1910s Art

Pochoir Colored Plate for Journal Des Dames et Des Modes. Engraved by H. Reidel on wove paper. 15 x 19.5". 1914 Pochoir is a process where the plate is first stenciled and then ha...

Paper Size: 19.75 x 25.5 inches ( 50.165 x 64.77 cm ) Image Size: 12.25 x 20.5 inches ( 31.115 x 52.07 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Ad...

7 volumes, complete. Six 8vo volumes (292 x 190 mm), and one 4to (Huitieme année, 1919, 310 x 245 mm). Publisher's pictorial paper board portfolios, patterned endpapers, housing loos...

Fine impressionist painting by Franco-American Paul Custis Dougherty. The piece is titled on an exhibition label verso "The Bridge Winter". Also, in pencil on the stretchers the lo...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Leslie Carr (1891 - 1969) "Large Atlantic" 1440 Great Northern Railway...

Etching 19.7cm × 13.2cm (37cm × 29cm framed) Contained within the Sickert Print Catalogue Raisonné (Ruth Bromberg 167 iii/iii), this image is possibly of a female impersonator, from...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Original hand-colored woodcut from a portfolio of Secessionist fashion illustrations. Signed in the lower right margin by the artist, Reni Schaschl (1895-1979), a talented member of...

Carl Lawless (1894-1963) Circa 1915-1920 Signed lower left Oil on Canvas 17x17 inches image size 21x21 inches with frame Good Condition A beautiful American Impressionist Painting b...

Original color lithograph poster by Rene Prejelan. Ponctua (The best and least expensive precision watch), 1910. A fine watch at a fine price- and the...

Deco Woman Crayon on paper, c. 1920 Signed in ink lower left: "Wm. Sommer" (see photo) Provenance: Estate of the artist Edwin Sommer (the artist’s son) Jose...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs...

The three prints included in this set are: "Retreat from Marignano", "Retreat from Marignano (left panel)", "Retreat from Marignano (right panel)". 2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser and subsequent Expressionist artists such as Egon Schiele. He was born into an impoverished family in Bern, Switzerland in 1853. His entire family succumbed to tuberculosis, and he was orphaned by the age of 13, the only surviving child among his 13 siblings. In the absence of family, the influence and guidance which his art instructors provided Hodler was foundational and profound. Hodler began formal studies in 1872 at the Geneva School of Design. Under Barthelemy Menn, Hodler was drawn to the ordered beauty of Euclidian geometry and Durer’s fundamentals of human proportion that proved to be guiding principles informing his art throughout his life. By the 1880s, Hodler began to enjoy some recognition for his work which put him on a new path towards stability. Remaining in Geneva, he became assistant to the well-known muralist, Edouard Castres. Following his first solo show in 1885, Hodler’s work took on a Symbolist quality. He frequently associated with a group of Swiss Symbolist...

A magician billed as The Fakir Shah Rabey is pictured with his "astral" subject, The Aerial Woman, who levitates above in a hoop. Original lithographic magic poster...

ALBERT RUTHERSTON, RWS (1881-1953) Page for the Emperor – Costume Design for Androcles and the Lion Variously inscribed: “Androcles”/No.28/ Two Pages for The Emperor/ Mr Alfree/Mr Bugh/King Watercolour, pen and ink and gold paint Framed 25 by 19 cm., 9 ¾ by 7 ½ in. (frame size 43 by 36 cm., 17 by 14 ¼ in.) Provenance: By descent in the family of the artist. Exhibited: London, Sally Hunter Fine Art, Albert Rutherston – Drawings, Theatre Designs & other Treasures, 2016, no.75. The present work is a costume design for a page in Androcles and the Lion, a play in two acts by George Bernard. Rutherston designed the set and costumes for the 1913 premier production performed at St James’s Theatre, London and produced by Harley Granville-Barker. Born Albert Daniel Rothenstein, he was the youngest of the six children of Moritz and Bertha Rothenstein, German-Jewish immigrants who had settled in Bradford, Yorkshire in the 1860s. He and his siblings proved to be a hugely talented and artistic family, his elder brother became Sir William Rotherstein (1872-1945), the artist and director of the Royal College of Art; two of his other siblings, Charles Rutherston and Emily Hesslein, both accumulated major modern British and French art collections and his nephew Sir John Rothenstein was direct of the Tate Gallery. He was educated at Bradford Grammar School before moving to London in 1898 to study at the Slade School of Art where he became close friends with Augustus John and William Orpen. He met Walter Sickert during a painting holiday in France in 1900 and by introducing Sickert to Spencer Gove became instrumental in the beginning of the Camden Town Group. He was one of Sickert’s most frequent companions and was one of the original members of the Fitzroy Street Group. Rutherston had a sociable and attractive personality, he frequently travelled abroad with other artists including Max Beerbohm, Spencer Gore, Walter Russell and Edna Clarke Hall...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Etching of a woman dressed in turn of the century attire looking out at the viewer. The work is signed in pencil by the artist. The etching is not framed. Artist Biography: William...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

Nothing is more delightful than depictions of people from the turn of the century that convey a distinguished sort of elegance, composure and dignity. Gone today is the concept of "...

CHARLES SIMS, RA, RWS, RSW (1873-1928) Drapery Study for the Royal Academy Arts & Crafts Mural Pencil, squared for transfer Unframed, in conservation mount 17.5 by 24 cm., 7 by 9 ...

Georges CONRAD (1874-1936) Study of woman in bathing suit Original India ink and color pencil drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10.4 x 7.8 in) Ver...

Georges CONRAD (1874-1936) Nineteenth-century Coachman Original India ink and pencil drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x 7.8 in) Very good co...

Georges CONRAD (1874-1936) Tribute to Degas Ballerina : Sitting female nude Original India ink and pencil drawing Signed with the stamp of atelier On...

Georges CONRAD (1874-1936) Elegant Woman Seen in Cafe de la Paix (Paris) Original pencil and color pencils drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x ...

Georges CONRAD (1874-1936) Secretary in the Subway Original pencil and color pencils drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x 7.8 in) Good conditio...

John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying), 1913, Etching. Z112. Edition c. 12 (Steiglitz); 1924, unknown but small (New Republic). Signed in pencil. Signed and dated...

Corinth, Lovis. WEIBLICHER AKT MIT BREITKREMPIGEM HUT (Female Nude with Broad-Brimmed Hat). Schwartz 226A. Etching, 1916. 11 3/4 x 7 3/4 inches, 300 x 198 mm. The earlier version, be...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...

Berkes, Antal ( 1874-1938) Antal Berkes was a Hungarian painter, born in Budapest, Hungary. He lived in Paris for some time and produced cityscapes there as well as similar str...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...

Marc, Franz (German, 1880-1916). STELLA PEREGRINA. FranzHanffstaengl, Munich, 1917. Only edition. Number 25 of the limited edition of 110. Folio (18 x 13 inches), parchment-bac...

To see our other original vintage travel posters, many of which have skiing subjects, scroll down to "More from this Seller" and below it click on "See a...

This original woodcut is hand signed in pencil "Lyonel Feininger" at the lower left margin. It is also inscribed with the work number by the artist “1815” in the lower centre of the...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Oil Painting by Charles Henry Burleigh "The Farmstead" R.B.A 1875- 1956 Brighton painter member of the Royal of Institute of painters. Also ex...

G.C. Haverkamp ( 1872-1926) View of Antwerp, Veemarkt with Saint Pauls Church , original signed etching circa 1914. Fine detail etching in good condition . Antique giltwood frame.

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

Story illustration for “The Planting of the Trees: The Story of Sceanba’s Love” by Eleanor Cox for The Delineator, published April 1919. The full published caption reads: “So Hate ...

Hotel St. Gothard Zurich. 1917. Color lithograph, On linen. 50 x 36" Otto Baumberger’s first posters were created in 1911. However, his most productive period for posters was from the 1920s to the mid-1930s. He created about 230 posters in all, many of which he lithographed himself. An important representative of Swiss Expressionism...

Heckel, Erich (German, 1883-1970). WINTERSONNE. Dube 318. Drypoint, 1913. Edition size not known. Signed and dated "Heckel 1913" in pencil. Printed on heavy wove paper. 4 3/4 x 6 1/...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Extraction of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Transportation of Marble Blocks is a Silver Salt print realized in the 1910s. From Alinari archive. Good conditions and aged.

Portrait of a woman praying at a table with food. In the corner a cat reaching up to see over the table. The etching is signed by the artist in the botto...

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...