Medium: original woodcut. Signed in pencil. Catalogue reference: Hofmaier 282 IV BB. Printed in Germany in 1923 for the very rare Kunst der Gegenwart portfolio, published in Munich by Marées-Gesellschaft, R. Piper & Co., with the Marées-Gesellschaft blindstamp in the margin. The printer was Fritz Voigt, of Berlin. This impression is one of 220 printed on cream wove paper from a total edition of 300 (consisting of 220 on wove and 80 on japon paper). The image measures 13 3/4 x 13 inches (350 x 331 mm); the total sheet measures 20 1/2 x 18 1/2 inches (520 x 472 mm) with full original margins and deckle edges.

In very good condition; with minor creasing near the edges of the sheet and a tiny pinhole in the space above the figure's right eye (hardly visible).

This is one of several portraits of a mysterious woman called "Naila" that were done by Max Beckmann. It is now known that Naila was Dr. Hildegard Melms, and that Beckmann had an affair with her in 1923, the same year he executed this print. This important German Expressionist woodcut can be found in the permanent collections of the Art Institute of Chicago, the Brooklyn Museum and the Museum of Modern Art (MoMA).

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue reference: Rifkind 2252. Image size: 9 7/8 x 6 1/4 inches (250 x 159 mm). Sheet size: 12 5/8 x 9 1/4 inches (320 x 235 mm). This work can be found in the permanent collection of MoMA (The Museum of Modern Art) in New York. Not signed.

Medium: original woodcut. Printed in Germany in 1917 for Die Aktion; this impression is from the deluxe edition of 100 on Bütten laid paper. Catalogue reference: Schapire 202. Image size: 6 1/4 x 8 1/2 inches (158 x 212 mm). Sheet size: 9 x 12 inches (230 x 305 mm). There is a different woodcut and printed text on verso, as published. Embossed with the publisher's dry stamp in the margin at the bottom right. Not signed.

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue reference: Rifkind 610. Image size: 6 5/8 x 4 7/8 inches (170 x 122 mm). Sheet size: 12 5/8 x 9 1/4 inches (320 x 235 mm). This work can be found in the permanent collection of MoMA (The Museum of Modern Art) in New York. Signed in the plate (not by hand).

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue reference: Dube 266B. Image size: 9 7/8 x 6 1/4 inches (250 x 159 mm). Sheet size: 12 5/8 x 9 1/4 inches (320 x 235 mm). This work can be found in the permanent collection of MoMA (The Museum of Modern Art) in New York. Not signed.

Medium: original etching. Catalogue reference: Klipstein 10. A very rich impression on cream wove paper of this Kollwitz etching, with plate tone. Plate size: 118 x 88mm (4 5/8 x 3 1/2 inches). With full original margins, the sheet measures 14 1/4 x 10 1/4 inches (360 x 262mm). Not signed.

Please note: there have been later editions of this important Kollwitz print, but this is the original first edition, published in Germany by Pan (V-1; 1899-1900); edition of 1100. The Pan inscription is printed at the bottom of the sheet (which demonstrates the provenance).

Medium: original woodcut. Printed in 1919 and published in Germany for GENIUS: Zeitschrift fur Werdende und Alte Kunst, an art revue founded in 1919 in the aftermath of The First World War. Europe was devastated by the War, both physically and psychologically, and Expressionist art was attempting to create a new artistic idiom. Image size: 7 3/4 x 9 1/2 inches (198 x 240 mm). Signed in the plate (not by hand).

Medium: original etching and drypoint. Catalogue reference: Seeber 194. This impression on japon paper is annotated "trial proof" and pencil-signed and titled in the margin, with George Burr's monogram signature. The published edition consisted of 40 numbered impressions. Plate size: 6 7/8 x 9 7/8 inches (175 x 250 mm). American Impressionist George Elbert Burr is best known for Southwestern Art scenes such as this, and his etchings have become increasingly sought-after.

Condition: in good condition save for a faint mat stain, and with full original margins.

Medium: original lithograph. This striking lithograph was printed in 1922 for Genius. The image size is 11 1/4 x 9 1/4 inches (285 x 235 mm). This original Alexander Kanoldt lithograph is from GENIUS: Zeitschrift fur Werdende und Alte Kunst. This art and literary project only lasted three years, but had incredible influence on German art and culture between the Wars. Not signed.

Condition: there are a few small spots of foxing in margin.

Gypsy Wagon
Medium: original etching. Signed in pencil by Rudolf Grossmann and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. This impression is one of the deluxe signed edition of 300 printed on cream wove paper. The plate measures 6 5/8 x 5 inches (167 x 127 mm); a fine impression with full original margins.

