Arnulf Rainer Art

Lithograph, 1971 Edition : XIII/XVIII Publisher : Galerie de France (Paris) Printer : Mourlot (Paris) 77.50 cm. x 118.50 cm. 30.51 in. x 46.65 in. (paper) 71.50 cm. x 105.50 cm. 28...

NORBERTINE VON BRESSLERN-ROTH (1891 1978) KAMPF (BATTLE - LOBSTER and OCTOPUS) c. 1928 Color linoleum cut Signed in pencil. Image 8 5/8 x 8 11/16” In excellent condition and full ...

A unique oil print by Romare Bearden circa 1980. A bright city scene illustrated in a modern expressionist style. Artist: Romare Bearden, American (1911 - 1988) Title: Bridgetown, ...

EDVARD MUNCH (1863 – 1944) GARDEN IN SNOW, II 1913 (WO 467: Sch. 418) Woodcut, 13 ½” x 16 7/8” signed in pencil. Generally very good condition. Irregular sheet of simili-japan ...

This original lithograph is hand signed in pencil b artist "Ulrich Hubner" at the lower left cotner. It is also signed and dated in the plate. The work is hand numbered in pencil No...

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...

Etching Handsigned by the artist in pencil and numbered 11/135 43.00 cm. x 38.00 cm. 16.93 in. x 14.96 in. (paper) 29.50 cm. x 27.50 cm. 11.61 in. x 10.83 in. (image) LCD1894

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 ...

Lithograph 38.00 cm. x 27.00 cm. 14.96 in. x 10.63 in. (image) Handsigned by the artist in pencil Ref : LCD1506

Etching Handsigned by the artist in pencil and annoted EA 90.00 cm. x 63.00 cm. 35.43 in. x 24.8 in. (paper) 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (image) Annoted "EA" LCD4559

Etching, 1968 Edition : 17/50 Publisher : Galerie Louise Leiris (Paris) Printer : Crommelynck (Paris) Catalog : [Bloch 1760 ; Baer 1777Bb1] Image dimensions : 15.00 cm. x 20.50 cm. (...

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...