KLIMT, Gustav - HOFSTATTER, Hans HBiblio.com
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1980190316London: Thames and Hudson 1980. The nudes of Klimt First edition in English first impression number 52 of 1000 copies. Originally published in German by DuMont Buchverlag Cologne in 1979 this handsome volume reproduces Klimt's superb pencil and crayon erotic drawings. Folio. Original beige cloth lettering to spine and front cover in red pictorial inlay to front cover beige endpapers. With glassine dust jacket. Housed in the original red card slipcase. Frontispiece and 35 full-page colour reproductions. Slip case rubbed to corners and fore edge; a fine copy. hardcover
198819215Wien, Historisches Museum, 1988. 91 S. mit zahlr. teils ganzseit. Abb,. im Text und auf farb. Tafeln. 8°. OKart. (kl. Gebrssprn.).
1931190931Vienna: Osterreichischen Staatsdruckerei 1931. A spectacular portfolio First edition number 124 of 200 copies printed in German. This spectacular portfolio reproduces six of Klimt's paintings that were destroyed at the end of the Second World War. The total edition comprised 500 numbered copies issued in French German and English. Of these 200 copies were printed in German of which 30 copies were bound as a book in a deluxe binding; 150 copies in French under the title "Dernière gerbe" of which 20 were bound as a book in a deluxe binding; and 150 copies in English under the title "An Aftermath" of which 20 were bound as a book in a deluxe binding. The six works destroyed in the war perished on 8 May 1945. Sixteen of Klimt's paintings were in storage in the Schloss Immendorf a 16th-century castle in Lower Austria which was set on fire by a retreating tank division of the German army. The six include two from Klimt's Faculty Paintings originally created for the ceiling of the Great Hall of the University of Vienna "Medizin" printed here in colour and heightened in gold and "Jurisprudenz" and four from the famous Lederer collection: "Die Freundinnen" "Malcesine am Gardasee" "Bauerngarten mit Hühnern" each printed here in colour and "Gastein". The publisher of this portfolio Max Eisler 1881-1937 was an art historian at Vienna University who published the first Klimt monograph in 1920. He intended this portfolio to compliment the only folio set produced in Klimt's lifetime Das Werk which had featured Klimt's works and was overseen by him up to 1913. Fragile collotype plates cannot 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 colour separation thin glass filters to achieve the light-sensitive internegative images that could faithfully capture all of the painting's tonal gradations and colours exposure to actinic light and delicate chine colle papers that allow for greater colour saturation. Folio. With 30 full-page collotype plates after Klimt printed on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges of which 15 are in colour 2 heightened in metallic gold and silver ink and 1 heightened in gold ink and 15 in monochrome. Sheet sizes: 48 x 45.5 cm. Together with 18 pages. Collotypes and pages loose in original green silk clamshell box artist's name in gilt to front cover. Box lid split to corners four prints with pin holes to extreme corners not affecting the images a couple with light marks to the margins not affecting the images otherwise all bright impressions. unknown
in-8°, 200 pages, ill. HB + DW VG++. [P-12] Die 20 Kapitel fügen sich zu einer amourösen Porträtgalerie vor dem Hintergrund Wiens, die bedeutende Persönlichkeiten des Kulturlebens aus der Zeit des Fin de siècle bis zur Mitte unseres Jahrhunderts umfaßt.
19989438Taschen 1998 96 pages 30x23x1cm. 1998. Broché. 96 pages.
1931182247Vienna: Osterreichischen Staatsdruckerei 1931. One of 30 prints from the Eine Nachlese/Dernière gerbe/An Aftermath portfolio. Max Eisler 1881-1937 the publisher of this print was an art historian at Vienna University who published the first Klimt monograph in 1914. He intended Eine Nachlese to complement Das Werk the only folio set produced in Klimt's lifetime which was overseen by Klimt up to 1913. Fragile hand-printed collotype plates cannot be reused so the run must be completed on the first go and in only a limited number. The complicated lengthy process involves gelatin colloids mixed with dichromates. Thin 16-colour separation glass filters achieve the light-sensitive internegative images which capture the original tonal gradations. These are exposed to actinic light. Finally the delicate chine colle paper allows for greater colour saturation. Edition of 500. Collotype in colours with metallic gold and silver on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges. Image size: 31.2 x 19.4 cm. Sheet size: 48 x 45.5 cm. Framed size: 59 x 56.3 cm. Presented in a handmade gold leaf frame with conservation acrylic glazing. Small public library stamp lower left minor spotting to margins otherwise in excellent condition. unknown
200547205Weitra; Verlag publication PN°1, Bibliothek der Provinz, 2005. 158 S., mit zahlreichen Abbildungen. Gr.-8°(=22,5-25cm), Leinen
20051070661München : Prestel, 2005. 289 S. KARTONIERTE Museumsausgabe, Mit zahlr. auch farb. Abb.
