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H.O. Miethke Das Werk folio "University of Vienna Murals" 3 collotype prints
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Figurative Prints

Materials

Paper

H.O. Miethke Das Werk folio "Portrait of Adele Bloch-Bauer" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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...
Category

Early 1900s Vienna Secession Figurative Prints

Materials

Paper

H.O. Miethke Das Werk folio "Farm House in Buchberg" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

Laderlappen - Original Lithograph Poster by Walter Schnackenberg
By Walter Schnackenberg
Located in Chicago, IL
Printed by Oscar Consee, Munich, 1922 Not much is known about this Stockholm-based cabaret act. Translating literally as Bat Man, we see a young dancer tease an oversized bat wearing a monocle -- a truly bizarre but beautiful design. (text by Jack Rennert) Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery...
Category

1920s Art Nouveau Figurative Prints

Materials

Lithograph

E. Strache, Handzeichnungen folio, "Crouching Female Nude" Collotype plate V
By (after) Egon Schiele
Located in Chicago, IL
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...
Category

1920s Vienna Secession Figurative Prints

Materials

Paper

Max Eisler Eine Nachlese folio “Church on Lake Wolfgang” collotype print
By (after) Gustav Klimt
Located in Chicago, IL
After Gustav Klimt, Max Eisler #28, Kirche am Wolfgangsee; multi-color collotype after 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...
Category

1930s Vienna Secession Landscape Prints

Materials

Paper

R. Layni, Zeichnungen folio, "The Artist's Wife, Seated" Collotype plate VI
Located in Chicago, IL
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 masterfu...
Category

1910s Vienna Secession Portrait Prints

Materials

Paper

H.O. Miethke Das Werk folio "Farm House in Buchberg" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Church in Cassone" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Beech Forest II" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "The Swamp" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Malcesine on Lake Garda" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Farmhouse With Birch Trees" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Farm Garden With Sunflowers" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Golden Apple Tree" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Fruit Trees" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 ...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

Gerlach's Allegorien, plate #66: "Tragedy" Lithograph, Gustav Klimt.
By Gustav Klimt
Located in Chicago, IL
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...
Category

1890s Vienna Secession Figurative Prints

Materials

Lithograph

Emilia
By Alessandra Maria
Located in Chicago, IL
Working with a palette of graphite and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alchemist, summoning ...
Category

21st Century and Contemporary Contemporary Portrait Drawings and Waterco...

Materials

Gold Leaf

Antonella
By Alessandra Maria
Located in Chicago, IL
Working with a palette of graphite and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alchemist, summoning ...
Category

21st Century and Contemporary Contemporary Portrait Drawings and Waterco...

Materials

Gold Leaf

Corvus Quietus VI
By Kent Williams
Located in Chicago, IL
Kent Williams’ work melds the rigor of technical prowess with the iconoclast’s impulse to disrupt. Juxtaposing beautifully rendered classical forms with elements of abstraction and s...
Category

21st Century and Contemporary Contemporary Mixed Media

Materials

Mixed Media

Corvus Quietus V
By Kent Williams
Located in Chicago, IL
Kent Williams’ work melds the rigor of technical prowess with the iconoclast’s impulse to disrupt. Juxtaposing beautifully rendered classical forms with elements of abstraction and s...
Category

21st Century and Contemporary Contemporary Mixed Media

Materials

Mixed Media

Skull King XIV
By Kent Williams
Located in Chicago, IL
Kent Williams’ work melds the rigor of technical prowess with the iconoclast’s impulse to disrupt. Juxtaposing beautifully rendered classical forms with elements of abstraction and s...
Category

21st Century and Contemporary Contemporary Mixed Media

Materials

Mixed Media

Skull King XIII
By Kent Williams
Located in Chicago, IL
Kent Williams’ work melds the rigor of technical prowess with the iconoclast’s impulse to disrupt. Juxtaposing beautifully rendered classical forms with elements of abstraction and s...
Category

