austrian artist (35 resultados)

Condición: Very Good. Publisher's original colour illustrated card covers. Folio 12'' x 9'' 96 pp ISBN 382280553X. Colour and monochrome illustrations throughout. Small creases to the top of the front cover and in Very Good condition, no dust wrapper as published. Member of the P.B.F.A. ART [Austrian].

EK LIBRIS (Original-Holzschnitt, 6,2 x 6,0 cm), von Max Kislinger in Bleistift am Unterrand eigenhändig signiert - Ex Libris für Dr. Karl Schmidt, um 1930 (dito wie vor, handkolorierter Ex Libris-Holzschnitt eigenhändig signiert, schön erhalten Euro 35,-).

Großes Original-Farbfoto (Porträt, quer 8°), mit Jahr 2016 eigenhändig signiert (color portrait-photo in small 8 to, signed by austrian illustrator with year, fine).

Condición: Fine. Hard back binding in publisher's original colour illustrated matt paper covers. 8vo 9½'' x 7¼'' 96 pp ISBN 3822815705. Colour and monochrome illustrations throughout. Fine condition book in Fine condition dust wrapper. Dust wrapper supplied in archival acetate film protection. Member of the P.B.F.A. ART [Austrian].

KUNSTPOSTKARTE (aus der Goldregen-Mappe, Morgenrot-Morgengrau) mit rückseitiger eigenhändiger Unterschrift signiert (3 weitere Motive zum gleichen Preis vorhanden) (dito : Große Klappkarte, 8° mit Wintermotiv, innen in großer Schrift eigenhändig signiert mit Empfehlung, Euro 45,-) (dito : frühe bildseitig signierte Kunstpostkarte ZWISCHEN MENSCHEN / AMONG HUMANS / PARMI LES HOMMES 1971 Euro 48,-).

Albumblatt (1 S. ca. 8 to) mit E.BLEISTIFTZEICHNUNG, Neujahrsspruch, Datum 31. Jänner 1923, Unterschrift signiert "Lustig gelebt und selig gestorben, / Das heisst man dem Teufel, / die Rechnung verdorben".

Condición: Very Good. First edition in publisher's original flat backed spine colour illustrated card wrap covers. 4to. 11½'' x 8½''. Contains 88 pp with monochrome and colour works throughout. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. ART [Austrian].

BRAUER AQUARELL RELJGJON (AQUARELL RELIGION) Wien, o.J. (ca. 1980) auf Bütten , farbig illustriert, gebunden (Hardcover, ca. 8°) mit Schutzumschlag, gut erhalten - vom Künstler eigenhändig signiert.

Folio. 12 collotypes plus title-page (inscribed and signed), table of contents with edition notice (signed), and introduction. Loose as issued within printed half-cloth portfolio. (With): 7 letters from Lányi to Schiele, February-August 1917. 13½ pp. The only set of reproductions of Schiele drawings issued during the artist's lifetime and under his supervision: an unnumbered proof copy inscribed by the 26-year-old Schiele to his 24-year-old wife Edith (née Harms) and signed with his monogram. The inscription reads: "Der Maler ist noch nicht der Künstler, - / Es ist der Geist der Kunst geschaffen hat. / zum 30. Mai 1917 / meiner lieben Frau" ("The painter is not quite the artist - it is the spirit that created art. For my dear wife on 30 May 1917"). Poignantly, Edith would succumb to the Spanish flu just over a year later, six months pregnant, followed three days later by Schiele himself. - The portfolio is accompanied by seven letters by the publisher Richard Lányi (1884-1942) to Schiele. In them Lányi urges Schiele to design the title-page himself and encloses a two-page diagram suggesting the layout. He recommends that two identical portfolios should be brought out, one for Schiele's drawings and a second for paintings (the latter was not realised, probably due to Schiele's untimely death). On 26 May 1917 he sends Schiele the "430 (or 435)" title-pages with instructions on numbering them: "Bitte No. 1-400 zu numerieren, den Rest bitte statt der Nummer mit 'Probedruck' zu bezeichnen". Schiele appears to have completed this task on May 30th, when he inscribed the present supernumerary proof copy to his wife. - The introduction page was later signed and inscribed by the writer and critic Leopold Liegler (1882-1949), a friend of Lányi and Karl Kraus, identifying himself as the author of this text: "Diese Einleitung wurde von mir auf Wunsch des Verlegers verfasst" (Vienna, 17 November 1942). - Bolliger, Dokumentations-Bibliothek IV, 489.

