Expressionist Figurative Prints

Bengt Lindström (1925-2008) Fauvist Portrait in Red Original Lithograph Printed signature in the plate Numbered / 500 ex On vellum 31 x 22.5 cm (c. ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs with a poem verso. The individual sheets are not signed or numbered. This listing is just...

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 of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East...

'The Colonial Governor' by Georges Rouault. Etching on paper, 10.5 x 6.5 in. / Frame: 19.5 x 14.5 in. This work is an exceptional example of Rouault's work, depicting the colonial go...

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...

after 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 mas...

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 ...

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 ...

Drypoint printed in dark brown on heavy cream wove paper with wide margins. This is the third state (of four) from a small edition of only several. Signed and inscribed "II Zustand" ...

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 each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

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 ...

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 each of the 50 prints is a gold signet intaglio...

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 masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

21” x 11” Unframed Original Acrylic on Canvas Board Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors serving the viewer’...

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 of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Lithograph on vélin bouffant d'Alfa paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Dur Désir de Durer, illustré par Marc Chagall, ...

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 ...

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 of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

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 of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

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 of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs...

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 of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

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 of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

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...

Arbit Blatas (1908 – 1999) Hand signed and numbered to lower edge Ecole de Paris Portrait Printed on Arches French deckle edged art paper 1962 Arbit Blatas (1908 – 1999), born Nicol...

Arbit Blatas (1908 – 1999) Hand signed and numbered to lower edge Ecole de Paris Portrait Printed on Arches French deckle edged art paper 1962 Arbit Blatas (1908 – 1999), born Nicol...

Arbit Blatas (1908 – 1999) Hand signed and numbered to lower edge Ecole de Paris Portrait Printed on Arches French deckle edged art paper 1962 Arbit Blatas (1908 – 1999), born Nicol...

"Artiesten Winterfest" is an original color lithograph poster designed by Jan Sluijters. It depicts a brightly colored woman with long orange hair and su...

Large and very scarce etching, aquatint and drypoint. This richly-inked impression is the second state (of 2) from a limited edition of approximately 17. Signed and titled in pencil ...

ABOUT THE PAINTING 40" X 28" Monoprint In this enchanting morning scene, the essence of love and connection amidst the beauty of nature is captured skillfully. The backdrop reveals a...

This artwork titled "Versando Traco E embaraco Sobre O Papel" 1995 is an original color woodcut on Wove paper by Brazilian artist Francisco Jose Maringelli, b.1959. It is hand signed, titled and numbered I/L in pencil by the artist. The image (block mark) size is 9 x 11.75 inches, sheet size is 16.5 x 19.5 inches. It is in excellent condition, it has 4 very small 1/4 inches mark in each corner on the back due to hanging tape removal, not visible from the front About the artist: Education: Bachelor Fine Arts, ECAUSP (1984-1989) and Architecture FAUUSP (1979-1985). Professor at Centro Universitário Belas Artes de São Paulo Main Exhibitions: 2018 CONTRAGOLPES; obras recentes de Biba Rigo, Cláudio Caropreso e Francisco Maringelli, São Paulo(SP) Graphias quinze anos, São Paulo(SP) 2017 ROSTOS LAVRADOS-XILOGRAVURAS,Museu Casa da Xilogravura, Campos do...

This artwork titled "Ouvidos de Conchas, em Mangas de Jaqueta" 1995 is an original color woodcut on watermarked Fabriano paper by Brazilian artist Francisco Jose Maringelli, b.1959. It is hand signed, titled and numbered 1/15 in pencil by the artist. The image (block mark) size is 10.65 x 7 inches, sheet size is 16.25 x 14 inches. It is in excellent condition, has never been framed. About the artist: Education: Bachelor Fine Arts, ECAUSP (1984-1989) and Architecture FAUUSP (1979-1985). Professor at Centro Universitário Belas Artes de São Paulo Main Exhibitions: 2018 CONTRAGOLPES; obras recentes de Biba Rigo, Cláudio Caropreso e Francisco Maringelli, São Paulo(SP) Graphias quinze anos, São Paulo(SP) 2017 ROSTOS LAVRADOS-XILOGRAVURAS,Museu Casa da Xilogravura, Campos do...

