Bauhaus Prints and Multiples

Herbert Bayer Sale and Marketing Kiosk for P Cigarettes (Verkauf- und Werbekiosk, Zigarettenmarke P ), 1924 Offset Lithograph Year: 1994 Size: 33.2 × 23.2 inches Publisher: Bauhaus A...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Paper Size: 16 x 16.25 inches ( 40.64 x 41.275 cm ) Image Size: 15.5 x 16 inches ( 39.37 x 40.64 cm ) Framed: Yes Condition: B: Very Good Condition, with signs of handling or age Ad...

Herbert Bayer Things to Come tray, 2018 Porcelain dish with metallic gold edge and silkscreened image Limited edition of an unknown quantity, originally distributed by the Museum of Modern Art, before it sold out. Measurements: Box: 5.5 x 5.5 inches Tray: 5 x 5 inches Provenance: Originally distributed by the Museum of Modern Art, before it sold out Manufacturer: Galison Publishing LLC and The Museum of Modern Art Herbert Bayer biography: Artistic polymath Herbert Bayer was one of the Bauhaus’s most influential students, teachers, and proponents, advocating the integration of all arts throughout his career. Bayer began his studies as an architect in 1919 in Darmstadt. From 1921 to 1923 he attended the Bauhaus in Weimar, studying mural painting with Vasily Kandinsky and typography, creating the Universal alphabet, a typeface consisting of only lowercase letters that would become the signature font of the Bauhaus. Bayer returned to the Bauhaus from 1925 to 1928 (moving in 1926 to Dessau, its second location), working as a teacher of advertising, design, and typography, integrating photographs into graphic compositions. He began making his own photographs in 1928, after leaving the Bauhaus; however, in his years as a teacher the school was a fertile ground for the New Vision photography passionately promoted by his close colleague László Moholy-Nagy, Moholy-Nagy’s students, and his Bauhaus publication Malerei, Photographie, Film (Painting, photography, film). Most of Bayer’s photographs come from the decade 1928–38, when he was based in Berlin working as a commercial artist. They represent his broad approach to art, including graphic views of architecture and carefully crafted montages. In 1938 Bayer emigrated to the United States with an invitation from Alfred H. Barr, Jr., founding director of The Museum of Modern Art, to apply his theories of display to the installation of the exhibition Bauhaus: 1919–28 (1938) at MoMA. Bayer developed this role through close collaboration with Edward Steichen, head of the young Department of Photography, designing the show Road to Victory (1942), which would set the course for Steichen’s influential approach to photography exhibition. Bayer remained in America working as a graphic designer for the remainder of his career. -Courtesy of MOMA More about Herbert Bayer: Herbert Bayer (1900-1985) was born in Austria, where he entered into an apprenticeship under the architect and designer, Georg Smidthammer, with whom Bayer learned drawing, painting, and architectural drafting, inspired by nature and without formal knowledge of art history. In 1920, Bayer discovered the theoretical writings of the artist Vassily Kandinsky, as well as Walter Gropius’ 1919 Bauhaus manifesto, in which Gropius declared the necessity for a return to crafts, in which were found true creativity and inspiration. Bayer traveled to Weimar to meet Gropius in October of 1921 and was immediately accepted into the Bauhaus. There, he was deeply influenced by the instruction of Kandinsky, Johannes Itten and Paul Klee. In 1928 Bayer moved to Berlin together with several members of the Bauhaus staff including Gropius, Moholy-Nagy and Marcel Breuer. He found work as a freelance graphic designer, particularly with German Vogue, under its art director Agha. When the latter returned to Paris, Bayer joined the staff full time, and also worked increasingly with Dorland, the magazine's principle advertising agency. It was in the period from 1928 to his emigration to America in 1938 that he developed his unique vision as an artist, combining a strongly modernist aesthetic sense with a rare ability to convey meaning clearly and directly. This seamless combination of art, craft and design mark Bayer as true prophet of Bauhaus theories. Bayer followed Gropius to America in 1938, and set his breadth of skills to work later that year in designing the landmark Bauhaus 1918-1928 exhibition at the Museum of Modern Art. Bayer flourished in New York as a designer and architect, but it was his meeting with the industrialist Walter Paepcke in 1946 that allowed him to harness his concepts of 'total design' to the postwar boom. Paepcke was developing Aspen as a cultural and intellectual destination, and found in Bayer the perfect collaborator. Bayer was designer, educator and indeed architect for Paepcke's Aspen Institute...