Medium: original softground etching and aquatint. Executed in 1919, this impression on laid paper was printed ca. 1929. Plate size: 7 3/4 x 6 1/2 inches (196 x 167 mm). Sheet size: 12 x 9 1/4 inches (305 x 234 mm). Signed in the plate with Arthur B. Davies' stamp signature at lower right and signed in pencil by printer Frank Nankivell at lower left.

Condition: there is creasing to the paper.

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 of 500. Catalogue reference: Rifkind 955. Sheet size: 12 5/8 x 9 1/4 inches (320 x 234 mm). This work can be found in the permanent collection of MoMA (The Museum of Modern Art) in New York. Signed in the plate (not by hand).

Condition: there are areas of discoloration to the paper.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 8 3/4 x 8 1/4 inches (225 x 210 mm). Signed in the plate (not hand-signed).

Condition: this work has been attached by the publisher onto a larger support sheet.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 10 1/4 x 16 1/4 inches (263 x 413 mm). Signed in the plate (not hand-signed).

Condition: there is old glue residue on the back where it had originally been attached by the publisher onto a support sheet.

Medium: original woodcut. Catalogue reference Roethel 105. Printed in Paris in 1938 for the art revue XXe Siecle (issue number 3). Image size: 8 1/2 x 8 3/4 inches (217 x 220 mm). Sheet size: 12 1/2 x 9 1/2 inches (317 x 245 mm). Signed in the plate (not hand-signed).

Condition: there are pinholes with discoloration along the left edge of the sheet -- this is from the publisher's original binding staples, and also demonstrates the provenance of this work.

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Signed in pencil by Richard Seewald and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. This impression is one of the deluxe signed edition of 300 printed on laid paper. The image measures 5 1/2 x 7 inches (140 x 175 mm); a fine impression with full original margins.

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 size: 12 1/2 x 9 1/2 inches (317 x 243 mm). Signed in the plate (not by hand).

Condition: there is minor foxing and age-toning. There are six pinholes along the left edge of the sheet -- this is from the publisher's original binding staples, and also serves to demonstrate the provenance of this work.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 16 3/4 x 10 3/4 inches (425 x 275 mm). Signed in the plate (not hand-signed).

Condition: this work has been attached by the publisher onto a larger support sheet.

Medium: original etching with drypoint. Signed in pencil and numbered 47/100. Catalogue reference: Prescott 59. This etching was executed in 1974 and issued in an edition of 100 on watermarked Arches wove paper. The plate size is 6 3/4 x 4 7/8 inches (172 x 124 mm). With full original margins, the total sheet measures 15 x 11 inches. The publisher's dry stamp is in the margin. A magnificent, rich impression, signed in pencil by Jack Levine.

Medium: original etching and drypoint. Printed on cream wove paper and published in Leipzig, Germany by Zeitschrift fur bildende Kunst in 1916/17. Their inscription is printed at the bottom of the sheet, which demonstrates the provenance. The plate measures 10 1/8 x 5 inches (258 x 125 mm). This piece is in the permanent collection of The Brooklyn Museum, of New York. A nice, rich impression. Not signed.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 9 3/4 x 13 inches (250 x 330 mm). Signed in the plate (not hand-signed).

Condition: this work has been attached by the publisher onto a larger support sheet.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 9 3/4 x 12 1/4 inches (245 x 312 mm). Signed in the plate (not hand-signed).

Condition: this work has been attached by the publisher onto a larger support sheet.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 14 3/4 x 10 1/2 inches (373 x 265 mm). Signed in the plate (not hand-signed).

Condition: this work has been attached by the publisher onto a larger support sheet.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 10 x 13 1/4 inches (250 x 336 mm). Signed in the plate (not hand-signed).

Condition: there is old glue residue on the back where it had originally been attached by the publisher onto a support sheet.

Medium: original lithograph. This lithograph was printed in 1953 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1953 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association; these sponsors gave the artists complete creative freedom of expression.

This impression was printed on tinted laid paper in an edition of 2000. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

Condition: the left edge of the sheet has been trimmed.

"Beduinenlied"
Medium: pochoir (after the watercolor). Printed in 1917 and published in Munich in an edition of 110 by Franz Hanfstaengl for the rare "Stella Peregrina" portfolio. Image size: 10 inches round (255 mm). This work was mounted by the publisher onto a larger support sheet. Not signed.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 14 1/2 x 9 3/4 inches (365 x 250 mm). Signed in the plate (not hand-signed).

Condition: this work has been attached by the publisher onto a larger support sheet.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 12 3/4 x 9 3/4 inches (320 x 246 mm). Signed in the plate (not hand-signed).

Condition: this work has been attached by the publisher onto a larger support sheet.

Medium: pochoir (after the watercolor). Printed in 1964 at the atelier of Daniel Jacomet for the "Paul Klee 12 Aquarelles" portfolio and published in Paris by the Berggruen Gallery in an edition of 500. Size: 15 1/2 x 11 inches (395 x 278 mm). Signed in the plate (not hand-signed).

