Fine Art Prints. Digitisations from the Department of Image Science
Fine Art Prints from the Department of Image Science

The Department for Image Science presents limited Fine Art Print Editions of selected pieces from the Graphic Art Collection of the Göttweig Abbey. You will find exceptional designs in high-end quality from one of the largest private graphic art collections in Austria, which has previously been almost unaccessible to a wider audience.

The reprints have an incomparable resolution of 78 million pixels, which makes them nearly undistinguishable from the original. Any of the 300 prints of an edition comes with a certificate of authenticity and is printed on the highest quality paper for art print (Hahnemühle German Etching 310 g), which guarantees the highest durability.

 

Jan Saenredam (1565-1607) after Lucas van Leyden (1494-1533)
"Yael killing Sisera"
Copper engraving, published by Christoffel van Sichem (ca 1546-1624) in Amsterdam
Dimensions 36x28,9 cm with 2 cm white border
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Johann Michael Püchler (Büchler) (traceable 1680-1702)
"Martin Luther"
Micrography
Dimensions 36x24,4 cm with 2 cm white border
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Girolamo Rossi (de Rubeis I) (1630-) after Raphael (Santi (Sanzio), Raffaello) (1483-1520)
"School of Athens"
Copper engraving, 1648
Dimensions 49,7x79 cm with 2 cm white border
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Cornelius Bosch (Cornelis Bos) (1506/10-1556)
"The Laocoon Group"
Etching, 1548
Dimensions 79x57 cm with 2 cm white border
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Simon Vouet (1590-1649), Hans Troschel (1585-1628)
"Format et Illustrat"
Copper engraving
Dimensions 25x34 cm with 2 cm white border
signed below Simon Vouet In:, Joan: Tröschel sc:
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Johann Bernhard Fischer von Erlach (1656-1723)
"Pyramides Aegyptiacae"
Copper engraving
Dimensions 57x79 cm with 2 cm white border
signed below J. B. Fischer v. E. delin.
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Johann Bernhard Fischer von Erlach (1656-1723)
"Statue of Zeus at Olympia"
Copper engraving
Dimensions 57x79 cm with 2 cm white border
signed below Joan: Bernard Fischer v. E. delineav:
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Sebastian le Clerc (1637-1714), Heinrich Jonas Ostertag
"The Academy"
Copper engraving
Dimensions 50x79 cm with 2 cm white border
signed below Heinrich Jonas Ostertag sculp., Seb. le Clerc invenit
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Martin Engelbrecht (1667-1744)
"The gorgeous opera singer Silvia - Nicephorus Zwickelini"
Copper engraving, coloured
Dimensions 23,5x34 cm with 2 cm white border
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Albrecht Dürer (1471-1528)
"Life of Mary, Flight into Egypt"
Woodcut, 1511
Dimensions 36x26,2 cm with 2 cm white border
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Adolphe Friedrich Kunike (1777-1838) after Jakob Alt (1789-1838)
"Göttweig Abbey"
Lithography, 1826
Dimensions 34,8x41,5 cm with 2 cm white border
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Franz Anton Maulbertsch (1724-1796)
"The Man with the Zograscope"
Drypoint etching, 1785
Dimensions 60,8x73 cm with 2 cm white border
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Johann Daniel Herz (Hertz) the Elder (1693-1754)
"View of Jerusalem from the West with Scenes from the Life of Jesus"
Copper engraving, ca 1735
Format 53,7x79 cm with 2 cm white border
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Johann Christoph Winkler (1701 - ca 1770)
"Maria de Victoria - Naval battle at Lepanto (1571)"
Copper engraving, Vienna 1767
Dimensions 69x64 cm with 2 cm white border
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Gustav Klimt
"Medicine"
Heliogravure
Dimensions 56,7x79 cm with 2 cm white border
signed below Gustav Klimt
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Salomon Kleiner (1700-1761)
"Göttweig Abbey: View from the South"
Dimensions 59x79 cm with 2 cm white border
Copper engraving, coloured
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Albrecht Dürer (1471-1528)
"Veil of Veronica"
Steel engraving
Dimensions 34x25,5 cm with 2 cm white border
With monogram and date 1516 AD
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Rembrandt Harmensz van Rijn
(Leiden 1606-1669 Amsterdam)
Three female heads
Etching
Dimensions 24,5x34 with 2 cm white border
Signed below Rembrandt f. 1637
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"Das barocke Thesenblatt"
Current Exhibition
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Thesenblätter, opulent ausgestattete Bildstiche, mit denen die Thesen bekannt gegeben wurden, die Gegenstand einer öffentlichen Disputation werden sollten, stehen im Zentrum der aktuellen Ausstellung. In der kunsthistorischen Forschung wurde die Gattung lange ausgesprochen stiefmütterlich behandelt. Man betrachtete sie als bloße Gebrauchsgraphik, weshalb die prachtvollen Blätter zusammen mit Thesenbroschüren und ähnlichen Kleindrucken lange ein Schattendasein in den Bibliotheken und Archiven führten.

Seit einiger Zeit allerdings lässt sich ein neues Interesse an der Gattung "Thesenblatt" beobachten, das sich nicht allein einem insgesamt gewachsenen Interesse an der Druckgraphik verdankt sondern vor allem der zunehmenden Öffnung kunsthistorischer Forschung auch für kultur- und wissenschaftshistorische Fragestellungen. Statt stil- oder künstlergeschichtlicher Fragestellungen berücksichtigt die jüngere Forschung verstärkt auch den historischen, medialen und politischen Entstehungskontext der Blätter.

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