Ecce Homo Plate X Woodcut, 1921 Signed, titled, and dated in pencil by the artist (see photos) Edition: One of two known impressions This image wwas unknown to the catloger Ingrid Ro...

Josef Albers Homage to the Square (Hommage au Carre) (Bauhaus, Geometric Abstraction) Screenprint in brilliant Colors on wove paper Year: 1972 From “Josef Albers: Son Oeuvre et Sa C...

Josef Albers Homage to the Square (Hommage au Carre) (Bauhaus, Geometric Abstraction) Screenprint in brilliant Colors on wove paper Year: 1972 From “Josef Albers: Son Oeuvre et Sa C...

Josef Albers Homage to the Square (Hommage au Carre) (Bauhaus, Geometric Abstraction) Screenprint in brilliant Colors on wove paper Year: 1972 From “Josef Albers: Son Oeuvre et Sa C...

A print from the CCA folio of Herbert Bayer published in 1965. Nicely framed. Untitled Herbert Bayer, Austrian (1900–1985) Date: 1964 (1965) Offset Lithograph Frame Size: 16.5 x 22 ...

A print from the CCA folio of Herbert Bayer published in 1965. Nicely framed. Tender Picture E Herbert Bayer, Austrian (1900–1985) Date: 1928 (1965) Offset Lithograph Image Size: 9 ...

Josef Albers (1888-1976) born in Bottrop, Germany, enrolled at the Bauhaus - the recently founded school of art, architecture, and design in Weimar, Germany - in 1920. Placing equal ...

Lyonel Feininger, 'Manhattan 1, stone 2', lithograph, 1951, edition 25. Prasse L 16. Titled 'Manhattan I and Stone II' in pencil, in the bottom right sheet edge. A fine impression on off-white Rives wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Scarce. Image size 11 1/4 x 8 5/8 inches (286 x 219 mm); 16 x 11 1/2 sheet size: inches (406 x 292 mm). Matted to museum standards, unframed. ABOUT THIS WORK Feininger produced only 20 lithographs throughout his prolific career—a handful of much earlier works created from 1906-12 were never editioned, with only a few proofs providing a record of those formative experiments. The success of his signature work, 'Off the Coast, Stone 3' created in 1951 for the Print Club of Cleveland, led the artist to produce five other lithographs from 1951-1955 printed by master lithographer George C. Miller as was the Print Club edition. Impressions of this work are held in the collections of the Boston Public Library, Cambridge Fine Arts Museum, Cleveland Museum of Art, Bezalel National Art Museum (Jerusalem), Philadelphia Museum of Art, and the Washington Library of Congress. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public. Still, he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral...

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...

Lyonel Feininger, 'Church with Houses' also 'Tree and Star' ('Kirche mit Hausern', 'Baum und Stern'), woodcut, 1933, one of a small but unknown number of letterhead proofs; Prasse W275. Annotated 'W 275' (Feininger catalogue number) and inventory number '3033' in pencil, in the bottom right sheet corner. A fine, richly-inked impression, on cream, laid letterhead paper, in excellent condition. Very scarce. Image size 2 7/16 x 2 5/8 inches; sheet size 10 x 6 7/8 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Little Locomotive (Kleine Lokomotive)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W158. Annotated 'W 158' (Feininger catalogue number) and '1936' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 3 5/16 inches; sheet size 10 x 7 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. Collections: Cleveland Museum of Art, Museum of Modern Art, Staatliche Museen zu Berlin (East Berlin KK). ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 IV. Annotated 'PW 290 state IV / IV 3669', in pencil, in the bottom right sheet corner. With the artist's typed address and date adjacent to the letterhead image: 'Falls Village, Connecticut September 26th, 1940'. A fine impression, on buff, wove letterhead stock; several small losses, and tears, in the sheet edges (not affecting the image area); a crease in the bottom right sheet edge, otherwise in good condition. Very scarce. Image size: 2 3/8 x 2 3/4 inches; sheet size 11 x 8 5/8 inches. Archivally sleeved, unmatted. Feininger moved from Germany to New York City in 1938 and began spending his summers in Falls Village in 1940. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger (after) Insel, 1933 Collotype, watercolor Size: 11.5x17in on 17.5x22in Esther Gentle, Reproduction, 1952 Signed, titled and dated in the stone Stamped and numbered b...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 V. Inscribed 'J. F. note paper', in pencil, in the artist’s hand; with the Feininger estate stamp and catalog no. 'W 859' in pencil. Annotated 'W.290 V state 3609' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/4 inches; sheet size 10 x 7 5/16 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; NY, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public. Still, he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Three Masted Ship, 2 (Dreimastiges Schiff, 2)', woodcut, 1937, one of a small but unknown number of letterhead proofs; Prasse W296. Feininger estate stamp and inventory no. 'W 865' in pencil, bottom left sheet corner. Annotated 'W 296' and 'on block : 3702a' in pencil, bottom right sheet corner. A fine impression, on cream, laid, letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 2 11/16 inches; sheet size 10 x 6 3/4 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Original THOMSON Gyrathomic. Horizontal format original French vintage lithograph poster. Artist: Guy Georget. C. 1955. Archival linen backed. Very good condition. A fun...

