Adolph Gottlieb More Prints

André LANSKOY (1902-1976) Composition Lithographic poster Editor: Mourlot Dimensions: 58.5 x 47.5 cm André Lanskoy was one of the great painters o...

Henri Michaux - Beach - Original Lithograph 1956 Dimensions: 32 x 25 cm Edition: G. di San Lazzaro. From the art review XXème siècle Unsigned and unumbered as issued

Edition of 150 104.1 x 71.7 cms (41 x 28 1/4 ins)

67.3 x 88.9 cms (26.5 x 35 ins) Edition of 50 Signed lower right, numbered lower left. Published by Nantenshi Gallery, Tokyo. Printed by Harumi Sonoyama at Gendai hanga Kobo Co...

Otto Greis Untitled Composition III Original Silkscreen on Fine Vellum Year: 1960 Sheet Size: 7.6 × 5.625 inches (19.30 × 14.29 cm) Mat Size: 10.6 × 8.125 inches (26.92 × 20.64 cm) F...

Louise Nevelson (1899-1988) Dusk in August (1967) Lithograph with embossing Size: 17 x 22.25 in (43 x 56.4 cm) Frame size: 21.75 x 26.75 in (55.25 x 67.95 cm) Edition of 100, this i...

André Masson - Composition Original Lithograph 1969 Dimensions: 32 x 25 cm Revue XXe Siècle Cahiers d'art published under the direction of G. di San Laz...

Friedel Dzubas at Andre Emmerich, 1967 Color silkscreen on wovepaper Pencil signed and numbered 42/100 on the front. Date printed on lithograph Rarely seen, this historic pencil sign...

Offset lithograph poster published by the Andre Emmerich Gallery on the occasion of Helen Frankenthaler's 1965 exhibition. In good vintage condition with original folds as issued, wi...

Helen Frankenthaler (after) Frankenthaler: The Darker Palette (autographed and inscribed), 1998 Offset Lithograph print 42 × 35 in hand signed "Frankenthaler" lower left; inscribed a...

Lynda Benglis Untitled, 1995 Letterpress on Somerset Paper Edition 91/100 Pencil signed and numbered from the edition of 100, top recto. Framed Measurements: Sheet: 6 inches by 6 inc...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg exhibition Deutsche Kunst nach 45 (German Art after 1945) at the Stedelijk Museum Amsterdam: for the first time after World War II, Contemporary German Art is shown abroad. 1955: Participates in the exhibition Peintures et sculptures non-figuratives en Allemagne d’aujourd’hui in Paris. This is the first time, 10 years after the war's end, that René Drouin shows contemporary German art at the Cercle Volney in France. 1956: While searching for new media and materials, Schumacher creates his first 'Tastobjekte' (tactile objects). Conrad von Soest Preis (Conrad-von-Soest Award), Münster, Germany. 1958: Travels to Spain, Italy and Tunisia. Participates in the XXIX. Venice Biennale, Italy. 1958–1960: Professorship at the Hochschule für bildende Künste Hamburg (University of Fine Arts) in Hamburg, Germany. 1959: Participates in the documenta II in Kassel, Germany, as well as the V. São Paulo Art Biennial, Brazil. First solo exhibit in New York at the Samuel M. Kootz Gallery. 1962: Travels to Libya and Tunisia. Summer stay in Anguillara, Lago di Bracciano, Italy. 1963: Solo exhibit as German contribution to the VII. São Paulo Art Biennial, Brazil. Travels to Brazil, Argentina, Uruguay, Peru and Bolivia. Once again summer stay in Anguillara, paintings that originated during the stay are shown in the Galeria La Medusa in Rome. 1964: Participates in the documenta III in Kassel, Germany. 1965: Travels through Yugoslavia, to Montenegro, the Herzegovina, and Bosnia. 1966–77: Professorship at the Academy of Fine Arts, Karlsruhe. 1967–68: Guest professorship at the Minneapolis School of Art, Minneapolis, USA. In Minneapolis, a series of works on paper are created. This series called Minneapolis Suite was exhibited at the Lefebre Gallery in New York and at the Galerie de Montréal in Montréal, Canada. Extensive travels through the USA. 1969: Winter stay on the Island of Djerba in Tunisia. Here, the Djerba gouaches were created over the course of the following years. 1971: Since 1971, frequent stays on Ibiza during spring and summer. 1974: Autumn stay in Cunardo, Lago Maggiore where the first ceramic works are created in Ceramica Ibis. 1983: Travels to Morocco where Suite Maroc, encompassing 36 pages, is created. 1985: Guest of Honor of the German Academy of Rome, Villa Massimo, Italy. 1988: In October 1988, a 10-day stay in Iraq. Design and creation of a 20 m long ceramic wall mural in the new building of the Landtag of North Rhine-Westphalia. 1991: Guest professorship at the Concorso Superiore Internazionale del Disegno of the Fondazione Antonio Ratti, Como, Italy. 1996: Schumacher designs a 20 m long and 3 m high mosaic wall for the Colosseo (Rome Metro) in Rome, Italy. 1998: Commission for mural in the Reichstag building, Berlin (executed in 1999). 1999: Member of the Academy of the Arts of Saxony (Sächsische Akademie der Künste), Dresden, Germany. Publication of the Israeli book 'GENESIS' with 18 Serigraphies in the edition Har-El, Jaffa/ Jerusalem / Israel. Awards 1948: Kunstpreis junger westen from the city of Recklinghausen, Germany. 1955 Art award from the city of Iserlohn, Germany. 1958: Karl Ernst Osthaus Preis (Karl-Ernst-Osthaus Award), 1958: Guggenheim Award (National Section), New York. 1959: Award from the Japanese Cultural Minister in celebration of the V. International Art Exhibition, Tokyo. 1962: Premio Cardazzo, XXX Venice Biennale, Italy. 1962: First prize silver medal, Bang Danh-Du Award in celebration of the 1st International Arts Exhibition, Saigon, Vietnam. 1963: Großer Kunstpreis (Great Art Award) of North Rhine-Westphalia, Düsseldorf, Germany. 1966: Prize of the Governor of Tokyo, in celebration of the 5th International Biennale Exhibition of Prints, Tokyo, 1968: Member of the Academy of Arts Berlin, Germany. 1974: Award of the city of Ibiza in celebration of the Graphic-Biennial 1974. 1978: August Macke Prize of the city of Meschede 1983: Receives Grand Cross of Merit with Star from the Order of Merit of the Federal Republic of Germany. French art critic Michel Tapié named the influential European movement that during the 1950s paralleled Abstract Expressionism in the U.S, Art Informel. Art Informel is and expressionist, artist-oriented abstraction rooted in the works of Wassily Kandinsky, Paul Klee, Jean Dubuffet, and Tachiste and Surrealist automatism. A style primarily of painting that developed in 1945/46 as reaction to geometric abstraction prevailing in post war Paris in the following of the École de Paris. Informel painting emphasises the spontaneous act of painting, the unconscious side of artistic creativity. The process of painting is often more important than what comes out of it. Informel is an international style and can be subdivided into various schools. Tachism [French: "tache" = blot], Action painting, Abstract Expressionism and Art Brut [French = "raw art"] are also considered Informel. By that definition, leading exponents of Informel in the US were Jackson Pollock and Willem de Kooning and in France Wols, Jean Fautrier and Jean Dubuffet. In Germany Informel was at its height in the 1950s and 1960s. The leading exponents of German Informel are Hans Hartung, Emil Schumacher, Karl Fred Dahmen, K.O. Götz, Gerhard Hoehme...