1920s Figurative Prints

Medium: original woodcut. This bold and striking Expressionist woodcut was printed in 1920 for Genius. Image size: 9 1/2 x 7 inches (240 x 180 mm). This original Rouveyre print is fr...

This color pochoir from the La Garconne Series was done in 1925 on Arches paper No. 738/750 depicting a couple sitting at a cafe. Pochoir or stencil has been used to print limited ed...

This color pochoir was done in 1925 on Arches paper No. 738/750 depicting a parade with animals and balloons. Archivally framed with 23k gold; 23k gold fillet, silk mat, and museum...

Ceremonial Dance by Orovida Pissarro (1893 - 1968) Etching 19.2 x 24.8 cm (7 ½ x 9 ¾ inches) Signed and dated lower right Orovida 1927 Inscribed lower left Final state no. 12/35 and ...

This color pochoir was done in 1925 on Arches paper No. 738/750. It depicts a mother and her child underneath a tree with doves flying around them. Archivally framed with 23k gold; ...

This color pochoir was created in 1925 on Arches paper No. 738/750 and depicts two women in Japanese kimonos. Archivally framed with 23k gold; 23k gold fillet, silk mat, and museum ...

Edouard Benedictus, 'Variations, plate 10' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in the matrix, in the left bottom margin. A superb, painterly impression, with fresh, vivid colors and metallic silver, on heavy, cream wove paper with margins (1 to 1 3/4 inches). A repaired tear in the center left margin, not affecting the image, in good condition. Archivally sleeved, unmatted. Image size 14 3/8 x 11 9/16 inches; sheet size 17 3/8 x 13 7/8 inches. The pochoir production is by Jean Saudé, the French printmaker known for his mastery of the technique and the author of the first how-to book on the pochoir process. Published by Éditions Albert Levy, Librairie Centrale des Beaux-Arts, Paris. Collections: Metropolitan Museum of Art, Minneapolis Institute of Art, New York Public Library, Victoria and Albert Museum. Additional works from this suite of vibrant Art Deco floral designs are available from Keith Sheridan LLC...

This color pochoir was done in 1925 on Arches paper No. 738/750 and depicts two nude lovers. Archivally framed with 12k white gold; white gold fillet, silk mat, and museum glass. ...

A color pochoir on arches paper by Kees Van Dongen titled "Couple Conversing" from the La Garconne Series "Un Couple Parle Ensemble." Two figures are surrounded by an aura-like pink ...

This color pochoir was done in 1925 on Arches paper No. 739/750 and depicts two couples on a night out all dressed up. Archivally framed with 12k white gold; white gold fillet, silk...

Study of Utagawa Hiroshige's "View of Hara-Juku" 53 Stations of the Tokaido Road Hand painted study of Utagawa Hiroshige's "View of Hara-Juku", (by unknown artist), from "53 Station...

ROBERT PHILIPPI (Austrian 1877-1959) LIEBESPAAR (LOVERS) ca.1923 (in Rifkind Collection, LACMA: From a portfolio of 10 prints. Rifkind indicates the edition of the portfolio is 85. ...

This color pochoir by Kees Van Dongen was done on arches paper No. 738/750. Two nude women outlined by purple cover their faces with a white sheet. Archivally framed with 12k white...

This color pochoir by Kees Van Dongen is titled which was done in 1925 on arches paper No. 738/750. Archivally framed with 23k gold; 23k gold fillet, silk mat, and museum glass. 9...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi...

Etching on antique handmade laid paper, 9 5/8 x 4 1/4 inches (246 x 109 mm), full margins. Signed and dated (1928) in pencil, lower margin. Printed by Frederick Reynolds. In very goo...

Etching on cream wove paper 5 7/8 x 3 3/8 inches (150 x 86 mm). Signed and dated in pencil in the lower margin. First state (of 2), before the removal of the inscription in the lowe...

Incredible early 20th century woodcut of an African American Jazz scene. It is tiled Jazz and dated 1929. It is also signed or monogrammed ...