Druck des Gala Verlag, Hamburg, in 500 nummerierten Exemplaren auf Büttenpapier. Mit 15 ganzseitigen erotischen Tafeln nach Zeichnungen von Gustav Klimt. Die Hetärengespräche des Lukian zählen zu den schönsten Büchern des Künstlers. Tadellos erhalten. - Hayn/Gotendorf, Bd. IV,294.
190763832Leipzig, Julius Zeitler, 1907. Fol. Mit 15 Lichtdrucktafeln nach Zeichnungen von Gustav Klimt. 2 Bll., 37 S., 1 Bl., Grauer Orig.-Sämischldr.-Bd. m. goldener Deckelplakette u. Kopfgoldschnitt (am Rückendeckel unten sign. ?Wiener Werkstätte J[osef] H[offmann]?).
1931187329Vienna: Osterreichischen Staatsdruckerei 1931. One of 30 prints from the Eine Nachlese/Dernière gerbe/An Aftermath portfolio. The first reproduction of Klimt's original painting. Die Freundennen was one of 16 original paintings by Klimt which were destroyed on 8 May 1945. The paintings were in storage in the Schloss Immendorf a 16th century castle in Lower Austria which was set on fire by a retreating tank division of the German army. Max Eisler 1881-1937 the publisher of this print was an art historian at Vienna University who published the first Klimt monograph in 1914. He intended Eine Nachlese to complement Das Werk the only folio set produced in Klimt's lifetime which was overseen by Klimt up to 1913. The collotype produces fine tonal gradations sharp detail and a continuous-tone effect unmatched by most other photomechanical processes. However the surface of the gelatin-coated plate is extremely delicate and can break down under friction or over-inking. Plates wear out quickly giving a short print-run and maintaining consistent humidity during printing is crucial - even small fluctuations can ruin the plate. As a result collotype printing is slow exacting and vulnerable to failure but when successful it yields some of the finest printed images ever produced. Edition of 500. Collotype in colours on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges. Image size: 29.5 x 30 cm. Sheet size: 48 x 45.5 cm. Framed size: 59 x 56.3 cm. Presented in a handmade gold leaf frame with conservation acrylic glazing. Excellent condition. unknown
7948Affiche offset 64 X 94.
1931182262Vienna: Österreichische Staatsdruckerei 1931. One of 30 prints from the Eine Nachlese/Dernière gerbe/An Aftermath portfolio. Max Eisler 1881-1937 the publisher of this print was an art historian at Vienna University who published the first Klimt monograph in 1914. He intended Eine Nachlese to complement Das Werk the only folio set produced in Klimt's lifetime which was overseen by Klimt up to 1913. The collotype produces fine tonal gradations sharp detail and a continuous-tone effect unmatched by most other photomechanical processes. However the surface of the gelatin-coated plate is extremely delicate and can break down under friction or over-inking. Plates wear out quickly giving a short print-run and maintaining consistent humidity during printing is crucial - even small fluctuations can ruin the plate. As a result collotype printing is slow exacting and vulnerable to failure but when successful it yields some of the finest printed images ever produced. Edition of 500. Collotype in colours on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges. Image size: 28 x 30.7 cm. Sheet size: 48 x 45.5 cm. Framed size: 59 x 56.3 cm. Presented in a handmade gold leaf frame with conservation acrylic glazing. Small public library stamp lower left minor spotting to margins otherwise in excellent condition. unknown
1931142899Vienna: Österreichische Staatsdruckerei 1931. Edition of 500. One of 30 prints from the Eine Nachlese portfolio. Max Eisler 1881-1937 the publisher of this print was an art historian at Vienna University who published the first Klimt monograph in 1914. He intended Eine Nachlese to complement Das Werk the only folio set produced in Klimt's lifetime which was overseen by Klimt up to 1913. Fragile hand-printed collotype plates cannot be reused so the run must be completed on the first go and in only a limited number. The complicated lengthy process involves gelatin colloids mixed with dichromates. Thin 16-colour separation glass filters achieve the light-sensitive internegative images which capture the original tonal gradations. These are exposed to actinic light. Finally the delicate chine colle paper allows for greater colour saturation. Dark grey monochrome collotype on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges. Image size: 27.3 x 27.7 cm. Sheet size: 48 x 45.5 cm. Excellent condition. unknown
