Expressionist Art

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

“The Horse Race" #50 A Pierre Bosco, (1909-1993) Oil n canvas Signed lower right 12 x 15 inches “The savage art of Bosco bears its rudeness and its mystery. It is an art of pure ex...

"Vibrant Spring" by Sandra Pratt is an original oil painting that depicts an abstracted landscape. Artist Statement: My work is inspired by my emotional response to places I've see...

Sunflower, no. 10 from the third installment of Das Werk Gustav Klimts Created during his residency in Litzlberg on Attersee, where Klimt and the Floge family summered from 1900-1907, Klimt explores nature’s transcendental qualities. His single sunflower is human-like, it’s golden halo is like a ring of sun-kissed hair surrounding a bald pate. It’s known that at the same time Klimt was creating this image, he was also at work on a photo essay about the Floge sisters’ clothing from their fashion salon. Their fashion house was best known for its “reform dresses” which featured loose-fitting long robes which billowed at the arms and torso. Viewed with this in mind, it is not a hard leap to imagine the lone sunflower as a self-portrait from reverse. Klimt’s balding head crowned in a golden corona forms the apex of a pyramidal flowing gown of foliage and flowers. By orienting the anthropomorphic flower at the garden’s central foreground and adorning it with repetitive motifs of round flowers of varying sizes, Klimt’s sunflower...

luxary limited edition collectable piece print on paper artist: Anastasia Aureum title: "Mimmi" limited edition. hand signed Anastasia Aureumis an internationally renowned vi...

Original collotype created from Gustav Klimt’s Death and Life, painted in 1908. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und St...

Nude of Woman Reclined On the Back of a Chair on the Right is an original drawing realized by Gustav Klimt between 1904 and 1906, probably in 1905, as stated in the Catalogue Raisonn...

An expressionist, colorful and direct oil painting of a nude female figure, strecthing back against an an abstract background. Aesthetically sensuous with active brushstrokes applie...

Original painting by Daria Kusto. 2024y. Acrylic on canvas. The magic flow reality... It is sent rolled in a tube, safe and express shipping to the whole world.

"Refreshing Gelato Grid" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes that is both classy and fresh. The use of vivid colors on a white background reminds the beautiful vintage beach cabins...

In this artwork, I delved into the interplay of light and emotion, blending acrylic, watercolor, and ink to create layers of depth. Inspired by expressionism and impressionism, I dep...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Still Life with Oranges and Owls is an Original Painting by Eleanor Woolley. Painted in the Artist's Gloucestershire Studio this miniature painting shows a still life of a selection of objects arranged by the Artist. Twos stone owls sit atop a stack of books, with two small oranges and a pear. A small jug of flowers slightly obscures the window. We can see out into the garden, where there are texturally painted trunks...

In this painting, I've captured the serene yet profound voyage of a ship sailing into a golden sunset. Using a blend of acrylic and oil, I explore the dynamics between light and shad...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. “Don’t let the n...

Still life with peonies. 1989, paper, watercolor, 62x70 cm Dzidra Bauma (1930) Dzidra Bauma works in watercolor technique. She paint figural composition...

Ernest Voegeli is an artist who has found his path through a combination of solid technique and a clear, insightful approach to color, form, and composition. While his work is primar...