Irish Fair Lithograph, 1923 Signed and numbered in pencil by the artist (see photo) Titled "Irish Fair" by the artist in pencil Edition: 84 Housed in an archival frame with acid free...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi, First Exhibition of ''Hever Omanim'' First Exhibition of ''Hever Omanim'' Steimatzky Gallery, Jerusalem 1936 Artists: Gutman, Nachum Holzman, Shimshon Mokady, Moshe Sima, Miron Rubin, Reuven Steinhardt, Jakob Ben Zvi, Zeev Ziffer, Moshe Allweil, Arieh Group Exhibition Group Exhibition Katz Art Gallery, Tel Aviv 1939 Artists: Avni, Aharon Holzman, Shimshon Gliksberg, Haim Gutman, Nachum Ovadyahu, Shmuel Shorr, Zvi Schwartz, Chaya Streichman, Yehezkel Tagger, Sionah Rubin, Reuven A Collection of Works by Artists of the Land of Israel A Collection of Works by Artists of the Land of Israel The Bezalel National Museum, Jerusalem 1940 Artists: Shemi, Menahem Rubin, Reuven Avni, Aharon Mokady, Moshe Jonas, Ludwig Steinhardt, Jakob Ticho, Anna Krakauer, Leopold Gutman, Nachum Budko, Joseph Ardon, Mordecai Sima, Miron Castel, Moshe Pann, Abel Struck, Hermann Gur Arie, Meir Ben Zvi, Zeev Litvinovsky, Pinchas Artists in Israel for the Defense, Tel Aviv Museum of Art, Helena Rubinstein Pavilion, Tel Aviv 1967 Artists: Avraham Binder, Motke Blum, (Mordechai) Samuel Bak, Yosl Bergner, Nahum Gilboa, Jean David, Marcel Janco, Lea Nikel, Jacob Pins, Esther Peretz...

MAX KAUS (German 1891-1977) KOPF (Head( (Rifkind 1387) Woodcut, unsigned, monogram in block. As issued as plate 1 from “Genius” Zeitschrift für werdende und alte Kunst, vol. 2, no. ...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi...

Man in bowler hat, ladies in hats out shopping. Vojtěch Tittelbach ( 1900, Mutějovice - 1971, Prague) was a Czech painter and graphic artist, gradua...

Ladies chatting in park. man pushes girl on boat swing. Vojtěch Tittelbach ( 1900, Mutějovice - 1971, Prague) was a Czech painter and graphic artist, graduate of the Academy of Fine...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi, First Exhibition of ''Hever Omanim'' First Exhibition of ''Hever Omanim'' Steimatzky Gallery, Jerusalem 1936 Artists: Gutman, Nachum Holzman, Shimshon Mokady, Moshe Sima, Miron Rubin, Reuven Steinhardt, Jakob Ben Zvi, Zeev Ziffer, Moshe Allweil, Arieh Group Exhibition Group Exhibition Katz Art Gallery, Tel Aviv 1939 Artists: Avni, Aharon Holzman, Shimshon Gliksberg, Haim Gutman, Nachum Ovadyahu, Shmuel Shorr, Zvi Schwartz, Chaya Streichman, Yehezkel Tagger, Sionah Rubin, Reuven A Collection of Works by Artists of the Land of Israel A Collection of Works by Artists of the Land of Israel The Bezalel National Museum, Jerusalem 1940 Artists: Shemi, Menahem Rubin, Reuven Avni, Aharon Mokady, Moshe Jonas, Ludwig Steinhardt, Jakob Ticho, Anna Krakauer, Leopold Gutman, Nachum Budko, Joseph Ardon, Mordecai Sima, Miron Castel, Moshe Pann, Abel Struck, Hermann Gur Arie, Meir Ben Zvi, Zeev Litvinovsky, Pinchas Artists in Israel for the Defense, Tel Aviv Museum of Art, Helena Rubinstein Pavilion, Tel Aviv 1967 Artists: Avraham Binder, Motke Blum, (Mordechai) Samuel Bak, Yosl Bergner, Nahum Gilboa, Jean David, Marcel Janco, Lea Nikel, Jacob Pins, Esther Peretz...

