1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Portrait Of A Lady In Three-Section Profile Right
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Portrait of A Lady in Wrinkle Dress And Hat On The Right *
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in blue ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
SOLD
Sitting Lady to Left *
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
SOLD
Standing Lady In Whole Figure From Front *
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
SOLD
Standing Woman From Front *
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
SOLD
To Right Sitting Halfway
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
16 1/2 x 23 1/4 in. (42 x 59 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
With the artist's printed signature
23 1/4 x 16 1/2 in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
With the artist's printed signature
23 1/4 x 16 1/2 in. (59 x 42 in)
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled I
1985
Lithograph
With the artist’s stamped signature
27 x 19 ¼ in (68.6 x 48.9 cm), matted
Edition of 1000
Estate stamped from the hand-numbered portfolio as issued
Untitled I
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 1/4 x 16 1/2 in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled II
1985
Lithograph
With the artist’s stamped signature
27 x 19 ¼ in (68.6 x 48.9 cm), matted
Edition of 1000
Estate stamped from the hand-numbered portfolio as issued
Untitled II
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 1/4 x 16 1/2 in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled III
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 1/4 x 16 1/2 in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled III
1985
Lithograph
With the artist’s stamped signature
27 x 19 1/4 in (68.6 x 48.9 cm), matted
Edition of 1000
Estate stamped from the hand-numbered portfolio as issued
Untitled IV
1985
Lithograph
With the artist’s stamped signature
27 x 19 ¼ in (68.6 x 48.9 cm), matted
Edition of 1000
Estate stamped from the hand-numbered portfolio as issued
Untitled IV
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 1/4 x 16 1/2 in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled V
1985
Lithograph
With the artist’s stamped signature
27 x 19 ¼ in (68.6 x 48.9 cm), matted
Edition of 1000
Estate stamped from the hand-numbered portfolio as issued
Untitled V
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 1/4 x 16 1/2 in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Untitled VI
1985
Lithograph
With the artist's stamped signature
27 x 19 1/4 in. (68.6 x 48.9 cm), matted
Edition of 1000
Estate stamped from the hand-numbered portfolio as issued
Woman at Rest
1964
(from 25 Drawings Selected and Edited by Alice Strobl)
Facsimile print in black ink
23 ¼ x 16 ½ in. (59 x 42 cm), unframed
From the open edition as issued
(Published by the Albertina Museum, Vienna, Austria)
Gustav Klimt (1862-1918) was one of the most innovative and controversial artists of the early twentieth century. The son of an engraver, he studied at the State School of Applied Arts in Vienna. In the 1880s and 1890s he produced murals for public buildings — including Vienna’s Burgtheater and new Kunsthistorisches Museum (Art History Museum) — in the prevailing classical-realist style. Klimt’s style grew increasingly experimental, however, and his murals for Vienna University, commissioned by the State in 1894, were roundly attacked by critics for their fantastical imagery and their bold, decorative style. Partly in response to this reaction, in 1897 Klimt helped form the Secession, a group of artists dedicated to challenging the conservative Academy of Fine Arts. Influenced by European avant-garde movements represented in the annual Secession exhibitions, Klimt’s mature style combined richly decorative surface patterning with complex symbolism and allegory, often with overtly erotic content.
After 1900 he concentrated on portraits and landscapes, although he also produced two of his greatest murals during this period — The Beethoven Frieze, exhibited at the Secession in 1902, and decorations for the Palais Stoclet in Brussels (1904-1911). Klimt spent most of his summers on the Attersee, near Salzburg, where he drew inspiration for many of his landscapes, and where he painted some of his best-known works, including The Kiss of 1907-8.
Rufino Tamayo was a Mexican painter who combined modern European painting styles with Mexican folk themes. Tamayo attended the School of Fine Arts in Mexico …
Klimt, Gustav
1964 (from 25 Drawings Selected and Edited by Alice Strobl) Facsimile print in blue ink 23 ¼ x 16 ½ in. (59 x 42 cm), unframed From the open edition as issued (Published by the Albertina Museum, Vienna, Austria) SOLD1964 (from 25 Drawings Selected and Edited by Alice Strobl) Facsimile print in black ink 23 ¼ x 16 ½ in. (59 x 42 cm), unframed From the open edition as issued (Published by the Albertina Museum, Vienna, Austria) SOLD1964 (from 25 Drawings Selected and Edited by Alice Strobl) Facsimile print in black ink 23 ¼ x 16 ½ in. (59 x 42 cm), unframed From the open edition as issued (Published by the Albertina Museum, Vienna, Austria) SOLD1964 (from 25 Drawings Selected and Edited by Alice Strobl) Facsimile print in black ink 23 ¼ x 16 ½ in. (59 x 42 cm), unframed From the open edition as issued (Published by the Albertina Museum, Vienna, Austria) SOLDGustav Klimt (1862-1918) was one of the most innovative and controversial artists of the early twentieth century. The son of an engraver, he studied at the State School of Applied Arts in Vienna. In the 1880s and 1890s he produced murals for public buildings — including Vienna’s Burgtheater and new Kunsthistorisches Museum (Art History Museum) — in the prevailing classical-realist style. Klimt’s style grew increasingly experimental, however, and his murals for Vienna University, commissioned by the State in 1894, were roundly attacked by critics for their fantastical imagery and their bold, decorative style. Partly in response to this reaction, in 1897 Klimt helped form the Secession, a group of artists dedicated to challenging the conservative Academy of Fine Arts. Influenced by European avant-garde movements represented in the annual Secession exhibitions, Klimt’s mature style combined richly decorative surface patterning with complex symbolism and allegory, often with overtly erotic content.
After 1900 he concentrated on portraits and landscapes, although he also produced two of his greatest murals during this period — The Beethoven Frieze, exhibited at the Secession in 1902, and decorations for the Palais Stoclet in Brussels (1904-1911). Klimt spent most of his summers on the Attersee, near Salzburg, where he drew inspiration for many of his landscapes, and where he painted some of his best-known works, including The Kiss of 1907-8.