1931142898Vienna: Österreichische Staatsdruckerei 1931. Edition of 500. One of 30 prints from the Eine Nachlese portfolio. Max Eisler 1881-1937 the publisher of this print was an art historian at Vienna University who published the first Klimt monograph in 1914. He intended Eine Nachlese to complement Das Werk the only folio set produced in Klimt's lifetime which was overseen by Klimt up to 1913. Fragile hand-printed collotype plates cannot be reused so the run must be completed on the first go and in only a limited number. The complicated lengthy process involves gelatin colloids mixed with dichromates. Thin 16-colour separation glass filters achieve the light-sensitive internegative images which capture the original tonal gradations. These are exposed to actinic light. Finally the delicate chine colle paper allows for greater colour saturation. Dark grey monochrome collotype on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges. Image size: 27.2 x 32 cm. Sheet size: 48 x 45.5 cm. Excellent condition. unknown
1931142896Vienna: Österreichische Staatsdruckerei 1931. Edition of 500. One of 30 prints from the Eine Nachlese portfolio. Max Eisler 1881-1937 the publisher of this print was an art historian at Vienna University who published the first Klimt monograph in 1914. He intended Eine Nachlese to complement Das Werk the only folio set produced in Klimt's lifetime which was overseen by Klimt up to 1913. Fragile hand-printed collotype plates cannot be reused so the run must be completed on the first go and in only a limited number. The complicated lengthy process involves gelatin colloids mixed with dichromates. Thin 16-colour separation glass filters achieve the light-sensitive internegative images which capture the original tonal gradations. These are exposed to actinic light. Finally the delicate chine colle paper allows for greater colour saturation. Dark grey monochrome collotype on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges. Image size: 27 x 30.7 cm. Sheet size: 48 x 45.5 cm. Excellent condition. unknown
1931142897Vienna: Österreichische Staatsdruckerei 1931. Edition of 500. One of 30 prints from the Eine Nachlese portfolio. Max Eisler 1881-1937 the publisher of this print was an art historian at Vienna University who published the first Klimt monograph in 1914. He intended Eine Nachlese to complement Das Werk the only folio set produced in Klimt's lifetime which was overseen by Klimt up to 1913. Fragile hand-printed collotype plates cannot be reused so the run must be completed on the first go and in only a limited number. The complicated lengthy process involves gelatin colloids mixed with dichromates. Thin 16-colour separation glass filters achieve the light-sensitive internegative images which capture the original tonal gradations. These are exposed to actinic light. Finally the delicate chine colle paper allows for greater colour saturation. Dark grey monochrome collotype on chine colle paper laid down on heavy cream wove paper with untrimmed deckled edges. Image size: 27.2 x 29.4 cm. Sheet size: 48 x 45.5 cm. Excellent condition. unknown
197071950Stgt.: Goverts Krüger Stahlberg (c 1970). 306 Ss., 1 Bl. 8°. Ln. mit farbgeprägt. Rückentitel u. Umschl. (kl. Umschlageinrisse hinterlegt).
1980155254-1München, DTV 1980. 230 S. Mit 65 teils farb. Tafn. Original-Kartonband
22525Salzburg, Verlag Galerie Welz, sans date. In-12 de 76 pages, cartonnage couleurs. A l'état de neuf. Nombreuses reproductions en couleurs, phothographies en noir.
