Austrian artist painter (17 risultati)

Condizione: 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].…

Große Fotopostkarte (Sediments, 8 to, mit rückseitig gedruckter Einladung zur Ausstellungseröffnung), bildseitig mit Empfehlung, Unterschrift eigenhändig signiert.

Condizione: 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]. …

Condizione: 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].

Oblong-8vo. (100 : 150 mm). 1 p. Boldly signed card of the Austrian painter and artist, with a portrait image affixed. From the collection of the late Kurt Schimmelpfennig, Düsseldorf. Rainer became a major figure in post-war Austrian art and is particularly known for his heavily overpainted photographs, drawings and canvases.…

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). 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. (100 : 150 mm). 1 p. Signed card of the Austrian painter, graphic artist and writer, with a portrait image affixed. From the collection of the late Kurt Schimmelpfennig, Düsseldorf. Kokoschka developed a highly expressive figurative style and worked across painting, printmaking, theatre and literature during a career spanning much of the twentieth century.…

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.…

Oblong-8vo. (100 : 150 mm). 1 p. Signed printed card of the Austrian painter, graphic artist and writer, bearing a printed message of thanks and signed in ink. From the collection of the late Kurt Schimmelpfennig, Düsseldorf. Kokoschka was one of the leading figures of Austrian Expressionism and became particularly celebrated for psychologically intense portraits and landscapes.…

8vo. 1 p. Autograph postcard to an unnamed recipient about his 65th birthday.

Oblong-small-8vo. 2 pp. Charming postcard to his publisher Reinhard Piper, illustrated with a lively hand-coloured sketch of two elegantly dressed strolling figures.Kubin informs Piper that he intends to travel to Passau in order to sign a group of lithographs and return them without delay: "Lieber Herr Piper, ich werde übermorgen Samstag nach Passau fahren und die sich dort wohl vorfindenden Lithos signieren und gleich wieder an Sie zurücksenden" ("Dear Mr Piper, I shall travel to Passau the day after tomorrow, Saturday, and sign the lithographs that are presumably there, then send them back to you immediately").He further asks Piper to arrange for the delivery of a publication by the painter and graphic artist Theodor Franz Schmidt at the publisher's discounted rate: "Bitte würden Sie mir zum Verlagspreis / T. F. Schmidt [.] Landschaft [.] schicken lassen ."The postcard reflects the long-standing and close professional relationship between Kubin and the Piper publishing house, which issued many of the artist's most important literary and graphic works. At the same time, the whimsical drawing reveals Kubin's playful graphic imagination in a spontaneous and highly personal form.…

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.…

4to and 8vo. Together 7 pp. (plus 1 p. in the hand of Hedwig Kubin). With one original envelope. To the Austrian Japanologist and writer Suzan von Wittek (1899-1968), written from Kubin's self-chosen seclusion at Zwickledt during the final years of the war. The letters combine condolence and stark self-observation: Kubin expresses sympathy on the death of Wittek's brother at the front, adding that he, too, has recently lost his younger sister, and reflects on how such losses extinguish "whole parts" of one's most personal lived experience. In characteristic imagery, the correspondence turns from private grief to a wider meditation on mortality and the psychological strain of the period, as Kubin reports hearing of Wittek's efforts to endure "the terrible time" and ends with a confession of his own precarious state: "Liebe und Verehrte! Hiermit auch mein Beileid zum Kriegstod Ihres Bruders. In diesem traurigen Fall kann ich besonders diesmal mitfühlen, da mir vor ein paar Monaten die - um 10 Jahre - jüngere meiner beiden Schwestern starb. Es sinken da gleich ganze Teile persönlichsten Erlebens von uns ins Grab - immer eindringlichere Aspekte von Vergänglichkeitsschauern überfluten uns - Ich höre öfters von Ihnen und wie Sie die so furchtbare Zeit tapfer bestehen - auch wieder physisch gesünder wurden. Ich halte mich hier mitten im Absturz [.]" (22 March 1945; on reverse a one-page-letter from Hedwig Kubin). - Together with a copy of Wolfgang Schneditz: Der Tümpel von Zwickledt. - Some browning due to the paper and damage to edges, otherwise well preserved. - C. Lehner (ed.), "Meine Arche schleuderts auf dem Meere der Nerven " Alfred Kubin - Herbert Lange - Suzan Wittek, Briefe 1938-1954 (Adalbert-Stifter-Institut, 2023).…

Eigenhändige Unterschrift / signiert - mit s/w-Reproporträtfoto unter dunkelgrünes Passepartout (4 to) gerahmt.