Expressionist Abstract Prints

Joan Miró Lithographie Originale III Color Lithograph Year: 1977 Size: 12.5 × 9.6 inches Catalogue Raisonné: Teixidor, Miro Lithographe III, 1964-1969 Publisher: Maeght Editeur, Pari...

Eduardo Chillida (Spain, 1924-2002) '5 Livres Gravés', 1974 Original poster from show lithograph on paper 25.2 x 17 in. (64 x 43 cm.) Unframed Ref: CHI100-202 Eduardo Chillida He be...

André DUNOYER DE SEGONZAC (1884-1974) The Little Road, 1965 Lithograph (Mourlot workshop) Signed in the plate On vellum 50 x 65 cm (c. 19.7 x 25.6 in) Excellent condition

Sku: AW1177 Artist: Willem de Kooning Title: Spoleto-14 Giugno Year: 1974 Signed: No Medium: Offset Lithograph Paper Size: 41.25 x 29.5 inches ( 104.775 x 74.93 cm ) Image Size: 41.2...

Medium: original lithograph. Printed in 1938 and published in Paris by Teriade for the art revue Verve (volume 1, number 2). Kandinsky was invited to contribute an original compositi...

André DUNOYER DE SEGONZAC (1884-1974) Still Life with a Basket , 1965 Lithograph (Mourlot workshop) Signed in the plate On vellum 65 x 50 cm (c. 25.6 x 19.7 in) Excellent condition

'Improvisation 7' second ed. woodcut from 'Klänge' is a woodcut print created by Wassily Kandinsky. The present woodcut print comes from the second edition of 'Klänge (Sounds),' a book of original graphics and poetry by Wassily Kandinsky. The title of the album and of this print, 'Improvisation,' demonstrated Kandinsky's interest in music and how abstract musical forms could be translated into images on a two-dimensional surface. This particular composition is difficult to read, but through the abstraction, one can make out various figures and a landscape beyond. Originally carved and printed in 1911, this second edition print was done ca. 1938. It is a woodcut in black ink on woven paper. Signed with encircled 'K' in the block, lower right (from the book, signed in ink, ed. 117/300) Image Size: 7 1/2" x 5 inches Frame Size: 22 1/4" x 18 3/4" Ref. Roethel 124 Artist Bio: The Museum of Modern Art described 'Klänge (Sounds)' as follows: Vasily Kandinsky's self-described "musical album," Klänge (Sounds), consists of thirty-eight prose-poems he wrote between 1909 and 1911 and fifty-six woodcuts he began in 1907. In the woodcuts Kandinsky veiled his subject matter, creating increasingly indecipherable images (though the horse and rider, his symbol for overcoming objective representation, runs through as a leitmotif). This process proved crucial for the development of abstraction in his art. Kandinsky said his choice of media sprang from an "inner necessity" for expression: the woodcuts were not merely illustrative, nor were the poems purely verbal descriptions. Kandinsky sought a synthesis of the arts, in which meaning was created through the interaction of, and space between, text and image, sound and meaning, mark and blank space. The experimental typography shows his interest in the physical aspects of the book. Klänge is one of three major publications by Kandinsky that appeared shortly before World War I, alongside Über die Geistige in der Kunst (Concerning the Spiritual in Art) and the Blaue Reiter almanac...

Günther Förg (Germany, 1952-2013) 'Erker-Gallery', 1995 Original poster from exhibition of 1995 lithograph on paper 36.5 x 22.6 in. (92.7 x 57.4 cm.) Unframed Ref: FOR100-201 Günthe...

