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Expressionist Figurative Prints

EXPRESSIONIST STYLE

While “expressionist” is used to describe any art that avoids naturalism and instead employs a bold use of flattened forms and intense brushwork, Expressionist art formally describes early-20th-century work from Europe that drew on Symbolism and confronted issues such as urbanization and capitalism. Expressionist artists experimented in paintings and prints with skewed perspectives, abstraction and unconventional, bright colors to portray how isolating and anxious the world felt rather than how it appeared. 

Between 1905 and 1920, Austrian and German artists, in particular, were inspired by Postimpressionists such as Paul Gauguin and Vincent van Gogh in their efforts to strive for a new authenticity in their work. In its geometric patterns and decorative details, Expressionist art was also marked by eclectic sources like German and Russian folk art as well as tribal art from Africa and Oceania, which the movement’s practitioners witnessed at museums and world’s fairs.

Groups of artists came together to share and promote the themes now associated with Expressionism, such as Die Brücke (The Bridge) in Dresden, which included Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff and investigated alienation and the dissolution of society in vivid color. In Munich, Der Blaue Reiter (The Blue Rider), a group led by Wassily Kandinsky and Franz Marc, instilled Expressionism with a search for spiritual truths. In his iconic painting The Scream, prolific Norwegian painter Edvard Munch conveyed emotional turmoil through his depiction of environmental elements, such as the threatening sky.

Expressionism shifted around the outbreak of World War I, with artists using more elements of the grotesque in reaction to the escalation of unrest and violence. Printmaking was especially popular, as it allowed artists to widely disseminate works that grappled with social and political issues amid this time of upheaval. Although the art movement ended with the rise of Nazi Germany, where Expressionist creators were labeled “degenerate,” the radical ideas of these artists would influence Neo-Expressionism that emerged in the late 1970s with painters like Jean-Michel Basquiat and Francesco Clemente.

​​Find a collection of authentic Expressionist paintings, sculptures, prints and more art on 1stDibs.

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Style: Expressionist
Marc Chagall, Paradise I, from Drawings for the Bible, 1960
Marc Chagall, Paradise I, from Drawings for the Bible, 1960

Marc Chagall, Paradise I, from Drawings for the Bible, 1960

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled Paradise I (Paradise I), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical paradise, evoking a realm of harmony, innocence, and divine presence through his luminous color and dreamlike symbolism. The flowing forms and radiant imagery convey a sense of spiritual unity and transcendence, capturing the timeless serenity and mystical beauty of Eden within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of paradise and the enduring connection between humanity and the divine. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Paradise I (Paradise I), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, July 29, 1960 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, published by Editions de la revue Verve, Paris, 1960 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Paradise...

Category

1960s Expressionist Figurative Prints

Materials

Lithograph

Marc Chagall, The Ceiling of the Paris Opera, 1965 (after)
Marc Chagall, The Ceiling of the Paris Opera, 1965 (after)

Marc Chagall, The Ceiling of the Paris Opera, 1965 (after)

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph after Marc Chagall (1887–1985), titled Le Plafond de l’Opera de Paris (The Ceiling of the Paris Opera), from the album Le plafond de l’Opera de Paris par Ma...

Category

1960s Expressionist Figurative Prints

Materials

Lithograph

Marc Chagall, Couple Before the Tree, from Chagall Lithographer I, 1960
Marc Chagall, Couple Before the Tree, from Chagall Lithographer I, 1960

