Expressionist Figurative Prints

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Louise is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 20 from the portfolio Ecce Homo published between 1922/1923, edition of Der Malik-V...

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

Artist: Teo Tobiasse (French/Israeli, 1927-2012) Title: la petite fille et le vieil homme (The Little Girl and the Old Man) Year: Circa 1980 Medium: Color lithograph Edition: Nu...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 182. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

Artist: Teo Tobiasse (French/Israeli, 1927-2012) Title: "Une Orange Sauvee des Rives de l'Oubli" Year: 1986 Medium: Color lithograph Edition: Numbered 160/175 in pencil Paper: Arches paper Image size: 9.75 x 9.75 inches Framed size: 16.85 x 16.5 inches Signature: Hand signed in pencil by the artist Condition: Excellent Frame: Custom framed in a wood frame, with off white matting About the artist. Theo Tobiasse was born in Israel of Lithuanian parents. Before he turned seven, his family moved to Paris due to financial difficulties. In Paris. Between the years of 1942 and 1944, the Germans occupied Paris. He and his family were forced to live in solitary confinement with the constant fear of being discovered. The only things that kept Tobiasse going was his drawings. By the time it was safe to come out of hiding, he had quite a portfolio put together. In 1960, his work was noticed at an exhibition of young artists at the Palais de la Mediterranee in Nice and he won first prize. From then on art galleries and collectors continued to show interest in his work, and by 1962 Theo Tobiasse was finally able to devote himself entirely to painting. Theo Tobiasse has created monumental works such as the fountain entitled "L'Enfant fou" for the Arenas Business Centre at Nice Airport, and stained-glass windows for various institutions in Strasbourg and Nice. He also designed costumes and stage-set models for Bernard Shaw...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 132. Published by Aimé Maeght, Éditeur...

Artist: Alice Neel (1900-1984) Title: Man with Pipe (John Rothschild) Year: 1979 Medium: Lithograph on Arches paper Edition: XXXVIII/L; 150 Arabic Numerals, 50 Roman Numerals, plus p...

Dancers Georges Rouault, French (1871–1958) Date: 1936 Woodcut, initialed in the stone Size: 3 x 2 in. (7.62 x 5.08 cm) Frame Size: 9.5 x 8.25 inches

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Artist: Estelle Ginsburg, American Title: Women of Intellect #6 Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: 150 Size: ...

Plate #15 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kl...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Plate #13 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Artist: Teo Tobiasse (French/Israeli, 1927-2012) Title: "The Songs of Songs of King Solomons" Year: 1975 Medium: Color lithograph Edition: Numbered LVII/C in pencil Paper: Jap...

Plate 12 From: 10 Origi, 1942 Signed in the block with the artist's initials lower left (printed) From: 10 Origin Not from the First edition 100, published by Allianz-Verlag, Zurich,...

"Military" is a beautiful print in the lithograph technique, realized by Anselmo Bucci (1887-1955). Signed on the lower right. Good conditions. Anselmo Bucci (1887-1955): Italian...

Plate #8 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kli...

Promenade is an original offset and lithograph print realized by George Grosz. The artwork is the plate n.28 from the portfolio Ecce Homo published between 1922/1923, edition of De...

Plate #5 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kli...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 107-109. Published by Aimé Maeght, Édi...

A contemporary of David Hockney and Peter Blake, Colin Self is an important British printmaker whose innovative etching techniques and novel use of found materials have defined his d...

Plate #7 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

SOUS LES PALMIERS is an original hand drawn limited edition lithograph printed in vivid colors on archival Somerset paper 100% acid free by the Dutch artist known as CORNEILLE(Guilla...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 225. Published by Aimé Maeght, Éditeur...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Pinchas Burstein, known as Maryan Lithograph (after the drawing). 1960 Dimensions: 12 3/8 x 9 3/8 inches (315 x 240mm). Gold or bronze ink on black paper Signed in the plate, not b...

