1920s Prints and Multiples

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

Still Life is a lithograph realized by Raoul Dufy in 1920. Good conditions. Edition of 110. The artwork is depicted through confident strokes in a well-balanced composition.

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

Leonetto Cappiello, a pioneering figure in the world of poster art, left an indelible mark on advertising through his innovative and captivating designs. Among his exceptional creati...

The Siren is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Signed and dated on plate on the lower central margin: F. Bac 1...

Wonderful print with artist's title and description (written in pen and ink) "'Law of the Flaming Frontier' Interior of Pioneer Cabin with a gun and a rifle in Tombstone AZ when the West was young." By Harold Edgar Wenck (American, 1886-1958), circa 1920s. Signed within print and hand-signed below title/description (in pen and ink). Presented in a giltwood period frame. H. E. Wenck (also known as Joe) was born in Fort Assiniboine, Montana in 1896. According to an article in Arizona Kitty Kat...

Old lad glory is an original offset and lithograph print, realized by George Grosz. The artwork is the plate n. 52 from the porfolio Ecce Homo published between 1922/1923,edition of...

Artist: Hermann Max Pechstein (German, 1881-1955) Title: "Weib Vom Manne Begehrt (Woman Desired by Man)" Portfolio: Deutsche Grapiker der Gegenwart (German Printmakers of Our Time) *Unsigned edition Year: 1919, (published 1920) Medium: Original Woodcut Engraving on cream wove paper Limited edition: 500, (there was also a signed and numbered edition of 30) Printer: Unknown Publisher: Klinkhardt & Biermann, Leipzig, Germany Reference: "Das Graphische Werk Max Pechsteins" - Krüger No. 224; Fechter No. 157; Rifkind No. 2252; Söhn I, page 108-114 Sheet size: 12.75" x 9.5" Image size: 9.88" x 6.25" Condition: One small skillfully repaired tear lower left in margin. It is otherwise a strong impression in excellent condition Notes: Provenance: private collection - Kiel, Germany. Comes from the 1920 "Deutsche Grapiker der Gegenwart (German Printmakers of Our Time)" portfolio of fifteen lithographs, eight woodcuts, eight reproductions, and one lithographed cover by various artists. The artists who contributed to this portfolio were George Grosz, Ernst Barlach, Lovis Corinth, Richard Seewald, Heinrich Campendonk, Erich Heckel, Otto Mueller, Karl Schmidt-Rottluff, Lyonel Feininger, Conrad Felixmüller, Max Unold, Karl Caspar, Max Lieberman, René Beeh, Adolf Ferdinand Schinnerer, Ludwig Meidner, Max Beckmann, Richard Seewald, Käthe Kollwitz, August Gaul, Rudolf Grossman, Alfred Kubin, and Paul Klee. This very same work is within many permanent museum collections including the Museum of Modern Art, New York, NY. "Deutsche Graphiker der Gegenwart (German Printmakers of Our Time)" brings together woodcuts, lithographs, and reproductions by thirty-one artists representing a cross-section of styles from Impressionism to Expressionism, uniting under a single cover works ranging from naturalistic self-portraits to left-wing political caricatures. It features works by artists associated with the Berlin Secession (an exhibiting society comprised primarily of German Impressionists), with Expressionist groups like the Brücke and Der Blaue Reiter, and with the political Novembergruppe, as well as artists like Max Beckmann who were not affliliated with any group. In his introduction, art historian Kurt Pfister identified Expressionism as the leading force in German art at the time, while stressing the plurality of approaches to style and subject matter that the movement encompassed. Pfister emphasized the openness of German artists to foreign sources, and cited the importance of Paul Cézanne, Edvard Munch, and Pablo Picasso as well as Japanese, Indian, African, and Gothic art for the development of German art. There was a fifty-year difference in age between the oldest artist, Max Liebermann, and the youngest, Conrad Felixmüller, featured in the collection. The volume also included Lyonel Feininger, an American who had lived in Germany since 1896, as well as Austrian artists Oskar Kokoschka and Alfred Kubin. Biography: Pechstein was born in Zwickau, the son of a craftsman who worked in a textile mill. Early contact with the art of Vincent van Gogh stimulated Pechstein's development toward expressionism. After studying art first at the School of Applied Arts and then at the Royal Art Academy in Dresden, Pechstein met Erich Heckel and joined the art group Die Bru¨cke in 1906. He was the only member to have formal art training. Later in Berlin, he helped to found the Neue Sezession and gained recognition for his decorative and colorful paintings that were lent from the ideas of Van Gogh, Matisse, and the Fauves. His paintings eventually became more primitivist, incorporating thick black lines and angular figures. From in 1933, Pechstein was vilified by the Nazis because of his art. A total of 326 of his paintings were removed from German museums. Sixteen of his works were displayed in the Entartete Kunst (Degenerate Art...

