Chicago - Art

"Almost Dusk, The North Branch of the Chicago River" is a minimalist landscape painting depicting subtle shifts of color as the blue sky reflects over a river juxtaposed with a darke...

Life is a Struggle (The Golden Knight), no. 10 from the second installment of Das Werk Gustav Klimts With his golden armor meticulously and faithfully rendered after examples found ...

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...

"Galerie Maeght Theogonie" announces an exhibition of the drawings Georges Braque produced to illustrate "Theogony", the 7th century BCE work by Hesiod that narrates the birth of the...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black and brightly colored paints and brushwork in charcoal ...

Matriarch Dominica, 2019 Edition of 20: 24” x 36” (61 x 91.4 cm) - $6,500 Edition of 15: 31” x 46.5” (78.7 x 118.1 cm) Edition of 10: 40” x 60” (101.6 x 152.4 cm) Edition of 7: 60” x 90” (152.4 × 228.6 cm) "Sperm whales have traversed the deep oceans of our Earth for millions...

A female nude dances in a private moment yet the figure in the background seems to be watching. The figure's face is obscured adding to the intrigue of the subject. Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the overall aesthetic. Georgia Hinaris...

A vibrant summer landscape of a Vermont river by artist Harold Haydon in a gold-toned frame. Artwork size: 20" x 25". Framed size: 21 1/2" x 26 1/2". Estate stamped on reverse....

Caravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...

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 ...

Oliver Hazard Benson The Blue Knight giclee 35h x 23w in 88.90h x 58.42w cm 1/11 AP OB0032 Oliver Hazard’s paintings are produced directly from his i...

A black and white figure study of a seated nude male, from 1951, by artist Harold Haydon. Artwork size: 19" x 12 1/2". Archivally matted to 24" x 20". Provenance: Estate of the...

Tall Amphora vase with a floral wreath encircling the mouth, trailing down on two sides into light green and rose crackling, and finished with a linear "Dachsel style" relief in the ...

For the love of vinyl – circa 1945. Frank Sinatra relaxing at home in Toluca Lake, CA preparing to listen to some music. Note daughter Nancy in the edge of the right frame. From Sin...

After Gustav Klimt, Max Eisler Plate #21, Gastein; grey-green monochrome collotype after the 1917 painting in oil on canvas. Original destroyed by fire 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. 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...

Ahzad Bogosian Ridge Top Light acrylic on canvas 30h x 40w in 76.20h x 101.60w cm Framed Dimensions 31h x 41w x 2d in 78.74h x 104.14w x 5.08d cm AZB155 Ahzad Bogosian SOLO EXHIBI...

A study for a series of larger paintings based on motion capture studios, this painting combines classic technique with modern sensibility. Here the model balances next to a midcent...

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 and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his travels. In his ongoing series of memory jugs, Thompson adorns stoneware vessels with a kaleidoscope of ceramic shards, found objects, and pocket-sized trinkets he collected over the course of his life. Also known as forget-me-not jugs or spirit jars, memory jugs are African American folk art objects that honor a loved one who has recently passed. Small tokens and mementos of the deceased are gathered and affixed to the exterior of a jug or vase, an abundance of memories that celebrates a life lived to the fullest. Michael Thompson applies this tradition to his own practice, creating tactile assemblages of this and that. Formed in the manner of collage, each jug honors the lost memories of generations past and his own memories of personally discovering each item. With varied sources for materials including Kyoto, Turkey, and Mexico, a great number of the found shards are 18th and 19th century ceramics...

A small, colorful Modernist landscape painting by Harold Haydon, depicting "Western View from Sun Deck on Ajax Mt., Aspen, Colo.", dated 1955. Image siz...

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 ...

Artist Jeff Conroy is an avid fisherman. He is also an accomplished artist. He brought these two disciplines together by learning the art of Gyotaku Painting. After having caught ...

