Karl Schwetz Art

Arnulf Rainer (1929) Paris : Tribute to Louvre Museum with Orange Scratch Original etching On vellum 40 x 50 cm (c. 16 x 20 in) Authenticated with the blind stamp of the editor Cha...

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...

After Gustav Klimt, Max Eisler #7, Malcesine am Gardasee; multi-color collotype after 1913 painting in oil on canvas. The original was destroyed by fire ...

Sunflower, no. 10 from the third installment of Das Werk Gustav Klimts Created during his residency in Litzlberg on Attersee, where Klimt and the Floge family summered from 1900-1907, Klimt explores nature’s transcendental qualities. His single sunflower is human-like, it’s golden halo is like a ring of sun-kissed hair surrounding a bald pate. It’s known that at the same time Klimt was creating this image, he was also at work on a photo essay about the Floge sisters’ clothing from their fashion salon. Their fashion house was best known for its “reform dresses” which featured loose-fitting long robes which billowed at the arms and torso. Viewed with this in mind, it is not a hard leap to imagine the lone sunflower as a self-portrait from reverse. Klimt’s balding head crowned in a golden corona forms the apex of a pyramidal flowing gown of foliage and flowers. By orienting the anthropomorphic flower at the garden’s central foreground and adorning it with repetitive motifs of round flowers of varying sizes, Klimt’s sunflower...

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 ...

Original Versailles, France vintage lithograph French travel poster. Printed by the French National Railroad, SNCF in the 1938's. Printer: Goossens. A poster fit for a king since he once resided here at Versailles. Transform your living space with the elegance and grandeur of the Versailles Original Poster. This exquisite piece captures the breathtaking beauty of the iconic Palace of Versailles, showcasing its majestic fountains and lush gardens. The vibrant colors and intricate details bring to life the opulence and historical significance of one of the world's most renowned landmarks. The grand fountains had a chariot and horses...

One of a series of oil based monotypes on fine printmaking paper, subtle color design, symbolic and atmospheric figure/figures in cityscape

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...

Jacob Pins: 1917-2005. Was a German born Israeli woodcut artist and art collector. He has had auction results over $3000 for a print. This powerful scarce example...

Bit of a mystery here. Really well done colored Linocut A very expressionistic style of a landscape with trees. I’m pretty sure it’s signed in Hebrew but cannot translate. A very low...

After Gustav Klimt, Max Eisler Plate #8, Litzlberg on Lake Attersee; blue monochrome collotype after the 1915 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN ...

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 wi...