401 pp. with 600 illustrations, 35 are colour plates, 132 are black and white with 400 small-size illustrations in the oeuvre catalogue. 4to. Original grey cloth, titles to front cover and spine in brown. Housed in the original card packing box. First edition, first printing. Half page inscription to Sir Stanley Unwin (1884-1968), the founder of George Allen & Unwin: "For Sir Stanley / This is my life's work. I always enjoyed vision and tried to give a record of what I had seen [.]". - Accompanied by an order form of Galerie Welz and a memorial address for Stanley Unwin. - Spine bumped, light crease to front flap of dust jacket, label to packing bos chipped, otherwise an excellent copy.

VOODOO FIRE IN HAITI with illustrations from the author. The Literary Guild, New York 1. Auflage 1935, ERSTAUSGABE / FIRST EDITION, 274 SS. gebunden (Hardcover, oranges Oln. gr. 8 to), kl. Besitzvermerk, gut erhalten - von Richard A. Loederer in Tinte eigenhändig gewidmet und signiert mit Ort und Datum To Stephanie Glockner / my admired friend / LOEDERER / New York, aug. 15 th 1935.

Coloured lithograph, signed on the stone, printed by Reiffenstein & Rosch, Josef Strassgschwandtner is a famous and skilled Austrian artist and lithographer who specialised in military subjects, animals, and history and genre painting.

Pas de couverture. Condición: Bon. Rare - Authentic signed letter. Vienna, February 2, 2010. + Photo 22x15 cm (recent print). Size : 29.5x21 cm. Condition : please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "In der Hoffnung, daß Sie die Schriftzeichen auch entziffern können, übersendet die gewünschten Zeilen Ihr ergebener [.]". - Working for the Austrian national printing press from 1909 onwards, Junk designed several banknotes, security papers and stamps, joined the Vienna artists' association "Hagenbund" in the same year, and served as the director of the "Graphische Lehr- und Versuchsanstalt" from 1924 to 1943. - Traces of several postmarks; small creases near corners. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Ihrem Wunsche entsprechend bestätige ich Ihnen hiermit den Empfang Ihrer Postkarte und zeichne [.]". - Studying at the Munich Academy, Schmoll painted in Art Nouveau style. He worked in Dachau, Burhausen and Chiemsee and was appointed professor for ornamental and figural painting, watercolour painting and decorative design at the Stuttgart Technical University in 1907. - A few small creases near corners. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). ½ page. Inscribed to the German dermatologist Alwin Scharlau. - Best known for his intense expressionist portraits and landscapes, as well as for his theories on vision that influenced the Viennese Expressionist movement, Kokoschka was severely wounded in Ukraine in 1915 and worked as a war painter on the Isonzo front in 1916 before moving to Dresden in 1919, where he taught at the Academy of Arts until 1924. He travelled Europe and North Africa until his return to Austria in 1931, where he was later deemed "the most degnerate of the degenerate" by the Nazi regime. - Traces of a few angular folds. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

8vo. 1 page on bifolium. On headed paper. To an unnamed lady, thanking her for her note from Payerbach and sending his best thoughts to "your Ruppert". Enclosing an appeal to support a scholarship fund and asking the recipient, if not yet a member, to contribute 20 Kronen per year, since "most students live on the stipend", which had reached a maximum of only 40 Kronen per month.