Original “Next Monday” Vintage 1929 Work Incentive Poster The original “Next Monday” (also known as the "Futurist Monday") vintage 1929 Work Incentive poster is a reminder of a bygone era. This aesthetically magnificent lithograph by artist Willard Frederick Elmes created is a scarce print from the 1920s. It is striking for its intricacy and its size; the poster is linen backed and has a huge image, measuring approximately 28” x 20”. The poster displays...

(Sloan, John). FIRE CAN. Etching, 1920. m. 199. 95 x 61mm; 3 3/4" x 2 3/8", signed and inscribed in pencil: Of the usual edition of 100, only 45 were printed. Very good conditon. Man...

Les Biches is a ballet by Bronislava Nijinska, with music by Francis Poulenc and with costume design by Marie Laurencin. Edition of 335 copies. Copy nu...

Sybil Andrews, 'Hostellerie des Chiens du Guet', color monotype, c. 1925; edition 2, proof 1. Signed 'Sybil Andrews pinx et imp' and titled in pencil. A superb, painterly impression, with fresh colors, on heavy cream wove paper; the full sheet with margins (5/8 to 1 3/4 inches). Printed by the artist. The artist’s original archival mounting tape remains in the four sheet corners, recto (well away from the image), in excellent condition. Matted to museum standards, unframed. A unique impression. Image size 8 15/16 x 11 15/16 inches (227 x 303 mm); sheet size 12 1/4 x 15 1/2 inches (311 x 394 mm). ABOUT THIS WORK In addition to her almost 80 celebrated modernist color linocuts, Sybil Andrews also worked in the monotype technique. She typically produced two or three impressions (or pulls) from each hand-painted plate, each proof unique in its qualities of color values and vibrancy. In 1933, Sybil Andrews and Cyril Power had an exhibition of their color monotypes and linocuts at the Redfern Gallery. Most of Andrews' monotypes were destroyed by a fire in an Ottawa gallery in 1959, and they now rarely come to the market. ABOUT THE IMAGE The Hostellerie des Chiens du Guet is a small hotel at the edge of...

After Drawings and paintings from Africa. Executed during the Citroën Center Africa Expedition. Second Haardt mission, Audoin-Dubreuil.Paris, Jules Meynial, [1927]. Folio (380 x 27...

After Drawings and paintings from Africa. Executed during the Citroën Center Africa Expedition. Second Haardt mission, Audoin-Dubreuil.Paris, Jules Meynial, [1927]. Folio (380 x 27...

After Drawings and paintings from Africa. Executed during the Citroën Center Africa Expedition. Second Haardt mission, Audoin-Dubreuil.Paris, Jules Meynial, [1927]. Folio (380 x 27...

After Drawings and paintings from Africa. Executed during the Citroën Center Africa Expedition. Second Haardt mission, Audoin-Dubreuil.Paris, Jules Meynial, [1927]. Folio (380 x 27...

MARC CHAGALL (1887 – 1985) MATERNITE, 1926. Motherhood I: Honte / Disgrace (Kornfeld 65, Cramer 5, Sorlier, p. 20-21 Etching, Frontispiece from Maternite Au Sans Pareil, Paris, 1926. Marcel Arland, illustrated by Marc Chagall with five original etchings this being one of the five. Image size: 5 5/8 x 4 1/8. 1130 unsigned impressions on various papers. The story begins with a young woman being shunned by the whole village because she had given birth to a child and left its dead body...

Aged Angel is a lithograph realized after Odilon Redon. It belongs to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Good conditions....

Mixing Western and traditional pictorial styles, this vintage ad depicts a young family on a garden stroll. A cheongsam-clad woman nods to tradition in contrast to her Western-garbed...

