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Selected Works on Paper from Edvard Munch to Gerhard Richter
(November 24, 2003-January 22, 2004)
 Ernst Ludwig Kirchner (1880-1938) "Nackte Tanzerinnen" Woodcut, 1909. For further questions regarding condition reports, prices and availability, |
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Edvard Munch (1863 Loten - 1944 Oslo) MODELLSTUDIE (MODEL STUDY) Drypoint in black-brown. 1894/5. Signed in pencil lower right Edv. Munch, inscribed below the signature avant lettre. Inscribed by the printer lower left O. Felsing Berlin gedr (printed by O. Felsing, Berlin). A superb, velvety impression with subtle platetone. On warm toned yellow-brownish firm paper. According to Schiefler and Woll, characterized by the inscription avant lettre as an early impression of the later printing by Felsing. Reference: Woll 8 III; Schiefler 9 II b |
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Käthe Kollwitz (1867 Königsberg - 1945 Moritzburg) FRAU MIT ORANGE (SELBSTBILDNIS) (WOMAN WITH ORANGE) Aquatint in black-brown with drypoint over colored planographic print, from one or two aluminum plates or lithograph. 1901. Signed in pencil Kollwitz lower right within image. A superb impression on thin paper, mounted onto gray-green laid paper before printing. In pristine condition. Reference: Von dem Knesebeck 56; Klipstein 56 |
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Käthe Kollwitz (1867 Königsberg - 1945 Moritzburg) HALBFIGUR EINER FRAU MIT VERSCHRÄNKTEN ARMEN (HALF-FIGURE OF A WOMAN WITH ARMS CROSSED) Chalk and brush lithograph printed in colors. Circa 1905. Signed in pencil within the subject lower right Kollwitz. A superb impression in strong colors (dark brown, blue and gray-brown). Extremely rare, von dem Knesebeck records a total of ten impressions for all states. On yellowish-brown, straw-like paper. Reference: Knesebeck 91 III A (of B); Klipstein 85 II |
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Erich Heckel (1883 Döbeln - 1970 Radolfzell) FRAU AM SPIEGEL (WOMAN AT MIRROR) Woodcut. 1908. Signed and dated Erich Heckel 08 in pencil lower right. Inscribed at the lower sheet edge by a different hand with the title Vorm Spiegel. A superb, strong impression of this extremely rare print, on thick, soft laid Japan, with full margins. Reference: Dube H 153 III (of IV) |
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Ernst Ludwig Kirchner (1880 Aschaffenburg - 1938 Frauenkirch bei Davos)
NACKTE TÄNZERINNEN (NUDE DANCERS) Woodcut. 1909. Signed in pencil ELKirchner lower right and inscribed II.Handdruck lower left. A fine, black impression of this extremely rare, early print. On thick, buff wove paper. According to Prof. Günther Gercken, who is preparing the forthcoming new catalogue raisonné of Kirchner's prints, only six or seven impressions are known. One of the most important woodcuts from Kirchner's Dresden years. Reference: Dube H 140 I (of IV); Gercken I (of III) |
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Erich Heckel (1883 Döbeln - 1970 Radolfzell) HALBAKT (HALF NUDE) Lithograph. 1909. Signed in pencil and dated lower right E Heckel 09. Titled by a different hand lower left. On greenish thick handmade laid paper. Of utmost rarity. Reference: Dube L 114 |
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Wilhelm Morgner (1891 Soest - 1917 Langemarck) DIE SANDGRUBE (THE SANDBOX) Signed and dated in black pen and ink Wilhelm Morgner. 1912. lower right, titled and inscribed lower left Mutter - Holzschnitt Handdruck, and inscribed in pencil 1. A superb impression, printed in blueish-black ink, on tissue-thin laid paper. Titled by Stinnes lower right and inscribed Sturm, 20.- and numbered 1/10. Reference: Witte 41; Tappert 29 |
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Emil Nolde (1867 Nolde - 1956 Seebüll) FRAUENKOPF III (HEAD OF A WOMAN III) Woodcut. 1912. Signed in pencil lower left Emil Nolde. Titled by Ada Nolde 'Frauenkopf'(III). According to Schiefler/Mosel, one of at least ten impressions in this state (beside two in the first state and three in the second state). Very fine impression in deep black with the grain of the woodblock used to enhance the image, on heavy off-white paper. With strong relief, the vertical lines in the lower part of the image mostly uninked and impressed blind. Inscribed in the upper right corner 91. Reference: Schiefler/Mosel 116 III |