Hard Times from is an original offset lithograph realized by George Grosz. The artwork is the plate n.27 from the portfolio Ecce Homo published between 19...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Mabel Oliver Rae (1868 - 1956) Queens' Bridge, Cambridge Etching 13 x 9 cm Titled lower left and signed lower right in plate, and again in pencil outside plate. The college's famed Mathematical Bridge, which reflects in the ruffled waters of the River Cam. Kate Hillman of the Cambridge University Engineering Department notes that: "One of the most recognisable structures on the Cam, Queens' College bridge was originally built in 1749 by James Essex the Younger. Since then it has been rebuilt twice to the original design of William Etheridge, once in 1866 and again in 1905. In 1866 the bridge deck...

The Suffering Folk is an original etching realized by Louis Jou in the Early 20th Century. Applied on a Passpartout by gluing: 47 x 63 cm. Hand-Signed, Numbered. Edition, 14/40. Good conditions. Louis Jou (Gracia, 1882 - Baux, 1968), the twentieth-century etcher and wood engraver, was a prolific illustrator of a large number of books in France, authored by big names like Andre Gide...

Ulysses and the Sorceress is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Signed and dated on plate on the lower left corner: F. Bac 1922. Original Lithograph on ivory paper. Perfect conditions. Ulysses and the Sorceress is an excellent Liberty artwork realized by Ferdinand Bac in the second decade of the XX Century. The work is in full Liberty style and depicts a man, Ulysses surrounded by two figures. The famous sorceress Circe appears on the upper left corner and a second female figure is going to stop him. They are into a sea cave and, on the background, we can see the surface of the sea. Ferdinand Bac (1859 - 1952). Ferdinand-Sigismond Bach, known as Ferdinand Bac was a French cartoonist, artist and writer, son of an illegitimate nephew of the Emperor Napoleon. As a young man, he mixed in the fashionable world of Paris of the Belle Époque, and was known for his caricatures, which appeared in popular journals. He also traveled widely in Europe and the Mediterranean. In his fifties, he began a career as a landscape gardener. He attended Adolphe Thiers, Gambetta, Richard Wagner, Victor Hugo, Taine, Villiers de L'Isle-Adam, Paul Verlaine, Maurice Barrès, Barbey d'Aurevilly, Alphonse Daudet, Guy de Maupassant, Verdi, Gounod, Pierre de Nolhac, and many more other famous people of the time. He established himself as one of the first cartoonists and caricaturists of his time, as famous as Albert Robida...

Lithograph on paper, 1925 by Alexander Kanoldt, Germany. Signed in pencil lower right with "Kanoldt". Framed. Sheet dimensions: 8.86 x 6.89 in ( 22,5 x 17,5 cm ) Alexander Kanoldt was born in 1881 as the son of the landscape artist Edmund Kanoldt. In 1909 he finished his studies at the Academy of Arts in Karlsruhe, Germany. In the same year he became one of the founding members of the ‘Die Neue Künstlervereinigung München’ (‘New Artist’s Association Munich’) that put forward the editorial team for the Blaue Reiter in 1911. Furthermore he was part of the artist’s group “Munich’s New Secession which was founded in 1913 and included Alexej Jawlensky...

Paul Kleinschmidt, (1883–1949) "The Forest" Lithograph on Cream Paper 1920 Frame: 21" X 17" Image: 10.75" X 8.5" An expressionist forest scene with pine trees Provenance: bears label...

Monogram of the artist on plate. Edition of 150 copies. One of the 50 H.C.copies in Roman Numerals. This print is one of the illustrations realized by Odilon Redon for an important e...

Medium: original woodcut. The title means "Landscape with Women". Printed in 1920 for the German Expressionist art revue Das Kunstblatt, published in Berlin by Verlag Gustav Kiepenhe...

This poster for Cachou Lajaunie was designed by famous poster artist Leonetto Cappiello. This image features a woman with red hair calmly exhaling smoke from her cigarette. Set again...