Condition: there is old glue residue on the back where it had originally been attached by the publisher onto a support sheet.

Coriolanus and his Mother
Medium: original woodcut. Signed in pencil by Peter Trumm and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. This impression is one of the deluxe signed edition of 300 printed on thin japon paper. The image measures 9 5/8 x 12 1/2 inches (245 x 315 mm); a fine impression with full original margins.

Condition: there are old tape mounts in the margin, not affecting the image; and some foxing.

Medium: original color woodcut. Catalogue reference JH 771. Published in 1919 for Genius. Image size: 9 1/2 x 7 inches (240 x 178mm), on wove paper with full margins.
This print is from GENIUS: Zeitschrift fur Werdende und Alte Kunst, a deluxe art revue founded in 1919 in the aftermath of The First World War. Europe was devastated by the War, both physically and psychologically, and Expressionist art was attempting to create a new artistic idiom, and Richard Seewald was an important member of this movement. This is a good impression from the first (and rarest) year of Genius. Not signed.

Medium: original lithograph. This striking composition was published in 1921 for Genius. Sheet size: 13 1/4 x 9 7/8 inches (340 x 250 mm) on wove paper. This original Archipenko print is from GENIUS: Zeitschrift fur Werdende und Alte Kunst. This art and literary project only lasted three years, but had incredible influence on German art and culture between the Wars. Some of the important artists contributing original prints included: Karl Schmidt-Rottluff, Erich Heckel, Frans Masereel, Max Kaus, Karl Hofer, Alexander Archipenko, and others. It was a major vehicle for the German Expressionists. Not signed.

Condition: the sheet has been trimmed, not affecting the composition.

Medium: original lithograph. This lithograph was printed in 1952 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1952 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association; these sponsors gave the artists complete creative freedom of expression.

This impression was printed on tinted laid paper in an edition of 2000. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

Condition: the left edge of the sheet has been trimmed.

Landscape with Goats
Medium: original etching and drypoint. Signed in pencil by Felix Meseck and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. This impression is one of the deluxe signed edition of 300 printed on cream wove paper. The plate measures 7 3/4 x 5 3/8 inches (197 x 140 mm); a fine impression with full original margins.

"From the life of Saint Francis"
Medium: original woodcut. Signed in pencil by Franz Hecht, this scene is after a painting by the Italian Early Renaissance painter Taddeo Gaddi. Printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. This impression is one of the deluxe signed edition of 300 printed on thin japon paper. The image measures 6 3/4 x 5 1/2 inches (173 x 138 mm).

Condition: there are old tape mounts in the left margin, not affecting the image.

Medium: silkscreen / serigraph. This is one of the silkscreens from the important Josef Albers project "Interaction of Color", published in 1963 by Yale University Press in an edition of 2000. The total sheet measures 13 x 20 inches (330 x 510 mm). Not signed. This is a fine impression printed in rich, vibrant color and now very scarce.

Condition: there is some scuffing and a few scratches to the printed surface. This work was issued as a folded sheet with a center crease.

Medium: original soft ground etching. Signed in pencil and annotated "Artist's Proof". Printed in 1967 for the Dreigroschen Film portfolio and published by Touchstone Publishers. This is one of 10 artist's proofs on handmade BFK Rives wove paper, from a total edition of 145. Plate size: 11 3/4 x 8 3/4 inches (293 x 223 mm). Sheet size: 17 1/2 x 13 1/2 inches (450 x 353 mm). Jack Levine was inspired by the Berthold Brecht and G. W. Pabst "Dreigroschen Film" of 1930.

Medium: original soft ground etching. Signed in pencil and annotated "Artist's Proof". Printed in 1967 for the Dreigroschen Film portfolio and published by Touchstone Publishers. This is one of 10 artist's proofs on handmade BFK Rives wove paper, from a total edition of 145. Plate size: 11 3/4 x 8 3/4 inches (293 x 223 mm). Sheet size: 17 1/2 x 13 1/2 inches (450 x 353 mm). Jack Levine was inspired by the Berthold Brecht and G. W. Pabst "Dreigroschen Film" of 1930.

Medium: offset lithograph with pochoir coloring. Printed in 1958 and published in Milan by Silvana Editoriale d'Arte in an edition of 200. Image size: 8 1/4 x 11 inches (210 x 280 mm). Sheet size: 11 1/2 x 15 1/2 inches (290 x 393 mm). Signed in the plate, not hand-signed. Very scarce.

Medium: original lithograph. This lithograph was printed in 1955 for the "Improvisations" portfolio, and published by the Artists Equity Association of New York in an edition of 2000 on the occasion of the 1955 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association, and these sponsors gave the artists complete creative freedom of expression. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

Condition: the left edge of the sheet has been trimmed.