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Ludwig Meidner (1884 Bernstadt - 1966 Darmstadt) WEBERGASSE IN DRESDEN Pen and brush and India ink and white gouache on paper. 1913. Signed in pen and ink, dated and inscribed lower right L Meidner 1913 Dresden. Published as plate 4 in Straßen und Cafés, a portfolio of eight heliotypes after drawings by Ludwig Meidner. Published by Kunstanstalt Robert Claus, Dresden 1918. |
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Erich Heckel (1883 Döbeln - 1970 Radolfzell) MÜDE (TIRED) Woodcut. 1913. Signed in pencil lower right Erich Heckel. On chamois laid paper with a Rampant Lion or Gryphon watermark, with full margins. A very fine impression. The richly inked black areas printed with fine subtleties of the wood-grain. Reference: Dube H 265 II |
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Erich Heckel (1883 Döbeln - 1970 Radolfzell) MÄDCHEM MIT HOHEM HUT (GIRL WITH HIGH HAT) Drypoint. 1913. Signed and dated in pencil lower right EHeckel 13, inscribed lower left 5. Dr.(fifth impression), with monogram and date 13 in the plate lower left. Fine impression with burr and rich platetone. On greenish firm laid paper with watermark ZITTAL. Very rare. Dube does not mention an edition. Reference: Dube R 114 |
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Karl Schmidt-Rottluff (1884 Rottluff - 1976 Berlin) TRAUERNDE AM STRAND (TWO WOMEN MOURNING AT THE BEACH) Woodcut. 1914. Signed in pencil lower right S.Rottluff. A very fine impression with richly inked black areas, printed with fine subtleties of the wood grain. One of 75 impressions, originally purchased by Graphisches Kabinett I.B. Neumann and published 1919 in the portfolio Zehn Holzschnitte von Schmidt-Rottluff. On fine laid paper with full margins. Reference: Schapire 151. |
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Karl Schmidt-Rottluff (1884 Rottluff - 1976 Berlin) SELBSTBILDNIS (SELF-PORTRAIT) Woodcut. 1914. Signed in pencil lower right S.Rottluff. A particularly fine impression of this important self-portrait, printed in deep black with the grain of the woodblock used to enhance the image. On laid paper. Reference: Schapire 153. |
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Wassily Kandinsky (1866 Moskau - 1944 Neuilly) RADIERUNG 1916 - NO. V Drypoint on zinc. 1916. Signed in pencil lower right Kandinsky. Inscribed, dated and numbered lower left No V, 1916, No 8, numbered again in the lower right sheet corner 8.. Signed with the monogram and dated in the plate lower left. A fine impression, printed with light platetone, on thick paper with full margins. From the edition of ten. Reference: Roethel 157. |
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Max Beckmann (1884 Leipzig - 1950 New York) DER HUNGER (HUNGER) Lithograph. 1919. Signed in pencil lower right Beckmann, numbered lower left 30/75 and titled Der Hunger. Plate 5 from Die Hölle, a series of 11 lithographs published by Verlag I.B. Neumann, Berlin. On simili-Japan. Reference: Hofmaier 143 B |
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Lyonel Feininger (1871 - 1956, New York) SCHIFFE AM HAFENQUAI (SHIPS AT THE HARBOR WHARF) Woodcut. 1918. Signed in pencil lower left Lyonel Feininger and inscribed with the work number 18105 at the lower sheet edge. A fine proof impression of this rare print. On oatmeal-tan carbon-copy paper, the tone of the paper unfaded, in pristine condition. Reference: Prasse W 116. |
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Max Beckmann (1884 Leipzig - 1950 New York) KAHLBAUM Drypoint. 1919. Signed in pencil lower right Beckmann. A rich, velvety impression of this scarce print. One of 10 impressions on Japan, before the edition of 40 on wove paper. Reference: Hofmaier 157 II B a (of b) |
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Johannes Molzahn (1892 Duisburg - 1965 München) HOLZSCHNITT (WOODCUT) Woodcut. 1919. Signed and dated in pencil lower right Joh. Molzahn 1919, inscribed in the lower left corner Handdruck. A superb, deep black impression on brown laid paper. Scarce, according to the artist's handwritten catalogue raisonné 15 impressions were printed. Reference: Salzmann 17; Molzahn list no. 14. |