40.75" x 11.25" Unframed Limited Edition Giclée on Canvas with Hand Embellishment Numbered of 80 Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors serving the viewer’s eyes as those in his stolen scenes serve or are served-wine, coffee, cigarettes, cigars, and martinis. He creates timeless scenes of diverse attraction, of known intimacy. Within the exaggerated features and textured skin of his characters lies truth, yours and theirs. Distinctive bodies and details to lips, eyes, hair, skin, hands and what is held in each, separate and blend his characters’ lives. The smoke that rises from their lips, the drinks that linger at their fingertips, the clothing that adorns their bodies and the crowd created among lovers, friends, patrons and co-workers all speak a certain poetry. Each character depicts the subtleties of what one shows and what one hides. An asymmetrical face tells of an asymmetrical life, of how life wears and how we wear life — what we choose to carry in our hands and on our faces — how we wear ourselves, what smoke and color we stand in. Todd’s paintings are captivating, demanding a second look, often invoking humor or thoughts of familiar feelings — I’ve been there, I know them. Above all, the work is infectious and has caught the attention of the public (galleries cannot keep enough of Todd’s work in stock) as well as celebrities (Vin Diesel, Hugh Hefner, Macaulay Culkin, Eric McCormack, Ryan Stiles and Joe Rogan are collectors of Todd’s oil paintings). But who is the artist behind the art and where did his unique style come from? Todd began in at Warner Bros. Studios while working on the popular series, tiny toons. Through character clean-up and development, Todd began to forge his own artistic style. Shortly thereafter, Todd became part of the lead animation team for the internationally renowned cartoon, sponge bob square pants. Over the next three years, Todd sharpened his eye in storyboarding, illustration and character design. Throughout this period, Todd privately experimented with style and concept, eventually arriving at a process which guides him through every piece. The impact is apparent in his paintings; Todd’s rat-pack-meets-Picasso style results, in part, from his desire to reveal his characters’ innermost thoughts and emotions on their faces. Todd likens his portraits to his favorite episode of the Twilight Zone in which people wore masks that later became their faces and revealed who they truly were. Fast forward ten years later, and until Todd can conceptually see the story in his head, he refuses to paint a single signature knuckle curled around one of his famous martinis. "I actually name my pieces first and then i visualise each face and its personality. Then I develop each person’s story." The stark, unblemished delivery of his subjects is very much intended: whatever isn’t necessary to the story isn’t on my canvas. "I don’t waste a lot of time with backgrounds because they don’t interest me. They aren’t necessary. Instead i focus on what is essential. For example, the hands." Hands are a focal point for Todd, reflecting the subject’s state of mind as much as any body language or facial expression. Everyone’s hands are full of personality he surmises. Take Al Pacino; without his hands, he’s not nearly as interesting to watch. In addition to more obvious influences, such as Austrian expressionist Egon...

22" x 32" Unframed Limited Edition Giclee with Hand Embellishment of 195 Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors serving the viewer’s eyes as those in his stolen scenes serve or are served-wine, coffee, cigarettes, cigars, and martinis. He creates timeless scenes of diverse attraction, of known intimacy. Within the exaggerated features and textured skin of his characters lies truth, yours and theirs. Distinctive bodies and details to lips, eyes, hair, skin, hands and what is held in each, separate and blend his characters’ lives. The smoke that rises from their lips, the drinks that linger at their fingertips, the clothing that adorns their bodies and the crowd created among lovers, friends, patrons and co-workers all speak a certain poetry. Each character depicts the subtleties of what one shows and what one hides. An asymmetrical face tells of an asymmetrical life, of how life wears and how we wear life — what we choose to carry in our hands and on our faces — how we wear ourselves, what smoke and color we stand in. Todd’s paintings are captivating, demanding a second look, often invoking humor or thoughts of familiar feelings — I’ve been there, I know them. Above all, the work is infectious and has caught the attention of the public (galleries cannot keep enough of Todd’s work in stock) as well as celebrities (Vin Diesel, Hugh Hefner, Macaulay Culkin, Eric McCormack, Ryan Stiles and Joe Rogan are collectors of Todd’s oil paintings). But who is the artist behind the art and where did his unique style come from? Todd began in at Warner Bros. Studios while working on the popular series, tiny toons. Through character clean-up and development, Todd began to forge his own artistic style. Shortly thereafter, Todd became part of the lead animation team for the internationally renowned cartoon, sponge bob square pants. Over the next three years, Todd sharpened his eye in storyboarding, illustration and character design. Throughout this period, Todd privately experimented with style and concept, eventually arriving at a process which guides him through every piece. The impact is apparent in his paintings; Todd’s rat-pack-meets-Picasso style results, in part, from his desire to reveal his characters’ innermost thoughts and emotions on their faces. Todd likens his portraits to his favorite episode of the Twilight Zone in which people wore masks that later became their faces and revealed who they truly were. Fast forward ten years later, and until Todd can conceptually see the story in his head, he refuses to paint a single signature knuckle curled around one of his famous martinis. "I actually name my pieces first and then i visualise each face and its personality. Then I develop each person’s story." The stark, unblemished delivery of his subjects is very much intended: whatever isn’t necessary to the story isn’t on my canvas. "I don’t waste a lot of time with backgrounds because they don’t interest me. They aren’t necessary. Instead i focus on what is essential. For example, the hands." Hands are a focal point for Todd, reflecting the subject’s state of mind as much as any body language or facial expression. Everyone’s hands are full of personality he surmises. Take Al Pacino; without his hands, he’s not nearly as interesting to watch. In addition to more obvious influences, such as Austrian expressionist Egon...

