Expressionist Figurative Prints

Grim man is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 4 from the portfolio Ecce Homo published between 1922/1923, edition of Der Malik-...

From the Youth is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 3 from the portfolio Ecce Homo published between 1922/1923, edition of Der ...

This artwork titled "Courtisane aux Yeux Baisses" from the suite "Les Fleurs du Mal" created in 1937, is an original color aquatint on Montval paper by renown French artist Georges Rouault, 1871-1958. It is signed and dated in the plate as issue. Published by Ambroise Vollard, Paris and printed by Lacouriere, Paris. Referenced and pictured in the artist's catalogue raisonnes by Chapon plate #276, Wofsy plate #273. The plate mark (image) is 11.75 x 8.15 inches, framed size is 20.5 x 17.25 inches. Custom framed in a wooden brownish and gold frame, with fabric matting and black fillet. Artwork and frame are in excellent condition, the colors are fresh and bright. Example of this artwork is held in many museums including The National Gallery of Art. About the artist: French painter, draughtsman, printmaker and designer, Georges Rouault created a personal style of Expressionism that gives him a highly distinctive place in Modern Art. Rouault was born in 1871, in the cellar of a house in Belleville, a working class quarter of Paris near the Père Lachaise cemetery, while the city was being bombarded by government troops quelling the Paris Commune. His father was a finisher and varnisher of pianos at a local factory. Rouault's grandfather was an amateur art...

MAXIMILLIAN KURZWEIL (Austrian 1867-1916) DER POLSTER / THE CUSHION, 1903. Color woodcut printed on laid japon paper, affixed as usual to a support sheet from its upper sheet edge...

Lithograph on laid paper realized by Heckel in 1927. Signed and dated in pencil lower right. Hand numbered 11/20 lower left. Provenance: Galerie Vayhinger, Radolfzell, Private Col...

Karl Michel, 'Ex Libris Dr. Witropp - Homunculus und Galatee', etching, 1923, edition not stated. Signed, dated, and numbered 'Op. 140' (the artist's inventory number) in pencil. Si...

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...

Jean Jansem (1920-2013) Le tambour, 1984 Lithographie sur papier Arches, justifiée EA Signée en bas à droite 67,5 x 47 cm / 76 x 54 cm Bibliographie: CR Jansem, 1993, n°1 "Ma pre...

This artwork titled "Crude Oil Men" c.200,0 is an original serio lithograph (serigraph and lithograph) on paper by renown American figurative expressionist artist Michael Todd White, b.1969. It is signed and numbered 321/350 in black ink by the artist The artwork (Image) Size is 21 x 15.5 inches, framed size is 32 x 26.25 inches. Custom framed in a wood veneer and black frame, with fabric matting. It is in excellent condition, the frame has a minor small rub, barely visible. About the artist: Michael Todd White (born October 10, 1969, in San Antonio, Texas) is a figurative expressionist painter.[1] He has also been described as an avant-garde expressionist. White was named the official artist for the Grammy Awards by the Recording Academy in 2007. His painting appeared on the ceremony's invitation and program book and served as the official image for the event. His work was featured in the Inspirations of Oz Fine Art Collection, an exhibition commemorating the 70th anniversary of The Wizard of Oz. The collection toured designated cities all over the world including Miami, Los Angeles, Dubai, Japan, London, Toronto and Vienna. In 2010, White was chosen to provide sketches for Coca-Cola Light in Mexico. White's six sketches are depicted on different faces of Coca-Cola Light bottles and cans, each featuring his distinctive box signature. This was the first time that Coke had collaborated with a fine artist to depict artwork for its label. The bottles were released in August 2010.[5] As a result of some of these career achievements White has earned international recognition and a lengthy list of celebrity collectors. White's work hangs in a number of galleries in North America and he is currently one of the best selling artists in the United Kingdom. Some of White's most prominent exhibitions include a show at the Bank of Scotland in Manchester, England and at the unveiling of The World's Largest Todd White Collection, hosted by CNN's Larry King at Pechanga Resort and Casino in Temecula, California. Todd White's work was featured in the opening of Clarendon Fine Art Gallery in Hampstead, London alongside that of leading British contemporary artists Sherree Valentine-Daines and Christian Hook.

Dado (Miodrag Djuric called) (1933-2010) Two Men on a Red Background Original etching and aquatint Handsigned in pencil Numbered / 99 ex On Arches vellum 76 x 56 cm (c. 30 x 22 inch...

Le Roi avec Fleurs Georges Rouault (After), French (1871–1958) Date: circa 1965 Screenprint Poster Size: 26 in. x 20 in. (66.04 cm x 50.8 cm) Frame Size: 28 x 22 inches

Joan Snyder has been called an autobiographical, even confessional artist, who draws from her experiences and surroundings to create her paintings. While her subjects vary widely, Sn...

