Ian Phillips

Moonlit, Ian Phillips, Contemporary art, Limited edition Lino print, Sea Art

2022

The Lost Ball' is a handmade linocut print by artist Colin Moore, featuring his signature graphic use of line and sophisticated colour palette. This handmade print uses layered tones...

Jennie Ing Primrose Hill: The View Limited Edition Print Edition of 40 Image Size: H 23cm x W 33cm Signed Sold Unframed Please note that in situ i...

Robyn Forbes Morning surf Limited Edition Screen Print Screen print on fine art paper Image Size: H 21 cm x W 21 cm x 0.1 cm Sheet/Canvas Size: H 31 cm x ...

North Downs Way by Lisa Benson [2019] limited_edition Linocut print Edition number OE Image size: H:10 cm x W:15 cm Complete Size of Unframed Work: H:15 c...

Original hand printed linocut by Ian Phillips of a Bluebell wood in the welsh hills. Memory of Spring [2022] Limited edition and hand signed by the artist Linocut Edition of 20 Im...

Joanna Padfield Wheelers in Yellow Limited Edition Linocut on paper Edition of 50 Signed by the artist Image size: H 15 x W 15 cm Paper Size/ Complete size of unframed print: H 25 x ...

LEOPOLDO MENDEZ (1902 – 1969) THE MAKING OF TORTILLAS 1954 Linocut. Edition unknown. This example signed in pencil and dated 1957. 14” x 47 3/8” ...

Biographical information on Maurice Robert Dey is hard to find. He was born on 1899 (or maybe 1900), in Switzerland. As an adult he lived and worked in Woodstock, the NY artists' c...

HERBERT GURSCHNER (Austrian / English (1901-1975) VILLAGE SCENE / TOWN FESTIVAL ca.1924 Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...

1950s modernist linoleum cut print titled 'Saturday Morning (Market, Taos Plaza, New Mexico) by New Mexican artist Barbara Latham. Depicting a busy Saturday morning at the market in Taos Pueblo with horse and cart, Native American figures, adobe buildings and mountains in the background. Presented in a custom frame with all archival materials, outer dimensions measure 16 x 17 ¾ inches. Image size is 8 ½ x 10 ½ inches. About the Artist: Beginning her career as a commercial artist, Barbara Latham travelled to Taos in 1925 seeking material for a greeting card. Serendipitously, she also found her life partner, Howard Cook, who was similarly looking for ideas for illustrations. Perhaps both were fueled in their quest by the tales of their mutual teacher, Andrew Dasburg, who knew of the energy and stimulation of this artist community. Observing local people and customs, Latham created genre scenes that offer a window into this now-vanished time and place. Her lively illustrations for numerous children's books are a significant contribution to that graphic art in the mid-20th century. Born in Walpole, Massachusetts, Latham's student days included Norwich Art School and Pratt Institute in Brooklyn; but it was contact with the charismatic Dasburg at the Art Students League in Woodstock that opened her world and her view of art. Getting work with companies like Norcross Publishing and Forum magazine, she eventually made her way to Taos. Among all the spirited young artists gathered there, she met Howard Cook, who was designing illustrations for Willa Cather's Death Comes to the Archbishop. The two married in Santa Fe and began a nomadic life together. The young couple made their way to Paris, a likely destination for modernist artists. Upon receiving a Guggenheim to study fresco painting in 1932, Cook, along with Latham, took an alternative direction and headed to Taxco, Mexico. At this time, Mexican muralists, such as Diego Rivera, were capturing the attention of progressive artists. During the Depression, both Cook and Latham aligned themselves with a populist ideal. Latham contributed work, such as "Fording the Stream" and "Bear Family," to the American Artists Group, which was founded to produce original prints at affordable prices. The couple also travelled in the Deep South to the Ozarks and to "Alabama's Black Belt." When Latham settled in Taos, she was committed to an art of and for the people. Rather than a romanticized re-creation, her choice of subjects was based in common everyday activities, favoring those which brought people together. Taos Pueblo was an ancient, indigenous community, and Latham's view extended that tradition into a contemporary, multi-ethnic village. Sharing some of the spirit of WPA photographs...

"Kiosk in Paris" British Linocut 1/150 European Modernism Swiss Vorticism Deco Lill Tschudi (Swiss, 1911-2004) Kiosk in Paris (Coppel LT 29) Linocut printed in brown black, vermil...

The only mention I can find of Evelyn G. Schultz is that she was a charter member of the San Diego Watercolor Society. But the medium of the linocut (here on tan paper) was frequentl...