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
