1910s Prints and Multiples

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fro...

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 poster...

Walt Kuhn (1877-1949), Strong Girl, drypoint, 1916 [signed in pencil by Kenneth Hays Miller and inscribed “Zinc sheet E printed by Howard Moore Park 1928”). In very good condition, printed on a cream wove paper, 7 1/2 x 5 1/4, the sheet 11 1/8 x 8 1/2 inches. Provenance: ex Collection: The Metropolitan Museum of New York, with their stamp verso. ex Coll: Jonathan Greenberg, New York City A very good impression of this rare early Kuhn print. This is listed as number 48 in the Kennedy Galleries Walt Kuhn Checklist, made for an exhibit of his prints in 1967; it is cited as a print where no more than 6 impressions are known to exist. Kuhn was of course intimately familiar with circuses and carnivals...

Kino Plasticon. Ca 1920s. Budapest. Color lithograph The Hungarian artist and illustrator Geza Farago worked in Budapest as a cartoonist, theatrical costume designer and poster ar...

Jean-Emile Laboureur (1877-1943), Sortie de Theatre a Londres, etching and drypoint, 1911, signed in pencil lower left [also signed and dated in the plate upper right]. Reference: Laboureur 104, third state (of 3). Published for La Societe des amis de l’eau-forte, with the blindstamp with the inscription: Circle Librairie Estampes. From an edition in the third state of 109; there were also 5 impressions of the first state and five of the second state. In excellent condition, the full sheet with deckle edges bottom and sides, 6 3/4 x 14; a remarque lower left 2 x 3 1/2, the sheet 12 3/4 x 19 3/4 inches. Provenance: unknown collector’s mark verso (GOE in oval) A fine rich impression, printed in dark brown ink on cream laid paper with the Arches watermark. The small remarque lower left is actually another print printed on a separate plate; it shows a man running after a London horse...

Sloan, John. HEAD WITH NECKLACE. Morse 163. Etching, 1913. Edition of 100, of which only 75 were printed. Titled, signed and inscribed "100 proofs" all in pencil, and further signed ...

1917. (Godefroy 172, II/II). Engraving on Rives. Signed with initial and dated on the plate, l.r "L 1917". Signed in pencil and numbered 28/45. Framed Stein, The Cubist Print p. 14...

Arthur B. Davies, Up-Rising, soft ground etching and aquatint on a cream laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In g...

Jean-Emile Laboureur, Lassitude, 1912, woodcut, signed and numbered (24/35) in pencil. Reference: Sylvain Laboureur 682, third state (of 3). From the edition of about 35, published b...

"Matinee a l'Odeon" is an original etching by Maurice Asselin. The artist signed and titled the print below the image. This piece is edition 13/30 and depicts three figures watching ...

Oli Sasso is a colored lithographed original manifesto on cardboard, realized around 1914 by the Italian artist Plinio Nomellini. This modern artwork is signed on plate on higher left margin and has the inscriptions printed on lower margin in the image "Chiedere Catalogo e Campioni ai Sigg. Sasso Oneglia e Figli", under the image: "P. Nomellini/ Off. G. Ricordi and C. Milano / 140 x 200". From the Ricordi Portfolio...

Original antique World War One propaganda poster: Everyone Should Do His Bit – Enlist Now featuring an image of young boy in uniform enrolling in the army as the drummer boy, his rig...

Fattoria Bolla is a beautiful and rare color lithograph printed by G. Ricordi and C. Milano, Milan, between 1895 and 1914. A vintage poster representing a farmer feeding her son wit...

Theodore Roussel (1847-1926), The Avon on the Road to Bexhill, drypoint, 1919, signed in pencil and dated (15.7.19) lower left [also signed in the plate]. Reference: Hausberg 115, f...

Pianta Di Roma e Dell'Esposizione is an original print realized in 1911 on a drawing by Ludovico Beranger. Black and white etching. The artwork was realized ...

Rozsa/Szucs. Ca 1915. Budapest. Color lithograph. Hungarian Art Nouveau posters are rare. Bardócz was a graphic artist and painter, active between the 1910’s and the 1930’s. His p...

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 poster...

Arthur B. Davies (1862-1928), Tartessians, soft ground etching with aquatint, 1919-20, signed in pencil lower right. Reference: Czestochowski 96, second state (of 2), total printing ...

Jean-Emile Laboureur (1877-1943), Negres Americains a Saint-Nazaire, 1917-1920, engraving on cream wove paper, signed in pencil lower left, titled lower left margin edge, and numbere...

Summer. 1914. Drypoint. Appleby 46. 6 7/8 x 4 7/8 (sheet 11 5/8 x 9 3/16). Edition 77. A fine impression printed on cream wove paper on the full sheet with deckle edges. Signed in pe...

Arthur B. Davies (1862-1928), Amber Garden (Hand Raised, Autumn Mist), soft ground etching and aquatint, 1919, signed in pencil lower right margin. Referen...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

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...

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 poster...

Henri Matisse Jeune Polonaise 1917/18 Etching on Chine appliqué on wove paper, Edition of 15 Paper size: 38 x 28.5 cms (15 x 11 1/4 ins) Plate size: 18 x 12.7 cms (7 x 5 ins) HM16662

Original vintage advertising poster for Mephisto, crayon a copier de L & C Hardtmuth (copying pencils by one of the world's oldest pencil companies, now Koh-i-Noor Hardtmuth). Fantas...