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Conrad Felixmüller (1897 Dresden - 1977 Berlin) HEIMKEHR DER KOHLENARBEITER (COAL MINERS HOMECOMING) Lithograph. 1920. Signed in pencil lower right Felixmüller and dated 1920. Lower left inscribed Lithographie, numbered 3/75 and titled in the middle of the lower sheet edge -im Kohlenrevier-. A superb, rich impression on tan wove paper. Extremely rare, the artist himself noted on another impression that he destroyed most of the edition and just circa 10 survived. Reference: Söhn 221. Inscribed by Stinnes in the lower margin Vom Künstler VI./ 9 22 (from the artist 9-6-1922) and lower right Auflagendruck 3/75 auf grauem Tonpapier (impression 3/75 from the edition on grayish paper). |
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Otto Lange (1879 - 1944, Dresden) VAN ZANTENS GLÜCKLICHE ZEIT (VAN ZANTEN'S HAPPY TIME) A portfolio with 21 color woodcuts, including title pape. 1919/20. Illustrations for the novel by Laurids Bruun. All prints signed in pencil and inscribed Hand.Selbstdruck OttoLange. From the edition of 40 (1-10 on Japan; 11-40 on Ingres laid paper), published by Galerie Ernst Arnold, Dresden. On laid paper, the colors fresh, with full margins and in very good condition. |
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Otto Mueller (1874 Liebau - 1930 Breslau) ZWEI MÄDCHEN - HALBAKTE (RUSSISCHES MÄDCHENPAAR)(TWO GIRLS-HALF NUDES (PAIR OF RUSSIAN GIRLS)) Lithograph. 1920. Signed in pencil with the monogram lower right. A very fine, strong, black impression with good contrasts, on warm-toned yellow paper. One of circa 60 monogrammed impressions. Further 30 impressions were printed on Japan. According to Karsch, the edition printed on different, mostly laid papers. Our impression on lightly hammered yellowish laid paper as described by Karsch. Reference: Karsch 121 b (of c) |
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Conrad Felixmüller (1897 Dresden - 1977 Berlin) EINSAMER MANN IM WALD (LONELY MAN IN FOREST) Color woodcut. 1920. Signed and dated in pencil lower right Felixmüller 1920., inscribed lower left Farbigerholzschnitt and titled - Einsamer Mann - at center of lower edge. On thin, fibrous wove paper with full margins. According to Söhn, only about five impressions were printed, each in different colors. Our impression printed in four colors (green, ocher, light red and teal) rather than three colors described by Söhn. Reference: Söhn 212. |
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Georg Muche (1895 Querfurt - 1986 Lindau) YPSILON 8 (DAS MÄRCHEN VON DER ERSTEN BEWEGUNG EIN KOSMISCHES STILLEBEN) (YPSILON 8 (THE FAIRY TALE OF THE FIRST MOVEMENT A COSMIC STILL LIFE) Etching. 1921. A superb proof impression with strong relief, printed with rich platetone and deeply impressed platemark. On cream laid paper with the blindstamp of the Bauhaus Weimar in the upper left corner. Plate 8 from the series Ypsilon - of small machines and their chains - satire on the materialist N. Exceedingly rare, Schiller mentions only t 3 to 5 proofs for most of the etchings from this series. Reference: Schiller 8. |
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Walter Gramatté (1897 Berlin - 1929 Hamburg) SELBSTBILDNIS (VOR DEN FENSTERN) (SELF-PORTRAIT IN FRONT OF WINDOWS) Watercolor and Indian ink. 1921. Signed, dated, inscribed H and titled Selbstbildnis (Self-Portrait) on verso. The colors remarkably fresh. Exhibitions: Kunstverein Hamburg 1932, cat.-no. 40; Gedächtnisausstellung 1932-33, Collection B, cat.-no. 35; The National Gallery of Canada, Ottawa 1966, cat.-no. 37; Brücke-Museum, Berlin 1968, cat.-no. 37; Kunsthalle Bremen 1970, cat.-no. 11; 71 x Selbst, Brücke-Museum, Berlin 1982, cat.-no. 16. |
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Max Beckmann (1884 Leipzig - 1950 New York) NACKTTANZ (NUDE DANCE) Lithograph. 1922. Signed in pencil lower right Beckmann, numbered lower left 82/100. Plate 4 from Berliner Reise 1922, a series of ten lithographs published by Verlag I.B.Neumann, Berlin. On chamois wove paper. Reference: Hofmaier 216 B |