Parisian Street Scene. Oil on canvas, 32x46 cm

Artist: (after) Karl Schmidt-Rottluff (German, 1884-1976) Title: "Sitzende Frau mit Blüten (Seated Woman with Flowers)" Series: Die Aktion Year: 1914 Medium: The Complete Vol. 4, No. 11 issue of 'Die Aktion' with a Lithograph on cream smooth wove paper Limited edition: Unknown Printer: F.E. Haag, Melle, Hanover, Germany Publisher: Verlag der Wochenschrift DIE AKTION, Berlin, Germany Sheet size: 12.25" x 9.25" Image size: 3.82" x 3.25" Condition: Toning to sheets (as normal). Light water staining at center right edge and upper right corner. Some separation and small paper losses at spine. It is otherwise in very good condition Extremely rare A very nice copy of this extremely scarce issue Notes: Provenance: private collection - Fürstenberg/Havel, Germany. The lithograph on the cover is a smaller-sized reproduction after Schmidt-Rottluff's 1913 larger original signed woodcut engraving edition, ("Das Graphische Werk Bis 1923" - Schapire No. 114, page 28). Published March 14th, 1914. A total of 14 pages. There is an example of this complete issue in the permanent collection of the Museum of Modern Art, New York, NY. In 1911 Franz Pfemfert, a cantankerous critic of capitalism and Wilhelmine society, founded Die Aktion as a political and literary journal. In April of the following year, a new subtitle declared the journal a "weekly for politics, literature, and art." Although politics remained the priority, Die Aktion began featuring visual art coverage as well as original prints and illustrations. Artist Max Oppenheimer (MOPP) worked closely with 'Die Aktion' in its early years, portraying in its pages many of the young writers who gave the journal its distinctive voice. Egon Schiele made his first woodcuts at Pfemfert's urging in 1916, for publication in the journal. Other frequent contributors included Ludwig Meidner and, later, Conrad Felixmüller and Karl Schmidt-Rottluff. Adamantly opposed to World War I, Pfemfert skirted tightened censorship from August 1914 to October 1918 by treating contemporary events only through artistic and literary allusions. At a time when reading books by foreign authors was considered unpatriotic, he dedicated entire issues of Die Aktion to Russian, French, and Belgian authors and artists. In late 1918, however, Pfemfert resumed vocal political critique, siding with the radical left. His selection of prints, formerly varied, became overtly political. After 1921, he ceased art coverage altogether, decreased the number of issues, and used the publication exclusively as a mouthpiece for his own increasingly partisan views. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died August 9, 1976, West Berlin [now Berlin]), German painter and printmaker who was noted for his Expressionist landscapes and nudes. In 1905 Schmidt-Rottluff began to study architecture in Dresden, Germany, where he and his friend Erich Heckel met Ernst Ludwig Kirchner and Fritz Bleyl...

'The Yellow Pitcher', oil on canvas, by Charles Kvapil (1939). A prolific painter of bouquets, the artist created dozens of tableaux with flowers as sub...

Council Kathe Kollwitz (After) German (1867–1945) Date: original: 1895; printed circa 1948 - 1963 Etching Image Size: 11.5 x 6.5 inches Size: 18.75 x 13.75 in. (47.63 x 34.93 cm) F...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

In this oil painting, I captured the essence of serenity and growth. Embracing the harmonious dance of light and shadow, I portrayed the irises with an impressionistic touch, evoking...

After Gustav Klimt, Max Eisler #9, Haus Im Garten; aka Forester’s House in Weissenbach II; multi-color collotype after 1914 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GU...

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 masterfu...

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

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Accompanied by a Certificate of...

When Summer Nights Fall – By Lucy Moore [2022] original and hand signed by the artist Acrylic on canvas Image size: H:76 cm x W:76 cm Complete Size of Unframed Work: H:76 cm x W:76 ...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

In creating this piece, I sought to capture the effervescence of nature's transient beauty. I used oil to express the delicate vibrancy of peonies, with my brushstrokes blending impr...

Imbued with the vigor of expressionism and the gentleness of impressionism, this piece marries the tangible with the emotional. It's a tribute to nature's intricate design and a medi...

Jean Jansem (1920-2013) Deux danseuses, 1995 Lithographie sur papier Arches, justifiée et numérotée EA Signée en bas à droite 22 x 17 cm / 32 x 26 cm Bibliographie: Catalogue raiso...

The painting *Mer de Glace* by Percival Pernet (1890–1977) is a striking representation of his modern and refined artistic style. It portrays a captivating view of the glacier of Mon...

Gustav Klimt created this image for inclusion in Gerlach & Schenk’s Allegorien the year before he formed the Vienna Secession. While this design is similar to his other inclusions, L...

In this vivid fusion of expressionism and pop art, I captured the raw, emotional energy of a musician bonded with her guitar. Layering acrylics and oils, I sought to embody the passi...

In this piece, I sought to capture the serene dance between sky and sea, interspersed with the graceful ballet of a sailboat. Infused with the essence of expressionism and the delica...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Carlotta Auba by Simon Tozer [2022] limited_edition and hand signed by the artist Screenprint on Paper Edition number of 18 Image size: H:23.5 cm x W:3...

"Wild Wet Lands I" is an abstract expressionist painting by Romina Milano where a dance of black gestures unfolds across colorful brushstrokes infused with raw emotion. Romina Mila...

The Pennine Way, Wessenden Head Reservoir is an Original Painting by Eleanor Woolley. Autumn coloured bracken pictured here at sunset in this Wessenden Reservoir landscape on Marsden...

The painting “Strong and Bold” from the series painting of Emily’s Diary portrays a compelling depiction of an African woman adorned with a nourishing Afrocentric hairstyle The fac...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Medium: original etching. This impression on laid paper was published in Paris in 1898 by Gazette des Beaux Arts. Image size: 5 1/2 x 7 5/8 inches (142 x 195 mm). Not signed. Condit...

This piece is based on a view over boats on the marshes in early spring. Rachael’s paintings are large, colourful and expressive. Her free and lively use of paint through various t...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Awofadeju Solom...

