George Brookshaw

Muscat of ALexandria Grapes by George Brookshaw

ca. 1812

"The Old-Irish Hunter." and "The Cleveland Bay." from "The Breeds of the Domestic Animals of the British Islands." by David Low. London, Fairland, 1842. Original lithograph hand-col...

Plate CCXXXI, Long-billed Curlew, posthumous reproduction after John James Audubon from The Birds of America, the Amsterdam Edition, printed in Amsterdam, 1971-73. Original multicolored photo-offset print. "G Schut and Zonen" watermark at lower edge of paper. A facsimile from the double-elephant folio...

Original copper engraving hand-colored at the time of publication. Nuremberg, 1720.

Plate CCXXI, Mallard Duck, posthumous reproduction after John James Audubon from The Birds of America, the Amsterdam Edition, printed in Amsterdam, 1971-73. Original multicolored pho...

After Gustav Klimt, Max Eisler #28, Kirche am Wolfgangsee; multi-color collotype after 1915/16 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not 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 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I...

Complete suite of 6 hand signed and numbered etchings. Includes hand signed binder. Numbered AP 24 (aside from the main edition of 100). Sheet size is 15 x 19 inches each. Image ...

In this geometric abstract monotype on paper, colored shapes complement a background that transitions from pale yellow to sky blue. A pointed star shape in dark navy contrasts circul...

Hand signed & numbered by the artist. Sheet size: 18.5 x 23 inches. Image size: 14 x 17.5 inches. Edition of 300. Artwork is in excellent condition. Certificate of authenticity in...