Georg Tappert
BORDELLDAME, DIE HAND IN DIE HÜFTE GESTÜTZT
Pen and ink drawing in brown. 1920s.

Signed and confirmed in pencil by his widow (third wife) Annalise Tappert Von Georg Tappert on the verso. On card-like wove paper. With a pen and ink drawing in black Weiblicher Akt an ein Treppengeländer gelehnt on the verso.
325 x 250 mm

Hans Orlowski
MÄDCHENKOPF
Color woodcut in black and reddish brown. 1921.
Schwarzenberger 106.

Signed Orlowski in pencil bottom right, dated 1921 bottom left, marked with the catalogue raisonné number / 106 and below II. Expos. int. Lummière 1922 Wonderfully strong, deep black print. The reddish brown areas printed in a monotype style. Light retouching in black carried out by the artist. On fine Japan.
253 x 200 mm (345 x 280 mm)

Jeanne Mammen
ARABISCHE TÄNZERIN
Lithograph. Circa 1930.
Döpping/Klünner D 16

Signed in pencil J Mammen lower right and numbered 20/3 lower left. One of 20 known impressions, on chamois wove paper.
507 x 421 mm (762/768 x 520 mm)

Karl Schmidt-Rottluff
DIE SONNE
Woodcut. 1914.
Schapire H 152

Signed in pencil S Rottluff lower right. A brilliant impression of this important woodcut, with richly-inked black areas and fine subtleties of the wood grain. On chamois JW Zanders laid paper with the watermark crowned standing lion.
398 x 496/500 mm (489/495 x 615/622 mm)

Max Beckmann
FRAUENKOPF MIT HALSKETTE (FRAU PARCUS)
Lithograph. 1921.
Hofmaier 206 B c (of d)

Signed in pencil Beckmann lower right. Strong impression on chamois laid paper, with full margins. Published by R. Piper & Co., Munich, 1922.
357 x 280 mm (707 x 533 mm)

Max Beckmann
FRAUENBAD
Drypoint. 1922.
Hofmaier 234 II B b (of d)

Signed in pencil Beckmann lower right, numbered in Roman numerals XX/XX lower left. A superb, strong impression with rich burr and velvety blacks. From an edition of 50 on Japan, 20 of which were numbered by Günther Franke to x/XX, aside from 100 impressions on wove paper. Furthermore, a total of 11 proof impressions of the first and second state is known. Published by Verlag R. Piper & Co., Munich, 1922.
435 x 286 mm (535/541 x 491/495 mm)

Max Beckmann
VARIETÉ
Drypoint. 1924.
Hofmaier 304 A (of B d)

Signed in pencil lower right Beckmann and inscribed lower left O no we have not Bananes (Probedruck). A brilliant, rare proof impression, with velvety black areas and a fine, smooth plate-tone, on heavy wove paper, the full sheet. One of only a few proof impressions, aside from a total edition of a least 50 impressions, on Japan or wove paper.
403 x 204 mm (540 x 374 mm)

Max Beckmann
BEI DER TOILETTE
Woodcut. 1923.
Hofmaier 261

Signed and dated in pencil lower right Beckmann 25, titled lower left  2 Frauen beim Ankleiden/two woman dressing and numbered 4/55. From the edition published by Paul Cassirer, Berlin 1924. On chamois laid paper, the full sheet. Brilliant impression of this large-format woodcut.
600 x 460 mm (730 x 835 mm)

Otto Dix
DOMPTEUSE
Drypoint. 1922.
Karsch 41 II

Signed and dated in pencil DIX 22 lower right, numbered 31/50 lower left and titled Dompteuse lower center. Self-published by the artist as plate 10 in the portfolio Radierwerk IV "ZIRKUS", 10 Radierungen [Karsch 32-41], 1922 in an edition of 50 impressions. A brilliant impression with delicate plate-tone, on firm wove paper.
397 x 298 mm (496 x 430 mm)

Otto Dix
DAME
Drypoint. 1922.
Karsch 19 II

Signed and dated in pencil DIX 22 lower right, numbered and inscribed 26/50 Kaltnadel lower left and titled Dame lower center. An excellent, well-balanced impression with burr, velvety blacks and carefully wiped plate-tone. On firm wove paper. Plate 3 from the portfolio Radierwerk III "6 Radierungen" [Karsch 17-22], published by Heinar Schilling, Dresdner Verlag in an edition of 50 impressions in February 1922.
347 x 281 mm (498 x 433 mm)