21st Century and Contemporary Contemporary Mixed Media

Materials

Mixed Media

H.O. Miethke Das Werk folio "The Kiss" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
The Kiss, no. 1 from the fifth installment of Das Werk Gustav Klimts Undoubtedly Klimt’s best known and most reproduced images, this printed version of The Kiss is the only one with which Klimt was directly involved. Unveiled at Vienna’s Kunstschau 1908, and saved for the fifth and final delivery of Das Werk, The Kiss marks a triumph in Klimt’s career and represents a culmination of many themes in his oeuvre up to that point. After all of the controversy surrounding the State’s prior rejection of the University murals commissioned from Klimt, the Ministry of Education reversed their policy toward the artist with a show of wholehearted support by purchasing for the Osterreichische Galerie BelvedereThe Kiss while it still hung in the Kunstschau exhibit. Considered in relation to the eight multicolored collotypes which preceded its print debut in the Das Werk portfolio, The Kiss literally embraces all which came before it. The golden seaweed dangling in tresses from the lovers’ feet harkens back to Water Snakes I and II. The bed of flowers evokes the settings Klimt created in both The Golden Knight and The Sunflower. In fact, this image sprung out of a particularly happy summer spent in the company of Klimt’s lover, Emilie Floge...
Category

Early 1900s Vienna Secession Figurative Prints

Materials

Handmade Paper

Callisto
By Alessandra Maria
Located in Chicago, IL
Working with a palette of graphite and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alchemist, summoning ...
Category

2010s Contemporary Mixed Media

Materials

Gold Leaf

The Jockey
By Henri de Toulouse-Lautrec
Located in Chicago, IL
Color lithograph on Chine volant, 1899. Edition of aproximately 112. Printed by H. Stern, Paris. Published by Pierrefort, Paris. Reference: Wittrock; 308-2nd edition, vol. 2, pg. 6...
Category

1890s Art Nouveau Figurative Prints

Materials

Lithograph

Au Concert
By Henri de Toulouse-Lautrec
Located in Chicago, IL
Commissioned by The Ault & Wiborg Co., USA. Color Zincograph on wove paper, 1896. Hand-signed in black crayon. Wittrock C (of C) edition. Reference: Wittrock; P28, vol. 2 pg 810. ...
Category

1890s Art Nouveau Figurative Prints

Materials

Paper

Partie de Campagne
By Henri de Toulouse-Lautrec
Located in Chicago, IL
Color Lithograph on wove paper, 1896. Artist's orange-red and black signature stamps, numbered in pencil (#12), from edition of 100 published by A. Vollard in the 2nd "Album des esta...
Category

1890s Art Nouveau Figurative Prints

Materials

Paper

Wildling
Located in Chicago, IL
Born in Hollywood and raised in the urban sprawls of Los Angeles, Julio’s artistic aesthetic was shaped early on by the platinum light and expansive concrete horizons of southern Cal...
Category

21st Century and Contemporary Contemporary Figurative Paintings

Materials

Egg Tempera, Panel

Max Eisler Eine Nachlese folio “Sunflowers” collotype print
By (after) Gustav Klimt
Located in Chicago, IL
After Gustav Klimt, Max Eisler #3, Sonnenblumen; multi-color collotype after 1908 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...
Category

1930s Vienna Secession Landscape Prints

Materials

Paper

Max Eisler Eine Nachlese folio "Italian Garden Landscape" collotype
By (after) Gustav Klimt
Located in Chicago, IL
After Gustav Klimt, Max Eisler Plate #23, Italienische Landschaft; blue-grey monochrome collotype after the 1913 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...
Category

1930s Vienna Secession Landscape Prints

Materials

Paper

Max Eisler Eine Nachlese folio "Charlotte Pulitzer" collotype
By (after) Gustav Klimt
Located in Chicago, IL
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...
Category

1930s Vienna Secession Figurative Prints

Materials

Archival Paper

Max Eisler Eine Nachlese folio "Studies for the Frieze at Palais" 4 collotypes
By (after) Gustav Klimt
Located in Chicago, IL
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...
Category

1930s Vienna Secession Figurative Prints

Materials

Archival Paper

Max Eisler Eine Nachlese folio "Section of Jurisprudence" collotype
By (after) Gustav Klimt
Located in Chicago, IL
After Gustav Klimt, Max Eisler Plate #11, Aus den Bilde “Die Jurisprudenz”; brown-toned monochrome collotype after the 1900-07 painting in oil on canvas. The original was destroyed by fire in May 1945. 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...
Category

