Prints and Multiples

Original collotype created from Gustav Klimt’s The Swamp, painted in 1900. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Sta...

Original collotype lithograph of Gustav Kilmt’s Seated nude, published in the 1922 Handzeichnungen portfolio by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This artwork is presented in archival rag mat and arrives accompanied by a certificate of authenticity. 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...

Richard Haas View of the Mall From a Castle Tower, 1983 Seven-Color Lithograph: Hand Drawn on English Somerset Satin 100% rag paper 14 1/4 × 43 3/4 inches...

JR Trompe l'oeil, Les Falaises du Trocadéro (Set of 2) 2021 Giclée Print Laminated with G-gloss, Mounted on 3mm Dibond 64 × 96 cm (25.2 × 37.8 in) In matching edition numbers In mint...

FLORA ODYSSEY N°5 by Allan Forsyth [2020] limited_edition and hand signed by the artist Archival Chromagenic Photographic Print Edition number 12] Image size: H:100 cm x W:77 cm Com...

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 Gustav Klimt, Max Eisler #1, Die Freundinnen II; multi-color collotype after 1916/17 painting in oil on canvas which was destroyed by fire in May 1945 at Immendorf Castle Lower Austria. Eisler’s choice to begin his 1931 portfolio of works by Klimt with Girlfriends II was both bold and prescient. Just 14 years later, the painting was tragically destroyed in a fire. With such a loss, this rare and exquisite image is all the more valuable by virtue of having been made in color. In works from his late period, Klimt continued his fascination with exploring female dynamics and their various forms of love. Girlfriends II is a fine example of how space, color and ornament play a noticeable role in the evolution of his symbolic language. Wide swaths of space in the background as well as the two female forms create the structure. Klimt’s strong brushstrokes show a painterly quality and a new move toward abstraction which feels very far away from his earlier work. Nor should Klimt’s economy of line be overlooked. His draughtsmanship is what infuses the female bodies with movement, emotion and a profundity of life. Both women confront the viewer’s gaze unselfconsciously, as if they are modern-day Viennese women stepping out of a Klimtesque ukiyo-e print. Characteristic of this late period, Klimt uses ornament...

This impression is printed on Hahnemuhle archival paper. Hahnemühle FineArt, Inc. is a paper manufacturing company in the Relliehausen district of Dassel, Germany. It is a significa...

After Gustav Klimt, Max Eisler #5, Mohnwiese; multi-color collotype after 1907 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

JR Trompe l'oeil, Les Falaises du Trocadéro, 25 mai 2021, 22h18, Paris, France, 2021 2021 Giclée Print Laminated with G-gloss, Mounted on 3mm Dibond 64 × 96 cm (25.2 × 37.8 in) In mint condition Edition of 472 Signed by JR on the bottom right corner (stamp and lead) Accompanied by Certificate of Authenticity In mint condition, as acquired from the publisher We are delighted to introduce you to JR's latest art editions; which are based on his installation Les Falaises de Trocadéro at the Parvis des Droits de l'Homme, from 17 May to 19 June 2021 in Paris. With Les Falaises de Trocadéro JR continues his reflection on architecture and excavation of iconic monuments, imagining a trompe l'oeil revealing a street below a large precipice topped by the iconic Eiffel Tower. Through this work, JR redefines the codes of the urban landscape and invites spectators to apprehend their environment differently. The artwork renews itself according to the various lights of day, with each moment offering a new perspective on Paris’ most famous monument, the Eiffel Tower. The latter remains the central element of the composition, but the illusion of an underground city is a new myth, adding to the long list of its rich history. JR continues to reveal the monuments of Paris in a new light by sublimating them and inviting spectators to take a fresh look at their everyday environment. JR used an anamorphosis technique, requiring the audience and volunteers to be at a precise point resulting in spectators trying to find the perfect location and interacting with the artwork, hoping not to fall into the imagined precipice. JR JR is a photographer and artist whose identity is unconfirmed. After he found a camera in the Paris subway...

Original collotype created from Gustav Klimt’s Death and Life, painted in 1908. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und St...

IAN HORAK (1944-2002) An American draughtsman, painter and printmaker, and one of the founding artists of the Hyperrealist and Photorealist art movements, Hornak produced Hyperrealis...

Original collotype created from Gustav Klimt’s Approaching Thunderstorm (The Large Poplar II), painted in 1903. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts, a folio of collotypes representing Gustav Klimt’s most notable works leading up to 1913. Klimt’s original oil paintings were painstakingly reproduced as collotypes on a handmade, deckled-edge cream wove paper using a complex gravure process overseen by master technicians as well as the artist himself. Each image presented in the folio was assigned its own unique signet, which was designed by Klimt and struck below the image using a technique similar to letterpress. The signet corresponded to a matching signet in the justification page which detailed the piece’s size, location, and owner. Published under the artist’s direct supervision, this series allowed Klimt, who had completely divorced himself from public commissions following the outcry from his University of Vienna paintings, to more effectively present his artworks to institutions and patrons across the world. A testament to the masterful design and printmaking demonstrated by Das Werk Gustav Klimts, Emperor Franz Joseph himself purchased the first copy of the folio. Klimt’s The Swamp...