Artist: Fritz Scholder (Native American, 1937-2005) Title: "ASU Portrait II" Portfolio: Arizona State University Centennial Portfolio *Signed by Scholder in pencil lower right Year: 1984 Medium: Original Lithograph on Arches Cover buff paper Limited edition: 49/100 Printer: Joseph M. Segura of the Print Research Facility, School of Art, Arizona State University, Tempe, AZ Publisher: the Print Research Facility, School of Art, Arizona State University, Tempe, AZ Reference: "Collaborative Works: Recent Work and Catalogue Raisonné of the Visual Arts Research Institute" - ASU/VARI No. 121, page 98 Sheet size: 20.25" x 15" Condition: Never framed, has been professionally stored away within its original portfolio case for decades. In mint condition Not a single example of this work has ever appeared at auction in over 40 years. Extremely rare Notes: Provenance: one owner ever - private collection - Scottsville, AZ; acquired directly from the publisher the Print Research Facility, School of Art, Arizona State University, Tempe, AZ upon its release in 1984. Numbered by Scholder in pencil lower left. Comes from the 1984 "Arizona State University Centennial Portfolio" of eighteen prints in various mediums by Daniel R Britton, R. E. (Ron) Gasowski, Arthur W. Hahn, James Hajicek, Jules Heller...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Josef Scharl (1896 Munich - 1954 New York), Mockery, 1935 (1964), Bronner 30 A. Woodcut on Japanese paper, 51.8 x 25.7 cm (image), 65 cm x 37 cm (sheet size), signed lower right in t...

Landlord is an original vintage offset and lithograph print realized by George Grosz. The artwork is plate n.29 from the portfolio Ecce Homo published between 1922/1923, edition of ...

Champagne is an offset lithograph, realized by George Grosz. The artwork is the plate n. 77 from the porfolio Ecce Homo published between 1922/1923, edition of Der Malik-Verlag Berl...

Cross building four flights of stairs from Ecce Homo is an original offset lithograph, realized by George Grosz. The artwork is the plate n. 49 from the porfolio Ecce Homo publishe...

Kaus, Max. BADENDE MANNER: (THREE MALE BATHERS AT THE SHORE). Lithograph, c. 1924. Signed, lower left, in pencil, and numbered 6-10, further inscribed, lo...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

After Gustav Klimt, Max Eisler #30, Brautzug; multi-color collotype after unfinished 1917/18 painting in oil on canvas. Painted in the last months of Klimt’s life, The Bride was one...

This listing is for a single print, pictured, from the Das Werk portfolio by Gustav Klimt and k.k. Hof-und Staatsdruckerei, published by H.O. Miethke. Gu...

Water Snakes II, no. 9 from the fourth installment of Das Werk Gustav Klimts The last painting Klimt exhibited with the Secession before resigning, Water ...

Les Visages Georges Rouault (After), French (1871–1958) Date of original: 1932 Lithograph, signed in the plate Image Size: 6 x 8 inches Size: 9 x 12 in. (22.86 x 30.48 cm)

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

Portrait of Young Girl is an original litograph realized by Hervè Morvan in 1957. Good condition except for some spoiled paper on the upper and lower margin. Signature and dated wi...

This exquisite lithograph after Marc Chagall (1887–1985), titled Die Sirenen (The Sirens), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio publi...

Jacob Pins: 1917-2005. Was a German born Israeli woodcut artist and art collector. He has had auction results over $3000 for a print. This powerful scarce example...

After Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper wi...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art w...

After Gustav Klimt, Max Eisler Plate #24, Bildnis Friederike Maria Beer; multi-color collotype after the 1916 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN ...

Danaë, no. 2 from the fourth installment of Das Werk Gustav Klimts Danae originates from Greek mythology. She is the daughter of the King of Argos. Because a...

Commerzienrat's daughter from Ecce Homo is an original offset and lithograph, realized by George Grosz. The artwork is the plate n. 48 from the portfolio Ecce Homo, published betw...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Profil et l’Enfant rouge (The Profile and the Red Child), from the album The Lithographs of Chagall, Volume I, origin...

Plate #2 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

Lithograph on vélin d’Arches 300gm paper. Paper Size: 21.8125 x 18.3125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, For My People, 1992. Published...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

Plate #6 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

This piece is an original lithograph done by Francisco Zúñiga in 1986. Francisco Zúñiga was a Costa Rican-born Mexican artist best known for his stylized figurative paintings and scu...

“This painting started off as a commentary on the dating world. No matter what age you’re at, starting out in your 20’s, going through life. If you get back out there in the 40’s it’...