Gustav Klimt

"Die Hexe" Art Nouveau Lithograph by Gustav Klimt for Ver Sacrum

1898

PETER PATHE, poster lithograph, Schnackenberg School, 1919, the image features the headline performer, Peter Pathe, in drag wearing a form-fitting button-down jacket, high-waisted shorts buttoning down the front, Mary Jane dance shoes and calf-length white socks; Pathe is depicted in motion with raised jazz hands which frame his bushy-haired heavily made-up face and body curving in dynamic lateral movement with raised front leg turned out; with printed text at the bottom: “PETER PATHE/und/Fritz Wolf-Killanyi * Renate Ferena/Tia Majja * Else Zimmermann tanzenmit grossem/Orchester (Leitung: Rob. Tants) Donnerstag, 18 Nov., amends 71/2 Uhr im Konzertsaal Hotel “Vier Jahreszeiten”/Karten zu Mk. 20. - bis Mk. 3.- bei Alfr. Schmid Nachf., Residenzstr. 7 und Otto Halbreiter, Promendeplatz 16.”; printed text at mid-right: “M. Pathe/19”; marked with the printer’s stamp in the lower right: “Oscar Consee/Kunstanstalt/Munchen/Valley Str./7-9”; the poster is secured by matting and framed with a plexiglass cover, Boston...

Alphonse Mucha worked mainly as a poster artist and became an influential figure of Art Nouveau in late 1890s, when poster illustrations were emerging as popular art form and new pri...

René Gruau LES PIVOINES - THE PEONY - 1998 Print - Lithograph on Arches Archival Paper   46'' x 22'' Edition: Signed in pencil and marked 59/300 Embossed with the printers stamp Mou...

First edition, from the edition of 250 copies on Vélin d’Arches from a total edition of 270; large 4to (42.2 x 32 cm); artist’s signature stamp to limitation page, 150 lithographs after Giacometti, loose as issued in publisher's printed wrappers, glassine wrappers, cloth chemise and slipcase. Giacometti’s testament to art and modern life in his beloved Paris. For Tériade it would be a milestone, the last great publication he would see through the press. The two men [Tériade and Giacometti] had maintained a close friendship ever since the Surrealist Years. The one hundred and fifty lithographs are a profoundly interpenetrating view of Giacometti's experience of Paris. He selected the plates to be printed and determined the order of their relationship, numbering each one. The frontispiece shows a nude figure of a woman plunging forward, as though diving into space, and is immediately followed by a quantity of views of city streets, then of interiors familiar to the artist. We come upon views of his studio, of the cafes he frequented, of Annette's apartment in the rue Mazarine and Caroline's in the Avenue du Maine, strangers at cafe tables, passers by, parked automobiles, the towers of Saint-Suplice, bridges across the Seine, The Eiffel Tower. To accompany the hundred and fifty plates, a text of twenty pages was planned, but the artist never got further than a few rough drafts. True, he was a devotee of words, Paris sans fin, however, said too much to the eye to be in need of other symbols (James Lord...