Artist: Herbert Bayer, Austrian (1900 - 1985) Title: Triangulated Squares Year: 1969 Medium: Screenprint, signed in pencil Size: 32 in. x 33 in. (81.28 cm x 83.82 cm) Printed at Kel...

Original Herve Movan vintage French poster: BENDIX ALUFROID. Horizontal format size: 43" wide by 30.5. Professional acid-free archival linen backed, very good condition; ready to ...

TECHNICAL INFORMATION Josef Albers White Line Squares (Series II), XVI Lithograph 20 3/4 x 20 3/4 in. Edition of 125 Initialed in pencil, dated, num...

Artist: Gisela Beker, German/American (1932 - 2015) Title: Bauhaus (Red and Green) Year: Circa 1975 Medium: Serigraph, signed and numbered in pencil E...

Original vintage hygiene and health propaganda poster - Cologne's Cleanliness In Your Hands / In Deiner Hand Kolns Sauberkeit - featuring a great Bauhaus style graphic design of a hand dropping a tissue in a rubbish bin...

Bauhaus 3rd portfolio: German Artists. Number 11 from edition of 110. Handprinted. Semi parchment paper. Signed. Produced and published by the Staatliches Bauhaus in Weimar. Im original box. Sheet 3, 8, and 9 are framed. Measurements: 22.64 x 18.11 x 0.98 in ( 57,5 x 46 x 2,5 cm ) Index of contents: Sheet 1 Rudolf Bauer, Bantama, lithograph, circa 1921 Sheet 2 Willi Baumeister, Visieren (Sitzende Figur), lithograph, 1921-2 Sheet 3 Heinrich Campendonck, Sitzender weiblicher Akt in Landschaft mit Bauernhaus, woodcut, 1920-21 Sheet 4 Walter Dexel, Sternenbrücke (Abstrakte Komposition), woodcut, 1919 Sheet 5 Oskar Fischer, Reitendes Paar, lithograph, 1920-21 Sheet 6 J. van Heemskerk, Komposition, woodcut, 1920-21 Sheet 7 Bernhard Hoetger, Figuren, lithograph, 1921 Sheet 8 August Macke...

Lyonel Feininger, “Kreuzende Segelschiffe 2 (Cruising Sailing Ships 2)” 1919, Woodcut. Prasse W175. Edition 275 unsigned for portfolio Die tunlte Jahresgabe des Kreises graphischer ...

Martel Schwichtenberg (1896-1945), 'Varietésoubrette, Schwalbennest (Variety Soubrette, Swallow’s Nest), drypoint, 1922. Signed in pencil. A fine, richly-inked impression; the full s...

TECHNICAL INFORMATION Josef Albers Variant II, from 10 Variants 1966 Screenprint on rives BFK paper 17 x 17 in. Edition of 200 Initial in pencil, dated, numbered and titled Accomp...

Werner Drewes, 'Small Forms on Crossing Bands', drypoint and roulette, 1935, edition 20, Rose 1.197. Signed in pencil. A fine, rich impression, in warm black ink, on cream wove paper...

Werner Drewes, 'Pointed Shapes and Black Half Moon', etching, 1935, edition 20, Rose l.198. Signed, dated, and numbered 'I-XX' in pencil. A fine, rich impression, in warm black ink...

Twin Formation in Gray, color woodcut, 1982, edition 30, Rose III.400. Signed, dated and numbered I7/XXX in pencil, annotated 415 and titled in the bottom left sheet edge. A fine imp...

Barcelona by Frank Schott A sere interior photograph of the iconic mid century modern "Barcelona Pavilion", designed by Ludwig Mies van der Rohe, director of the Bauhaus, who envisi...