Henri Matisse collected Persian carpets, Arab embroideries and African wall hangings throughout his life, his studio becoming a treasure trove of exotic and vibrant pattern. The collection was practical — it was the impetus for various works with voluptuous women surrounded by rich textures and patterns. Sandy Kaplan takes Matisse's work to a three-dimensional level in her ceramic piece simply titled "Matisse's Persian Woman". Sandy Kaplan Matisse's Persian Woman ceramic 18h x 14w x 14d in 45.72h x 35.56w x 35.56d cm SAK007 Sandy Kaplan b. 1943, St. Louis, MO 2021 Maturity and Its Muse, Art Saint Louis 2020 Storytellers Exhibit, Art Saint Louis 2019 SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL Honors Exhibit, Art Saint Louis Anthony Bourdain - Parts Unknown: Ceramic Centric, Foundry Arts Ctr, St. Charles, MO Current Profiles, Craft Alliance Center, St. Louis, MO 2018 SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL Maturity and Its Muse, Art Saint Louis Works from the Studios, Craft Alliance, St. Louis, MO Drawn From Life: Artful Aging, Washington University, St. Louis, MO 2017 3-D, Gallery Victor Armendariz, Chicago, IL SOFA Chicago, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2016 Works from the Studio, Craft Alliance, St. Louis, MO A Moveable Feast Exhibit, Oak Park Art League, Oak Park, IL Maturity and Its Muse, Art Saint Louis 2015 Writers Round Table, Craft Alliance Gallery, St. Louis, MO 2014 Save the Last Dance for Me, Art Saint Louis XXX...

A colorful 1950s textile design (Black, yellow, blue, pink, red tones) by noted set and costume designer Andre Delfau. Born in Paris, France in 1914, Andre Delfau became an internationally acclaimed stage, set and costume designer who worked world-wide from the 1930s to the 1980s. Delfau was a life long artist and painted independently of his noted design career. His artwork is recognized for it’s vibrant color and form, and a particularly keen use of line. He was highly influenced by the French Modern trends of Cubism and Surrealism, and his artwork is often infused with a dramatic sense of architecture and perspective. Delfau created fashion designs for such major Paris couture houses as Balmain, Jean Patou and Balenciaga. He completed noteworthy set designs and costumes for numerous international operatic and ballet productions, including those at the Royal Danish Ballet, the Royal Ballet of Great Britain, the Paris Opera, the Dance Theater of Harlem, the Ruth Page International Ballet, the Civic Ballet of Chicago, the Chicago Opera Ballet and the Lyric Opera of Chicago, among others. Most notably, Delfau designed the elaborate stage sets and costumes for the 1986 PBS television production of the Viennese operetta, "Die Fledermaus...

According to Greek mythology, Kalypso, a beautiful nymph, captured Odysseus and held him on her island for seven years. She was deeply in love with him but was forced to let him ret...

Michael Frimkess Large Frimkess Jar from the Instant Migration Series (INV# NP3747) stoneware, underglaze, glaze, and decal 28.5 x 8 x 8" 1977 signed ...

Figural vase with a golden maiden on an iridescent form. This vase features a beautiful juxtaposition of the smooth and sinuous texture of the woman against a psychedelic stone-like ...

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...

Klimt’s association with Martin Gerlach dates back to the early 1880s when Gerlach and Schenk published their first edition of Allegorien und Embleme. By the mid-1890s, they were pla...

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 and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

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...

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 w...

Reflecting the role that ancestor worship played in Chinese culture, this Qing-dynasty painting depicts several generations of family, dressed in intrica...

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...

Ahzad Bogosian Summer Twilight acrylic on canvas 30h x 40w in 76.20h x 101.60w cm Framed Dimensions 31h x 41w x 2d in 78.74h x 104.14w x 5.08d cm AZB156 Ahzad Bogosian SOLO EXHIBI...

Stone lithograph mandala plate of Forgive Us Our Trespasses As We Forgive Those Who Trespass Against Us from Alphonse Mucha’s masterpiece of mysticism, Le Pater. Printed by F. Champe...

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 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...

Lithograph of Ignatius Taschner’s Electricity, published as Plate 95 in Gerlach’s Allegorien by Gerlach & Schenk, Vienna. This artwork arrives accompanied by a certificate of authenticity. Allegorien-Neue Folge...

Andrew LeMay Cox "Love Nest" - Overgrown fields of amber grain freckled with flowers of many. On a perfectly sunny day and the wind is strong but gentle. There is no one else in s...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extra...