Marc Chagall, Couple Before the Tree, from Chagall Lithographer I, 1960

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled Couple devant l’arbre (Couple Before the Tree), from Chagall Lithographe I (Chagall Lithographer I), originates from the October 1960 issue published by Andre Sauret, Editeur, Monte-Carlo, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s mastery of the lithographic medium, embodying his poetic imagination through fluid line, expressive form, and a luminous sense of movement. The work conveys the artist’s unique ability to merge memory, symbolism, and emotion into a cohesive visual language, transforming even the simplest subject into a deeply evocative and dreamlike image. Infused with lyricism and spiritual resonance, the composition exemplifies Chagall’s enduring exploration of identity, mythology, and the transcendent power of art. The piece forms part of Chagall Lithographe I, a landmark publication that documents and celebrates the artist’s achievements in lithography, offering insight into one of the most significant aspects of his graphic oeuvre. Executed as a lithograph on velin paper, this work measures 12.5 x 9.625 inches (31.75 x 24.45 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Couple devant l’arbre (Couple Before the Tree), from Chagall Lithographe I (Chagall Lithographer I), October 1960 Medium: Lithograph on velin paper Dimensions: 12.5 x 9.625 inches (31.75 x 24.45 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Andre Sauret, Editeur, Monte-Carlo Printer: Mourlot Freres, Paris Catalogue raisonne references: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 281-292. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 43. Condition: Well preserved, consistent with age and medium Provenance: From Chagall Lithographe I (Chagall Lithographer I), published by Andre Sauret, Editeur, Monte-Carlo, 1960 Notes: Excerpted from the album (translated from French), This work, which was designed and compiled by Fernand Mourlot and Andre Sauret, was finished in October 1960. The reproductions were printed on the presses of Draeger Freres, and the original lithographs on the presses of Mourlot Freres. The Imprimerie Nationale de France is responsible for the typography. Of this work it was shot, apart, CL examples on Grand Velin d'Arches, numbered to the press from I to CL, signed by the artist and the publisher, including, in addition, two original lithographs specially made for this separate draw. About the Publication: Chagall Lithographe I (Chagall Lithographer I), published in October 1960 by Andre Sauret in Monte-Carlo and printed by Mourlot Freres, represents a foundational survey of Marc Chagall’s lithographic production. Conceived in close collaboration with master printer Fernand Mourlot, the publication serves as both a catalogue and a celebration of the artist’s exploration of lithography from the late 1940s through the 1950s. It documents the technical and artistic evolution of Chagall’s printmaking, highlighting the innovative approaches he developed in partnership with the Mourlot atelier, whose expertise allowed for the translation of his painterly vision into the lithographic medium with extraordinary fidelity. The publication includes numerous reproductions alongside original lithographs, offering a comprehensive overview of themes central to Chagall’s work, including biblical narratives, folklore, and personal symbolism. Widely regarded as an essential reference in the study of Chagall’s graphic oeuvre, Chagall Lithographe I stands as a testament to the enduring collaboration between artist and printer, and to the importance of lithography within the broader trajectory of 20th century modern art. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Couple...

Category

1960s Expressionist Figurative Prints

Materials

Lithograph

Marc Chagall, The Creation, from Drawings for the Bible, 1960
Marc Chagall, The Creation, from Drawings for the Bible, 1960

Marc Chagall, The Creation, from Drawings for the Bible, 1960

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled Creation (The Creation), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition depicts the divine act of creation, evoking the genesis of light, life, and spirit through Chagall’s radiant imagination and poetic symbolism. The flowing forms and luminous harmonies reflect the unity between the divine and the natural world, a theme central to Chagall’s lifelong spiritual vision. Infused with movement and transcendence, the work transforms the biblical narrative into a lyrical meditation on the origin of existence and the creative essence of faith. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Creation (The Creation), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, July 29, 1960 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, published by Editions de la revue Verve, Paris, 1960 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for heliogravure and Mourlot Freres for lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Creation...

Category

1960s Expressionist Figurative Prints

Materials

Lithograph

Marc Chagall, The Celebration, from Homer, The Odyssey, 1989 (after)
Marc Chagall, The Celebration, from Homer, The Odyssey, 1989 (after)

Marc Chagall, The Celebration, from Homer, The Odyssey, 1989 (after)