The present woodcut print comes from 'Klänge (Sounds),' a book of original graphics and poetry by Wassily Kandinsky. This first edition was released in an edition of 300, each book signed and numbered by the artist. The title of the album and this particular print, 'Improvisation,' demonstrated Kandinsky's interest in music and how abstract musical forms could be translated into images on a two-dimensional surface. This particular composition is difficult to read, but through the abstraction, one can make out various figures and a landscape beyond. 7.5 x 5 inches, image 22 x 19.5 inches, frame Woodcut in black ink on laid paper (watermark Van Gelder Zonen) Signed with encircled 'K' in the block, lower right Framed to conservation standards using 100 percent acid free archival materials including silk-lined matting with 1/4 inch bevel, museum glass, and a gold-gilded moulding Ref. Roethel 124 The Museum of Modern Art described 'Klänge (Sounds)' as follows: Vasily Kandinsky's self-described "musical album," Klänge (Sounds), consists of thirty-eight prose-poems he wrote between 1909 and 1911 and fifty-six woodcuts he began in 1907. In the woodcuts Kandinsky veiled his subject matter, creating increasingly indecipherable images (though the horse and rider, his symbol for overcoming objective representation, runs through as a leitmotif). This process proved crucial for the development of abstraction in his art. Kandinsky said his choice of media sprang from an "inner necessity" for expression: the woodcuts were not merely illustrative, nor were the poems purely verbal descriptions. Kandinsky sought a synthesis of the arts, in which meaning was created through the interaction of, and space between, text and image, sound and meaning, mark and blank space. The experimental typography shows his interest in the physical aspects of the book. Klänge is one of three major publications by Kandinsky that appeared shortly before World War I, alongside Über die Geistige in der Kunst (Concerning the Spiritual in Art) and the Blaue Reiter almanac...

Street Musicians by Ira Moskowitz shows four musicians playing various horn instruments including trumpets and trombones. Behind them some childre...

Walter Helbig (1878 Falkenstein - 1968 Ascona), Adoration of the Magi, 1918. Hand-colored linocut, 30 cm x 22.5 cm (depiction), 50 cm x 35 cm (sheet size), signed “W.[alter] Helbig” in pencil lower right, inscribed “Adoration of the Magi” lower left and dated “1918”. Below this a handwritten dedication “with heartfelt Christmas greetings”. - Paper somewhat darkened and with slight creases, thumbtack holes in the corners - The Rider of the Sun - The 'apocalypse' of World War I brought about a return to sacred art. Walter Helbig belonged to the circle of the 'Brücke' and the 'Blauer Reiter'. With his reinterpretation of religious themes in an expressionist formal language, Helbig shaped an avant-garde neo-sacred art. This is symbolically expressed in the silhouette of the rider against the sun-like yellow background. It refers to the awakening initiated by the Blue Riding, which is now linked back to the sacred. The rider and horse "look" at Mary and the Christ Child, who occupy the entire field. Opposite them are the three kings, the eldest of whom kneels before Christ and offers him a gold-filled casket. The expressionist lines give rise to a tower that rises into the "sun", so that the gift has become a Gothic church, expressing the hope that the fallen world will be resurrected in the name of Christ. This dimension of meaning is emphasized by the magical effect of the color scheme. About the artist In 1895, Walter Helbig began studying at the Dresden Academy of Art, where he became friends with the future Brücke artist Otto Müller, with whom he lived in Dresden from 1903 to 1905. While studying in Italy from 1897 to 1899, he met Arnold Böcklin and Adolf von Hildebrand. After completing his studies, he first worked for Otto Gussmann, painting churches. From 1905 to 1909 he worked as a freelance painter in Hamburg. In 1909, through the mediation of Otto Müller, Helbig made the acquaintance of artists from the 'Brücke'. In 1910 he exhibited at the founding exhibition of the Berlin 'Neue Sezession'. In the same year, he moved to Switzerland, where, together with Hans Arp and Oscar Lüthy, he founded the 'Moderne Bund' in Weggis, to which Cuno Amiet and Giovanni Giacometti also belonged. At the second exhibition of the 'Moderne Bund' in Zurich in 1911, Henri Matisse and Robert Delaunay were represented alongside artists from the 'Blauer Reiter'. In 1913, Helbig traveled to Paris with Arp and Lüthy. After the dissolution of the 'Moderne Bund', Helbig was represented at the first Dada exhibition in Zurich in 1914. In 1919, he joined the Berlin 'Novembergruppe'. After the devastation of World War I, Helbig turned increasingly to religious themes in his work. In 1924, like many other artists of his time, he moved to Ascona for financial reasons, where he became a naturalized citizen in 1938. There he founded the artists' association "The Great Bear", to which Marianne von Werefkin...

