Standing nude, Gustav Klimt Handzeichnungen (Sketch), Thyrsos Verlag, 1922

1922

Original collotype lithograph of a reclining nude drawing from Gustav Kilmt’s handzeichnungen (sketch) in 1922 by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This artwo...

Original collotype lithograph of a well-dressed woman wearing a scarf around her face, leaving only her eyes exposed. This work was pubished from Gustav Kilmt’s handzeichnungen (sket...

Original 1922 collotype lithograph of a woman draped in fabric, created from Gustav Kilmt’s handzeichnungen (sketch). Published by Thyrsos Verlag, Leipzig and Vienna, in an edition o...

Original collotype lithograph of a figure drawing from Gustav Kilmt’s handzeichnungen (sketch) in 1922 by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This artwork is pr...

Original 1922 collotype lithograph of a reclining nude figure, created from Gustav Kilmt’s handzeichnungen (sketch). Published by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. Klimt’s mastery of depth is most evident in the gentleness of his linework. Without the aid of shadow or the subtlety of values, the gestures of line allow the viewer a sense of a three-dimensional person or object. The meticulous lithographic process used to create Klimt’s Handzeichnungen portfolio ensures exceptionally crisp markings bearing a strong resemblance to the original sketches. This series showcases the quintessence behind Klimt’s signature visual style. This artwork arrives accompanied by a certificate of authenticity. Century Guild has curated collections of Gustav Klimt’s printed...

Original collotype lithograph of a woman undressing from Gustav Kilmt’s handzeichnungen (sketch) in 1922 by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. Klimt’s mastery of depth is most evident in the gentleness of his linework. Without the aid of shadow or the subtlety of values, the gestures of line allow the viewer a sense of a three-dimensional person or object. The meticulous lithographic process used to create Klimt’s Handzeichnungen portfolio ensures exceptionally crisp markings bearing a strong resemblance to the original sketches. This series showcases the quintessence behind Klimt’s signature visual style. This artwork arrives accompanied by a certificate of authenticity. Century Guild has curated collections of Gustav Klimt’s printed...

After JOSEPH MARIA OLBRICHT (1867-1908) DARMSTADT POSTER, 1901, (In Mascha, no. 9) One of the founding members of the Vienna Secession and a highly esteemed architect, Olbricht was c...

after EGON SCHIELE (1890-1918) SHAW ODER DIE IRONIE POSTER, C. 1912, (In Mascha, no. 18) Schiele’s poster is an advertisement for a lecture to be given ...

After GUSTAV KLIMT (1862-1918) THESEUS UND MINOTAURUS, 1898, final design submission for poster advertising the first exhibition of the Vienna Secession, (In Mascha, no. 8) As a cele...

Gustav Klimt created this image for inclusion in Gerlach & Schenk’s Allegorien the year before he formed the Vienna Secession. While this design is similar to his other inclusions, L...

Kurzweil, Maximilian. Der Polster, 1903. Color woodcut on japon. Included as an insert in Pan. Unsigned. Framed.11 1/4 x 10 1/4. 1 Ref: Hofstatter, p. 241; Pabst, p. 154. Maximillian Kurzweil was the co-founder of the Vienna Secession in 1897 and editor and illustrator of the influential Secessionist magazine Ver Sacrum...

Mädchen am Fenster. 1906-08. Color lithograph printed on smooth card stock. Full margins. Tipped into a later presentaion folder, signed by the artist in pencil, on the recto. Published by the Wiener Werkstätte, Vienna, with the printed postcard text on verso. Among Kokoschka's earliest prints were a series of 14 postcards, the current work and the following lot that he produced for the Wiener Werkstätte. Wingler/Welz 4. Oskar Kokoschka was an Austrian artist, poet and playwright best known for his intense expressionistic portraits...