Carborundum etching. Figura de Hombre en Azul con Fondo Gris / Figure of a Man in Blue with Gray Background (Pereda 251). Printed and published by Ediciones Poligrafa in Barcelona. I...

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

Silkscreen on vélin paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Poems of Léopold Sédar Senghor, 1996. Published by The ...

Silkscreen on vélin paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Poems of Léopold Sédar Senghor, 1996. Published by The ...

Silkscreen on vélin paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Poems of Léopold Sédar Senghor, 1996. Published by The ...

After Gustav Klimt, Max Eisler Plate #25, Baby; black & white collotype after the 1917 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT ...

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...

Die Bettler (The Beggars) Lithograph, 1922 Signed in pencil lower right (see photo) From: Berliner Reise Series, Plate 7 Printed on wove paper Edition: 100...

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...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

Jesus Before Pilate Georges Rouault (After), French (1871–1958) Date: of original: 1932 Lithograph, signed in the plate Image Size: 11.5 x 7.5 inches Size: 14.5 x 12 in. (36.83 x 30....

Medium: original woodcut. Printed in Germany in 1917 for Die Aktion; this impression is from the deluxe edition of 100 on Bütten laid paper. Catalogue reference: Schapire 202. Image ...

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...

Emil Nolde (1876-1956), Abschied (Parting), etching and aquatint (tonal effects), 1906, signed in pencil lower right. Reference: Schiefler/Mosel 20, third state (of 3). One of only...

Jean Jansem (1920-2013) Lydia au coussin indien, 1993 Lithographie sur papier Arches Signée et justifiée 49 x 64,5 cm / 56 x 76 cm Imprimeur: Arts-Litho, Paris Editeur: Jansem, Pari...

Jacob Otto Pins (17 January 1917 – 4 December 2005) was a German-born Israeli woodcut artist and art collector, particularly of Japanese prints and paintings. Jacob Pins was born in Höxter, Germany, the son of Dr Leo Pins, a veterinarian, and his wife Ida Lipper. He immigrated to Palestine in 1936 to study art. His father tried to discourage him from becoming an artist for financial reasons. Pins' younger brother, Rudolph, (1920-2016) moved to the United States in 1934. His father was sent to Buchenwald. In July 1944, both parents died in the Riga ghetto. Pins first lived on a kibbutz, which was disbanded in 1941. He moved to Jerusalem and studied woodcut and linocut under woodcut master and painter Jacob Steinhardt, also a German immigrant, at his small private school. He lived in poverty in a tiny room, subsisting on a meagre diet. He continued his studies at the new Bezalel Academy of Art and Design. Pins was married to Elsa, the subject of a number of his prints. They had no children. Pins bought his first Oriental print in 1945, and acquired a house on Ethiopia Street, opposite the Ethiopian church, where he lived for the rest of his life. He continued collecting until his death and was one of Israel's foremost art collectors. His book on Japanese Pillar Prints, Hashira-e is the definitive work on the subject. Pins died in Jerusalem in December 2005. Pins' artwork was heavily influenced by German expressionism and traditional Japanese wood block printing. From 1956 to 1977, he taught at Israel's leading art schools, most notably Bezalel, where he later became a professor. He was known as a demanding teacher, emphasizing strong technical skills and discipline. In the 1950s, Pins helped to found the Jerusalem Artists' House, a centre for the city's artists to meet and exhibit. Legacy Pins' extensive collection of Japanese woodprints...

Jean Jansem (1920-2013) La porte du jardin, 1986 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 51 x 70 cm / 54 x 76 cm D'une édition à 30 exemp...

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...

Artist: Theo Tobiasse (French/Israeli, 1927-2012) Title: Je Sens monter en moi des chants de plaisir (I Feel Songs of Pleasure Rise in Me) Year: Circa 1980 Medium: Color lithograp...

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...

Print Offest Ink on Linen Size: 36W x 42Hx 2 D In Unmounted artwork Ships in a well-protected tube from Nigeria Signed on the front side and accompanied by a Certificate of Authentic...

Small black and white woodblock print depicting boat with houses. Possibly from the Woodstock School of Art. Inscribed and signed by artist. ...

Josef Scharl (1896 Munich - 1954 New York), Portrait of a Man, 1937 (1964), Bronner 43 A. Woodcut on Japanese paper, 44 cm x 30.5 cm (image), 63 cm x 46.5 cm (sheet size), signed “J[...