Fran Bull is a first generation Photorealist whose compositions are based on photographs including natural reflections of glass, water and other surfaces. Monarch Butterfly...

JR Trompe l'oeil, Les Falaises du Trocadéro (Portfolio of 4) 2021 Giclée Print Laminated with G-gloss, Mounted on 3mm Dibond 64 × 96 cm (25.2 × 37.8 in) In matching edition numbers, ...

Alexandre Ponomarev Maya-L'île Perdue, 2007 Silkscreen Print Edition of 200 56,5 x 75,6 cm (22.2 x 29.7 in), unframed In mint condition Signed, titled, dated and numbered Accompanied...

JR Trompe l'oeil, Les Falaises du Trocadéro, 25 mai 2021, 22h18, Paris, France, 2021 2021 Giclée Print Laminated with G-gloss, Mounted on 3mm Dibond 64 × 96 cm (25.2 × 37.8 in) In mint condition Edition of 472 Signed by JR on the bottom right corner (stamp and lead) Accompanied by Certificate of Authenticity In mint condition, as acquired from the publisher We are delighted to introduce you to JR's latest art editions; which are based on his installation Les Falaises de Trocadéro at the Parvis des Droits de l'Homme, from 17 May to 19 June 2021 in Paris. With Les Falaises de Trocadéro JR continues his reflection on architecture and excavation of iconic monuments, imagining a trompe l'oeil revealing a street below a large precipice topped by the iconic Eiffel Tower. Through this work, JR redefines the codes of the urban landscape and invites spectators to apprehend their environment differently. The artwork renews itself according to the various lights of day, with each moment offering a new perspective on Paris’ most famous monument, the Eiffel Tower. The latter remains the central element of the composition, but the illusion of an underground city is a new myth, adding to the long list of its rich history. JR continues to reveal the monuments of Paris in a new light by sublimating them and inviting spectators to take a fresh look at their everyday environment. JR used an anamorphosis technique, requiring the audience and volunteers to be at a precise point resulting in spectators trying to find the perfect location and interacting with the artwork, hoping not to fall into the imagined precipice. JR JR is a photographer and artist whose identity is unconfirmed. After he found a camera in the Paris subway...

Robert Cottingham Blues (The Original), 1989 Color aquatint on wove paper Edition 31/45 Pencil signed and numbered by Robert Cottingham on the front Framed This is the original, stri...

Richard Haas Alwyn Court (180 West 58th Street, NYC), 1973 Etching on wove paper Edition 4/50 Signed, titled and numbered 4/50 on the recto Measurements: Artwork: 19.25 inches (vert...

Artist: John Kacere, American (1920 - 1999) Title: Judy Year: 1982 Medium: Lithograph, signed and numbered in pencil Edition: 300, 40 AP Image Size: 24 x 20 inches Size: 29 in. x 21....

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a palm tree from the Majorelle Gardens in Marrakesh. Details: + Title: Marrakesh Majorelle Palm + Y...

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...

Artist: Charles Bell Title: Double Bubble Year: circa 1990 Medium: Silkscreen, signed in pencil Edition: 150 Image: 26 x 26 inches Size: 33 in. x 33 in. (83.82 cm x 83.82 cm)

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

A signed Certificate of Authority will be included with all photographs. A nude man lies inside on a sun dappled wooden floor, This is a very subtle color photograph. This impressi...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Shan Fannin's (US based) "1965 Alfa Romeo Giulia TZ2 - Limited Edition Giclee Print" is an limited edition giclée print that depicts a close up view of the front of a red Alfa Romeo Giulia. This print ships in a tube. About the artist: Born 1969 in California, artist Shannon “Shan” Fannin brings vehicles to life with a combination of photorealism and abstraction. Painting in a unique style using acrylics, hands, and brushes allows her to focus on the vehicle while giving a hint of the abstract surroundings. Fannin travels internationally to photograph vehicles and talk with their owners to enhance her creative process. Fannin’s paintings have been shown in 2 solo exhibitions and national galleries throughout the United States. She has been published in Greek, British, and American publications including PoetsArtists, American Art Collector, and Where Women Create. Fannin artworks are currently represented through 33 Contemporary, The Good Art...

Charles Ford, American Photo Realist Pop Artist Texas Artist Photorealism is a movement which began in the late 1960's, in which scenes are painted in a style closely resembling phot...

Celestial by Sarah Duncan [2021] limited_edition Screen print on paper Edition number 20 Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:70 cm x W:70 cm x D:0.2cm So...