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph after Marc Chagall (1887–1985), titled Das Fest (The Celebration), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by Daco-Verlag Gunter Blase, Stuttgart, and printed by Lichtdruck AG, Zurich, Dielsdorf, September 1989. This authorized edition, issued under the direction of Vava Chagall, presents one of Chagall’s most joyful and expressive interpretations of Homer’s epic. In Das Fest, Chagall transforms the revelry of ancient feasts into a luminous vision of human connection, music, and harmony, rendered with his signature lyricism and dreamlike color palette. Executed on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper, this lithograph measures 14.88 x 11.69 inches. Unsigned and unnumbered, as issued. The edition exemplifies the exceptional quality and precision of Lichtdruck AG’s craftsmanship, reproducing the depth and richness of Chagall’s original lithographs with remarkable fidelity. Artwork Details: Artist: After Marc Chagall (1887–1985) Title: Das Fest (The Celebration), from Homer, Die Odyssee (The Odyssey), 1989 Medium: Lithograph on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper Dimensions: 14.88 x 11.69 inches Inscription: Unsigned and unnumbered, as issued Date: 1989 Publisher: Daco-Verlag Gunter Blase, Stuttgart Printer: Lichtdruck AG, Zurich, Dielsdorf Condition: Well preserved, consistent with age and medium Provenance: From the folio Homer, Die Odyssee (The Odyssey), Daco-Verlag Gunter Blase, Stuttgart, 1989 Notes: Excerpted from the folio (translated from German), Imprint—The French edition, L'Odyssée, with the original lithographs by Marc Chagall was published in 1974/75 in a CCL-example edition by Fernand Mourlot, Paris. In 1989, with the authorization of Mrs. Vava Chagall, the German-language edition of the Odyssey in two volumes was published by Daco-Verlag Gunter Blase, Stuttgart. Volume I contains the songs I - XII with XX color plates, including IV on double pages and XIX gray printed reproductions in the text. Volume II contains the songs XIII - XXIV with XXIII color plates, including II on double pages and XX gray printed reproductions in the text. For the German text, the prose translation by Wolfgang Schadewaldt was chosen with the permission of Rowohlt Taschenbuch Verlag, Reinbek near Hamburg. Set design in the Berthold Garamond Antiqua by F+M Bauer...

Category

1980s Expressionist Figurative Prints

Materials

Lithograph

HAMBURGER KNIEPPE
HAMBURGER KNIEPPE

HAMBURGER KNIEPPE

By Käthe Kollwitz

Located in Santa Monica, CA

KATHE KOLLWITZ (1867-1945) HAMBURGER KNIEPPE, 1901) (K.58 IIIb) Soft Ground Etching, Plate 9 ¾ x 8 ¼ sheet 10 ½ x 13 ¾. With the von de Becke blind stamp in the lower right. Prin...

Category

Early 1900s Expressionist Figurative Prints

Materials

Etching

'Venus'  — German Expressionism
'Venus'  — German Expressionism

'Venus' — German Expressionism

By Karl Michel

Located in Myrtle Beach, SC

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...

Category

1920s Expressionist Figurative Prints

Materials

Woodcut

Marc Chagall, Eve Cursed by God, from Drawings for the Bible, 1960
Marc Chagall, Eve Cursed by God, from Drawings for the Bible, 1960

Marc Chagall, Eve Cursed by God, from Drawings for the Bible, 1960

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled Eve maudite par Dieu (Eve Cursed by God), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical moment of divine judgment following the Fall, evoking themes of transgression, consequence, and spiritual awakening through his luminous color and dreamlike symbolism. The flowing forms and expressive imagery convey a sense of tension and emotional gravity, capturing Eve’s moment of reckoning and its enduring resonance within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of loss, accountability, and the origins of human suffering. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Eve maudite par Dieu (Eve Cursed by God), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, July 29, 1960 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, published by Editions de la revue Verve, Paris, 1960 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Eve...

Category

1960s Expressionist Figurative Prints

Materials

Lithograph

GEFALLEN (Killed in Action)
GEFALLEN (Killed in Action)

GEFALLEN (Killed in Action)

By Käthe Kollwitz

Located in Santa Monica, CA

KATHE KOLLWITZ (1867-1945) GEFALLEN (Killed in Action) 1920 (Klipstein 153 (1st state, a of c of 2 states) Lithograph on laid paper. Image 16 ¼ x 15 ¼ inches, Large Full Sheet, 25 ½...

Category

1920s Expressionist Figurative Prints

Materials

Lithograph

Marc Chagall, Flower Quay, from Derriere le miroir, 1954
Marc Chagall, Flower Quay, from Derriere le miroir, 1954

Marc Chagall, Flower Quay, from Derriere le miroir, 1954

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled Quai de fleurs (Flower Quay), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published b...