One of a series of oil based monotypes on fine printmaking paper, subtle color design, symbolic and atmospheric figure/figures in cityscape

Serigraph on paper. Hand signed and numbered by the artist. Artwork size 27.5 x 19.5 inches. Frame size approx 32 x 24 inches. Artwork is in excellent condition. Edition of 125. C...

Le Clown Georges Rouault (After), French (1871–1958) Date: circa 1970 Screenprint Poster Image Size: 17.5 x 12 inches Size: 26 x 20 in. (66.04 x 50.8 cm)

They Thunder forth from Their Clouds is an original lithograph, realized by George Grosz in 1922, from Die Raüber, edition Malik Verlag in 100 prints, plate n°8 da Die Raüber, hand-signed in pencil. "They thunder forth from their clouds about gentleness and forbearance, while they sacrifice human victims to the God of love." (Da donnern sie Sanftmut und Duldung aus ihren Wolken und bringen dem Gott der Liebe Menschenopfer.)" Sheet dimension: 61,5 x 42 cm. In very good conditions. Here representing a man in front of cross miserably praying, below of his feet laid down many dead bodies and ruined part of the city. here is one of his artwork affected by consequences drama of war. George Grosz (1893 -1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic. He studied drawing at the Dresden Academy 1909-11 and at the School of Arts and Crafts in Berlin 1912-14, He was in the army 1914-15 and again for a short time in 1917, but spent the rest of the war in Berlin where he made violently anti-war drawings...

YURA ADAMS Untitled (from the Artsounds Collection), 1986 color offset print, ed. 200 12 x 12 cm. 30.5 x 30.5 cm. Edition 49/100 signed and numbered in pencil by the artist on ver...

Interrogation is an original offset and lithograph realized by George Grosz. The artwork is from the book "Kobes" by Heinrich Man, that Grosz illustrated with 10 drawings reproduce...

In the Brothel is an original lithograph realized by Eugen Hamm a german artist in 1922. In good conditions. This artwork represents a brothel with severa...

Alpinolo Porcella is a woodcut print on ivory-colored, realized at the beginning of the 20th century by the Italian artist Arturo Martini (Treviso, 1889 - Milan, 1947) for a drama by...

Emil Orlik (1870-1932), Am Gänsehäufel in Wien, 1911, soft-ground etching, signed and dated in pencil lower right. In very good condition, on firm laid paper with margins, 5 1/2 x 8...

Bordellszene is an original lithograph, realized by Otto Gleichmann in 1924, hand- signed and dated. In very good conditions. Here the artwork represents two men in Expressionistic...

Kurzweil, Maximilian. Der Polster, 1903. Color woodcut on japon. Included as an insert in Pan. Unsigned. Framed.11 1/4 x 10 1/4. 1 Ref: Hofstatter, p. 241; Pabst, p. 154. Maximillian Kurzweil was the co-founder of the Vienna Secession in 1897 and editor and illustrator of the influential Secessionist magazine Ver Sacrum...

Emil Orlik (1870-1932), Market in Grodek, etching and aquatint, 1898, signed in pencil lower right, in very good condition, trimmed just outside of the platemark and so with a small ...

Siccard-Redl, Josef. Fruhling, Ca 1910. Color wood engraving, Signed and titled in pencil by the artist. Little is known of this artist other than he worked in Vienna during the ...

"Three Seated Figures- Women (Frauen)" is an original lithograph from the "South Sea (Sudsee)" series by Max Pechstein. This lithograph depicts th...

24" x 19" Unframed Limited Edition Face Mounted Acrylic Giclee on Canvas with Hand Embellishment of 45 Hand Signed by Todd White Todd white captures restaurant, night and Hollywood...

18" x 10" Unframed Limited Edition Giclée with Hand Embellishment of 135 Hand Signed by Todd White “Do you know the old adage “running circles around you”? When you get one of thos...

20" x 30" Unframed Limited Edition Giclee On Canvas Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors serving the viewer’s ...

A superb impression of this extremely scarce etching and aquatint. First state (of 2), before the darkened background. Edition of approximately only 11. Signed in pencil. This etch...

stamped on back: Le Vent d'Arles and SPADEM 1975 - Printed in France Edition sticker on back reads: No. 1815

Brutalist colored woodcut circa 1976 by Nicholas Sperakis. The image depicts skeletal figures around the grave of a soldier. Note the American flag features which drape the entombed ...

18" x 10" Unframed Limited Edition Giclée with Hand Embellishment of 135 Hand Signed by Todd White “Being an observational artist of 53 years, I truly understand, only now, life is...