Flamingo VII Digital Photography, Artist signed, edition 3/250 on archival cotton paper. Martin Fine, South African born photographer and digital artist h...

JR Trompe l'oeil, Les Falaises du Trocadéro (Portfolio of 4) 2021 Giclée Print Laminated with G-gloss, Mounted on 3mm Dibond 64 × 96 cm (25.2 × 37.8 in) In matching edition numbers I...

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...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

Original 1931 collotype created from Gustav Kilmt’s Portrait of Friederike Maria Beer, oil on canvas, 1916. Published by Max Eisler and printed by Österreichischer Staatsdruckerei (Austrian State Printing Office), Vienna, in an edition of 500. In 1931, Max Eisler published the most notable posthumous collection of Gustav Klimt works to date. Using a complex gravure process, Klimt’s original oil paintings were painstakingly reproduced as collotypes on a handmade, deckled-edge cream wove paper. This world-class example of collotype captures the superb resolution and color-richness and ornamentation of the original 1916 oil painting. "Friederike-Maria suggested that Klimt should paint her in a Viennese Workshop dress; she wore these exclusively. She was also very proud of a fur coat she owned, particularly during the hardship of the First World War, and Klimt decided that she should wear the coat too, but inside out, so that the decorative lining, also by the Viennese Workshop, was visible. Klimt decided to make use of an imaginary oriental screen...

Robert Cottingham Don't Walk, 1985 Three color Linoleum Cut on Paper Pencil signed, inscribed to Bryan and annotated TP Published by Chip Elwell Fine Prints Unique - Trial Proof This is a unique Trial Proof that Robert Cottingham inscribed, annotated and gifted to Bryan Konefsky, his longtime studio assistant in both Newtown, CT and Santa Fe New Mexico. Only one other example - a variant - of this early print, exists and is in the collection of the Smithsonian. Due to the untimely death of printer Chip Elwell in October of 1986, only two proofs in the woodcut medium were pulled: the present work, which Cottingham gifted to his longtime studio assistant, and the one at the Smithsonian. Furthermore and in another interesting turn of events, Elwell's studio was burglarized shortly after his death and among the items stolen were the original wood blocks for DON'T WALK. This is an historic work; and the only one available on the market. Measurements: Framed: 15 inches x 13.5 inches x .3 inches Artwork 12 inches x 10.5 inches Robert Cottingham Biography Robert Cottingham (b.1935, Brooklyn, NY) is recognised for his Photorealist paintings of American urban landscapes, particularly his depictions of painted and neon shop signs...

Artist: John Baeder, American (1938 - ) Title: Yankee Clipper Diner Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 250 Size: 22 ...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Robert Cottingham Everybody's Bookshop, Everybody's Books, 1975 Color Lithograph 23 × 18 inches Edition of 200 Signed and numbered from the edition of 200 in pencil (recto); Bears Ar...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

Shan Fannin's (US based) "1972 Pontiac Firebird Formula 400 M22" is an limited edition giclée print that depicts a close up view of the front of a blue Po...

Artist: Ralph Goings, American (1928 - 2016) Title: Blue Napkin Holder Year: 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300; 40 AP's Image Size: 18 x 25 inches...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

After Gustav Klimt, Max Eisler Plate #23, Italienische Landschaft; blue-grey monochrome collotype after the 1913 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Artist: John Baeder, American (1938 - ) Title: Blue Beacon Diner Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 250 Size: 22 x 30 in. (55.88 x 76.2 cm)

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful...

Allegorien-Neue Folge was a serialized folio published in installments between 1895 and 1900. Martin Gerlach, its publisher, was inspired by the rise of modernist design in Vienna an...

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...

Liquor Store Reflection by C.J. (Ching-Jang) Yao, Taiwanese (1941–2001) Date: 1981 Screenprint, Signed and numbered in pencil Edition of 250 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

After Gustav Klimt, Max Eisler #17, Aus dem Stoclet-Fries: Die Umarmung; multi-color collotype after the cartoon for the 1910-1911 mosaic frieze on the east wall of the dining hall o...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37 inches. Image size: 32 x 32 inches. Frame size approx 41 x 40 inches. Edition of 100. From American Signs portfolio. Certificate of Authenticity included. Published by Greg Smith...

Original collotype created from Gustav Klimt’s Church in Cassone, painted in 1913. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

After Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Artist: Ralph Goings, American (1928 - 2016) Title: Unadilla Diner Year: 1981 Medium: Silkscreen, signed and numbered in pencil Edition: AP 30 Image Size: 21 in. x 26 in. (53.34 cm x...

Night, Times Square from the City Scapes Portfolio Noel Mahaffey, American (1944) Date: 1981 Screenprint on Somerset, signed and numbered in pencil Edition of 250, 30 AP Size: 22 in....