Lyonel Feininger

Kreuzende Segelschiffe 2 (Cruising Sailing Ships 2)

1919

Jean-Emile Laboureur (1877-1947), Coin de Rue Dans Soho, woodcut, 1909, signed in pencil lower left and numbered (15/15) [also initials in the plate]. Reference: Sylvain Laboureur 64...

Howard Cook (1901-1980), Chrysler Building (Chrysler Building in Construction) – –1930, Wood Engraving. Duffy 122. Edition 75, only 50 printed. 19...

Letterio Calapai (1902-1993), Eight-Thirty Express, wood engraving, 1943, signed and dated ’43 lower right, titled and inscribed trial proof 3 bottom left in pencil [with the monogra...

Werner Drewes (1899-1983), Farm in the Woods, woodcut, 1933, signed and dated in pencil lower right (also numbered 1-xxx and titled lower left). Reference: Rose 83. In very good cond...

James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso. Reference: Kennedy 413, first state (of 5). Glasgow 457, second state (of 6; see discussion below) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x 9 3/8 inches. A very fine impression of this great rarity, printed in black/brown ink with a slight veil of plate tone. provenance: H. Wunderlich & Co., New York Louis B. Dailey, New York (Lugt 4500) sale, Sotheby’s, New York, October 31, 2003, lot 69 literature; Neue Lagerliste 122: James McNeill Whistler – Etchings...

James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11. References: Kennedy 409, Glasgow 447, fifth state (of 5). In very good condition (slight nicks at edges), trimmed by the artist on the plate mark apart from the tab, 6 1/2 x 9 1/2 inches. Provenance: Vivian and Meyer P. Potamkin, Philadelphia; sale, Sotheby’s, New York, May 11, 1989, lot 302 Samuel Josefowitz, Pully, Switzerland A very fine, shimmering impression of this great rarity. This impression is included in the Glasgow inventory, ID number K4090301; only about 11 lifetime impressions in all states are known (three were also printed posthumously by Nathaniel Sparks...

Lyonel Feininger, 'Manhattan 1, stone 2', lithograph, 1951, edition 25. Prasse L 16. Titled 'Manhattan I and Stone II' in pencil, in the bottom right sheet edge. A fine impression on off-white Rives wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Scarce. Image size 11 1/4 x 8 5/8 inches (286 x 219 mm); 16 x 11 1/2 sheet size: inches (406 x 292 mm). Matted to museum standards, unframed. ABOUT THIS WORK Feininger produced only 20 lithographs throughout his prolific career—a handful of much earlier works created from 1906-12 were never editioned, with only a few proofs providing a record of those formative experiments. The success of his signature work, 'Off the Coast, Stone 3' created in 1951 for the Print Club of Cleveland, led the artist to produce five other lithographs from 1951-1955 printed by master lithographer George C. Miller as was the Print Club edition. Impressions of this work are held in the collections of the Boston Public Library, Cambridge Fine Arts Museum, Cleveland Museum of Art, Bezalel National Art Museum (Jerusalem), Philadelphia Museum of Art, and the Washington Library of Congress. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public. Still, he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral...

Lyonel Feininger (after) Insel, 1933 Collotype, watercolor Size: 11.5x17in on 17.5x22in Esther Gentle, Reproduction, 1952 Signed, titled and dated in the stone Stamped and numbered b...

LOT:20221109N01 Reworked woodcut, Fuji Xerox copy Each signed, dated and numbered Each edition 9 of 50 Each 41.5 x 29.5 cm Publisher: Tomio Koyama Gallery, Tokyo Provenance: Phillips Auction...

A wonderful and delicate portfolio by Christiane Baumgartner, artist from Leipzig/Germany. "Nachtfahrt" (night tour) consists of 9 woodcut prints on Zerkall laid paper. Each work has...

This work is not a typical landscape by Alex Katz. It is a very stunning, nearly abstract work which is made of a combination of printing techniques like woodcut, lithograph and scre...

"Flags" is a stunning woodcut from 2013. It is a very stylized view over a wide flower meadow. Typically, Katz is using a clear and straight color palette. It is beautiful to see how...