Expressionist Art

This exquisite lithograph by Marc Chagall (1887–1985), titled Quai de fleurs (Flower Quay), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published b...

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...

Medium: original linoleum cut. Printed in 1920 for Das Kunstblatt, and published in Berlin by Verlag Gustav Kiepenheuer. Image size: 6 1/4 x 4 1/4 inches (160 x 105mm). Sheet size: 1...

KATHE KOLLWITZ (1867-1945) GEFALLEN (Killed in Action) 1920 (Klipstein 153 (1st state, a of c of 2 states) Lithograph on laid paper. Image 16 ¼ x 15 ¼ inches, Large Full Sheet, 25 ½...

Sometimes, our thoughts can be the enemy. We need to be careful about our thoughts because we can lose ourselves. Life can be tough, filled with challenges and difficulties, but it's...

Giner Bueno (1935-2000) Reparando Las Redes Painter from Alicante, son of the painter Luis Giner Valls. He studied at the School of Arts and Crafts of Valencia and finished his stu...

She holds on to her integrity and purity. Lady in white captures a desire to be hidden, but her presence is revealed through her unquenched innermost beauty. Lady in white captures h...

Jean Jansem (1920-2013) Ballerine sur fond vert, 1995 Lithographie sur papier Arches, justifiée et numérotée 48/100 Signée en bas à droite 22 x 17 cm / 32 x 26 cm Bibliographie: ...

This exquisite lithograph after Marc Chagall (1887–1985), titled La Mariee (The Bride), from the folio Derriere le miroir, Sur Quatre Murs, No. 36-37-38, originates from the 1951 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1951. The composition captures Chagall’s poetic vision of love and mysticism, blending dreamlike imagery and radiant color into a lyrical meditation on devotion and imagination. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Marc Chagall (1887–1985) Title: La Mariee (The Bride), from the folio Derriere le miroir, Sur Quatre Murs, No. 36-37-38 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Unsigned and unnumbered as issued Date: 1951 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, Sur Quatre Murs, No. 36-37-38, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1951 About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght's belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall's art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby's New York for Les Amoureux (1928). Marc Chagall La...

Medium: original woodcut. Catalogue reference Roethel 145. Printed in Paris in 1938 for the art revue XXe Siecle (issue number 3). Image size: 7 x 8 1/2 inches (170 x 218 mm). Sheet ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Cavalier et l’oiseau (The Horseman and the Bird), from Contes de Boccace, peintures du manuscrit des ducs de Bourgogn...

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. About Artist Ola...

Oil on canvas in textured mixed technique. This piece is part of a series where I explore our connection with animals through the human and magical. It represents a man-animal lookin...

Raquel Forner (1902-1988) Argentine woman painter and printmaker born in Buenos Aires in 1902 and died in the same city in 1988, regarded as one of the best Argentine female painters...

Suggest a phone conversation with the potential collector/ investor.

A contemporary Abstract Expressionist acrylic on canvas by French artist, Christian Manoury. Signed to the back of the canvas. This artwork captures a minimalist aesthetic with its ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Eve maudite par Dieu (Eve Cursed by God), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, originates from the September 1956 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1956. This emotionally charged composition depicts the moment of divine judgment following the fall of man, capturing both the sorrow and the spiritual gravity of Eve’s curse. Through his luminous lines and expressive symbolism, Chagall transforms this ancient scene into a universal meditation on loss, forgiveness, and the eternal bond between humanity and the divine. The work exemplifies Chagall’s mastery of merging sacred narrative and human emotion, rendered with poetic tenderness and transcendent light. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Eve maudite par Dieu (Eve Cursed by God), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, September 1956 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cain, Julien, and Fernand Mourlot. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustrations 117–46. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustrés. P. Cramer ed., 1995, illustration 25. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, published by Editions de la revue Verve, Paris, 1956 Notes: Excerpted from the album (translated from French), This double issue of Verve is dedicated to the full reproduction in heliogravure of the one hundred-five plates etched by Marc Chagall, between 1930 and 1955, for the illustration of the Bible. The artist composed especially for the present work, sixteen lithographs in color and twelve in black, as well as the cover and the title page. This volume was completed and printed on September 10, 1956, by the Master Printers Draeger Freres for heliogravure, and by Mourlot Freres for lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. VIII, No. 33–34 in September 1956, represents one of the crowning achievements of Chagall’s lifelong dialogue with the sacred. Conceived and directed by the visionary publisher Teriade and printed by the master lithographers Mourlot Freres, the issue features thirty-four color lithographs and numerous black-and-white drawings inspired by biblical figures and stories. Chagall’s works for this edition unite text and image in a luminous meditation on divine creation, moral struggle, and spiritual renewal, imbued with his signature dreamlike symbolism and radiant color. Produced in postwar Paris, this landmark publication reaffirmed the enduring union of art and faith, establishing Dessins Pour La Bible as one of the most important illustrated works of the 20th century. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Eve...