La Première Conscience Du Chaos is a lithograph realized after Odilon Redon. It belongs to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 19...

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...

Cover for Ecce Homo is an artwork realized by George Grosz in 1923. Cover for the Suite "Ecce Homo". Lithograph and Offset. 26 x 26 cm, no frame. Good condtions. Reference: Wieland Herzfelde (introduction), Der Malik-Verlag, 1916-1947, exhib. cat. Deutsche Akademie der Künste Berlin, Berlin (Ost) 1966, cat. no. 59; Lothar Lang, George-Grosz-Bibliographie, in: Marginalien, Zeitschrfit für Buchkunst und Bibliophilie, 30th issue, July 1968, p. 1ff, no. 38; Rosamunde Neugebauer, Georges Grosz, Macht und Ohnmacht satirischer Kunst. Die Graphikfolgen "Gott mit uns...

Original “Somms” soccer, tous sports vintage poster. Linen backed in very good condition, ready to frame. Printer: Fortin, Paris France Full lithograph vintage sports poster. le football This horizontal sports poster shows three players on a soccer field. The goalie has captured the soccer ball in the image as the other members try to determine his action. You can see the crowd in the stadium watching this tournament. Somms supplied sports supplies and also promoted various soccer sporting events in the 1920s. Very little is available about the company and dates are gleaned from other original soccer posters that they produced. A smaller size format is suitable for those locations where this size horizontal poster would be required. Great for avid soccer fans or encouragement for your child to continue on the soccer team. This is the only documented copy of this antique vintage soccer poster...

Composition of Animals is a lithograph realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Goo...

Karl Michel, 'Elisabeth', woodcut, edition 20, 1923. Signed, dated, and numbered 'op.142b' and '12/20' in pencil. Signed in the block, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine impression, on heavy fibrous Japan paper, with full margins (1 3/16 to 3 1/2 inches), in good condition. Printed by the artist, With the artist’s blindstamp in the bottom center margin. Scarce. Matted to museum standards, unframed. Image size 4 15/16 x 6 inches (131 x 152 mm); sheet size 10 x 6 inches (254 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Exhibition of Eugenio Marana - Fascist teachers National association is a vintage print of exhibition invitation realized in 1929. The exhibition was held in Palazzo delle Esposizio...

Hokuto Tamamura (1893-1951), 'The Spirit of the Wine' (Shuten Dōji) - from Dai Chikamatsu Zenshu (The Complete Works of Chikamatsu)', color woodblock, 1923-26. Signed 'Hokuto'. A fin...

The Don: One of the most recognizable figures in poster history ever, quietly reveling in the simple delights of a glass of ruby port – typically thought of as a horseman, clad in a ...

Ex Libris Josep Beleta Quer is an Artwork realized by the Spanish artist Antonio de Guezala (1889-1956). Woodcut coloured print on ivory paper. The work is glued on cardboard. Tot...

Les Pavots Noirs is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923...

Self Portrait 1927 Original wood engraving 20.0 x 15.0 cm (Image) Arthur Eric Rowton Gill, (22 February 1882 – 17 November 1940) was an English sculptor, letter cutter, typeface d...

Cover for Ecce Homo is an artwork realized by George Grosz in 1923. Lithograph and Offset. 25x25 cm, no frame. Good condtions. Reference: Wieland Herzfelde (introduction), Der Malik-Verlag, 1916-1947, exhib. cat. Deutsche Akademie der Künste Berlin, Berlin (Ost) 1966, cat. no. 59; Lothar Lang, George-Grosz-Bibliographie, in: Marginalien, Zeitschrfit für Buchkunst und Bibliophilie, 30th issue, July 1968, p. 1ff, no. 38; Rosamunde Neugebauer, Georges Grosz, Macht und Ohnmacht satirischer Kunst. Die Graphikfolgen "Gott mit uns...

Anémone Humaine Fleurs is a lithograph realized after a watercolor by Odilon Redon. It belongs to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felur...

