8 x 31 7/8 (1070 x 810 mm.)

HELEN FRANKENTHALER Madame Butterfly woodcut in colors, 2000, on three sheets of wove paper, signed in pencil, numbered 31/33 (there were also 14 artist's proofs), published by Tyler Graphics, LTD., Mount Kisco, New York, the full sheets, each sheet hinged in places at the reverse of the sheet to the support (with associated soft rippling), otherwise apparently in very good condition, not examined out of the frame Overall: 41 x 79 in.

The Los Angeles County Museum of Art (LACMA) presents The Chiaroscuro Woodcut in Renaissance Italy, the first major exhibition on the subject in the United States.

HELEN FRANKENTHALER (B. 1928) Cameo (Harrison 75) woodcut in colors, 1980, on TGL handmade, signed in pencil, numbered 10/51 (there were also 10 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, in very good condition, framed S. 42 1/8 x 31 7/8 in.

Woodcut in colours, signed in pencil, numbered 12/48 on the reverse.

Plus: Students identify rare Dürer woodcut in German museum National Gallery of Art returns Schnorr von Carolsfeld drawing to heirs of Holocaust victim and Harvard launches Bauhaus database

Los Angeles, CA — Gouge: The Modern Woodcut 1870 to Now examines the woodcut in terms of its diverse forms and uses in the modern era.

Michel Wolgemut, German, 1434 — 1519, Wilhelm Pleydenwurff, German, c. 1458 — 1494, and Albrecht Dürer, German, 1471 — 1528, View of Nuremberg, 1493, hand - colored woodcut in Hartmann Schedel, Liber Chronicarum (Nuremberg Chronicle)(Nuremburg: Anton Koberger, 1493), Paul Mellon Collection, in Honor of the 50th Anniversary of the National Gallery of Art, 1991

Photo: John Jerome; Donald Judd, untitled, 1961, Liquitex and sand on plywood, with routed lines, 48 x 96 in; Donald Judd, untitled, 1961 - 1978, woodcut in ivory black on offset paper, 22 x 30.5 in; Donald Judd, untitled, 1962, oil and wax on canvas, 69 x 101 3/4 in; Donald Judd, untitled, 1963, Cadmium red light and black oil on wood with galvanized iron and aluminum, 50 x 42 x 5 1/2, installed on the Fifth Floor of 101 Spring Street, New York.

A lithograph and woodcut in colors, on triple layered Kozo by Post War / AbEx artist Helen Frankenthaler.

Woodcut in color.

Pop artists abandoned traditional modes of printmaking such as etching and woodcut in favor of more commercial approaches to the medium.

He exhibited with the Vorticists in 1915 and had his first solo exhibition of drawings and woodcuts in 1919 at the Adelphi Gallery.

In this exhibition, viewers will be able to view the woodcuts in tandem with the film, gaining insight into not only the artist's creative process, but also the seemingly magical ability of film to transpose concrete form into ephemeral imagery.

The Complete set of 100 woodcuts in colors...

The rest of the canvas is densely filled with bold, instinctual marks like the harsh black lines of German Expressionist woodcuts in the first decades of the twentieth century.

Although Frankenthaler made only two woodcuts in the 1980s, Cameo (1980) and Cedar Hill (1983), they remain among her most significant woodcuts.

We hope that showing her paintings and woodcuts in tandem will serve as a reminder and a reaffirmation of Frankenthaler's status as an artist of enduring value ---- and introduce her exceptional works to new audiences as well.»

Wood engravings differ from woodcuts in that they are created using the endgrain of the wood — a cross-section of a tree trunk or branch — rather than a plank.

Her woodcuts in this style became some of her most sought - after editions, as exemplified by her series Book of Clouds (2007).

Woodcuts in Modern China is organized by the Picker Art Gallery at Colgate University.

The Rising Tide of Change: Modern Woodcuts of China Renee Covalucci, co-curator of the exhibition, Woodcuts in Modern China, 1937 — 2008: Towards a Universal Pictorial Language, is a Boston - based printmaker and an adjunct professor of Fine Arts at Lesley University.

It was Miró, looking back to Gauguin and Japanese print - making, who decided on the labour intensive practice of woodcutting in pursuit of a book as sculpture.

Moore makes two woodcuts in 1931, his only works in the medium and he doesn't explore printmaking again until 1939.

Richard Tuttle began making his first prints and woodcuts in 1965 and has continued to create prints and artist's books throughout his prolific career.

These new works include a major painting by the midcareer African American artist Glenn Ligon; a select group of 51 works by American artist James Castle; a spectacular baroque silver relief by Giovanni Antonio Fornari; outstanding Dutch paintings by Jan Asselijn, Jan van der Heyden, and Aelbert Cuyp; important collections of photographs by Linnaeus Tripe, Mark Ruwedel, and Robert Frank; a fine copy of the illustrated book the Hypnerotomachia, containing the most important series of woodcuts in the Italian Renaissance; and a large pastel by Italian artist Francesco Paolo Michetti.

The deluxe - format volume features 80 woodcuts in brilliant color, some with collage elements — torn papers, butcher's paper, 19th - century wood engravings, and more — pasted on individual pages.

Not exact matches

At his request, I would send him various recently published scholarly works on Shakespeare and in return he'd send me eighteenth - century Russian woodcuts, one of which hangs in my apartment to this day.