Plate 12 From: 10 Origi, 1942 Signed in the block with the artist's initials lower left (printed) From: 10 Origin Not from the First edition 100, published by Allianz-Verlag, Zurich,...

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...

This original drypoint is hand signed in pencil by the artist “Kandinsky” at the lower right margin. It is also monogrammed and dated in the plate “VK 22” at the lower left image. It...

Pinchas Burstein, known as Maryan Lithograph (after the drawing). 1960 Dimensions: 12 3/8 x 9 3/8 inches (315 x 240mm). Gold or bronze ink on black paper Signed in the plate, not b...

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...

SPACE VOYAGE is an original hand drawn lithograph by the Latin American Woman artist Raquel Forner(1902–1988) , paper size - 13 1/4 x 15 1/4 in., image size - 8 1/2 x 11 3/4 in. pri...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of...

Monotype Dramatic imagery from Tom Bennett’s series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom...

André DUNOYER DE SEGONZAC (1884-1974) Yvelines, Landscape in Villepreux, 1965 Lithograph (Mourlot workshop) Signed in the plate On vellum 50 x 65 cm (c. 19.7 x 25.6 in) Excellent ...

André DUNOYER DE SEGONZAC (1884-1974) Road from Lagny to Annet-sur-la-Marne, 1965 Lithograph (Mourlot workshop) Signed in the plate On vellum 50 x 65 cm (c. 19.7 x 25.6 in) Excell...

Otto Neumann (1895-1975) was a German Expressionist painter and printmaker. His monotypes evolved from sharp, angular, black and whites to late abstract prints in a variety of colors. Neumann lived through revolutionary changes in the art world of prewar and postwar Germany. He was a prolific artist in Germany during a time of the country’s unprecedented academic and intellectual growth. His early work shows the influence of both French masters like Cezanne and the contemporary style that was then being developed by German Expressionists like Kirchner. A master printmaker, Neumann was also inspired by the works of Albrecht Durer, whose allegorical subject-matter and unmatched drawing technique Neumann would emulate throughout his career. A lifetime preoccupation with the human figure informs his work, with frieze-like human figures recalling ancient Greek art...

Artist: Karel Appel Title: Salto Sobre La Cabeza Year: 1988 Medium: Etching with aquatint Signed and dated '88, numbered 5/60 in pencil Dimensions: 19.25" x 4.5" Provenance: Gallery ...

Sebastian R Matta Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edition: 1000 Size: 10 x 7.325 inches (25.4 × 18.61 cm) Unsigned and not individually numbered Publisher: La Poligrafa S.A., Barcelona, Spain Printer: La Poligrafa S.A., Barcelona, Spain Copy of the Imprint Page with Edition Number included Gallery-issued COA provided upon request *Could come framed in a simple white/black/natural frame made from composite wood with standard plex for an additional $45. See example images. Please inquire. Roberto Matta (often referred to as Sebastián R. Matta) was among the major international artists included in the Ediciones Polígrafa exhibition at the Redfern Gallery, London, held from December 4, 1979 to January 31, 1980. Organized in collaboration with the Barcelona-based publisher Polígrafa, the exhibition brought together leading figures in modern and contemporary printmaking, emphasizing the role of graphic works as an extension of avant-garde practice. Matta’s contribution reflects his pivotal role within Surrealism and postwar abstraction. His prints—primarily lithographs—translate his signature visual language of expansive, psychological landscapes into the graphic medium. These compositions are characterized by fluid, biomorphic forms, architectural structures, and spatial distortions that evoke inner mental states, cosmic environments, and metaphysical tensions. Matta’s approach often merges automatism with a heightened sense of structure, creating dynamic fields where figures and environments appear in constant transformation. Within the Polígrafa context, Matta’s works underscored the experimental and international scope of the exhibition, presented alongside artists such as Joan Miró, Antoni Tàpies, and Eduardo Chillida. His inclusion highlights the importance of Surrealist-derived abstraction in shaping late 20th-century printmaking and reinforces his legacy as a key bridge between European Surrealism and later developments in Abstract Expressionism. Roberto Matta lithograph...

