Expressionist Art

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...

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

Signed lower left, 'Lavallen', dated 1987 and titled verso 'Mujer Dormida' (Woman Sleeping). A large figural oil painting of a young woman shown reclining on a sofa. Julio Lavallen...

Unique Yosemite Park Valley in winter mountain and lake scene by listed California artist Vladimir Shkurkin (American, 1900-1990). Circa 1950's. Signed "...

Signed by the artist in pencil Edition: Rare proof on chine From Joseph Delteil's "Allo, Paris," published by Quatre Chemins, Paris, 1926 Altlier blindstamp l.l.

One of several prominent women associated with the artistic life of Cincinnati at the turn of the century, Annie G. Sykes was recognized for her colorful, Impressionist-inspired watercolors. Throughout her long and successful career, she explored a variety of themes ranging from landscapes, flowers and the figure to the picturesque scenery of New England, Europe and Bermuda. Sykes was born Annie Sullings Gooding in Brookline, Massachusetts. Her father, Josiah Gooding, was a silversmith and engraver, and her mother, Ann, was a gifted needle-worker. Stimulated by the example of her parents, Sykes developed an interest in art during her childhood, honing her skills as a draftsman in art classes at school by drawing flowers, trees and other natural forms. She initiated her formal studies at the Lowell Institute in Boston in 1875, attending drawing classes there until 1878, when she enrolled at the school of the Museum of Fine Arts. Sykes is believed to have studied at the museum school until her marriage to Gerritt Sykes in 1882. Following her nuptials, Sykes and her husband moved to Cincinnati, at that time a flourishing cultural center dubbed the "Queen City of the West." While Gerritt and a friend established the Franklin School for boys, Sykes continued to follow her artistic inclinations. Desirous of refining her skills, she enrolled at the Cincinnati Art Academy in 1884. Throughout the next ten years, she continued her training under such noted American painters as Frank Duveneck and Thomas Satterwhite Noble. Although she occasionally worked in oil, watercolor became Sykes' favorite medium of expression. Despite the birth of two children--Milly in 1885 and Anne in 1888--Sykes successfully balanced the demands of home and family with her professional aspirations. She began contributing to the annual exhibitions of the Boston Art Club in 1890 and the New York Watercolor Club the following year. In 1892, she became a charter member of the Woman's Art Club of Cincinnati, where she would exhibit regularly until 1923. In 1895, Sykes had her first solo show at the Traxel & Maas Gallery in Cincinnati, exhibiting a group of her watercolors. Local critics praised her fresh, vibrant colors and her spontaneous technique, and in a review in the Cincinnati Enquirer she was identified as representing "the new school of impressionism." Sykes's longstanding relationship with the Cincinnati Art Museum began that same year, when she first participated in that institution's annual shows. Indeed, between 1895 and 1926, she would exhibit there on forty-two occasions. Sykes also had a show (with Emma Mendenhall) at the Cinncinati Art Museum in 1908, and a three-person exhibition (with Emma Mendenhall and Dixie Selden) two years later. Sykes's work was also featured in the annual watercolor shows at the Art Institute of Chicago, the Philadelphia Water Color Club and the Ohio Water Color Society. Her numerous professional affiliations included the National Association of Women Painters and Sculptors in New York and the Cincinnati Museum Association. Her standing among her peers was such that she was often invited to serve juries of selection, along with such eminent painters as Duveneck, Noble, Maurice Prendergast and Edward Redfield. Prior to 1900, Sykes' was active in and around Boston, Cincinnati, and in Nonquitt, Massachusetts, where her family had a summer home. After the turn of the century, she spent many summers in Cape Porpoise...

Bernard Lorjou has painting this subject "Harlequins" many times in watercolors, drawing , oil paintings and later on in the late 60's in acrylic, both on canvas, paper and some on m...

This painting was completed at his home in the South of France between 1953-1955. There is no in painting, relining or cracks in the paiting and original stretcher.

This sophisticated etching on paper was realized by the self-taught outsider artist Gianfranco Asveri (b. 1948), in the latter half of the 20th Century. Rendered in an Art Brut style, the composition offers a cluster of four rectangular planes- like little vignettes- each inscribed with their own scene. Predominantly abstract- but leaving plenty of room for interpretation- these rhombus forms offer miniature worlds within teeming with what appear to be loosely rendered figures, rolling hills and stylized clouds. These figurative elements are created with frenetic and energized strokes- full of verve and dynamism- and largely in black pigment against a warm off white paper. The most clearly articulated figurative element appears in the bottom right rectangular pane of the composition. A person in a dress or frock with elementally drawn, stick- figure like arms extended outwards, whose body is turned sideways (captured in flight as a phantasmagoric figure perhaps). A solid hourglass block of umber pigment and a chalky olive green represent the only chromatic accents, offering a restrained contrast to the monochromatic dominance of the piece. Reminiscent of the work of Lee Lozano...