Category

1950s Expressionist Figurative Prints

Materials

Lithograph

Marc Chagall, Bercy Quay, from Derriere le miroir, 1954
Marc Chagall, Bercy Quay, from Derriere le miroir, 1954

Marc Chagall, Bercy Quay, from Derriere le miroir, 1954

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled Quai de Bercy (Bercy Quay), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1954. Quai de Bercy captures Chagall’s poetic vision of Paris as a dreamlike landscape where memory, color, and emotion converge. The work’s lyrical composition and radiant palette embody Chagall’s deep affection for the city that shaped his artistic identity, blending reality and reverie in perfect harmony. Executed as a lithograph on velin paper, this work measures 15 x 22 inches, with centerfold as issued. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Quai de Bercy (Bercy Quay), from the folio Derriere le miroir, No. 67–68 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.88 cm), with centerfold as issued Inscription: Unsigned and unnumbered as issued Date: 1954 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne reference: Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. Patrick Cramer Editeur, 1995, illustration 24; Mourlot, Fernand, and Marc Chagall. Chagall Lithographe I: 1922–1957. Andre Sauret, 1960, illustration 93. Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 67–68, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1954 Notes: On the occasion of the ‘Paris’ exhibition, Marc Chagall created for this triple issue of Derriere Le Miroir XII pages of Lithography. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Quai de Bercy 1954, Chagall Derriere le miroir No. 67–68, Chagall Mourlot lithograph, Chagall Maeght...

Category

1950s Expressionist Figurative Prints

Materials

Lithograph

The Family, Alice Neel
The Family, Alice Neel

The Family, Alice Neel

By Alice Neel

Located in Fairfield, CT

Artist: Alice Neel (1900-1984) Title: The Family Year: 1982 Medium: Lithograph on Arches paper Edition: 170/175, plus proofs Size: 31.25 x 27 inches Condition: Excellent Inscription:...

Category

1980s Expressionist Figurative Prints

Materials

Lithograph

"Krankes Mädchen" original woodcut
"Krankes Mädchen" original woodcut

"Krankes Mädchen" original woodcut

By Erich Heckel

Located in Henderson, NV

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue re...

Category

1920s Expressionist Figurative Prints

Materials

Woodcut

Marc Chagall, The Accordionist, from Chagall, 1957
Marc Chagall, The Accordionist, from Chagall, 1957

Marc Chagall, The Accordionist, from Chagall, 1957

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Accordeoniste (The Accordionist), from the album Chagall, originates from the 1957 edition published by Maeght Editeur...

Category

1950s Expressionist Figurative Prints

Materials

Lithograph

Marc Chagall, The Sunday, from Derriere le miroir, 1954
Marc Chagall, The Sunday, from Derriere le miroir, 1954

Marc Chagall, The Sunday, from Derriere le miroir, 1954

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Dimanche (The Sunday), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published by Ma...

Category

1950s Expressionist Figurative Prints

Materials

Lithograph

H.O. Miethke Das Werk folio "The Kiss" collotype print
H.O. Miethke Das Werk folio "The Kiss" collotype print

H.O. Miethke Das Werk folio "The Kiss" collotype print

The Kiss, no. 1 from the fifth installment of Das Werk Gustav Klimts Undoubtedly Klimt’s best known and most reproduced images, this printed version of The Kiss is the only one with which Klimt was directly involved. Unveiled at Vienna’s Kunstschau 1908, and saved for the fifth and final delivery of Das Werk, The Kiss marks a triumph in Klimt’s career and represents a culmination of many themes in his oeuvre up to that point. After all of the controversy surrounding the State’s prior rejection of the University murals commissioned from Klimt, the Ministry of Education reversed their policy toward the artist with a show of wholehearted support by purchasing for the Osterreichische Galerie BelvedereThe Kiss while it still hung in the Kunstschau exhibit. Considered in relation to the eight multicolored collotypes which preceded its print debut in the Das Werk portfolio, The Kiss literally embraces all which came before it. The golden seaweed dangling in tresses from the lovers’ feet harkens back to Water Snakes I and II. The bed of flowers evokes the settings Klimt created in both The Golden Knight and The Sunflower. In fact, this image sprung out of a particularly happy summer spent in the company of Klimt’s lover, Emilie Floge...