Altogether 23½ pp. Approximately 29.5 x 20.5 cm. An extensive and highly important series of letters from Kubin to the art historian Bernhard Degenhart, with whom he maintained a close friendship, spanning the years 1940 to 1952.The correspondence offers a remarkably rich insight into Kubin's artistic production, literary projects, publishing history, and personal life during the final decades of his career. Kubin discusses the development and publication of numerous works, often describing individual projects in detail, among them Die Rauhnacht, Abenteuer einer Zeichenfeder, and Phantasien im Böhmerwald. He comments on the genesis and printing of his books, the difficulties imposed by wartime conditions, and the pressures of censorship and material shortages during the National Socialist era.At the same time, the letters contain many personal reflections concerning his health, holidays, daily life, and leisure activities. His relationship with the publisher Reinhard Piper recurs throughout the correspondence.Particularly revealing is the letter of 13 October 1940, in which Kubin enthusiastically discusses the possibility of a joint book publication with Degenhart. He refers to failed or delayed publishing ventures of recent years, including projects connected with the Rembrandt Verlag and a confiscated Barlach publication at Piper Verlag. Kubin proposes the Schroll publishing house and leaves it to Degenhart to arrange matters.In the letter of 18 November 1940, Kubin sends Degenhart various working materials, including photographs, deluxe editions of Dämonen und Nachtgesichte, and a special offprint concerning the Kubin archive in Hamburg. He refers Degenhart to the archive's founder, Dr Kurt Otto in Halle, in order to provide a solid basis for the catalogue raisonné of Kubin's prints and portfolios intended for the projected publication. At the same time, he expresses concern over political censorship:"die Monographie ist eine Sache für sich Herr P. (Piper) möchte eine auch parteimäßig hochgeschätzte Person zum Vorwort oder Einleitung um sich auf alle Fälle gesichert zu haben daß es nicht wie beim Barlachband mit schwerstem Schaden für ihn [enden] würde"("The monograph is another matter entirely Herr P. [Piper] wishes to have a person highly esteemed also by the Party provide the foreword or introduction, in order to be protected in every respect, so that it should not end, as with the Barlach volume, in the gravest damage for him").The deeply trusting relationship between artist and scholar led Kubin to communicate a wealth of artistic and personal observations. In a later letter he praises Degenhart in striking terms:"Im Gebilde zeichnender Künste sind Sie bestimmt der wichtigste und gültigste Diagnostiker unserer Zeit"("In the realm of the visual arts you are certainly the most important and authoritative diagnostician of our time").The later letters also mention Kubin's receipt of the "Ulysse Prize" at the 1952 Biennale.An exceptional correspondence of major importance for the study of Kubin's artistic, literary, and intellectual world during the final phase of his life.Condition: Occasional minor tears along folds and margins.Provenance: From an important French private collection.Included with the correspondence: One book with autograph dedication to Bernhard Degenhart, dated January 1944 (A. Kubin, Schemen. Königsberg, 1943).

8vo. 1½ pages. To the painter Rudolf Wernicke (1898-1963): "Da werde ich Vielen eine kl. Freude machen können mit Ihrer Kunstgabe [.] Ich wurde oft gemalt und zumeist mit spitzer Nase - was die Natur vielleicht auch so gemeint hat [.]". - Written from Kubin's lifelong retreat at Schloss Zwickledt in the immediate postwar years; Wernicke is known to have portrayed Kubin at Zwickledt in July 1946.

Oblong 8vo. 2 pp. With autograph address. In pencil. In German, to his brother-in-law Julius Zimpel (or his like-named, fourteen-year-old son): "4. 8. 1910. Danke bestens für die Gratulation und Zeichnung. Es geht mir gut. (Hoffentl. euch gleichfalls)" ("4 August 1910. Thank you very much for the congratulations and the drawing. I am doing well. I hope you are too").

