A striking woodcut by Dutch designer Karel Petrus Cornelis de Bazel, featuring geometric typography and symbolic figurative elements.

This woodcut by Karel Petrus Cornelis de Bazel functions as an admission ticket for the fourth part of the theatrical work 'Adam'. De Bazel, a prominent Dutch architect and designer, was deeply involved in the Theosophical movement, which often informed the symbolic and geometric nature of his graphic output. The composition is divided into two distinct zones: a block of stylised, hand-lettered text on the left and a figurative panel on the right.

The typography exhibits the characteristic influence of the Arts and Crafts movement, with letters that are tightly integrated into the rectangular frame. The forms are rigid and angular, reflecting a transition from organic Art Nouveau curves toward the more geometric abstraction that would define his later architectural work. The right side of the print features a seated figure, rendered with heavy, bold lines that emphasise the stark contrast between black ink and the paper surface. The figure is framed by decorative, leaf-like motifs that echo the symmetry found in his furniture and textile designs.

De Bazel was known for his pursuit of harmony and order in design. This print demonstrates his ability to balance text and image within a confined space. The stark, monochromatic palette is typical of his graphic work, where the focus remains on the structural integrity of the composition rather than tonal variation. The inclusion of a star motif in the upper left corner adds a layer of esoteric symbolism, a common feature in his personal iconography. This piece offers a glimpse into the intersection of Dutch theatre, occult philosophy, and early twentieth-century graphic design, providing a clear example of the period's interest in total design, where every element of a production was considered part of a unified aesthetic vision.