Category

Early 1900s Expressionist Figurative Prints

Materials

Handmade Paper

Jacob Lawrence, Market, from Hiroshima, 1983
Jacob Lawrence, Market, from Hiroshima, 1983

Jacob Lawrence, Market, from Hiroshima, 1983

By Jacob Lawrence

Located in Southampton, NY

This exquisite silkscreen by Jacob Lawrence (1917–2000), titled Market, from the album Hiroshima, originates from the 1983 edition published by The Limited Editions Club, New York, a...

Category

1980s Expressionist Figurative Prints

Materials

Screen

Marc Chagall, The Angel, from Chagall Lithographer I, 1960
Marc Chagall, The Angel, from Chagall Lithographer I, 1960

Marc Chagall, The Angel, from Chagall Lithographer I, 1960

By Marc Chagall

Located in Southampton, NY

This exquisite lithograph by Marc Chagall (1887–1985), titled L'Ange (The Angel), from Chagall Lithographe I (Chagall Lithographer I), originates from the October 1960 issue publishe...

Category

1960s Expressionist Figurative Prints

Materials

Lithograph

Kathe Kollwitz, Self-Portrait, from Ten Lithographs, 1941 (after)
Kathe Kollwitz, Self-Portrait, from Ten Lithographs, 1941 (after)

Kathe Kollwitz, Self-Portrait, from Ten Lithographs, 1941 (after)

By Käthe Kollwitz

Located in Southampton, NY

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Selbstbildnis (Self-Portrait), from the folio Kathe Kollwitz, Ten Lithographs, originates from the 1941 edition published by Henry C. Kleemann, New York, and Curt Valentin, New York; printed by Duenewald Printing Corporation, New York. The composition reflects Kollwitz’s profound engagement with themes of identity, introspection, and human vulnerability, rendered with stark emotional intensity and a powerful graphic economy that underscores her enduring social message. Executed as a lithograph on velin paper, this work measures 19 x 16 inches (48.26 x 40.64 cm), overall; 10.5 x 9 inches (26.67 x 22.86 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Selbstbildnis (Self-Portrait), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 10.5 x 9 inches (26.67 x 22.86 cm), image Inscription: Unsigned and unnumbered as issued Date: 1941 Publisher: Henry C. Kleemann, New York, and Curt Valentin, New York Printer: Duenewald Printing Corporation, New York Condition: Well preserved, consistent with age and medium Provenance: From the folio Kathe Kollwitz, Ten Lithographs, 1941 About the Publication: Kathe Kollwitz, Ten Lithographs, published in New York in 1941 by Henry C. Kleemann in collaboration with Curt Valentin, represents an important early American presentation of Kollwitz’s graphic work at a time when her reputation was expanding internationally. Issued during the turbulence of the Second World War and following the suppression of her work in Germany under the Nazi regime, the folio played a crucial role in introducing her imagery to a broader audience outside Europe. The publication gathers a selection of her most powerful lithographic compositions, emphasizing her mastery of tonal contrast, expressive line, and psychological depth. Produced with careful attention to print quality by Duenewald Printing Corporation, the edition reflects the continued transmission of European modernist printmaking traditions into the American context, serving both as a document of artistic excellence and as a vehicle for the preservation and dissemination of Kollwitz’s humanistic vision. About the Artist: Kathe Kollwitz (1867–1945) was a German draughtsman, printmaker, and sculptor whose profoundly moving imagery, exceptional