An original etching from "Le Chef- d’Œuvre Inconnu" by Pablo Picasso, created in 1927 and published in 1931. It is hand signed and numbered 7/99 in red brush...

Tempête à Nice is a photolithograph realized in 1993 after Henri Matisse. Signed on the plate On Milano handmade paper. Very good conditions.

To see our other original vintage posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poste...

Artist: Bertram George Buchanan (English, 1873-1962) Titles: "The Seven Sisters", "Rye from the Hills", and "Pett Level" *Each work is signed by Buchanan in pencil lower right Circa ...

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...

A superb, richly-inked impression of an early etching and drypoint. With burr throughout and crisp plate edges. First state (of 2). Edition of 100. Signed in pencil by Chagall. Print...

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 masterful...

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...

Tea Time is a lithograph realized by Raoul Dufy in 1920. Good conditions. Edition of 110. The artwork is depicted through confident strokes in a well-balanced composition.

A L'Abattoir Les Cartellistes, Album- Souvenir des Elections de 22 Avril 1928 is an original colorful illustrated rare pamphlet with a satiric political scen...

This is one of the artworks in the portfolio 'Le Bonheur du Jour', by George Barbier. Passepartout included : 34 x 49 cm

Medium: original lithograph. This striking lithograph was printed in 1922 for Genius. The image size is 11 1/4 x 9 1/4 inches (285 x 235 mm). This original Alexander Kanoldt lithogra...

Original vintage Cognac Pellisson poster by Leonetto Cappiello of figure carrying Pellison Pere & Co. Cognac barrel printed by Vercasson. Raised Maxmi...

PAUL KLEE 1879-1940 Münchenbuchsee 1879 - 1940 Muralto (German) Title: The Man in Love, from: Masters Portfolio of the Staatliches Bauhaus Der Verliebte: Meistermappe des Staatlichen Bauhauses, 1923 Technique: Original Hand Signed Lithograph in Colours on Wove Paper Paper size: 34.2 x 27 cm. / 13.5 x 10.6 in. Image size: 27.7 x 19 cm. / 10.9 x 7.5 in. Additional Information: This original lithograph in colours is hand signed in pencil by the artist "Klee" at the lower right margin. Our impression is from the final state of this lithograph which was printed in a limited edition of 100 impressions by Staatliches Bauhaus, Weimar. It was published by Bauhaus Verlag. Munich and Weimar. Other impressions of this work can be found in the collections of the Zentrum Paul Klee, Bern, the Museum of Modern Art, New York, San Francisco Museum of Modern Art, California, and Centre Pompidou, Paris. Note: This composition is one of eight subjects which comprise the ‘Meistermappe des Staatlichen Bauhauses’ [The Masters Portfolio of the Bauhaus]. The contributors to the portfolio were Paul Klee, Wasily Kandinsky, László Moholy-Nagy, Lothar Schreyer...

Original 1922 collotype lithograph of a woman draped in fabric, created from Gustav Kilmt’s handzeichnungen (sketch). Published by Thyrsos Verlag, Leipzig and Vienna, in an edition o...

Marc Chagall, Russian (1887 - 1985) - Pierrot avec Parapluie, Year: 1927, Medium: Etching and Aquatint on Richard de Bas, Image Size: 14.25 x 11.5 inches, Size: 22 x 16 in. (55.88 ...

Etching in colors on paper

Horace Taylor was an English artist and poster designer. Although he worked primarily as a commercial artist, Horace Taylor was also a painter, draftsman and set designer. His poster...

Image size: 8.6x13.9 cm. Original drypoint on Chine Appliqué realized by Matisse in 1929 in an edition of only 25 prints. Signed and numbered in pencil lower right. Excellent conditi...

RAOUL DUFY 1877-1953 Le Havre 1877-1953 Forcalquier (French) and JACQUES VILLON 1875-1963 (Gaston Duchamp) Damville 1875 - 1963 Paris (French) Tit...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from...

Hand signed. Signed and titled on plate. Very good conditions. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created over 50 years ago by an a...

Pissarro, Camille. COUPLE DE PAYSANS. D.125. Etching and aquatint on laid paper. Unsigned. From the posthumous edition of 10 printed in 1923. 4 3/4 x 3 1/8 inches, 118 x 78 mm. (plat...

