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
Untitled I.I
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
INQUIRE
Untitled I.II
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
INQUIRE
Untitled I.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 I.IV
1985
Lithograph
With the artist's stamped signature
27 x 19 1/4 in. (68.6 x 48.9 cm), matted
Editon of 1000
Estate stamped form the hand-numbered portfolio as issued
INQUIRE
Untitled I.V
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
INQUIRE
Untitled I.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
INQUIRE
Untitled II.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)
INQUIRE
Untitled II.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)
INQUIRE
Untitled II.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)
INQUIRE
Untitled II.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)
INQUIRE
Untitled II.IX
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)
INQUIRE
Untitled II.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)
INQUIRE
Untitled II.VI *
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)
SOLD
Untitled II.VII
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)
INQUIRE
Untitled II.VIII
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)
INQUIRE
Untitled II.X
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)
INQUIRE
Untitled II.XI
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)
INQUIRE
Untitled II.XII
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)
INQUIRE
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) SOLD1964 (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) 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.