technical mastery, and unwavering social conscience established her as one of the most important and influential artists of the twentieth century, widely recognized as a master of modern printmaking and one of the most powerful visual chroniclers of human suffering, war, and social injustice. Born in Konigsberg, East Prussia, into a progressive and intellectually engaged family, Kollwitz was encouraged from an early age to pursue art and developed a deep awareness of social inequality that would shape her entire career, studying in Berlin and Munich at a time when women were largely excluded from formal academies while mastering drawing and graphic techniques with extraordinary discipline. Her breakthrough came with the monumental graphic cycle A Weavers’ Revolt (1893–1897), followed by The Peasants’ War (1901–1908), works that combined complex narrative structure with extraordinary technical command in etching, aquatint, and lithography, establishing her reputation as one of Europe’s leading graphic artists. Throughout her career, Kollwitz remained committed to portraying the lives of workers, mothers, and victims of poverty and conflict with unflinching honesty, creating compositions defined by bold, sculptural line, dense shadow, and unparalleled psychological depth that conveyed grief, resilience, and dignity. Working during a period transformed by the radical innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Kollwitz maintained a resolutely figurative and human-centered approach, aligning more closely with German Expressionism and artists such as Ernst Barlach, Max Liebermann, and Edvard Munch, whose emotional intensity and symbolic treatment of the human figure profoundly shaped her artistic language. Her later work, particularly the woodcut cycle War (1922–1923), stands among the most powerful anti-war statements in the history of art, reflecting both personal tragedy, including the death of her son in World War I, and a universal condemnation of violence and loss. In addition to her prints, Kollwitz created deeply moving sculptures that extended her exploration of grief and maternal protection into three dimensions, reinforcing her status as a multidisciplinary artist of exceptional range. She achieved significant recognition during her lifetime, becoming the first woman elected to the Prussian Academy of Arts, though her work was later condemned by the Nazi regime as degenerate, leading to her forced resignation and the removal of her works from public collections, yet her reputation expanded internationally after World War II and she is now regarded as a central figure in modern art. Her influence has been profound and far-reaching, shaping later artists including Francis Bacon, Anselm Kiefer, Leon Golub, Kiki Smith, and numerous contemporary figurative and socially engaged artists who continue to explore themes of trauma, memory, and human vulnerability. Today her works are held in major museum collections worldwide, including the Kathe Kollwitz Museum in Berlin, the Museum of Modern Art in New York, the British Museum in London, and the Art Institute of Chicago, and remain highly sought after by collectors for their emotional intensity and historical significance. The highest auction record for a work by Kathe Kollwitz is held by her sculpture Mutter mit totem Sohn (Mother with Dead Son), which achieved approximately 1.2 million EUR at auction, confirming her enduring importance. Kathe Kollwitz Selbstbildnis 1941 lithograph German Expressionism social realism print.