Edition of 100 prints. Hand signed and numbered. Good conditions, just some minor stains on lower left margin. This artwork is shipped from Italy. Under existing legislation, any a...

Jean-Emile Laboureur (1877-1943), Bar en Pennsylvanie, etching, 1914. Signed in pencil lower left and numbered 21/35 lower right [also signed and dated lower in the plate lower left]...

Franz Marc (1880-1916), Germany, Member of "Blaue Reiter", expressionist. Helio etching on paper. This etching comes from the portfolio no 2, it apeard in an edition of 5 in 1922. Th...

Jean-Emile Laboureur (1877-1943), La Fille aux Oies, engraving, 1916, signed in pencil lower left, numbered (4/40) lower right and inscribed “imp,” also titled lower left margin edge...

Benson, Frank. MARSH GUNNER. Paff 149. Etching, 1918. Edition of 150. Signed in pencil, lower left, and numbered "93" in pencil, lower right. 10 7/8 x 8 7/8 inches (plate), 15 3/4 x ...

Artist: Sidney Tushingham (English, 1884-1968) Title: "Peggy" *Signed by Tushingham in pencil lower right. It is also monogram signed in the plate (printed signature) lower right Cir...

Original antique movie poster for an American comedy drama The Streets of New York - The sensational feature in 3 parts "Me for New York now" - ba...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

Jean-François Raffaëlli (1850-1924), La Fumee du Bateau, color etching and drypoint, 1911, signed and numbered in pencil lower right. Reference: Delteil 98. In very good condition, ...

Hand signed. Edition of 200 copies. This beautiful etching belongs to the series of illustrations that the French artist André Dunoyer de Segonzac realized for the "Georgics" by the...

Lion Brewery. 1914. Etching. Hardie 149. 11 1/2 x 8 1/8 (sheet 13 5/8 x 10 1/8). Edition 50, #7. Illustrated: Salaman, Modern Masters of Etching. A fine impression of this scarce pri...

Trieb, Anton. Gran Bodega Espanola Urania, Zurich Ca 1910.Color lithograph. On Linen. Anton Trieb was a watercolor painter , draftsman , illustrat...

Childe Hassam (1859-1935), French Cruiser, lithotint, 1918, signed in pencil with the cipher lower right. Reference: Griffith 8. In very good condition, printed in black ink on cream...

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 poster...

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...

Jean-Emile Laboureur (1877-1943), La Receveuse, engraving, 1919-1920, signed in pencil lower left, numbered (2/38) lower right and annotated ”imp” [also with initials and the date 19...

Bacon, Peggy (American, 1895-1987). ICE CREAM. Flint 6. Drypoint, 1918. Edition size not known, but likely very small. Titled "Ice Cream," dated "Nov. 19...

Jean-Emile Laboureur (1877-1943), Une Marmite, engraving, 1916, signed in pencil lower left; titled, dated and inscribed “epreuve de 1er etat” bottom margin edge [with the initial an...

Artist: Chen Quian. [Advertisement for B.S Insurance Co.] 1912 Color lithograph, Rare. Very early Chinese advertising poster at the end of the Qu...

Very rare xylograph of the artist, who was considered one of the 20th Century Masters in xylography. Title and signature printed on the lower margin. Very good condition. Passepartou...

Hotel St. Gothard Zurich. 1917. Color lithograph, On linen. 50 x 36" Otto Baumberger’s first posters were created in 1911. However, his most productive period for posters was from the 1920s to the mid-1930s. He created about 230 posters in all, many of which he lithographed himself. An important representative of Swiss Expressionism...

1918. Color lithograph. On Linen. Julius de Praetere (Jules de Prater) was a Belgian painter, graphic designer, university lecturer and publisher in the field arts and textile de...

Wood cut in two colors on laid silk woven paper, 1913 by Erich Heckel ( 1883-1970 ). Signed and dated in pencil lower right: Heckel. Framed. Height: 7.13 in ( 18,1 cm ), Width: 4.21 ...

Original antique advertising poster promoting the Carnevalsfeste des Clubs der Rheinlander Koln - the annual Cologne carnival festival in February over the Faschingsdienstag (Shrove Tuesday) week featuring a great design of a man dressed as a harlequin clown on parade with colourful ticker tape in the foreground and the silhouette of Koln Cathedral...

Drypoint and aquatint (brown ink) on cream paper. Signed in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. From the s...

Pochoir Colored Plate for Journal Des Dames et Des Modes. Engraved by H. Reidel on wove paper. 15 x 19.5". 1914 Pochoir is a process where the plate is first stenciled and then ha...

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...

Hand signed. Edition of 75 prints.Original Prints. From the suite: “Huit Illustrations de Guerre”. Image Dimensions : 16.5 x 11 cm This artwork is shipped from Italy. Under existing...

Rozanova, Olga. Transrational blog (The Queen of Hearts).1915, Moscow Red Linocut, on thin wove paper, from Zaumnaya gniga [Transrational boog] by A. ...

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...

The Picador Incites the Bull. 1911. Drypoint. Hardie 104. 6 1/4 x 9 7/8 (sheet 8 1/4 x 11 7/8). Edition 30, #5. Slight mat line, 1 hinge stain in the lower margin, well outside the i...