This artwork titled "Clown et Enfant (Clown and Child)" from the suite "Cirque (Circus) by Andre Suarez" created in 1930, is an original color aquatint, etching and drypoint by renown French artist Georges Rouault, 1871-1958. It is signed in the plate as issue. According to Isabelle Rouault (Daughter of the artist) the total edition was 500. Published by Ambroise Vollard, Paris and printed by Maurice Potin, Paris. Referenced and pictured in the artist's catalogue raisonnes by Rauch #153, Kornfeld, Klipstein Catalog 120, #134 to #144, Soby pages 110 and 120, and Ambroise Vollard Editeur by Una E. Johnson #202 and page #109. . The plate mark (image) is 12.15 x 8.25 inches, framed size is 24.75 x 21 inches. Custom framed in a wooden black and gold frame, with fabric matting, fabric spacer, and gold color bevel. Artwork and frame are in excellent condition, the colors are fresh and bright. Example of this artwork is held in many museums including The Museum of Modern Art, New York About the artist: French painter, draughtsman, printmaker and designer, Georges Rouault created a personal style of Expressionism that gives him a highly distinctive place in Modern Art. Rouault was born in 1871, in the cellar of a house in Belleville, a working class quarter of Paris near the Père Lachaise cemetery, while the city was being bombarded by government troops quelling the Paris Commune. His father was a finisher and varnisher of pianos at a local factory. Rouault's grandfather was an amateur art...

Kollwitz, Kathe. SCHWANGERE FRAU. Etching and soft ground, 1910. Klipstein 108(V) 14 7/8 x 9 3/8 inches (377 x 236 mm.). Signed in pencil, and with the names of the publisher Richter...

"Life Is Just A Shell Game" is from Sandra Jones Campbell's series inspired by her unique social observations. It features her unique blend of modernism and expressionistic style, al...

20" x 30" Unframed Limited Edition Giclee with Hand Embellishment of 195 Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors...

After Gustav Klimt, Max Eisler Plate #19, Bildnis einer alten Dame; sepia-toned monochrome collotype after the 1917 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I in 1804 and whose collotype printing innovations of Klimt’s art...

Max Weber, Untitled 'Feast of Passover', woodcut, 1920, edition proofs—this impression from the edition of 25 printed in 1956, Rubenstein 30. Signed in pencil...

Kathe Kollwitz, German (1867 - 1945) - Kinder halten Essensschusseln (Children holding Food Bowls), Year: 1923, Medium: Lithograph, Image Size: 16 x 11 inches, Frame Size: 25.2...

Jean Jansem (1920-2013) Les acadiens, 1993 Lithographie sur papier Arches, justifiée E/A 16/30 Signée en bas à droite 65,5 x 50 cm / 76 x 56 cm Bibliographie: CR Jansem, 2000, n°9...

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Signed in pencil by Richard Seewald and printed in Germany in 1922 for the very rare "Die zw...

Artist: Leon Golub, American (1922 - 2004) Title: The Lovers Year: 1992 Medium: Lithograph, signed and numbered in pencil Edition: 52/90 Size: 30 x 22.5 in. (76.2 x 57.15 cm)

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...

Jongleur Georges Rouault, French (1871–1958) Portfolio: Le Cirque de l'Etoile Filante Date: 1936 Woodcut, initialed in the stone Size: 3 x 2 in. (7.62 x 5.08 cm) Frame Size: 9.5 x 8....

Alone from Ecce Homo is an original offset and lithograph, realized by George Grosz. The artwork is the plate n. 67 from the porfolio Ecce Homo published between 1922/1923, edition ...

Karl Michel, 'Der Gartner' (The Gardener), woodcut, c. 1925. Signed, titled, and numbered '15/50' in pencil. Signed in the block, lower left and right. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 5 1/4 x 3 7/8 inches (133 x 98 mm); sheet size 10 x 7 3/4 inches (254 x 198 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). In 1920, his work was featured in the influential German graphic design magazine Das Plakat...

Artist: Georges Rouault, French (1871 - 1958) Title: Frontispiece from the portfolio Les Reincarnations du Pere Ubu Year: 1929 Medium: Etching and aquatint on cream wove paper, signe...

Die Grosse Befehl is an original Rare Book illustrated by Hermann Max Pechstein (Zwickau, December 31, 1881 – Berlin, June 29, 1955) and written by Johanne...

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...

OTTO MUELLER (German 1874 – 1930) POTSDAMER KUNSTSOMMER, 1921 (1968) (Karsch 6) Woodcut. Edition of 25 and numbered 11. There are no known impressio...

Karl Michel, 'Viel Gluck 1923 Wunscht der Graphikverlag, J.G. Holzwarth/Bad Rothenfelde', woodcut, 1922, edition 20. Signed and numbered op. 135d and 20/20 in pencil. Signed in the image, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine, richly-inked impression, on heavy, cream Japan paper, with full margins (5/8 to 1 1/8 inches), in good condition. With the artist’s blind stamp in the top left margin. Printed by the artist. Matted to museum standards, unframed. New Year's Greeting - "1923, Good Luck Wishes from the Graphic Press, J.G. Holzwarth/Bad Rothfelde." Image size 5 x 3 1/2 inches (127 x 89 mm); sheet size 6 5/8 x 5 7/8 inches (168 x 149 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...