Category

1940s Expressionist Figurative Prints

Materials

Lithograph

Les Quais a Venise
Les Quais a Venise

Les Quais a Venise

By Jean Jansem

Located in San Francisco, CA

Artist: Jean Jansem (French/Armenian, 1920-2013) Title: Les Quais a Venise Year: 1966 Medium: Color lithograph Edition: Numbered 127/160 in pencil Paper: Arches paper Image size: 18....

Category

Mid-20th Century Expressionist Figurative Prints

Materials

Lithograph

Kathe Kollwitz, Bread!, from Ten Lithographs, 1941 (after)
Kathe Kollwitz, Bread!, from Ten Lithographs, 1941 (after)

Kathe Kollwitz, Bread!, from Ten Lithographs, 1941 (after)

By Käthe Kollwitz

Located in Southampton, NY

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Brot! (Bread!), from the folio Kathe Kollwitz, Ten Lithographs, originates from the 1941 edition published by Henry C. Kleemann, New York, and Curt Valentin, New York; printed by Duenewald Printing Corporation, New York. The composition reflects Kollwitz’s profound engagement with themes of hardship, deprivation, and human suffering, rendered with stark emotional intensity and a powerful graphic economy that underscores her enduring social message. Executed as a lithograph on velin paper, this work measures 19 x 16 inches (48.26 x 40.64 cm), overall; 13.5 x 11 inches (34.29 x 27.94 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Brot! (Bread!), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 13.5 x 11 inches (34.29 x 27.94 cm), image Inscription: Unsigned and unnumbered as issued Date: 1941 Publisher: Henry C. Kleemann, New York, and Curt Valentin, New York Printer: Duenewald Printing Corporation, New York Condition: Well preserved, consistent with age and medium Provenance: From the folio Kathe Kollwitz, Ten Lithographs, 1941 About the Publication: Kathe Kollwitz, Ten Lithographs, published in New York in 1941 by Henry C. Kleemann in collaboration with Curt Valentin, represents an important early American presentation of Kollwitz’s graphic work at a time when her reputation was expanding internationally. Issued during the turbulence of the Second World War and following the suppression of her work in Germany under the Nazi regime, the folio played a crucial role in introducing her imagery to a broader audience outside Europe. The publication gathers a selection of her most powerful lithographic compositions, emphasizing her mastery of tonal contrast, expressive line, and psychological depth. Produced with careful attention to print quality by Duenewald Printing Corporation, the edition reflects the continued transmission of European modernist printmaking traditions into the American context, serving both as a document of artistic excellence and as a vehicle for the preservation and dissemination of Kollwitz’s humanistic vision. About the Artist: Kathe Kollwitz (1867–1945) was a German draughtsman, printmaker, and sculptor whose profoundly moving imagery, exceptional technical mastery, and unwavering social conscience established her as one of the most important and influential artists of the twentieth century, widely recognized as a master of modern printmaking and one of the most powerful visual chroniclers of human suffering, war, and social injustice. Born in Konigsberg, East Prussia, into a progressive and intellectually engaged family, Kollwitz was encouraged from an early age to pursue art and developed a deep awareness of social inequality that would shape her entire career, studying in Berlin and Munich at a time when women were largely excluded from formal academies while mastering drawing and graphic techniques with extraordinary discipline. Her breakthrough came with the monumental graphic cycle A Weavers’ Revolt (1893–1897), followed by The Peasants’ War (1901–1908), works that combined complex narrative structure with extraordinary technical command in etching, aquatint, and lithography, establishing her reputation as one of Europe’s leading graphic artists. Throughout her career, Kollwitz remained committed to portraying the lives of workers, mothers, and victims of poverty and conflict with unflinching honesty, creating compositions defined by bold, sculptural line, dense shadow, and unparalleled psychological depth that conveyed grief, resilience, and dignity. Working during a period transformed by the radical innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Kollwitz maintained a resolutely figurative and human-centered approach, aligning more closely with German Expressionism and artists such as Ernst Barlach, Max Liebermann, and Edvard Munch, whose emotional intensity and symbolic treatment of the human figure profoundly shaped her artistic language. Her later work, particularly the woodcut cycle War (1922–1923), stands among the most powerful anti-war statements in the history of art, reflecting both personal tragedy, including the death of her son in World War I, and a universal condemnation of violence and loss. In addition to her prints, Kollwitz created deeply moving sculptures that extended her exploration of grief and maternal protection into three dimensions, reinforcing her status as a multidisciplinary artist of exceptional range. She achieved significant recognition during her lifetime, becoming the first woman elected to the Prussian Academy of Arts, though her work was later condemned by the Nazi regime as degenerate, leading to her forced resignation and the removal of her works from public collections, yet her reputation expanded internationally after World War II and she is now regarded as a central figure in modern art. Her influence has been profound and far-reaching, shaping later artists including Francis Bacon, Anselm Kiefer, Leon Golub, Kiki Smith, and numerous contemporary figurative and socially engaged artists who continue to explore themes of trauma, memory, and human vulnerability. Today her works are held in major museum collections worldwide, including the Kathe Kollwitz Museum in Berlin, the Museum of Modern Art in New York, the British Museum in London, and the Art Institute of Chicago, and remain highly sought after by collectors for their emotional intensity and historical significance. The highest auction record for a work by Kathe Kollwitz is held by her sculpture Mutter mit totem Sohn (Mother with Dead Son), which achieved approximately 1.2 million EUR at auction, confirming her enduring importance. Kathe Kollwitz Brot 1941 lithograph German Expressionism social realism print.

Category

1940s Expressionist Figurative Prints

Materials

Lithograph

Expressionist figurative prints for sale on 1stDibs.

Find a wide variety of authentic Expressionist figurative prints available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add figurative prints created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of orange, blue, purple, red and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including George Grosz, Marc Chagall, Todd White, and Gustav Klimt & K.K. Hof-und Staatsdruckerei. Frequently made by artists working with Lithograph, and Paper and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Expressionist figurative prints, so small editions measuring 3 inches across are also available. Prices for figurative prints made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $88 and tops out at $975,000, while the average work sells for $1,100.