An imaginary human hybrid representing “mother nature” resides in a ruined building symbolic of a decaying society. As the crows flutter and the human hybrid plays a bucolic tune, green shoots emerge from the ruins symbolizing rebirth and victory of nature over human destruction of the environment. This painting is framed in a simple black wooden frame measuring 20.5 x 16.5 inches. Christopher A. Klein The Spring...

"Dancing Around the Lines," an abstract painting from the "Tourlicoulis Series," showcases lines that direct the composition as deftly as a maestro leads an orchestra. The canvas com...

Patrick Vale Mott Street acrylic and ink on paper 20h x 28w in 50.80h x 71.12w cm PKV002 Artist Patrick Vale garnered international attention in 2012 whe...

The Waltham Manufacturing Company was co-founded in 1893 in New York by Charles Metz and three business partners. The company's designer, Metz, called his cycles “Orient racing bicycles,” named after the Orient Fire Insurance...

Bernhard Hoetger’s 1914 Expressionist poster for the Darmstadt Artists' Colony’s (Darmstädter Künstlerkolonie) fourth and final exhibition depicts the legend of Saint George slaying ...

Andy Warhol's Warehouse, East Side NYC 1987 4x5 in Format Film Chromogenic print on Aluminum *Also available on paper. Please inquire regarding sizing and prices* Available sizes:...

Nathan Brad Hall Haven charcoal on paper 18h x 24w 45.72h x 60.96w cm NBH004 Framing Options Available Nathan Brad Hall lives and works in Brooklyn, New York. With a background in...

Unique earthenware bowl featuring a pair of golden Egyptian sphinxes and stylized purple flowers in an incised pattern, with an iridescent glaze of rich green, blue, and purple hues....

"Almost Dusk, The North Branch of the Chicago River" is a minimalist landscape painting depicting subtle shifts of color as the blue sky reflects over a river juxtaposed with a darke...

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 ...

Stone lithograph sepia plate of Our Father Who Art in Heaven from Alphonse Mucha’s masterpiece of mysticism, Le Pater. Printed by F. Champenois, published by Henri Piazza in Paris in an edition of 510, 1899. “Le Pater is the perfect convergence of three important movements at the close of the 19th century: Art Nouveau, Mysticism, and Religion. Art Nouveau, through its respect and honor of Nature, promotes the idea of a spirit of energy coursing through all things–a tenet of Mysticism–that finds foundation in the traditions of Mucha's personal relationship with the imagery of Religion. Le Pater gave Mucha a venue to communicate his beliefs specifically through his unique approach to Art and the coded language he had been learning through his devotion to Masonic teachings. He combined the aesthetics of Medieval manuscripts with Moorish arabesques, Byzantine mandalas, and Classical Renaissance melodrama to create a body of work that guided viewers across the gap between the ancient and the modern. The published plates for Le Pater were struck by Champenois on December 20, 1899 in an edition of 510 copies with the express agreement that they never be reprinted. As much of Mucha's work had been commercialized by Champenois due to numerous printings across multiple mediums, by this point he felt he had earned the right to insist on this deeply personal work existing only in the original release he had envisioned. The title page, prayer plates, and illuminated manuscript pages...

Judy Chicago Reaching/Uniting/Becoming Free 1979 Silkscreen artist proof from the edition of 100 signed Very rare! Provenance- - The Nevica Project, Chicago IL Born Judy Cohen in...

An early Self Portrait of Frank Sinatra circa late 1930s. At home in Hoboken, NJ. One of the earliest photos found in the family archive and perhaps, lik...

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 and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

This is a large scale black and white photo of Marlon Brando as a young man at his family farm with his dog. In 1951 Life Magazine asked Art Shay to photograph Marlon Brando at his family home in Libertyville, IL. This is one of the photos from that shoot. In 2000, Art Shay published Album for an Age: Unconventional Words and Pictures from the Twentieth Century. This artwork is matted and framed. Art Shay Marlon Brando Kissing Dog...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographi...

A hand-colored lithograph by Joseph Nash of the Frontespice "The Mansions of England in the Olden Time", 1839-1849, printed by Charles Joseph Hullmandel (Pub. London: T. M'Lean, 1839...