KAREL APPEL (1921 - 2006) BLACK FACE, 1969 Lithograph in colors signed in pencil. Edition 26/75, Image: 19 3/4 x 25 1/4, sheet: 22 x 30 inches. Just hint of a mat line Appel was a member of the Cobra art movement

Original AIR FRANCE EUROPE, Editions Perceval, artist: Jacques Nathan Garamond. Professional acid-free archival linen backed vintage travel post...

FACE OF THE NIGHT (For Octavio Paz) is a limited run lithograph poster printed in multiple colors using traditional hand lithography techniques (not a photo reproduction) on archival...

Jack Levine Vintage 1970s Kennedy Galleries poster (Hand signed and warmly inscribed), 1972 Offset lithograph poster (Signed, dated and inscribed in black marker by Jack Levine) Sign...

Walter Becker was born in 1893 in Essen, Ruhr, Germany. Considered an important graphic artist of the "lost generation", Becker is well known for his depictions of figures and portraits in a style that combined elements of German Expressionism, Dada, and French modernism. He worked in a variety of print media, including color lincut, lithography, woodcut and etching. After a short military service, Becker studied under the German Sculptor Karl Albiker at the Dresden Academy of Fine Arts. He moved to southern France where he lived and worked from 1924-1935, and was in contact with George Braque, Thomas...

Artist: Theo Tobiasse (French/Israeli, 1927-2012) Title: Je Sens monter en moi des chants de plaisir (I Feel Songs of Pleasure Rise in Me) Year: Circa 1980 Medium: Color lithograp...

Richard Haizmann Christus, 1961 Woodcut Year: 1987 (printed) Size: 33.66 x 24.01 inches (85.5 × 61 cm) Stamped verso by the Estate, signed "Dr. Wolfgang Wesiack" COA provided *Will ...

Albert Urban, Untitled Abstraction (Figures in Red), color serigraph, 1944. Signed and dated in blue ink. A fine, painterly impression, with fresh, rich colors, on cream wove paper;...

Artist: Fairfield Porter (1907-1975) Title: Street Scene (L.18) Year: 1969 Medium: Lithograph on Arches paper Edition: 69/100, plus proofs Size: 22.25 x 30 inches Condition: Excellen...

Etching and Aquatint with embossing, Zwy Milshtein (Zvi Tzvi Milstein) BIOGRAPHY 1934 Born in Kishinev (Bessarabia) Russian, Romanian region. 1948 Arrived in Israel via Cyprus, wher...

MULTI PERSONAGE is an original limited edition lithograph by the Dutch artist Karel Appel, printed using hand lithography techniques on archival Arches paper, 100% acid free. MULTI PERSONAGE is a lively abstract color collage portrait expressed in vibrant shades of red, blue, pink, green, purple, yellow with hints of multi color pastel tones and white creating an abstracted body and face. Bold black paint strokes define the face with its zany black eyes, head, body and limbs; collage effect torn paper bits fill in the body form. MULTI PERSONAGE is a very unique, fantastically playful and wild composition by Karel Appel, one of the founders of the avant-garde art movement CoBrA active during the late 1940's thru early 1950's. His paintings are known for incorporating applications of vibrant, violent colors often possessing a primal, childlike quality. Print size - 30 x 20 inches, unframed, excellent condition, hand signed in pencil by Karel Appel Edition size - 175, plus proofs Year published - 1980 Printer - JK Fine Art Editions Co., NY Karel Appel was one of the founders of the avant-garde art movement CoBrA, active during the late 1940's thru early 1950's. His paintings are known for incorporating applications of vibrant, violent colors often possessing a primal, childlike quality. Karel Appel, (born April 25, 1921, Amsterdam, Netherlands—died May 3, 2006, Zürich, Switzerland), Dutch painter of turbulent, colorful, and semi-abstract compositions, who was a co-founder (1948) of the CoBRA group of northern European Expressionists. He was also a noted sculptor and graphic artist. Appel attended the Royal Academy of Fine Arts, Amsterdam (1940–43), and helped found the “Reflex” group, which became known as CoBRA (for Copenhagen, Brussels, and Amsterdam), in 1948. He moved to Paris in 1950 and by the 1960s had settled in New York City; he later lived in Italy and Switzerland. Partly in reaction against what they perceived as the sterile academicism of the de Stijl movement, the CoBRA artists...