Image dimensions: 20 x 15.2 cm. After Leonard Tsuguharu Foujita Lithographic reproduction in colors, from the set of sixteen illustrations from Propos d’un intoxiqué, by Jules Boiss...

Ex Libris Laszlo is an original Contemporary Artwork realized in the 1920s. Original B/W woodcut on ivory-colored paper. Signed and dated on plate on the lower margin: "Nemes Irm...

Ecce Homo VII Woodcut, 1921 Signed, titled, and dated in pencil by the artist One of only three known impressions Created while the artist was studying at the Bauhaus in Weimar, Germany. Extreme rarity-One of three know impressions Note: In 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Condition: Excellent Missing small voids in the upper margin from removal of the original hinges. Image size: 9 7/8 x 8 3/16 inches Reference: Rose 30 Provenance: From the estate of Drewes's teacher at the Bauhaus. During the pasot WW2 the professor lived in East Germany. WERNER DREWES 1899-1985 Werner Drewes initially studied architecture before enrolling, in 1921-22, at the Bauhaus in Weimar under Klee, Kandinsky, Itten and Feininger. For four years - 1923 to 1927 - he travelled the world with his bride, before completing his Bauhaus training in Dessau in 1929. He immigrated to the United States in 1930, documenting that move to New York through series of woodcuts. In 1936/37 he was an active founder of the American Abstract Artists and participated in the Federal Arts Project in New York before moving on to a teaching career at Washington University in St. Louis. As an artist for over sixty five years, he employed various media from drawing and watercolor, through woodcut and etching, to painting and collage. Translating an early interest in subjective cubistic forms, his work evolved into nonobjective abstraction. He was creative until the day of his death. Courtesy: Toby C. Moss Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...

Marina in Burrasca is a splendid etching realized by Carlo Carrà (1881- 1966) in 1924. Hand-signed, titled and qualified as an artist proof (Prova d'artista) on the lower margin by ...

Auguste Rodin, After, French (1840 - 1917) - Jardin Des Supplices III, Year: 1920, Medium: Lithograph, Image Size: 13 x 8 inches, Size: 17.75 x 12.5 in. (45.09 x 31.75 cm), Descrip...

Image dimensions: 30 x 20 cm. Circling Doves is an original lithograph by Arthur Bowen Davies, one of the most important American artists, who lived from 1862 to 1928. The print was...

The Sea is an original colored lithograph realized by German painter Henri van Moe (1930 - 1989) in 1929. Hand-signed on the lower right. Good conditions. The artwork represents a...

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

Lewis, Martin (American, born Australia, 1881-1962). QUARTER OF NINE, SATURDAY'S CHILDREN. McCarron 79. Drypoint, 1929. McCarron says the intended edition was 100 , but 107 were prin...

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 BALLET UND PANTOMIME...

Beautiful art deco poster by Felix Fournery ( 1865 - 1938 ) featuring an elegant woman with her De Dion-Bouton bicycle. Felix Fournery, fashion illustrator, pa...

Medium: pochoir (after the watercolor). Printed in Paris in 1924 and published by Albert Morance for "L'Art d'Aujourd'hui", and now very scarce. The publisher's provenance inscriptio...

Gerald Geerlings (1897-1998), Black Magic, etching and aquatint, 1929, signed in pencil lower right, titled and annotated (New York, 1928) lower left margi...

"Yanagibashi in Snow" is an original color woodcut by Utagawa Kunisada. This woodblock print depicts a woman walking in the snow near the Motoyanagi canal, which was located in Tokyo...

Henri Matisse Odalisque à la culotte de satin rouge 1925 Lithograph on Chine paper, Edition of 50 Paper size: 28.5 x 36.5 cms (11 1/4 x 14 3/8 ins) Image size: 19 x 27 cms (7 1/2 x 1...

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 BALLET UND PANTOMIME...

Brooklyn Waterfront Lithograph, 1931 Signed, titled, and dated in pencil by the artist Edition: Undetermined (very small), plus artist's proofs Printed by Meister Schulz, Berlin Provenance: Estate of the artist Virginia Dehn, the artist's widow Dehn Quests Bibliography: Lumsdaine and O'Sullivan 152 Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression) Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

Gaston Briand (1880-1957) and his family were producers of cognacs in the Domaine La Voute since 1850 and they sold most of their production to the major regional houses of Remy Mart...