Vienna Secession Prints and Multiples

Original collotype lithograph of Gustav Kilmt’s Female semi-nude on bedding, 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 has curated collections of Gustav Klimt’s printed...

Plate #3 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

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...

Plate #15 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kl...

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...

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...

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...

Rittersporn und Fingerhut (Larkspur and Foxglove) Color woodcut, printed on wove paper with mica flecks, 1916 Signed lower right (see photo) Inscribed lower left (see photo) Reference: Merx 276 Condition: good-very good One spot of staining on the far left edge of the composition (see photo) Color very fresh and vibrant Full sheet as issued Image size: 19 x 13 3/8 inches Carl Thiemann...

Title page numbered: 263/450

Original collotype created from Gustav Klimt’s Schloss Kammer on Lake Attersee II (Das Werk Gustav Klimts), originally painted in 1909. Publishe...

After Gustav Klimt, Max Eisler #12, Aus dem Stoclet-Fries: Erwartung; multi-color collotype after the cartoon for the 1910-1911 mosaic frieze on the west wa...

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...

This listing is for 3 collotypes: "Medicine", "Jurisprudence", and "Philosophy", pictured, from the Das Werk portfolio by Gustav Klimt and k.k. Hof-und Staatsdruckerei, published by H.O. Miethke. Gustav Klimt created glyphs, unique to each of these pieces, specifically for this portfolio. Further information below: About the portfolio: 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...

After Gustav Klimt, Max Eisler #20, Adam und Eva; multi-color collotype after unfinished 1917/18 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a...

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 1931 collotype created from Gustav Kilmt’s Italian Garden Landscape, oil on canvas, 1913. 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...

Original 1931 collotype created from Gustav Kilmt’s Houses at Unterach on the Attersee, oil on canvas, c. 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...

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...

Original collotype created from Gustav Klimt’s Farmhouse in Buchberg (Upper Austrian Farmhouse), painted in 1911. 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...

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...

Original collotype created from Gustav Klimt’s Malcesine on Lake Garda, 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...

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 ...

After Gustav Klimt, Max Eisler Plate #6, Bildnis Frau Serena Lederer; grey monochrome collotype after the 1905 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN...

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...

After Gustav Klimt, Max Eisler #9, Haus Im Garten; aka Forester’s House in Weissenbach II; multi-color collotype after 1914 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GU...

Allegorien-Neue Folge was a serialized publication of artworks by a group of Viennese artists and students beginning in 1897. Martin Gerlach, its publisher, was inspired by the new rise of modernist design in Vienna and selected those who were demonstrating a new command of the style to contribute works to the series, including Gustav Klimt, Koloman Moser, Carl Otto Czeschka, and Hanus Schwaiger. Each plate explores a different theme or collection of topics, such as dance, astronomy, electricity, and graphic arts, which brought a new aesthetic of design to the traditional allegory genre. Stone lithograph of Hanus Schwaiger’s Astronomie, published as Plate 102 in Gerlach’s Allegorien...

Original collotype lithograph of Gustav Kilmt’s Bust of a Woman, published in the 1922 Handzeichnungen portfolio by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This art...

Original collotype created from Gustav Klimt’s Portrait of Lady in Red and Black. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Collotype on chine colle paper laid down on heavy deckled-edge cream-wove paper. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts...

Original hand-colored woodcut from a portfolio of Secessionist fashion illustrations. Signed in the lower right margin by the artist, Reni Schaschl (1895-1979), a talented member of...

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 ...

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 w...

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...

MAXIMILLIAN KURZWEIL (Austrian 1867-1916) DER POLSTER / THE CUSHION, 1903. Color woodcut printed on laid japon paper, affixed as usual to a support sheet from its upper sheet edge...

After Gustav Klimt, Max Eisler #26, Bauerngarten mit Hühnern; multi-color collotype after 1916 painting in oil on canvas. The original was destroyed by fire in May 1945 at Immendorf Castle, Lower Austria. Landscapes, for Klimt, are vehicles to convey universal themes such as procreation and the mysteries of life. Using a highly personal language of symbols, Klimt creates a voluptuous scene of fertility, fecundity and domesticity. Klimt uses a similarly lustrous palette of pearly iridescence for the path as he had for many of his female nudes. This feminine quality is intensified by the tunnel-effect produced by the walls of colorful floral blooms whose leafy stalks are redolent with wild abundance at the height of summer.The passage leads to a green covered arbor, womb-like, which contains a simple wooden table and a bench. Human presence is unmistakeable.The two chickens shown in the path provide the link to engage with this scene cerebrally and emotionally. Protective and maternal, the mother hens do somewhat bar one’s path, but by no means in a menacing way. The experiential aspect of walking forward and ignoring those chickens, certain that they will dodge out of the way, heightens the rational with the intuitive senses creating the illusion and feeling that the flanking floral walls are parting to provide clear passage to within. Seen in this context, the age old conundrum to divine what came first, the chicken or the egg, begs the question of the greatest mystery of all. One’s relationship to procreation itself, Klimt shows us, is interwoven all around us. Far from banal, this universal quality of the natural world is fraught with thrilling wonder. 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...

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...

Original collotype created from a detail of Gustav Klimt’s Beethoven Frieze. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an e...

After Gustav Klimt, Max Eisler Plate #25, Baby; black & white collotype after the 1917 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT ...

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 w...

After Gustav Klimt, Max Eisler Plate #19, Bildnis einer alten Dame; sepia-toned monochrome collotype after the 1917 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. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I in 1804 and whose collotype printing innovations of Klimt’s art...

After Gustav Klimt, Max Eisler #30, Brautzug; multi-color collotype after unfinished 1917/18 painting in oil on canvas. Painted in the last months of Klimt’s life, The Bride was one...

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...

This listing is for a single print, pictured, from the Das Werk portfolio by Gustav Klimt and k.k. Hof-und Staatsdruckerei, published by H.O. Miethke. Gu...

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...

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 #18, Der Tod und das Leben; multi-color collotype after original painting (1910-1916) in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AF...

Original 1931 collotype created from Gustav Kilmt’s Portrait of Charlotte Pulitzer, oil on canvas, 1915. 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...

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...

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...

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 w...

After Gustav Klimt, Max Eisler Plate #29, Am Attersee; brown-toned monochrome collotype after the 1915-16 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. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I in 1804 and whose collotype printing innovations of Klimt’s art...

After Gustav Klimt, Max Eisler Plate #4, Bildnis Baronin Wittgenstein; dark grey monochrome collotype after the 1905 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...

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...

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 w...

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...

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 draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

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 ...