In German. Four marginal annotations and a number of cancellations and interlinear annotations, the typescript on 7 pages, 330 x 203mm, numbered 15 - 21, a few annotations in another hand (perhaps Goldscheider's). Kokoschka on his art and life, including his relationship with Alma Mahler. In these passages from his conversation with Goldscheider, Kokoschka discusses his portraits (mentioning the famous portrait of Karl Kraus) and landscapes, comparing his portraits to the use of masks in Greek tragedy. He discusses his early struggles, his relationships with Lotte Franzos and, at length, Alma Mahler, and his exile from Austria after the Anschluss; the conversation ends with Kokoschka's ringing condemnation of non-representational art. At times the alterations are merely refinements of language, as when he changes his characterisation of his portrait of Lotte Franzos from "ein Oval aus starkem Dunkelblau" to "eine Aura aus starkem Dunkelblau". At the foot of p.16 he significantly modifies a description of his early material difficulties to add a reference to the support he received from his parents, elaborated in an eight-line addition at the foot of the page; a further marginal annotation on p.17 notes that the studio in which he met Alma Mahler had been rented for him by his mother. He amends lower on the same page his account of the end of his relationship with Alma Mahler, and at the foot of p.18 cancels five lines relating to her. An extended annotation in the margin of p.20 pays tribute to his sister and her struggles in Communist Czechoslovakia. In an initial autograph note at the top of p.15 to Goldscheider, Kokoschka asks him to "excuse these small alterations and corrections, these in order to remain grateful and fair to my dear parents". - The conversation with the publisher and art historian Ludwig Goldscheider, which took place in Villeneuve in 1962, was the basis of Goldscheider's study of the artist published by his Phaidon Press in 1963. - Provenance: Sotheby's, 29 November 1985, lot 337.

In German. Together approx. 12 pages, various sizes; with a portrait postcard of himself with Olda signed by both on verso, Venice, 1948; and one note and three postcards by Olda Kokoschka, one of the postcards also signed by Oskar; and a carbon copy signed ('Oskar Kokoschka') of an essay in English, 'Disarmament of Babes', London, July 1940, 10 pages. Anti-Semitism, international education, a successful exhibition and Rembrandt. A letter written on the stroke of the new year during wartime sends good wishes and hopes that the coming year will "shorten for us all the time of the diaspora, and make the meschuggenen Goim become raisonable again"; and Kokoschka speculates on the role of education in wars and anti-Semitism ("Every nation blamed the Jews for everything"): this is also the theme of his wartime essay, present in a signed typescript. A letter from Minneapolis in September 1949 rejoices in the success of his exhibition at MOMA in New York, "the finest exhibition I have ever had and almost a vindication for my 40-year long existence". Writing from London in June the following year he mentions "my job at Count Seilern's, for whom I am painting a 28-foot long and 5-foot wide ceiling painting", and encourages Plesch to finish his book on Rembrandt, urging him particularly to look at the prints and drawings. - Sotheby's, 26 & 27 November 1980, lot 197.

8vo. 8 pages on 6 ff. In German, to the architect and designer Egon Riss. Kokoschka discusses the war with his friend and fellow refugee to the UK, whom he met through the Bauhaus. He thanks Riss for forwarding a message from his brother; it is so difficult to send letters now that war has been declared, he writes. He praises Stalin's efforts against Nazi Germany while berating Chamberlain, who (he says) has treated Hitler with velvet gloves. He asks about acquiring a visa and requests that Riss come to collect the translation of his play when it is finished.

Oblong 4to. 2 pages. An amicable letter in German to Nelly Palache, a friend in London who emigrated from Vienna, about his precarious financial situation. He sends her the watercolours she had seen and the nightmare crab ("die Alpdruckcrabbe"). He donated the leaf with the orchid for the Christmas collection of the Free German Culture League, of which he is president. Fortunately, the leaf was sold very well for the German, Austrian and Czech internees in the English camps. He was able to add 20 books from a Czech benefactor so that woollen blankets, food and tobacco could be sent in good quantities. His savings went up in smoke faster than in recent times. He talks about the parents of his wife Olda (whom he married in 1941; the father is a friend of Benes: formerly a minister, he is paid as an advisor to the Czech president). Kokoschka has to live by his hands, his brain and his heart ("Ich muss aber von meinen Händen, meinem Gehirn und meinem Herz leben"). He has to build up a secret reserve for himself and Olda; she wants to live with him as soon as possible. So far he has had to pay for two flats, two households, clothes, extra expenses, he could not take care of the most necessary things like dental care, etc. He would be very happy if Nelly could make a sale, because he has come to the end of his own money and cannot ask Olda for a single extra schilling. He is too old for the role of maintained son-in-law, to which, he writes, he is not even legally entitled. The amounts asked are not high because the pound has only a reduced purchasing power, and an English slob gets higher prices because chance has given him the right passport. "Next year I will try to go to America where I have a very good name and a brilliant market. It is not allowed to send from here, nor to paint (landscapes) and the people here are too stupid to understand or promote me. It's not the fault of the war, it was the same 15 years ago! They stick only to Dadaism, they have no idea of art. We got the best art in England where everything is the best, even anti-Semitism and concentration camps" (transl.).