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Paul Klee (1879 Münchenbuchsee bei Bern - 1940 Muralto/Locarno) DIE HEXE MIT DEM KAMM (THE WITCH WITH THE COMB) Lithograph. 1922. Signed in pencil Klee at the center below the image. In the stone monogrammed, titled and inscribed and dated with the work number 1922/101. From the edition of 200 on chamois simili Japan. Published in the portfolio Künstlerspende für das Deutsche Buchmuseum, Leipzig 1922. With full margins and in perfect condition. Reference: Kornfeld 86 B b. |
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Otto Dix (1891 Untermhaus/Gera - 1969 Singen) ANTWERPEN (ANTWERP) Drypoint. 1922. Signed and dated in pencil lower right Dix 22, numbered lower left 18/50, inscribed Kaltnadel and titled Antwerpen. Originally published as plate 5 from Radierwerk III., Dresdner Verlag, February 1922, 11. Mappe der graphischen Reihe. Brilliant impression, printed with subtle platetone, on wove paper, with full margins. Reference: Karsch 21/II. |
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Emil Nolde (1867 Nolde - 1956 Seebüll) BEWUNDERUNG (ADMIRATION) Line and tonal etching. 1922. Signed in pencil lower right Emil Nolde, titled by Ada at the lower sheet edge. A superb impression of this rare print. Schiefler/Mosel record four impressions of the first state and at least 17 impressions of the second state. On firm, chamois wove paper, with full margins and in excellent condition. With the dark area between the figures and the modeled drawing in the crouching man, ascribed by Schiefler/Mosel as characteristic of the first state but before the lightening of the background and still with strong hatching and areas of tonal etching in the figures. Reference: Schiefler/Mosel 216 I/II |
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El Lissitzky (1890 Polschinok/Smolensk - 1941 Moskau) ZANKSTIFTER (TROUBLEMAKER) Color lithograph. 1923. Signed in pencil lower right El Lissitzky. Plate 7 from the series of ten lithographs Sieg uber die Sonne (Victory over the Sun) published in 1923 by the artist. One o 75 impressions on firm wove paper, with the full margins, the colors fresh. |
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Max Kaus (1891 - 1977, Berlin) 3. KESTNER MAPPE 6 LITHOS VON MAX KAUS (AKTE UND KOPFE) (NUDES AND HEADS) Six lithographs. 1923. The complete set of six lithographs plus the justification page (by Schmidt-Rottluff). In the original gray-green paper portfolio with lithographed title-page mounted on front, published by Verlag Ludwig Ey, Hannover, 1923. Each print signed in pencil MKaus, one signed and dated 22. Numbered on the justification page 49 (of 50). Very fine impressions with strong contrasts on chamois wove paper. |
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Otto Dix (1891 Untermhaus/Gera - 1969 Singen) MATROSE UND MÄDCHEN (SAILOR AND GIRL) Color lithograph. 1923. An extremely rare trial proof printed from three stones (pink, green and two blues), before the numbered edition of 65. The stone which was printed in red in the edition here printed in green. With traces of the work process and printer's ink in the margins and on the verso. Signed and confirmed by Martha Dix Originallitho von Otto Dix, Martha Dix in pencil on the verso. On thin wove paper, the colors fresh. Reference: Karsch 68 II/III. |
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Max Beckmann (1884 Leipzig - 1950 New York) GRUPPENBILDNIS EDENBAR (GROUP PORTRAIT, EDEN BAR) Woodcut. 1923. Signed in pencil lower right. A Superb impression of the artist's major print. On thick imitation Japan paper with full margins. From the only edition of 40 impressions (aside from 5 known proofs). Reference: Hofmaier 277 II B. |
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Hermann Max Pechstein (1881 Zwickau - 1955 Berlin) KLÖHNENDE FISCHER (CHATTING FISHERMEN) Color woodcut. 1923. Signed in pencil lower right HMPechstein, numbered lower left 41/51. On thick wove paper. Printed in black, orange, green and blue, the colors vary within the edition. Reference: Krüger H 289. |
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George Grosz (1893 - 1959, Berlin) DORFSCHLÄCHTER (VILLAGE BUTCHER) Watercolor and Indian ink. 1928/30. Signed in pencil lower left Grosz, titled Dorfschlächter and numbered 2. |