Artist: Paul Klee, After, Swiss (1879 - 1940) Title: Bauchredner und Rufer im Moor (Ventiloque criant dans le marais) Year: 1964 after 1920 Drawing Medium: Pochoir on Rice Paper, Sig...

Colorful abstract expressionist lithograph celebrating the 1976 Olympics in Montreal Canada by American artist LeRoy Neiman. The work f...

Walter Dexel (1890 Munich – 1973 Braunschweig), Mosque, 1916. Watercolor woodcut on handmade paper, 15.5 cm x 10 cm (image), 29 cm x 22.3 cm (sheet size), signed “WDexel 16” in penci...

This bold screen print depicts a scene from the 1950s, set in a jazz coffee house in Greenwich Village called Nick's, which Simon patronized while in high school. The original stone ...

An excellent impression of this large color aquatint. Numbered in pencil 99/175. Printed by Lacourière, Paris. Published by Vollard, Paris. Catalogue reference: Chapon/Rouault 141; ...

Etching and Aquatint with embossing featuring a clock, the colonel, a nude woman undressing and a figure. This is numbered by hand in pencil and signed in pencil. Zwy Milshtein (Zvi ...

Michael Kachan (American , Israeli b. 1962) The Sunny Day, Serigraph on Paper, Edition 150/320, Hand-Signed A joyous celebration of color, rhythm, and human connection, The Sunny Da...

Nightfear Color lithograph, 1958 From: Rhapsodie de ma nuit, (seven plates) Signed, dated and numbered in pecnil lower left (see photos) Edition: E.A. edition of 25, (there were a...

BERNARD LORJOU – "PIROUETTE AU GALOP" ⚜ Woodcut ⚜ Hand Signed Lower Left ⚜ Numbered H.C. from the Edition of 80 ⚜ Conservation Frame ENERGY AND DRAMA FROM “LE CIRQUE” Created in 197...

Die Lilienweisse Stute is an book written by Carl Hauptmann (Obersalzbrunn, 1858 - Schreiberhau, 1921) and illustrated by Otto Schubert (born January 29, 1892 in Dresden - June 12, 1...

Etching and Aquatint with embossing, This is numbered by hand in pencil but does not appear to be signed. Zwy Milshtein (Zvi Tzvi Milstein) BIOGRAPHY 1934 Born in Kishinev (Bessarab...

Pinchas Burstein, known as Maryan Lithograph (after the drawing). 1960 Dimensions: 12 3/8 x 9 3/8 inches (315 x 240mm). There is printed text on the back, as issued. Signed in the...

(After) Marc CHAGALL (1887-1985) Blue Dove Vintage Poster Second edition printed in offset around 1970 Signed in the plate On heavy paper, 75 x 51 cm (29.5 x 21 in.) INFORMATION:...

Marc CHAGALL (1887–1985) Daphnis and Chloe, 1987 Original vintage poster (Mourlot studio) Signed in the plate On heavy paper 77 x 53 cm (30.3 x 20.8 in.) INFORMATION: Poster for th...