Le Masque de la Mort Rouge is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felu...

The Hunting Prince by Orovida Pissarro (1893 - 1968) Etching 15 x 20 cm (5 ⅞ x 7 ⅞ inches) Signed and dated lower right Orovida 1926 Inscribed lower left Trial proof no.14 and titled lower middle Provenance: Private collection, Europe Artist biography: Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects...

Karl Michel, 'Viel Gluck 1923 Wunscht Karl Michel', etching, 1923, edition not stated but small. Signed, dated, and numbered 'op. 136' in pencil. Signed in the image, lower right. A...

Karl Michel, 'Venus, Ex Libris - Hanns U. Herta Heeren', woodcut, 1923, edition not stated but small. Signed, dated, and numbered 'op.154' in pencil. Signed in the block, lower left. A fine impression, on cream Japan paper, with full margins (15/16 to 2 11/16 inches), in good condition. Printed by the artist. Matted to museum standards (unframed). . Translation: Venus Ex Libris for Hanns and Herta Heeren. Image size 5 15/16 x 4 inches (156 x 102 mm); sheet size 9 5/8 x 6 inches (245 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Pegase Captif is a prototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. ...

JOSE CLEMENTE OROZCO (1883 – 1949) CABEZA DE MUJER, ( Woman's Head: Mexican Woman) 1929 (Orozco 9) Lithograph, signed and numbered 23/50. in pencil. Pri...

Lovis Corinth (1858 Tapiau - 1925 Zandvoort), Rudolf von Rittner as Florian Geyer, 1924 (Müller 854), drypoint signed in pencil. 20.4 × 14.2 (plate size), 37.7 × 30.6 cm (sheet size). Published by Karl Nierendorf, Berlin. Framed in a passepartout. - Strong, precise impression. Frame a little bit rubbed and with two small damages. About the artwork The knight is a leitmotif in Lovis Corinth's work, culminating in his Self-Portrait in Armour of 1914. Of all the paintings on this theme, Corinth most often depicted Florian Geyer. Descended from a Franconian noble family, he fought for the freedom of the peasants during the peasant wars of the Reformation, first diplomatically and then militarily, leading the legendary Schwarzen Haufen (Black Troops). The name derives from the black uniforms with which Geyer dressed the peasants willing to fight. During the Napoleonic occupation, the freedom fighter Florian Geyer was sung about by the Romantics, and the free corps Die Schwarze Schaar, founded in 1813 by Major von Lützow, succeeded the Schwarzer Haufen. It was against this historical background that Gerhard Hauptmann wrote the revolutionary drama Florian Geyer, which premiered at the Deutsches Theater in Berlin in 1896. While the actor Rudolf Rittner, who would later appear in Fritz Lang's films, initially played the role of Schäferhans, he took over the leading role in the new production at Berlin's Lessing Theatre in 1904, again directed by Emil Lessing, which established his fame as an actor. Hauptmann himself praised the acting. He wrote to Hugo von Hofmannsthal: "It went quite well with Florian Geyer. In any case, I had the great pleasure of seeing the play again in an admirable performance". And Lovis Corinth was so taken with Rittner's performance that he painted an oil portrait of him in the role of Florian Geyer in 1906. After two further graphic versions in 1915 and 1920/21, Corinth returned to the painting a year before his death and almost twenty years after the oil painting to create this graphic version in 1924. Even the inscription in the picture was taken over. This proves all the more the importance of the knight and freedom fighter for Corinth's self-image. The oil painting, in particular, proclaims the single-minded determination to fight to the last for the values defended, manifested in the oil painting by the tattered flag held out to the enemy. There is a parallel with Rainer Maria Rilke's 1899 story The Cornet, in which the protagonist goes down with the flag that he first saved at the risk of his life. Consequently, the portrait is also a self-portrait, and the knight's armour is not an academic costume or an ironic refraction, but an expression of Corinth's self-image, which also includes his self-representation as an artist. The Secession poster...

Le Liseur is a prototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Titl...