Josef Siccard-Redl

Fruhling

1910

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...

Couple dancing. Lithograph printed on tan wove newsprint-type paper. Signed in pencil & in the stone. 14 3/8 x 19." Sheet Size, 19 x13" Image Size. Rudolf Bauer (18...

Pochoir Colored Plate for Journal Des Dames et Des Modes. Engraved by H. Reidel on wove paper. 15 x 19.5". 1914 Pochoir is a process where the plate is first stenciled and then ha...

Rassenfosse, Armand.( 1862-1934) Sortie De Bal, 1894. Original drypoint in colors on Japan, initialled in red ink by artist with his monogram. Beautiful impression. In addition, the ...

1917. (Godefroy 172, II/II). Engraving on Rives. Signed with initial and dated on the plate, l.r "L 1917". Signed in pencil and numbered 28/45. Framed Stein, The Cubist Print p. 14...

Arthur Paunzen, 'Von der Jugend' (Of Youth) from the suite 'Song of the Earth', etching, aquatint, and drypoint, 1920. Signed and titled in pencil. Signed in the plate, lower left. A fine, richly-inked impression, on cream, wove Japan paper; the full sheet with margins (2 1/4 to 4 1/4 inches), in good condition. Image size 12 1/4 x 9 1/16 inches; sheet size 19 3/4 x 13 5/8 inches. Matted to museum standards, unframed. ABOUT THIS WORK Pauzen’s suite of six etchings 'Das Lied von der Erde' (The Song of the Earth), published in 1920, was inspired by Gustav Mahler...

Arthur Paunzen, 'Der Trunkene im Frühling' (The Drunkard in Spring) from the suite 'Song of the Earth', etching, aquatint, and drypoint, 1920. Signed and titled in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream, wove Japan paper; the full sheet with margins (2 1/4 to 4 1/4 inches), in good condition. Image size 12 3/8 x 9 1/8 inches; sheet size 19 5/8 x 13 5/8 inches. Matted to museum standards, unframed. ABOUT THIS WORK Pauzen’s suite of six etchings 'Das Lied von der Erde' (The Song of the Earth), published in 1920, was inspired by Gustav Mahler...

Arthur Paunzen, 'Der Einsame im Herbst' (The Solitary One in Autumn) from the suite 'Song of the Earth', etching, aquatint, and drypoint, 1920. Signed and titled in pencil. Signed in the plate, lower left. A fine, richly-inked impression, on cream, wove Japan paper; the full sheet with margins (2 3/8 to 4 1/8 inches), in good condition. Image size 12 3/8 x 8 7/8 inches; sheet size 19 5/8 x 13 3/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK Pauzen’s suite of six etchings 'Das Lied von der Erde' (The Song of the Earth), published in 1920, was inspired by Gustav Mahler...

Water Snakes I, no. 9 from the first installment of Das Werk Gustav Klimts Known by various names, Women Friends, Girlfriends, Water Snakes I and what Kli...

Judith I, no. 9 from the second installment of Das Werk Gustav Klimts Much like his treatment of the Classical personage, Danae, from Greek mythology, Klimt’s depiction of Judith takes an Old Testament character, a heroine who avenges the death of her husband by killing an Assyrian king, and firmly positions her in his present-day Vienna. His multicolored collotype rips the canvas from its gilded frame which directly references the subject with its title: “Judith und Holofernes”. Now in print form, Judith, holding the severed head of a male in murky shadow, is the ultimate Viennese femme fatale. Her likeness is unmistakably similar to a former lover of Klimt’s and famous Viennese soprano, Anna von Mildenburg. Though his allusion to ancient Assyria is apt, Klimt literally lifted the gold patterned background’s design motif from a relief detail from Sennacherib’s Palace displayed in a London museum. His context then is contemporary. In a sensual and sexually powerful tour de force, Klimt’s Judith...

Water Snakes II, no. 9 from the fourth installment of Das Werk Gustav Klimts The last painting Klimt exhibited with the Secession before resigning, Water ...