After Gustav Klimt, Max Eisler Plate #11, Aus den Bilde “Die Jurisprudenz”; brown-toned monochrome collotype after the 1900-07 painting in oil on canvas. The original was destroyed by fire in May 1945. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Pablo Picasso 347 Series: No. 198, July 3, 1968 I sugar-lift aquatint, ed. of 50 11 1/8 x 13 5/8 in. (28.3 x 34.6 cm)

Pablo Picasso 347 Series: No. 255, August 7, 1968 II etching, edition of 50 11 1/4 x 15 3/4 in. (28.6 x 40 cm)

Pablo Picasso 347 Series: No. 311, September 4, 1968 II etching, ed. of 50 11 1/8 x 13 5/8 in. (28.3 x 34.6 cm)

Pablo Picasso 347 Series: No. 313, September 4, 1968 IV etching, ed. of 50 11 x 13 5/8 in. (27.9 x 34.6 cm)

Pablo Picasso 347 Series: No. 77, May 12, 1968 II etching, ed. of 50 12 7/8 x 9 7/8 in. (32.7 x 25.1 cm)

Pablo Picasso Peintre et modele [Modele et peintre chauve], 5 septembre 1966 IV drypoint, edition of 50 16 1/2 x 19 5/8 in. (41.9 x 49.8 cm) Bloch 13...

Pablo Picasso 347 Series: No. 163, June 19, 1968 I etching, ed. of 50 13 3/4 x 11 in. (34.9 x 27.9 cm) Bloch 1643; GB 1659; Cat. 166 Signed in pencil

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of the twentieth century. Neum...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret is signed Awret Safed on the verso. the actual glazed ceramic is 10X15 inches. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret...

After Gustav Klimt, Max Eisler Plate #19, Bildnis einer alten Dame; sepia-toned monochrome collotype after the 1917 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of the twentieth century. Neum...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of the twentieth century. Neum...

Arthur Paunzen, 'Von der Schönheit' (Of Beauty) from the suite 'Song of the Earth', etching, aquatint, and drypoint, 1920. Signed and titled in pencil. Signed in the plate, lower left. A fine, richly-inked impression, on cream, wove Japan paper; the full sheet with margins (2 1/4 to 4 1/4 inches), in good condition. Image size 12 3/8 x 9 inches; sheet size 19 5/8 x 13 5/8 inches. Matted to museum standards, unframed. ABOUT THIS WORK Pauzen’s suite of six etchings 'Das Lied von der Erde' (The Song of the Earth), published in 1920, was inspired by Gustav Mahler...

EDVARD MUNCH (1863 – 1944) GARDEN IN SNOW, II 1913 (WO 467: Sch. 418) Woodcut, 13 ½” x 16 7/8” signed in pencil. Generally very good condition. Irregular sheet of simili-japan ...

Title: Still Life with Chess Materials : Oil on Canvas Date : 1960's Dimensions : 42 1/2 x 31 in. In the late 1960's, Daniel Brennan had a day job loading boxcars for Railway Express. During nights, he would go to a coffee house (Lawrence Gallery and Coffee House, at 43rd and Main St., KCMO), to sit and draw before heading home to paint. The gallery owners, Anne and Sidney Lawrence...

Artist: Akio Takamori Title: Duet Date: 2008 Medium: Archival ink jet and hand lithography Dimensions: 21.25 x 26.5 inches Editions: 45 Akio Takamori’s evolution as an artist began...

Artist: Laurent Marcel Salinas, French (1913 - 2010) Title: Jeunes Pins a La Cadiere D'Azur, 616 Year: 1977 Medium: Oil on Canvas, signed and dated verso Image Size: 17.75 x 25 inche...

Artist: Kiki Kogelnik, Austrian (1935 - 1997) Title: For the Bergers Year: 1966 Medium: Watercolor, signed, titled and dated verso Size: 29 in. x 23 in. (73.66 cm x 58.42 cm) Frame S...

KANDINSKY, Wassily. Allerheiligen- All Saints Day. Original three-color woodcut (red, yellow ochre, blue – with olive green). 1911. Signed with the monogram...

We are proud to present a just arrived series of original pen and ink and ink wash drawings by Austrian/American artist Gustav Rehberger. These works were acquired directly from the personal collection of the artist and family. "The Scream...