MAK

Volltext: Alte und Moderne Kunst XXVI (1981 / Heft 177)

Kleine Gemäldegalerie im Hause Waerndorier. An der 
Wand Bilder von Guslav Kllmt: links, Stille Weiher im 
Schloßpark von Kammer, 1899; rechts. Bauernhaus 
mit Birken, 1900. Aulnahme unbekannten Datums. 
Osterreichisches Museum für angewandle Kunst. (Fo- 
to: Museum) 
Haus Waerndorfer, Kamin-Ecke im Herrenzimmer. Auf 
dem Kamin Plastik von Georges Mlnne. Llnks und 
rechts vom Kamin Bilder von Gustav Kllmt: Stille Wel- 
her im Schloßpark van Kammer, 1899, und Obstgarten 
am Abend, 1899. Aufnahme unbekannten Datums. 
Osterreichisches Museum für angewandte Kunst. (Fo- 
to: Museum) 
Haus Waerndorter, Musik-Salon, 1902 von Charles 
Rennie Mackinlosh eingerichtet. Aufnahme wahr- 
scheinlich 1903-4. Hunterlan Museum. Unlverslty o1 
Glasgow, Mackintosh Collection (Foto: Museum) 
Haus Waerndorfer, Musik-Salon, Teilansicht mit FID- 
gel. Aufnahme wahrscheinlich 1903-4. Mli freundli- 
cher Genehmigung von Frau Fiona Waerndorfer 
McCleary, Florida. 
Haus Waerndorler, Musik-Salon. Kamin-Ecke. Aufnah- 
me wahrscheinlich 1903-4. Mit freundlicher Geneh- 
migung von Frau Fiona Waerndorler McCleary, Flori- 
da. 
Haus Waerndorler, Musik-Salon, Durchgang zum Spei- 
sezimmer, mit einem Doppelvorhang. 1902 von Char- 
les Rennie Mackiniosh entworfen. Aufnahme wahr- 
scheinlich 1903-4. Mit freundlicher Genehmigung 
von Frau Fiona Waerndorier McCleary, Florida. 
 
Anmerkungen 3711 (Anm. 3 - 7 s. Text S. 33, 
Anm. 12- 15 s. S. 36) 
1 For iniormarion regarding Fritz Waerndorler": upbringing and 
lamrly background r nave drawn On his own unpubllshed memw 
oirs and on rhe recolleclions ol surviving members o1hislamily. 
I am especlally gratelul [0 hiS wldOw, M15. Frona Waemdorler 
McCleary, and 10 hls lhree nleces, Ncra Hodges, Eetly srurz and 
Laure Zlrner, Vor rheir nelp and encnuragement in lne preparar 
riun o! rhls arllcle. 
' Waerndorfefs leners are scarrered In verious publlc and prlvale 
collecuorls; among the mosr lmportant are tha letrers ro Her- 
mann Bahr In Irre Handschriflenableilung 01m9 Thearsrsamm- 
lurrg der Oeslerrelchischen Nationalbibliothek, and 10 Josef 
Hoffmann and Olrlers in lhß Wlener Sladtbibliolhek. I am gralee 
1Ul (O (T1859 IHBIIUJUOHS and I0 (he prlvate COIISCIOVS who have 
allowed me access w lhls prevlously unpubllshed malerial. 
S Waerndorler ro Hoflmann, 29 Aprll 1902; collacrlon Frau Karla 
HoHmann, Vienna. 
I Leller lrom Gustav Kllml w Marie Zimmermann, August 1903, 
published by Chrlslian M. Nebehay, "Guslav Klimt scnrelh! an 
eine Liebe", in Mllleilungerl der Oesrerlefclrlschen Galerie - 
KIlml-Studlen, Jg 2212311913119), Nr. serar, s. nor. 
7 Carl OHO Czeschka recalled thls visit (O London In lhe company 
Of Hoffmann, Klim! and Waerndorler In a lauer (0 Hans Ank- 
wloz-Kleehoven oated 15119 Ocluber 1956 (Wiener Sladlblbllc- 
lhEk, IVW. Nr. 155.576); S99 also Chrisnan M. Nehehay, GMSIEV 
KUIVII - Dokumenlnlrorr, Vierlna 1969, S. 497. 
' L. HEVQSI, "Haus Wämdorler", reprlrlled In AIIIUIIISI - Neue 
kunsl, Vienna 1909, s. 225. 
' Flelerences are to rhe aeuvre caralogue o1 Kllmfs work ny Jo- 
Hannes Dobai; S99 Fritz Novorny - Johannes Dobay, Guslav 
Klrml, Salzburg 19er. 
"' "Haus Wärndorler", S. 222. 
1' Examples ol graphlc works by Behmer Irom Waerndorlefs col- 
lecrion were reproduced in early lssues o1 w: Saclum, e. g. Jg. 
1900, S. 36475; lhe EX LrbrlS M059! designed 101 Waerndorler 
has been lrequently repmduced, e. g. by Werner Fenz, Kaln M07 
S37, Inrelnanonaler Jugendslll und Wiener SECESSIOH, Salzburg 
l 75, S. 106. 
8 
 
years. Hls interest in avant-garde art and literalure 
was both genuine and deeply-felt, and he could 
display a guite unconventional willingness to 
shock, to flout public opinion. These were traits 
he had inherited in part from his mother, Bertha, 
hersell famous throughout Vienna as "lhe woman 
who liked lbsen". Her son recalled: "Everything 
new, if lt were good, found in her a keen admirer 
and enthusiastic supporter. She loved to fight for 
new lalent, and vigorously opposed lhe critics and 
anyone else who was inclined lo scoff and 
scorn?" 
While some of Waerndorfefs own literary inter- 
ests might be dismissed as lypical turn-of-the- 
century fashions, such as his enthusiasm for the 
writings of Schopenhauer, Maeterlinck and Edgar 
Allan Poe, his other passions are often more unex- 
pected: his admiration for the poet Peter Allenv 
berg, for example, or the dramatist Frank Wede- 
kind. He also had a flair for discovering the origi- 
nal and unknown. A! the Kabarett Fledermaus in 
the Kaerntner Strasse, which he took over in 1907, 
he presented to an enraptured public three young 
sisters named Grete, Elsa and Bertha Wiesenthal, 
whose natura! and unfcrced manner cf dancing, 
according to Malmberg, took Vienna by stor 
The diet of entertainment on which the Fle 
maus thrived was very much a reflection of We 
dorfefs own personal taste, especially his 
sion for dance and mime. The core of the wri 
malerial was provlded by a clrcle ol Vlennese 
ers and satirists lor whom he had a special a' 
tion: Altenberg, Hollilzer, Alfred Polgar, Egon l 
dell. The Kabarett Fledermaus also provided 
porary employment for the young Kokoschka, 
made designs for litlle "shadow plays" sucl 
The Speckled Egg whlch were performed rr 
Waerndorfer seems to have laken Kokoschka 
der hls wing. According to family legend, he s: 
lhe young arlist from starvlng, though whe 
this means Kokoschka was the direct recipier 
Waerndorfefs ever-ready generosity, or merel 
fers to his occasional work in furnishing des 
both for the Fledermaus and for the Wiener Vl. 
statte, is not known. At all events, lhe 
published a number of Kokoschkas design: 
post-cards or greetings cards, as well as 
remarkable volume cf poetry and lithographs, 
Träumenden Knaben. Waerndorfer also bol 
Kokokschkafs drawings Die Traumrragenden l
	        

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