This artwork titled "Femme Fiere" from the suite "Les Fleurs du Mal" created in 1937/38, is an original color aquatint on Montval paper by renown French artist Georges Rouault, 1871-...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

MARC JESUS ​​VIVES - Ibiza 1966 Since 1984, he lives and works in Ciudadela de Menorca. (Balearic Islands) Between 1985 and 1988 he studied design in Ciudadela and the Mahon Costume...

After Gustav Klimt, Max Eisler Plate #4, Bildnis Baronin Wittgenstein; dark grey monochrome collotype after the 1905 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...

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...

After Gustav Klimt, Max Eisler Plate #29, Am Attersee; brown-toned monochrome collotype after the 1915-16 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I in 1804 and whose collotype printing innovations of Klimt’s art...

French late 20th century watercolour and gouache study for the series 'Alexander and His Army' by Stephane Lovighi-Bourgogne. Presented in plain wood frame. A strong and forceful de...

Signed lower left "d'Anty" for Henry d'Anty (French, 1910-1998), titled verso "La Gondole" (The Gondola) and painted circa 1955. A vibrant view of the Grand Canal painted alla prima...

Emile Albert Gruppe (American, 1896-1978) Bass Rock, 1967 Oil on canvas 30 x 36 inches (76.2 x 91.4 cm) Signed lower right: Emile A. Gruppe Signed, dated, and titled on the stretcher...

After Gustav Klimt, Max Eisler #22, Bildnis Baronin Bachofen-Echt; multi-color collotype after 1914-1916 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...

Lithograph on vélin d’Arches paper. Inscription: hand signed and numbered, 110/175, as issued. Good condition. Notes: From the Jazz Series, 1979. Published by London Arts Group, Detr...

In this painting, I've sought to capture the essence of tranquility and the ephemeral nature of light dancing on water. Through bold, impressionistic strokes and a soothing palette o...

Asters. 1993. Paper, watercolor, 44x19 cm Oskars Berzins (1940)

"Woman with Earrings" is an oil on board portrait painting by Philadelphia born Expressionist painter Bernard Harmon of an elegantly dressed woman sitting on a chair. This work features a second environmental portrait on verso. The painting is 40" x 34" in size and is signed "Harmon" on verso. Figurative expressionism in the style of Alice Neel. Provenance: Estate of the Artist; Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania. Bernard Harmon was born in Philadelphia, Pennsylvania in 1935. Harmon was primarily a portrait painter and a well loved teacher in the Philadelphia area. A graduate of the Philadelphia Museum School and Temples Tyler School of Art, Harmon traveled extensively in Europe and South America. Beloved by many, Harmon taught in the Philadelphia School District for 32 of his 54 years of life. Beginning his career as an art teacher at West Philadelphia High School, in the early 1960s he became one of the district's artists in residence, traveling from school to school to demonstrate for students how an artist works. Returning to the classroom, Harmon joined the art department at Central High School where he taught for 14 years and became an innovator in art curriculum, developing a program offering advanced placement art classes to gifted students. In his final years Harmon became a supervisor, mentoring teachers and overseeing programs in the Philadelphia school systems District #1. During his short life Harmon taught collage preparatory art classes at the Pennsylvania Academy of the Fine Arts, summer classes at the University of the Arts, and a Saturday program for gifted children at Drexel University. Among Harmon's portraits were commissioned by Philadelphia Jazz organist Jimmy Smith and Mayor Richardson Dilworth. Bernard Harmon was active in promoting African American Artist throughout his life time. He organized many early shows such as the "Afro American Artists 1800 - 1969" at the Museum of the Philadelphia Civic Center in 1969. He was considered a Renaissance man by friends and colleagues for his interests not only in art but music and theater as well. He was familiar and friends with many other African American artists such as Doc Thrash, Selma Burke...

Beyond This Earth explores the unseen realms that transcend the physical world. The painting weaves a cosmic landscape within a figurative image, symbolizing humanity’s connection to...

Poplars is a hand-pulled, limited edition serigraph, no. 117 / 185 and is signed in pencil by the artist. Published by Aspen Mountain Graphic It is...

The Gladiator is a large-format expressionist painting of a gladiator in vibrant ocher yellow. Gladiator was and still is one of my all-time best favourite movies. Even up to this t...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Elie HATUNGIMAN...

The Beauty Within Us" is a compelling narrative series of paintings that celebrates the unique and diverse beauty of Black hair, serving as a powerful symbol of identity, heritage, a...

"9 Koi 23" is a complex work of koi fish swimming underwater filled with light and brilliant color painted in a lush and fluid style bordering on abstraction. Fish are in shades o...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Mourlot, Fernand. C...