technique AFTER HAVING WORKED WITH BLACK AND WHITE BLOCK PRINTS FOR ALMOST A DECADE, THE ARTIST STARTED COLOUR BLOCK PRINTING IN THE MID 30'S, THE ORIGINAL COLOUR BLOCK PRINTS BY WOLDEMAR NEUFELD ARE INDIVIDUALLY EXECUTED BY THE ARTIST THROUGH EVERY STEP. HE PERFECTED HIS COLOUR BLOCK PRINTING TECHNIQUE WHILE LIVING IN NEW YORK, AN ADAPTATION OF THE JAPANESE METHOD OF PRINTMAKING BY USING TWO OR MORE COLOURS ON THE SAME LINOLEUM BLOCK. SOME OF HIS PRINTS HAVE AS MANY AS FIVE BLOCKS WITH A CORRESPONDING INCREASE IN THE VARIETY OF COLOUR AND SHADING. USING HIS OWN HOMEMADE PRESS HE MIGHT PRINT UP TO 10 BLOCK PRINTS IN A DAY INKING EACH BLOCK IN TURN WITH A ROLLER OR BRUSH. THERE ARE NO TWO IDENTICAL PRINTS, EACH HAVING IT'S OWN IRREGULARITIES IN ITS VARIATION OF COLOUR AND DENSITY CREATING A TOTAL EFFECT OF INDIVIDUAL CRAFTSMANSHIP. ALTHOUGH, NEUFELD IS ACCOMPLISHED IN OTHER MEDIUMS ALSO, IT IS HIS BLOCK PRINTS THAT COMBINE MOST OBVIOUSLY HIS INTEREST IN BOTH ARTISTIC FORM AND DOCUMENTARY CONTENT, IT IS PERHAPS BEST EXPRESSED BY A. REESE OF THE KENNEDY GALLERIES IN NEW YORK WHEN HE SAID, "A CAPTIVATING QUALITY; TECHNICALLY ABLE AND GAY IN COLOUR, THEY ARE A DELIGHTFUL RECORD OF PLACES AND THINGS SEEN AND LIKED." THE 'JOIE DE VIVE' OF HIS PRINTS REFLECT THE MAN, THE BROKEN PULPIT 8 x 22 Ed. 100 revised 1968 Light blue water with olive green and brown foreground.