8vo. 1½ pp. on bifolium. A letter of recommendation to the Academic Association for Literature and Music. Kokoschka is recommending one Mr. Nowak for holding lecture evenings at the Academic Association.

8vo. 1 p. To a lady ("your name is illegible from your letter, unfortunately"): "I forward your letter to Mr Harry Fischer, head of the Marlborough Gallery London W1 39 Old Bond Street. I expect my designs for the 'Magic Flute' staging to return from America imminently. Perhaps Mr Fischer can pry them loose for your planned Prague exhibition, although the insurance will probably be an issue, as it will constitute a significant sum [.]" (translation). - On stationery with printed letterhead.

8vo and oblong 8vo. Altogether 8 pp. on 5 ff. With 4 autogr. envelopes. Intimate, longing missives to Antonia Mangelmann, probably a former model or student of Kokoschka's at his Salzburg Summer Academy: "You have proven to me a dedication, truly limitless for a mother, in this, your possibly finest letter; do not be angry if the Swan proves human in his desire to embrace you in thanks for all that you keep so close to my imagination that I was overjoyed all day, so very happy. How sweet are your two hearts, and how beautiful your two bodies, such harmony of earthly forms and divine souls was known only to Greek antiquity, and I confess frankly that I return to Salzburg on your behalf alone. To have to leave such wonderful sweetness! for soon I shall have to die, a fate which I find it hard to get used to! That there shall be a wall between the three of us, that the world of shadows shall remove me forever, while you and Inge strew like buds your charm and love beneath the sky, in the light of day and the star's nightly gleam, this hurts me as my love hurts me but still keeps alive / your Oskar" (translation). The reverse of this undated letter shows a sketch of three embracing persons, inscribed "for dear Antonia / variation on our theme / by OK". The persons depicted are apparently Antonia, her daughter Inge, and Kokoschka himself. - All letters with printed letterhead. Includes 11 pp. of responding letters.

Oblong 8vo. 1 p. To an unnamed addressee, encouraging him to write a "harsh book against this stupid world, comprising a lot of remembrances of WW II, of which today's youth has got no idea, and the old generation has forgotten how silly they had behaved [.]" (transl. from the German original). - Vertical crease, small teat at one edge, and small damage to edges.

11 pp. on 3 double sheets (small 4to), and 2 pp. one 1 f. (oblong 8vo), 1 single page on 1 f. (oblong small 4to), and the 2 cards. With three autogr. envelopes. Comprehensive letters (written in German or English) to art dealer Israel Ber Neumann (1887-1961) in New York City, reporting from travels to Italy, France and North Africa, and especially about some ideas for exhibiting in America, and the impending loss of his pictures which were shown in German museums: "[.] I hav[e] success here, true, but I always had it my life long even when it was success only amongst a small crowd of juvenile enthusiasts among w[h]ich you were one of the outstanding figures in my memory of the past [.] Recently I finished a portrait of Mr. Maisky, the Soviet Ambassador of London. I think it to be one of my best works in the near past and would like to have it invited by the Museum of Modern Art, New York. You would oblige me in talking it over with Dr. Barr, the nice Director of the Museum. Nearly 40'000 people saw the collection referred above here in London, many more will see my painting in the country where it will be send around. Some people [say] it is the painting of this war. History will judge! [.]" (London, 15. IV. 1943). - Unpublished in: Olda Kokoschka and Heinz Spielmann (eds.). Letters. III. 1934-1953. Düsseldorf 1986.

Oblong 8vo. 1 p. With autogr. address. To Silvia Mahncke at Hamburg, sending a New Year's greeting and announcing to send a book which tells something about his drawing "Die Windsbraut" ("Whirlwind"), which is depicted on the picture side of the card.