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Jeanne Mammen (1890 - 1976, Berlin) DIE WAHL (THE CHOICE) Color lithograph. Circa 1930. Signed in pencil lower right J. Mammen and numbered ''P/A 10'' (proof impression 10). One of only 11 known impressions, on chamois wove paper. Reference: Döpping/Klünner D 22. |
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Wilhelm Nay (1902 Berlin - 1968 Karlsruhe) THAIS UND ANNA Gouache. 1945. Signed and dated lower left Nay 45, titled an the verso Thais und Anna II. on card. Literature: Ausstellung Wiesbaden 1959, Sonderausstellung Kunst und Mythos, cat.-no. 414. |
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Georg Muche (1895 Querfurt - 1986 Lindau) KRUG UND SPINNE (JUG AND SPIDER) Pencil drawing. 1948. On Winsor Newton Bristol Board card. Signed in pencil within the paper blindstamp lower left GMuche and dated 8.48, beside this inscribed 58 and titled Krug und Spinne. |
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Wilhelm Nay (1902 Berlin - 1968 Karlsruhe) SITZENDE FRAU (SEATED WOMAN) Color lithograph. 1949. Signed in pencil and dated lower right Nay 49. Numbered lower left 19/30. The colors perfectly fresh, printed in cinnabar red, green ocher and black. On wove paper, with full margins. Reference: Gabler 29. |
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Fritz Winter (1905 Altenbogge - 1976 Herrsching) 9 ORIGINALHANDDRUCKE (9 ORIGINAL HAND-PRINTED PRINTS) Screenprints in colors. 1950. The complete portfolio with nine screenprints, all hand-printed by the artist, each signed in pencil lower left FWinter, dated 50, and numbered 11/35. Numbered again on the justification page. Published by Verlag Galerie Der Spiegel, Cologne, 1951. Reference: Gabler 1-9. |
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Gerhard Hoehme (1920 Greppin/ Dessau - 1989 Düsseldorf) OHNE TITEL (UNTITLED) Screenprint in colors. 1955. Signed in pencil lower right GHoehme, inscribed lower left Siebdruck (Handdruck) and dated 1955. A proof aside from the numbered edition of 50. On sturdy wove paper. The colors fresh. Reference: Heuer 26. |
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Emil Schumacher (1912 Hagen - 1999 San José/Ibiza) ATISCHA Portfolio with nine etchings (etching, aquatint, drypoint). 1959. Each plate signed in pencil Schumacher and numbered 22/70. Signed again on the justification page. The sheets in excellent condition. In its original portfolio. Reference: Druckgrafik des deutschen Informel 1951-1963. Exhibition Albrecht Dürer Gesellschaft Nürnberg, catalog 30,1975, no. 117 a-i. |
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Gerhard Hoehme (1920 Greppin/ Dessau - 1989 Düsseldorf) VERSPONNENES BLATT (ENTANGLED SHEET) Mixed media on Japanes laid paper laid on sturdy card. 1962. Signed and dated lower right in pencil GHoehme 62. Titled in pencil "Versponnenes Blatt" upper right. Signed, dated and titled again on verso. Large-format graphic work in the typical scriptural manner o this period. |
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Gerhard Richter (1932 Dresden - lives in Köln) AUGENKLINIK (EYE CLINIC) Offset lithograph. 1966. Signed and dated in pencil lower right Richter, 1966. After a photograph of the eye clinic, Burgstadter Poliklinik, owned by Richter's father-in-law at the time, Professor Dr. Eufinger. This early print is amongst the rarest pieces within Richter's editions. In fact, 350 impressions were printed on occasion of the exhibition in the City Galerie Zurich without the gallery details in white text. However, less than ten found customers, according to the information by Hubertus Butin and the recollection o Bischofberger, the others were ultimately destroyed. Butin knows of only two others beside our impression. On white, offset paper. Reference: Butin 3. |
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Gerhard Richter (1932 Dresden - lives in Köln) KERZE I (CANDLE I) Offset lithograph in colors, painted over with black oil paint. 1989. Signed, dated and numbered 14/50 on the reverse. Butin records additional nine impressions with Roman numerals plus one unnumbered. Signed again in pen and ink, dated and numbered. On white offset paper. In its original frame with glass. Ater the oil painting, Kerze (Candle), of 1982. Elger No. 512/1. Reference: Butin 56 a. |
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