Plate #9 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

This exquisite lithograph by Marc Chagall (1887–1985), titled Quai de Bercy (Bercy Quay), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1954. Quai de Bercy captures Chagall’s poetic vision of Paris as a dreamlike landscape where memory, color, and emotion converge. The work’s lyrical composition and radiant palette embody Chagall’s deep affection for the city that shaped his artistic identity, blending reality and reverie in perfect harmony. Executed as a lithograph on velin paper, this work measures 15 x 22 inches, with centerfold as issued. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Quai de Bercy (Bercy Quay), from the folio Derriere le miroir, No. 67–68 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.88 cm), with centerfold as issued Inscription: Unsigned and unnumbered as issued Date: 1954 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne reference: Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. Patrick Cramer Editeur, 1995, illustration 24; Mourlot, Fernand, and Marc Chagall. Chagall Lithographe I: 1922–1957. Andre Sauret, 1960, illustration 93. Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 67–68, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1954 Notes: On the occasion of the ‘Paris’ exhibition, Marc Chagall created for this triple issue of Derriere Le Miroir XII pages of Lithography. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Quai de Bercy 1954, Chagall Derriere le miroir No. 67–68, Chagall Mourlot lithograph, Chagall Maeght...

This exquisite lithograph by Marc Chagall (1887–1985), titled Printemps (Spring), from Verve, Revue Artistique et Litteraire, Vol. I, No. 3, originat...

AKOS BIRO (HUNGARIAN 1911-2002) watercolour, signed board size: 6.5 x 9.75 inches Beautifully colourful, original painting by the very popular and highly regarded Hungarian/ French...

Jean Jansem (1920-2013) La balance romaine, 1986 Lithographie sur papier Japon Signée en bas à droite et justifiée Hors Commerce 50 x 65 cm / 54 x 76 cm Très rare exemplaire D'un...

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...

NORBERTINE VON BRESSLERN-ROTH (1891 1978) KAMPF (BATTLE - LOBSTER and OCTOPUS) c. 1928 Color linoleum cut Signed in pencil. Image 8 5/8 x 8 11/16” In excellent condition and full ...

Judith I, no. 9 from the second installment of Das Werk Gustav Klimts Much like his treatment of the Classical personage, Danae, from Greek mythology, Klimt’s depiction of Judith takes an Old Testament character, a heroine who avenges the death of her husband by killing an Assyrian king, and firmly positions her in his present-day Vienna. His multicolored collotype rips the canvas from its gilded frame which directly references the subject with its title: “Judith und Holofernes”. Now in print form, Judith, holding the severed head of a male in murky shadow, is the ultimate Viennese femme fatale. Her likeness is unmistakably similar to a former lover of Klimt’s and famous Viennese soprano, Anna von Mildenburg. Though his allusion to ancient Assyria is apt, Klimt literally lifted the gold patterned background’s design motif from a relief detail from Sennacherib’s Palace displayed in a London museum. His context then is contemporary. In a sensual and sexually powerful tour de force, Klimt’s Judith...

"Lion" depicts the majestic presence and serene strength of the lion, a symbol of power and dignity. An expressive palette and textural brushstrokes...

A warm sunset over Norfolk's Cromer beach. Between Thoughts is a sublime oil painting that captures the mesmerizing tranquility of a sunset over thw North Sea. The horizon is ablaze...

Ceramic expressionist head sculpture created in refractory stoneware with a semi-transparent copper glaze. This ceramic head belongs to the Testas series, a body of work composed of ...

"Fantasy with Flowers" (series of 200+ pictures)   paper 59x42cm  On the paper acrylic, oil pastel, felt-tip pen, ink, gold leaf, pencils, silver,mixed media. Flowers are a smile of ...

Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied at the school of the Museum of Fine Arts under Karl Zerbe, a German painter well known in the early 1900s. Aronson later taught at the school of the Museum of Fine Arts for fourteen years and founded the School of Fine Art at Boston University where he is today a professor emeritus. An internationally renowned sculptor & painter, Aronson has won acclaim for his interpretation of themes from the Hebrew Talmud and Kabala. His best known works include bronze castings, encaustic paintings, and pastels. His work is included in many important public and private collections, and has been shown in several museum retrospectives around the country. He is considered to be one of the most important 20th century American artists. At twenty-two David Aronson had his first one-man show at New York's Niveau Gallery. The next year, six of his Christological paintings were included in the Fourteen Americans exhibition at Manhattan's Museum of Modern Art where Aronson’s work was included alongside abstract expressionists Arshile Gorky, Robert Motherwell and Isamu Noguchi. In the 1950s, Aronson turned more toward his Jewish heritage for the inspiration for his art. Folklore as well as Kabalistic and other transcendental writings influenced his work greatly. The Golem (a legendary figure, brought to life by the Maharal of Prague out of clay to protect the Jewish community during times of persecution) and the Dybbuk (an evil spirit that lodges itself in the soul of a living person until exorcised) frequently appear in his work. In the sixties, Aronson turned to sculpture. His work during this period is best exemplified by a magnificent 8’ x 4’ bronze door which now stands at the entrance to Frank Lloyd Wright's Johnson Foundation Conference Center for the Arts in Racine, Wisconsin. In the seventies and eighties, Aronson continued his work in pastel drawings, paintings, and sculptures, often exploring religion and the frailties of man's nature. During this time, in addition to a traveling retrospective exhibition and many one-man shows in New York, Los Angeles, Chicago, and Boston at the Pucker-Safrai Gallery on Newbury Street, Aronson won many awards and became a member of the National Academy of Design in New York. Two years ago he retired from teaching to work full-time in his studio in Sudbury, Massachusetts. included in the catalog Contemporary Religious Imagery in American Art Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others. Selected Awards 1990, Certificate of Merit, National Academy of Design 1976, Purchase Prize, National Academy of Design 1976, Joseph Isidore Gold Medal, National Academy of Design 1976, Purchase Prize in Drawing, Albrecht Art Museum 1975, Isaac N. Maynard Prize for Painting, National Academy of Design 1973, Samuel F. B. Morse Gold Medal, National Academy of Design 1967, Purchase Prize, National Academy of Fine Arts 1967, Adolph and Clara Obrig Prize, National Academy of Design 1963, Gold Medal, Art Directors Club of Philadelphia 1961, 62, 63, Purchase Prize, National Institute of Arts and Letters 1960, John Siimon Guggenheim Fellowship 1958, Grant in Art, National Institute of Arts and Letters 1954, First Prize, Tupperware Annual Art Fund Award 1954, Grand Prize, Third Annual Boston Arts Festival 1953, Second Prize, Second Annual Boston Arts Festival 1952, Grand Prize, First Annual Boston Arts Festival 1946, Traveling Fellowship, School of the Museum of Fine Arts 1946, Purchase Prize, Virginia Museum of Fine Arts 1944, First Popular Prize, Institute of Contemporary Art 1944, First Judge's Prize, Institute of Contemporary Art Selected Public Collections Art Institute of Chicago Virginia Museum of Fine Arts Bryn Mawr College Brandeis University Tupperware Museum, Orlando, Florida DeCordova Museum Museum of Modern Art Print Collection, New York Atlanta University Atlanta Art...

After Gustav Klimt, Max Eisler #1, Die Freundinnen II; multi-color collotype after 1916/17 painting in oil on canvas which was destroyed by fire in May 1945 at Immendorf Castle Lower Austria. Eisler’s choice to begin his 1931 portfolio of works by Klimt with Girlfriends II was both bold and prescient. Just 14 years later, the painting was tragically destroyed in a fire. With such a loss, this rare and exquisite image is all the more valuable by virtue of having been made in color. In works from his late period, Klimt continued his fascination with exploring female dynamics and their various forms of love. Girlfriends II is a fine example of how space, color and ornament play a noticeable role in the evolution of his symbolic language. Wide swaths of space in the background as well as the two female forms create the structure. Klimt’s strong brushstrokes show a painterly quality and a new move toward abstraction which feels very far away from his earlier work. Nor should Klimt’s economy of line be overlooked. His draughtsmanship is what infuses the female bodies with movement, emotion and a profundity of life. Both women confront the viewer’s gaze unselfconsciously, as if they are modern-day Viennese women stepping out of a Klimtesque ukiyo-e print. Characteristic of this late period, Klimt uses ornament...

Original Versailles, France vintage lithograph French travel poster. Printed by the French National Railroad, SNCF in the 1938's. Printer: Goossens. A poster fit for a king since he once resided here at Versailles. Transform your living space with the elegance and grandeur of the Versailles Original Poster. This exquisite piece captures the breathtaking beauty of the iconic Palace of Versailles, showcasing its majestic fountains and lush gardens. The vibrant colors and intricate details bring to life the opulence and historical significance of one of the world's most renowned landmarks. The grand fountains had a chariot and horses...

The Virgins, no. 2 from the fifth installment of Das Werk Gustav Klimts The Virgins speaks to a new chapter of Klimt’s artistic development. That it was sel...

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. About Artist Bey...

Artist: George Grosz, German (1893 - 1959) Title: Sex Scene in Red Shoes (Erotic) Year: circa 1940 Medium: Watercolor, Pen and Ink on Paper, signed Size: 17...