20121205249München : Siedler, 2012. 703 S. : Ill., graph. Darst. ; 24 cm Gebundener Originalpappband mit Umschlag
Erste dt. Ausgabe. Sehr sauber erhaltenT E I L E I N S Eine psychoanalytische Psychologie und Kunst der unbewussten Gefühle KAPITEL I Die W e n d u n g nach innen: »Wien 1900« 21 K A P I T E L 2 Die Erforschung der Wahrheit u n t e r der Oberfläche: Ursprünge einer wissenschaftlichen Medizin 4 0 KAPITEL 3 W i e n e r Künstler, Autoren u n d Wissenschaftler geben sich i m Salon Zuckerkandl ein Stelldichein 50 K A P I T E L 4 Die Erforschung des Gehirns u n t e r d e m Schädel: Ursprünge einer wissenschaftlichen Psychiatrie 59 K A P I T E L 5 Die gleichzeitige Erforschung v o n Geist u n d Gehirn: Die Entwicklung einer gehirnbasierten Psychologie 73 K A P I T E L 6 Die getrennte Erforschung von Geist u n d Gehirn: Ursprünge einer dynamischen Psychologie 9 0 K A P I T E L 7 Die Suche nach d e m Innenleben in der Literatur 1 0 6 K A P I T E L 8 Die Darstellung der weiblichen Sexualität in der Kunst 120 K A P I T E L 9 Die Darstellung der Psyche in der Kunst 158 K A P I T E L 10 Die Verknüpfung von Erotik, Aggression u n d Angst in der Kunst T E I L Z W E I Eine kognitive Psychologie der visuellen Wahrnehmung und der emotionalen Reaktion a u f Kunst K A P I T E L i i Die Entdeckung der Relevanz des Betrachters 225 K A P I T E L 12 Betrachten bedeutet Erfinden: Das Gehirn als Kreativitätsmaschine 2 4 7 K A P I T E L 13 D e r W e g zur Malerei des 20. Jahrhunderts 256 T E I L D R E I D i e Biologie der visuellen Reaktion auf Kunst K A P I T E L 14 D i e Verarbeitung visueller Bilder durch das G e h i r n 2 6 7 K A P I T E L 15 D i e Dekonstruktion des visuellen Bildes: Bausteine der F o r m w a h r n e h m u n g 281 K A P I T E L 16 D i e Rekonstruktion der Welt, die wir sehen: Sehen ist Informationsverarbeitung 301 K A P I T E L 17 Sehprozesse der oberen Ebene u n d die W a h r n e h m u n g v o n Gesicht, H ä n d e n u n d Körper durch das G e h i r n 328 K A P I T E L 18 Top-down-Verarbeitung v o n Informationen: A u f der Suche nach Bedeutungen helfen Erinnerungen K A P I T E L 19 D i e Dekonstruktion v o n Gefühlen: A u f der Suche nach emotionalen U r f o rmen 375 K A P I T E L 2 0 D i e künstlerische Darstellung v o n Gefühlen: Gesichter, H ä n d e , Körper u n d Farbe 384 K A P I T E L 21 Unbewusste Emotionen, bewusste Gefühle u n d ihre Ä u ß e r u n g d u r c h d e n Körper T E I L V I E R D i e Biologie der emotionalen Reaktion auf Kunst K A P I T E L 22 Die Top-down-Steuerung kognitiver emotionaler Informationen 423 K A P I T E L 23 D i e biologische Reaktion a u f Schönheit u n d Hässlichkeit i n der Kunst 4 3 7 K A P I T E L 24 D e r Anteil der Betrachter: Z u g a n g zur Gedankenwelt eines anderen Menschen 4 5 6 K A P I T E L 2 5 D i e Biologie des Anteils der Betrachter: Modelle fremder Gedankenwelten 4 6 6 K A P I T E L 2 6 W i e das G e h i r n E m o t i o n u n d E m p a t h i e steuert 4 8 8 T E I L F Ü N F D i e Entwicklung eines Dialogs zwischen bildender Kunst und Wissenschaft K A P I T E L 2 7 Künstlerische Universalien u n d die österreichischen Expressionisten 5 0 9 K A P I T E L 2 8 Das kreative Gehirn 5 2 1 K A P I T E L 2 9 Das kognitive Unbewusste u n d das kreative G e h i r n 5 3 5 K A P I T E L 3 0 Hirnschaltkreise i m Dienste der Kreativität 5 4 9 K A P I T E L 3 1 Talent, Kreativität u n d die Entwicklung des Gehirns 5 6 4 K A P I T E L 3 2 Selbsterkenntnis: D e r neue Dialog zwischen Kunst u n d Naturwissenschaft D a n k 595 A n m e r k u n g e n 6 0 1 Literatur 617 Bildnachweis 6 7 8 Register 6 9 2 ISBN 9783886809455
1991BN49487Dortmund: Harenberg-Edition 1991. 2. Auflage. <br/><br/>Kunst Dortmund: Harenberg-Edition unknown
