Prints and Multiples

Pallas Athene, no. 9 from the third installment of Das Werk Gustav Klimts The Klimt-led Vienna Secession which rebelled against the Academic State-run e...

Each hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Each sheet size: 38 x 37. Each image size: 32 x 32. Certificate of Authenticity included. Complete Suite, edition 69/100. Published by Greg Smith...

Siccard-Redl, Josef. Fruhling, Ca 1910. Color wood engraving, Signed and titled in pencil by the artist. Little is known of this artist other than he worked in Vienna during the ...

Que haces tu para Evitor Esto? Ayuda a Madrid. Ca 1936 -1939. ( What are you doing to prevent this? Help Madrid) On Linen. Hand-modified photographic image of a tearful mother and child in foreground with bombed-out building and war planes...

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 w...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Jettmar was a painter and founder member of the Vienna Secession, a group of artists founded in 1897, who rejected the more traditional and conservative styles of their predecessors ...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital f...

Artist: C.J. Yao Title: Downtown Houston Year: 1982 Medium: Silkscreen, signed and numbered in pencil Edition: 250 Paper Size: 22 x 30 inches

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Artist: Ron Kleemann, American (1937 - ) Title: Red Formula Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 195 Image Size: 17.25 x ...

Hand signed and numbered by the artist. Silkscreen on Arches paper. Image size 30 x 30 inches. Artwork is in excellent condition. Certificate of Authenticity included. Published by C...

Hand signed and numbered by the artist. Silkscreen on Arches paper. Framed size approx 38 x 45 inches. Image size 30 x 40 inches. Artwork is in excellent condition. Certificate of Au...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Artist: C.J. Yao, Taiwanese (1941 - 2001) Title: Entex Year: 1981 Medium: Silkscreen, signed and numbered in pencil Edition: 250, AP 30 Paper Size: 22 x 28 inches

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Yellow and Blue Iris Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 40 Image Size: 24 inches...

As an artist trained in the applied arts, Gustav Klimt valued all forms of art, including the graphic arts. This final design from 1896 for inclusion in Allegorien published by Gerlach & Schenk demonstrates respect for artistic precedent and for a wide range of media and technique. The publication was printed in an unknown number of copies. Klimt’s rendering in latin of the title, “SCVLPTVR.,” with three-dimensional effect on the wall, is a figurative allusion to this medium as well as a literal reference to Ancient Rome. By doing the same with his signature and date in roman numerals on the right hand side of the image, Klimt places himself, The Artist, firmly in this linear and legitimizing context of art history and as its modern standard-bearer. Playing on Classical mythology and the story of Pygmalion, in which a statue comes to life, Klimt presents his modern Venus holding an apple. Klimt’s Venus exhibits a curvilinear softness; there are no angles. Klimt deftly shows the possibilities in a graphic image to give life to dark, wavy hair and tenderness to swelling breasts and belly. To further emphasize the allegory of thriving modern art, he contrasts his Venus with the cold, hard ancient classical head whose eyes are vacuous and whose hair is but a stylized mass of curls. Klimt’s living Venus stands in front of the large bust and large classical pillar upon which is a sculpture of a Sphinx and a Greek Attic bust. As if a gallery to represent sculpture’s “best of” through the ages, the upper horizontal panel includes bust depictions in marble, cast metal and wood...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Contributors to Gerlach & Schenk’s publications valued design and innovation in the graphic arts just as much as they examined allegories as subject matter for exploration. Here, Gus...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Red Spotted Lily from the Stamps Series Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 250 Image Siz...

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...

Created in 2007, this color soft ground etching with aquatint on paper is hand-signed and dated by Robert Bechtle (San Francisco, 1932 - Berkeley, 2020)...

Contact is content at Seljalandsfoss, Contemporary, 21st Century, C Print C-Print Edition of 100 Each 53 x 42 cm (20 x 16.5 in.) Signed and numbered on adhesive label In mint conditi...

From street artist and photographer JR, this artpiece depicts Charlie Chaplin in the legendary scene from "The Kid" as a celebration of the movie's 100th anniversary in 2021. JR Unf...

After Gustav Klimt, Max Eisler Plates #13-16, black & white collotypes after the 1911 cartoon originally in crayon, graphite pencil, gouache and metal powders. #13 Der Lebensbaum (Anfang), aka The Tree of Life (Beginning) #14 Der Lebensbaum (Fortsetzung), aka Tree of Life (Continuation) #15 Der Lebensbaum (Fortsetzung), aka Tree of Life (Continuation) #16 Der Lebensbaum und das Mittelfeld, aka Tree of Life (The Center) 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, JR au Louvre, 29 Mars 2019, 18h08 Contemporary, 21st Century, Print, Edition 20 colors lithograph on white paper BFK Rives - 300 grams Edition of 250 35 ...

JR, Inside Out, Haiti Contemporary, 21st Century, Lithograph, Limited Edition 20 colors lithograph on white paper BFK Rives - 300 grams Edition of 180 70 x 100 cm Signed on the bott...

JR, In the Container Wall, Le Havre, France Contemporary, 21st Century, Lithograph 20 colours lithograph Edition of 180 50 x 70 cm (19.6 x 27.5 in) Signed and numbered In mint condi...

Original collotype created from Gustav Klimt’s Birch Forest. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vien...

Bridgehampton Arne Besser, American (1935–2012) Portfolio: Cityscapes Date: 1981 Screenprint, Signed and numbered in pencil Edition of 250, 30 AP Size: 30 ...

Medium: Lithograph Printer and Publisher: Cirrus Editions, Los Angeles Catalogue reference: MMA 4 Edition size: 65, plus proofs Signed, dated, and numbered in pencil, lower margin

The complete set of six mezzotints. Each signed, dated and numbered from the edition of 24 in pencil. Printed on mold-made Hahnemüller paper. Published by Pace Editions, Inc., New...

ROBERT COTTINGHAM HI FI, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM Art, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and...

ROBERT COTTINGHAM Blues, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM M, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and n...

ROBERT COTTINGHAM NIte, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' an...

ROBERT COTTINGHAM Rialto, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' ...

ROBERT COTTINGHAM Drinks, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009...

ROBERT COTTINGHAM Hot, from American Signs Portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and...

ROBERT COTTINGHAM Star, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and numbered edition of 100 in pencil -- Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...