"Fantasy with Flowers" (series of 200+ pictures)   paper 59x42cm  On the paper acrylic, oil pastel, felt-tip pen, ink, gold leaf, pencils, silver,mixed media. Flowers are a smile of ...

KATHE KOLLWITZ (1867-1945) HAMBURGER KNIEPPE, 1901) (K.58 IIIb) Soft Ground Etching, Plate 9 ¾ x 8 ¼ sheet 10 ½ x 13 ¾. With the von de Becke blind stamp in the lower right. Prin...

'The Bather', oil on board, by Charles Kvapil (1934). The world of art has for centuries depicted bathers in one form or another. Kvapil's wonderfully allur...

Views from Cider with Rosie 1 is an Original Oil Painting by Eleanor Woolley. This is a Plein Air painting from one of the Artists favourite view points on the Cotswold escarpment. W...

Title page numbered: 263/450

Antoine Bouvard, called Marc Aldine (L'Isere 1875 - Paris 1957) Signed 'Bouvard' lower right View of Venice with the Grand Canal (link) oil on canvas 60 x 86 cm Framed 70 x 96 cm. Very good condition We present an evocative view of Venice with a glimpse of the fascinating Grand Canal, signed by the famous French Vedutist Antoine Bouvard, also known by his pseudonym, Marc Aldine. Considered one of the most talented illustrators of the lagoon city who worked there in the first part of the 20th century, he became one of the most acclaimed vedutists of that period, with a success that led him to exhibit throughout France and Italy as well as in numerous European galleries...

Title: Bullfighting Scene Artist: José María Tuser Vázquez (1919-1986) Technique: Oil on canvas Dimensions: 16.1 x 13 inches (unframed) Date: c. 1950-1960 Condition: Good Provenance:...

Schubring, Richard (1853-1902) Rough sea with coastline on the horizon Oil on canvas. Signed and dated lower right. “1895” Richard SCHUBRING is an artist born in 1853 and deceased...

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 Gallery). At the heart of the artwork lies a young woman adorned in a striking red dress. The choice of red as the dominant color symbolizes strength, passion, and confidence. It serves as a visual representation of the artist's intention to empower and embolden the subject, inspiring viewers to embrace their own identities unapologetically. The woman in the red dress becomes a beacon of self-assurance, encouraging others to fully express themselves without fear or hesitation. "Here I Am" encapsulates the essence of celebrating one's individuality. The young woman's presence demands attention, her confident stance serving as a powerful statement of self-acceptance. The artwork encourages viewers to embrace the unique attributes, quirks, and qualities that make them who they are. It celebrates the beauty of diversity and underscores the importance of allowing oneself to shine authentically. Kayimahe Ishmael Zed...

Richard K Blades mesmerizing oil painting captures the ethereal beauty of a sunset over a tranquil sea. The sky, painted in vivid hues of orange and crimson, seamlessly blends with s...

Of Germanic descent, the painter Jean Krillé was born in 1923 in Switzerland. His father, writer and poet, oriented him towards art and culture. From the age of 16, he enrolled at th...

This simple yet bold expressionist Picasso lithograph demands attention in any room. Framed and sized at 25 x 19 inches, this framed piece is in good condition and easy to mount on a...

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...

"Fantasy with Flowers" (series of 200+ pictures)   paper 59x42cm  On the paper acrylic, oil pastel, felt-tip pen, ink, gold leaf, pencils, silver,mixed media. Flowers are a smile of ...

"Two Under the Rain" captures a profound connection amidst solitude. This original oil painting features two figures sharing an intimate moment under the rain. The artist's expressio...

I realized nobody is coming to save you unless you save yourself! Light at the end of the tunnel awaits only those who dare to try again each time they fail 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 IDORENYIN UMANA...

After Gustav Klimt, Max Eisler #10, Ausschnitt aus dem Bilde “Medizin”; multi-color collotype detail from Medicine, one of the faculty paintings for the Uni...

Light entering shallow coral reefs where life is plenty, harmonious and colorful, the idea behind Jorge Calero´s artwork relies on a lyric, joyful, and enlighted vision of optimisti...

This exquisite lithograph by Marc Chagall (1887–1985), titled Moise III (Moses III), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Lit...

This exquisite lithograph by Marc Chagall (1887–1985), titled La Baie des Anges (The Bay of Angels), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edi...

After Gustav Klimt, Max Eisler #17, Aus dem Stoclet-Fries: Die Umarmung; multi-color collotype after the cartoon for the 1910-1911 mosaic frieze on the east wall of the dining hall o...

Medium: original lithograph. Printed in 1920 on smooth wove paper for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition ...