Format: 850 mm x 555 mm
Image: 765 mm x 470 mm
Silk screen in 10 colours with metal embossings in 8 colours
After 151 BLEEDING HOUSES, mixed media, 1952
Printed by: Studio Quattro, Campalto-Venice, 1969/70, in cooperation with the printer Lino Coin
Coordinator: Alberto della Vecchia

HWG 41a (initial edition) 6,400
HWG 41b (initial edition) 1,600 signed and numbered 1-10000 (by hand)/10000 (mechanically)
The total edition of HWG 41 and HWG 42 was 10,000, subdivided into three editions:
HWG 41a (initial edition) 6,400
HWG 41b (initial edition) 1,600
HWG 42 (phosphorescent edition) 2,000
signed and numbered 1-10000 (by hand)/10000 (mechanically).

HWG 41: 8000 prints in 40 colour variants of 200 each:
Published by: Dorothea Leonhart, Munich, 1969 (41a) Ars Viva, Zurich, 1970/1971 (41b)
Hundertwasser comment about the work:
I took up the bleeding-building motif 18 years later and made a print of 10,000 copies, in 80 variations differing markedly in colour and form. I further developed the differentiation of dwellings in the storeys of the skyscrapers. The walls are not straight, but individually formed. I can readily imagine that living far from the ground, which is lethal in the long run, can be mitigated by human creativity. But where there is none, man is high-rises, so far away from Mother Earth, cannot survive. (from: Hundertwasser Architecture, Cologne, 1997, p. 24) This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. It is based on 151 Bleeding Houses. I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (just like with the Art Club portfolio of 1951) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)
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