Werner Drewes

UNTITLED

1934

WERNER DREWES (1899 - 1985) CASTLE ROCK WYOMING (Jackson Hole), (Rose RIII 194) Color woodcut Total edition XXX, Signed, annotated AP and dated '58...

WERNER DREWES (German-American 1899-1985) TREE AT NIGHT, 1964 (Rose 241) Color woodcut Signed titled, dated and numbered 40 /210 all in pencil below image. Image 11 1/8 x 15 7/8 inc...

PAUL LANDACRE (1893 – 1963) DECORATION (Design for Green Mansions) 1932-3 (Wien 125) RARE. Wood engraving. Only four titled an...

BLANCHE LAZZELL (1878 – 1956) STAR PHLOX 1930 Color Woodcut in the single block Provincetown method. Signed and titled and with an annotation “Wood Block Print “Star Phlox” 280 no...

ERNEST BRADFIELD FREED (1908 - 1974) EDGE OF DARKNESS, 1947 Color etching, signed, numbered, titled and dated in pencil. 1;/50 2nd edition. Image 18 x 23 3/4 inches, Sheet 18 3/4 x ...

JOHN S. de MARTELLY (1903 - 1979) HIEROGLYPHIC, 1954 Lithograph, signed, no. 20 and dated '54 in pencil by the artist. 12 x 16 inches, large sheet 17...

An original woodblock print by American artist Werner Drews. This composition comes in an archival frame presentation which measures 26 x 30 on the wall. Werner Drewes (1899-1985) ...

Shadow and light dominate this photograph of two men engaged in a passionate kiss. The artist uses traditional photography methods shooting the image on film. The image is printed using traditional darkroom techniques. The artwork is tastefully framed and matted. This artwork is framed using non reflective museum glass. Framed Dimensions: 17.5 x 14.5 inches Doug Birkenheuer...

Twin Formation in Gray, color woodcut, 1982, edition 30, Rose III.400. Signed, dated and numbered I7/XXX in pencil, annotated 415 and titled in the bottom left sheet edge. A fine imp...

Kehinde Wiley's 'Sharrod Hosten Study III, 2020' is part of a limited edition print of only 30 copies. Partnered with Sean Kelly Gallery to release Sharrod Hosten Study III (2020), t...

Werner Drewes. Circle and Square, 1980. Rose 386. Number 1 in an edition of 20. Signed and dated in pencil lower right margin: "Drewes -80-"; numbered in pencil lower left margin: "N...

Twin Formation in Gray, color woodcut, 1982, edition 30, Rose III.400. Signed, dated and numbered I7/XXX in pencil, annotated 415 and titled in the bottom left sheet edge. A fine imp...

Werner Drewes. Circle and Square, 1980. Rose 386. Number 1 in an edition of 20. Signed and dated in pencil lower right margin: "Drewes -80-"; numbered in pencil lower left margin: "N...

Mechanical Ballet Signed and dated Medium: Relief Print - Color Woodcut Substrate: Japanese Paper Size: Sheet 24 X 19. image 15 X 11 inches Subject: Abstract Year: 1978 Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored stained glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery (with Carl Sprinchorn...

An original woodblock print by American artist Werner Drews. This composition comes in an archival frame presentation which measures 26 x 30 on the wall. Werner Drewes (1899-1985) ...

Werner Drewes, 'Small Forms on Crossing Bands', drypoint and roulette, 1935, edition 20, Rose 1.197. Signed in pencil. A fine, rich impression, in warm black ink, on cream wove paper...

Werner Drewes, 'Pointed Shapes and Black Half Moon', etching, 1935, edition 20, Rose l.198. Signed, dated, and numbered 'I-XX' in pencil. A fine, rich impression, in warm black ink...