Bit of a mystery here. Really well done colored Linocut A very expressionistic style of a landscape with trees. I’m pretty sure it’s signed in Hebrew but cannot translate. A very low...

Anna Ticho (אנה טיכו ) (1894-1980) was a Jewish artist who became famous for her drawings of the Jerusalem hills. Anna Ticho was born in Brno, Moravia, then part of the Austro-Hungarian Empire (today the Czech Republic) in 1894. At the age of 15, she began to study drawing in Vienna in an art school under the directorship of Ernst Nowak...

Anna Ticho (אנה טיכו ) (1894-1980) was a Jewish artist who became famous for her drawings of the Jerusalem hills. Anna Ticho was born in Brno, Moravia, then part of the Austro-Hungarian Empire (today the Czech Republic) in 1894. At the age of 15, she began to study drawing in Vienna in an art school under the directorship of Ernst Nowak...

Otto Neumann (1895-1975) was a German Expressionist painter and printmaker. His monotypes evolved from sharp, angular, black and whites to late abstract prints in a variety of colors. Neumann lived through revolutionary changes in the art world of prewar and postwar Germany. He was a prolific artist in Germany during a time of the country’s unprecedented academic and intellectual growth. His early work shows the influence of both French masters like Cezanne and the contemporary style that was then being developed by German Expressionists like Kirchner. A master printmaker, Neumann was also inspired by the works of Albrecht Durer, whose allegorical subject-matter and unmatched drawing technique Neumann would emulate throughout his career. A lifetime preoccupation with the human figure informs his work, with frieze-like human figures recalling ancient Greek art...

Ecce Homo VII Woodcut, 1921 Signed, titled, and dated in pencil by the artist One of only three known impressions Created while the artist was studying at the Bauhaus in Weimar, Germany. Extreme rarity-One of three know impressions Note: In 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Condition: Excellent Missing small voids in the upper margin from removal of the original hinges. Image size: 9 7/8 x 8 3/16 inches Reference: Rose 30 Provenance: From the estate of Drewes's teacher at the Bauhaus. During the post WW2 the professor lived in East Germany. WERNER DREWES 1899-1985 Werner Drewes initially studied architecture before enrolling, in 1921-22, at the Bauhaus in Weimar under Klee, Kandinsky, Itten and Feininger. For four years - 1923 to 1927 - he travelled the world with his bride, before completing his Bauhaus training in Dessau in 1929. He immigrated to the United States in 1930, documenting that move to New York through series of woodcuts. In 1936/37 he was an active founder of the American Abstract Artists and participated in the Federal Arts Project in New York before moving on to a teaching career at Washington University in St. Louis. As an artist for over sixty five years, he employed various media from drawing and watercolor, through woodcut and etching, to painting and collage. Translating an early interest in subjective cubistic forms, his work evolved into nonobjective abstraction. He was creative until the day of his death. Courtesy: Toby C. Moss Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...

Anna Ticho (אנה טיכו ) (1894-1980) was a Jewish artist who became famous for her drawings of the Jerusalem hills. Anna Ticho was born in Brno, Moravia, then part of the Austro-Hungarian Empire (today the Czech Republic) in 1894. At the age of 15, she began to study drawing in Vienna in an art school under the directorship of Ernst Nowak...

This poster, published in 1971 for the Fondation Maeght, proudly boasts a lithographic rendering of Wassily Kandinsky's 1922 mural plans for the Juryfreie exhibition in Germany. It w...

Girl Reaching Forward Lithograph by Albert Walker Signed & Framed, Artist proof : This artist’s proof lithograph, attributed to Albert Walker (American, 1900–1984), was published b...

Signed and dated "55" in pencil. Otto Neumann (1895-1975) was a German Expressionist painter and printmaker. His monotypes evolved from sharp, angular, black and whites to late abst...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of the twentieth century. Neum...

Rare vintage original poster published by the famous Paris Gallery Claude Bernard pour an historic exhibition of Jean Dubuffet in the sixties (1964) a...