Cuno Amiet Art

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...

David Hockney (British, b. 1937), 'David Hockney -The Tate Gallery - Travels with Pen, Pencil and Ink, Drawings and Prints, but no paintings, 1961 - 1979'...

Kaus, Max. BADENDE MANNER: (THREE MALE BATHERS AT THE SHORE). Lithograph, c. 1924. Signed, lower left, in pencil, and numbered 6-10, further inscribed, lo...

Mick Jagger V - After Andy Warhol. The light green background contrasts with the abstract pink slashes on the image of this lithographic print. Mick Jagger is an iconic rock legend who was the frontman and one of the founders who sang lead in the British Rock and Roll Band, The Rolling Stones...

Nahum Tschacbasov Mid Century Modern Clown, 1956 Lithograph Signed, dated and numbered 144/250 in graphite on the front 34 x 27.5 inches Unframed, affixed to matting Published by American Color Slide Co, Ltd., New York Terrific uncommon vintage signed, numbered and dated mid Century modern lithograph from this interesting and distinctive -and undervalued Russian American artist. Highly collectible clown...

Luciano Pavarotti & Frank Sinatra in Concert Music Legends Grammys Litho Al Hirschfeld (1903-2003) Luciano Pavarotti and Frank Sinatra in Concert Limited Edition Etching Sight: ...

As an artist trained in the applied arts, Gustav Klimt valued all forms of art, including the graphic arts. This final design from 1896 for inclusion in Allegorien published by Gerlach & Schenk demonstrates respect for artistic precedent and for a wide range of media and technique. The publication was printed in an unknown number of copies. Klimt’s rendering in latin of the title, “SCVLPTVR.,” with three-dimensional effect on the wall, is a figurative allusion to this medium as well as a literal reference to Ancient Rome. By doing the same with his signature and date in roman numerals on the right hand side of the image, Klimt places himself, The Artist, firmly in this linear and legitimizing context of art history and as its modern standard-bearer. Playing on Classical mythology and the story of Pygmalion, in which a statue comes to life, Klimt presents his modern Venus holding an apple. Klimt’s Venus exhibits a curvilinear softness; there are no angles. Klimt deftly shows the possibilities in a graphic image to give life to dark, wavy hair and tenderness to swelling breasts and belly. To further emphasize the allegory of thriving modern art, he contrasts his Venus with the cold, hard ancient classical head whose eyes are vacuous and whose hair is but a stylized mass of curls. Klimt’s living Venus stands in front of the large bust and large classical pillar upon which is a sculpture of a Sphinx and a Greek Attic bust. As if a gallery to represent sculpture’s “best of” through the ages, the upper horizontal panel includes bust depictions in marble, cast metal and wood...

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...

Klimt’s association with Martin Gerlach dates back to the early 1880s when Gerlach and Schenk published their first edition of Allegorien und Embleme. By the mid-1890s, they were pla...

Leonor Fini The Bystanders, 1973 Lithograph 19 3/10 × 27 3/5 in 49 × 70 cm Edition of 75

Offered at an exceptional price, this piece is in excellent condition and will ship rolled. Edition number 173 / 200. There are 200 pieces in the edition all signed and numbered b...

JEFF KOONS Original Flower drawing on Michael Jackson and Bubbles poster (Hand Signed), 1992 Drawing done in marker on offset lithograph 25 × 39 inches Hand signed and dated '92 in b...