Otto Mueller
FÜNF GELBE AKTE AM WASSER
Farblithographie. 1921.
Karsch 156

Monogrammed in pencil O. M. lower right. One of circa 100 monogrammed impressions, on wove paper. Karsch records laid paper for this edition and about 55 further impressions fully signed. Published by Hyperion-Verlag. A strong impression of one of the artist’s major prints, with rich colors, printed from three stones in black, yellow and cobalt blue.
332 x 442 mm (420 x 535 mm)

Conrad Felixmüller
DIE FERNE GELIEBTE
Lithograph in colors. 1918.
Söhn 123

Signed and dated in pencil Felixmüller 1918. lower right, inscribed farbige Lithographie lower left and titled – die ferne Geliebte – lower center. A superb, strong impression in bright colors (blue, red, pink and green) of one of the artist´s major prints. The colors extraordinarily fresh. On firm, chamois wove paper with appealing traces of the working process on the verso. Exceedingly rare, according to Söhn, one of about 20 impressions, of which some were printed in different colors. In pristine condition.
724 x 579 mm (740 x 593 mm)

Erich Heckel
RÖMISCHE TÄNZERIN (TÄNZERIN II/TÄNZERIN)
Drypoint. 1909.
Ebner/Gabelmann 399 R; Dube R 63

Signed and dated in pencil Erich Heckel 09 lower right, titled and dated Tänzerin 09 lower left. An excellent impression of this charming print with deeply impressed platemark and grey plate-tone. On card-like sturdy paper. There are only 14 impressions known today, of which five are in public collections.
140 x 100 mm (224 x 179 mm)

Erich Heckel
FRAU AM SPIEGEL (VORM SPIEGEL/AM SPIEGEL/STEHENDER AKT/NACKTE FRAU)
Woodcut. 1908.
Ebner/Gabellmann 261 H II (of III); Dube H 153 II (of IV)

Signed and dated in pencil lower right Erich Heckel 08. Inscribed by a different hand in the lower left sheet edge Frau am Spiegel. One of only 16 known impressions. A superb, strong impression of this extremely rare print. On thick, soft Japan, with the collection stamp of Herman Gerlinger on the reverse (Lugt 6032).
415/422 x 203/228 mm (705 x 560 mm)

Emil Nolde
KERZENTÄNZERIN
Line and tonal etching. 1918.
Schiefler/Mosel R 195 II

Signed in pencil 'Emil Nolde' lower right and titled by Ada Nolde 'Kerzentänzerin' in the lower margin. A superb, fine impression, with a wonderfully varied tonal patchwork of the background. On thick, smooth laid paper, with full margins. Some appealing traces of the working process on the verso. Schiefler/Mosel record six impressions of the first state and at least 14 impressions of state II.
262 x 220 mm (575 x 459 mm)

Emil Nolde
JOHANNA
Brush lithograph. 1911.
Schiefler/Mosel L38 II

Signed in pencil lower right Emil Nolde.. Inscribed by another hand Frau mit Hut and J.B.N. (J.B. Neumann) VI. Rare, Schiefler/Mosel mention a few proof impressions aside from the numbered edition of 25. Verso with label Graphisches Kabinett.  A superb, deep black impression of this large sized lithograph, on thin Japan. With full margins.
495 x 427 mm (580 x 465 mm)

George Grosz
LADY HAMILTON
Brush, reed pen, pen and ink drawing. 1922.

Signed in pencil Grosz lower right. With the estate stamp and numbered 2-122-6 on the verso. On thin drawing paper.
436 x 297 mm

George Grosz
TANZENDE
Reed pen, pen and ink drawing. 1926.

With the estate stamp, numbered 2-140-1, and with a small pen and ink drawing on the verso. On chamois drawing paper.
481 x 325 mm

Hans Orlowski
MÄDCHENKOPF MIT LANGEM HAAR
Woodcut. 1920.
Schwarzenberger 51.

Signed Orlowski in pencil bottom right, dated 1920 in the middle, marked Selbsthanddruck bottom left, with the work number 51 and Berl. Sec. 1921. Wonderful, deep black print, with finely worked lines. On fine, grained wove paper.
250 x 200 mm (350 x 287 mm)

Erich Heckel
KNIENDE AM STEIN
Woodcut. 1913/14.
Ebner/Gabelmann 589 H a A (of B); Dube H 258 a A (of b)

Signed and dated in pencil Erich Heckel 14 lower right. An excellent, richly-inked impression on Japan, with wide margins. According to Dube´s notes, a proof aside from the edition of 40, which was signed by the printer Voigt and published in the portfolio Elf Holzschnitte, 1912-1919, Erich Heckel bei I. B. Neumann, Berlin, 1921.
500/503 x 312/321 mm (704 x 557 mm)