Hindenlang, Charles [Karl]. Gewerbemuseum, Basel/Licht Reklame. 1928. Color lithograph. Printed by Wasserman, Basel. 35 1/5 x 50 1/4." Hiddenlang was known primarily as a muralist with interests in painting, glassware, ceramics, stage and graphic design. Born in Basel and educated at the city's Gewerbeschule. The Kunsthalle Basel dedicated to him in 1965 along with Dick and Karl Otto...

Ritratti al Bauhaus. Photo-offset poster. Museo cantonale d'arte Lugano Year: 1991. Monguzzi studied in Geneva and London, spent part of his early career in at the studio of Antonio Boggeri, in Milan. The inspiration of the experimental and visually-daring work of the avant garde designers Herbert Bayer, El Lissitsky, Jan Tschichold, Piet Zwart, Paul Schuitema, Ladislav Sutnar...

Werner Drewes. Circle and Square, 1980. Rose 386. Number 1 in an edition of 20. Signed and dated in pencil lower right margin: "Drewes -80-"; numbered in pencil lower left margin: "N...

Josef Albers Homage to the Square: Set Off (from "Albers in Bottrop") (Bauhaus) Screenprint in brilliant Colors on strong wove paper double folded, 1973 (after original 1960 - Oil on...

Josef Albers Homage to the Square (Hommage au Carre) - Set of Four (4) Screenprints Screenprints in brilliant Colors on wove paper Year: 1972 From “Josef Albers: Son Oeuvre et Sa Con...

Josef Albers Homage to the Square (Hommage au Carre) (Bauhaus, Geometric Abstraction) Screenprint in brilliant Colors on wove paper Year: 1972 From “Josef Albers: Son Oeuvre et Sa C...

Lithograph in brilliant Colors on paper, 1966 Image 6 x 6 inches Sheet: 7.5 x 7.33 inches COA provided (gallery issued) Lithographs by Blair Litho, Los Angeles, CA, USA From: Open e...

City Theatre matinee- 24 April 10:45 - dance studio wuff, basel (includes notice of postponement of a ballet by Satie and Picabia and a statement of aesthetics in small type) Zurich. Letter press...

Brigitte Parusel's works are underlined by an emphasis on experimentation and her interest in working within the limitations of a system. Her drawings are part of an ongoing exploration of a geometric pattern of interconnected circles. The pattern is the basis for her large-scale installations, spatial sculptures and folded works. The drawings explore the geometric relationship of the patterns components and its potential as a blueprint for constructing form, shape and structure. Brigitte Parusel's animation 'After Albers...

Brigitte Parusel's works are underlined by an emphasis on experimentation and her interest in working within the limitations of a system. Her drawings are part of an ongoing exploration of a geometric pattern of interconnected circles. The pattern is the basis for her large-scale installations, spatial sculptures and folded works. The drawings explore the geometric relationship of the patterns components and its potential as a blueprint for constructing form, shape and structure. Brigitte Parusel's animation 'After Albers...

Brigitte Parusel's works are underlined by an emphasis on experimentation and her interest in working within the limitations of a system. Her drawings are part of an ongoing exploration of a geometric pattern of interconnected circles. The pattern is the basis for her large-scale installations, spatial sculptures and folded works. The drawings explore the geometric relationship of the patterns components and its potential as a blueprint for constructing form, shape and structure. Brigitte Parusel's animation 'After Albers...

Brigitte Parusel's works are underlined by an emphasis on experimentation and her interest in working within the limitations of a system. Her drawings are part of an ongoing exploration of a geometric pattern of interconnected circles. The pattern is the basis for her large-scale installations, spatial sculptures and folded works. The drawings explore the geometric relationship of the patterns components and its potential as a blueprint for constructing form, shape and structure. Brigitte Parusel's animation 'After Albers...

Brigitte Parusel's works are underlined by an emphasis on experimentation and her interest in working within the limitations of a system. Her drawings are part of an ongoing exploration of a geometric pattern of interconnected circles. The pattern is the basis for her large-scale installations, spatial sculptures and folded works. The drawings explore the geometric relationship of the patterns components and its potential as a blueprint for constructing form, shape and structure. Brigitte Parusel's animation 'After Albers...

Brigitte Parusel's works are underlined by an emphasis on experimentation and her interest in working within the limitations of a system. Her drawings are part of an ongoing exploration of a geometric pattern of interconnected circles. The pattern is the basis for her large-scale installations, spatial sculptures and folded works. The drawings explore the geometric relationship of the patterns components and its potential as a blueprint for constructing form, shape and structure. Brigitte Parusel's animation 'After Albers...