1930s Vienna Secession Figurative Prints

Materials

Paper

Max Eisler Eine Nachlese folio "Portrait of Baroness Wittgenstein" collotype
By (after) Gustav Klimt
Located in Chicago, IL
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...
Category

1930s Vienna Secession Figurative Prints

Materials

Paper

Max Eisler Eine Nachlese folio “Portrait of Baroness Bachofen-Echt” collotype
By (after) Gustav Klimt
Located in Chicago, IL
After Gustav Klimt, Max Eisler #22, Bildnis Baronin Bachofen-Echt; multi-color collotype after 1914-1916 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...
Category

1930s Vienna Secession Figurative Prints

Materials

Archival Paper

Max Eisler Eine Nachlese folio "Girlfriends II" collotype print
By (after) Gustav Klimt
Located in Chicago, IL
After Gustav Klimt, Max Eisler #1, Die Freundinnen II; multi-color collotype after 1916/17 painting in oil on canvas which was destroyed by fire in May 1945 at Immendorf Castle Lower Austria. Eisler’s choice to begin his 1931 portfolio of works by Klimt with Girlfriends II was both bold and prescient. Just 14 years later, the painting was tragically destroyed in a fire. With such a loss, this rare and exquisite image is all the more valuable by virtue of having been made in color. In works from his late period, Klimt continued his fascination with exploring female dynamics and their various forms of love. Girlfriends II is a fine example of how space, color and ornament play a noticeable role in the evolution of his symbolic language. Wide swaths of space in the background as well as the two female forms create the structure. Klimt’s strong brushstrokes show a painterly quality and a new move toward abstraction which feels very far away from his earlier work. Nor should Klimt’s economy of line be overlooked. His draughtsmanship is what infuses the female bodies with movement, emotion and a profundity of life. Both women confront the viewer’s gaze unselfconsciously, as if they are modern-day Viennese women stepping out of a Klimtesque ukiyo-e print. Characteristic of this late period, Klimt uses ornament...
Category

1930s Vienna Secession Figurative Prints

Materials

Paper

Max Eisler Eine Nachlese folio "Poppy Field (Poppies in Bloom)" collotype
By (after) Gustav Klimt
Located in Chicago, IL
After Gustav Klimt, Max Eisler #5, Mohnwiese; multi-color collotype after 1907 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...
Category

1930s Vienna Secession Landscape Prints

Materials

Archival Paper

H.O. Miethke Das Werk folio "Schloss Kammer on Lake Attarsee II" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "Birch Forest I" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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...
Category

Early 1900s Vienna Secession Landscape Prints

Materials

Paper

H.O. Miethke Das Werk folio "The Sisters" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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...
Category

Early 1900s Vienna Secession Figurative Prints

Materials

Archival Paper

Wind
By J Louis
Located in Chicago, IL
J Louis is both an heir and a heretic; carrying on a rich artistic tradition while subtly challenging its conventions. Evoking the lush atmospherics of Impress...
Category

2010s Contemporary Portrait Paintings

Materials

Linen, Oil

Gerlach's Allegorien Folio, plate #58: "Sculpture" Lithograph, Gustav Klimt.
By Gustav Klimt
Located in Chicago, IL
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...
Category

1890s Vienna Secession Figurative Prints

Materials

Lithograph

Majesty
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Entwined
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Revealed
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Weathered Solifleur
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Full F'in Day
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Charred Pine Bark Mug
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Oishii Teapot
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Let Yourself Go
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

By the River
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Igneous
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Southern Birch
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Emergence
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Conceptual Still-life Sculptures

Materials

Stoneware

Agony & Ecstasy
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Conceptual Still-life Sculptures

Materials

Stoneware

Roots, Opus I
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Spirited (teapot)
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Remnants
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

Devotion
By Eric Serritella
Located in Chicago, IL
The work of Eric Serritella is a paean to nature, offered in clay. His trompe l’oeil ceramic sculptures are effigies of nature burned by man. His forms echo natural organisms so per...
Category

2010s Contemporary Still-life Sculptures

Materials

Stoneware

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