Otto Mueller Nude Prints

Tracey Emin I Could Feel You, 2015 Archival quality giclée print on Purcell Ultrasmooth Fine Art Paper 300 GSM 9 1/2 × 12 inches Plate signed Unframed Rare archival quality, giclée reproduction of Tracey Emin's original gouache I Could Feel You, which is in the permanent modern art collection of the Tate. This was printed back in 2015 in an undisclosed limited edition, and is now long sold out. More details about the original 2014 work are on the Tate Gallery's website as follows: Emin, whose work is often candidly autobiographical, scrutinises her relationship with her own body, using drawing...

Artist: Henry Moore (British, 1898-1986) Title: Three Reclining Figures Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches I...

Artist: Henry Moore (British, 1898-1986) Title: Dame Creole Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches Image size: 18.5 x 15 inches paper size: 18.5 x 15 i...

Artist: Henry Moore (British, 1898-1986) Title: Les Poetes, La Poesie, Front Page Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches Paper...

Artist: Sam Francis Medium: Lithograph Title: Round Breast of Jayne Mansfield Portfolio: 1964 1¢ Life Year: 1964 Edition: 2000 Framed Size: 21 1/4" x 16 1/4" Sheet Size: 16 1/8" x 11...

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...

Alberto Giacometti's "Nu Assis", seated nude, is an original lithograph numbered 40 of 75. It is from 1961 and is signed lower right. 22" x 30" art 31 1/4" x 39 1/4" framed "Alber...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Artist: Francisco Zuniga, Mexican (1912 - 1998) Title: Hombres con Barca II Year: 1984 Medium: Lithograph, signed, numbered and dated in pencil Edition: 40 Size: 24.5 in. x 34.5 in....

Artist: Henry Moore (British, 1898-1986) Title: Les Poetes, La Poesie Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches Paper size: 18...

Alvar Sunol Embossed Figural Abstract Nude Lithograph C.1978 Number 46 from an edition of 100 Dimensions 12" x 16.5" The frame measures 22" x 27.5" The frame shows a chip at one...

Medium: original lithograph. This impression on chine-colle paper was printed in 1900 and published in Paris by the Revue de l'Art ancien et moderne. Image size: 7 1/2 x 5 1/2 inches...