Regency Georgian Furniture Porcelain
2,810
to
5,662
21,915
16,252
3,973
17,181
24,344
13,080
1,864
20,235
7,127
6,854
3,252
1,942
Overall Height
to
Overall Width
to
13,109
7,516
2,870
2,213
2,198
882
831
627
390
370
298
105
91
29
25,159
13,930
9,696
8,225
7,210
6,655
4,558
4,039
2,282
1,886
1,860
1,781
1,455
1,424
1,380
1,252
1,221
1,213
1,054
1,033
3,572
6,352
22,434
7,165
285
554
1,100
1,030
1,128
1,632
3,028
4,611
2,521
1,197
3,069
579
416
348
305
281
14,379
11,124
6,377
3,206
3,129
Le roi Marc ("King Marc"), Original etching, Handsigned
By Salvador Dalí
Located in Paris, FR
Salvador DALI
Le roi Marc ("King Marc")
Original etching
Handsigned in pencil
Limited to 115 copies
On vellum Rives 45 x 32.5 cm
This etching is part of serie "Tristan et...
Category
1970s Surrealist Regency Georgian Furniture Porcelain
Materials
Etching
Dancing Class - Original etching, Signed
By Charles Paul Renouard
Located in Paris, FR
Paul RENOUARD
Dancing Class - "Classe du Premier Quadrille", 1893
Original etching
Signed in pencil
On Japan paper 32 x 48 cm (c. 12.5 x 19 inch)
INFORMA...
Category
1890s Art Nouveau Regency Georgian Furniture Porcelain
Materials
Etching
Hesiod Theogony - The Divinity and Dove - Original Etching Hand Signed Num /50
By Georges Braque
Located in Paris, FR
Georges Braque (1882-1963)
Hesiod's theogony : the divinity and the dove
Original etching, 1932
Hand signed in pencil
Numbered /50 copies
On Hollande vellum size 49 x 38.5 cm (c. 19...
Category
1930s Modern Regency Georgian Furniture Porcelain
Materials
Etching
Girls with a parrot - Etching, Handsigned
By Mily Possoz
Located in Paris, FR
Mily POSSOZ
Girls with a parrot
MEDIUM : Etching
SIGNATURE : Handsigned
LIMITED : 75 copies
PAPER : Rives vellum
SIZE : 20 x 15"
INFORMATIONS : Bears the blind stamp of the editor ...
Category
Early 20th Century Modern Regency Georgian Furniture Porcelain
Materials
Etching
MUCHA, Art Deco - Vintage Exhibition Poster - Grand Palais, Paris 1980
By (after) Alphonse Mucha
Located in Paris, FR
Alphonse MUCHA (after)
Exhibition "Grand Palais" in Paris, 1980
Vintage Exhibition Poster
Hi-Quality offset print
On nice paper 60 x 40 cm (c. 24 x 16in)
Very good condition, light...
Category
1980s Art Nouveau Regency Georgian Furniture Porcelain
Materials
Offset
Christmas Tree and Horses - Lithograph, Ltd 100 copies
Located in Paris, FR
Jean Marais (1913 - 1998)
Christmas Tree and Horses
Original lithograph
Signed with the stamp of the artist
(Also bears printed signature in the plate)
Num...
Category
Late 20th Century Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Vallauris : Les Potiers - Letterpress - 1963
By (after) Pablo Picasso
Located in Paris, FR
Pablo Picasso (after)
Vallauris : les Potiers, 1963
Letterpress poster after the original linocut
Printed signature in the plate
On paper 50 x 28 c...
Category
1960s Modern Regency Georgian Furniture Porcelain
Materials
Linocut
Music Angel - Stone lithograph - Catalog Raisonne : Mourlot #CS11
By Marc Chagall
Located in Paris, FR
Marc CHAGALL (after)
Music Angel (L'Ange de la Musique), 1966
Stone lithograph
Engraved by Charles Sorlier under the supervion of Marc Chagall in Atelier Mourlot
Printed signature in the plate
On Arches vellum 35.5 x 26 cm (c. 14 x 10.5 inch)
REFERENCES : Catalog Raisonne...
Category
1960s Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Mary Magdalene - Original lithograph
By Maurice Denis
Located in Paris, FR
Maurice DENIS (1870 - 1943)
Mary Magdalene
Original lithograph enhanced in pastel
Printed signature in the plate
On light cream tinted vellum 32,5 x 47...
Category
Early 20th Century Academic Regency Georgian Furniture Porcelain
Materials
Lithograph
Hippodrome Ascot Racecourse - Tall Lithograph Signed in the Plate (Mourlot)
By Raoul Dufy
Located in Paris, FR
Raoul DUFY (after)
Hippodrome Ascot
Stone lithograph after a painting (Mourlot workshop)
Signed in the plate
On Arches vellum 50 x 105 cm (c. 20 x 41 in)
With fold as published
Exc...
Category
1960s Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Monaco Exposition And Concours Automobiles - Lithographic Poster Signed
By Jules-Alexandre Grün
Located in Paris, FR
Jules-Alexandre GRUN
Monaco, exposition and concours automobiles
Lithographic poster
Signed in the plate
Printed by Arte Paris and published by Maeght
Size 98 x 65 cm (c. 38.6 x 25....
Category
20th Century Regency Georgian Furniture Porcelain
Materials
Lithograph
The Mysterious Kiss - Original handsigned lithograph
By Leonor Fini
Located in Paris, FR
Leonor FINI
The Mysterious Kiss, 1966
Original lithograph
Handsigned in pencil
On Auvergne vellum 37 x 28 cm (c. 15 x 11 inch)
Excellent condition
Category
1960s Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Hamadryades Mimétiques Arborescentes - Original handsigned etching - 1971
By Salvador Dalí
Located in Paris, FR
Salvador Dali (1904-1989)
Hamadryades mimétiques arborescentes (1971)
Original Etching on vellum
Handsigned in pencil
Numbered on 300
Size : 20 x 25.6 inch (50 x 65 cm)
Referen...
Category
1970s Surrealist Regency Georgian Furniture Porcelain
Materials
Etching
Two Paintings: Dagwood
By Roy Lichtenstein
Located in Miami, FL
From the "Paintings" Series. Lithograph and woodcut in colors. Published by Gemini G.E.L., Los Angeles. Hand signed, dated '84 and numbered in pencil lower right. 14 colors in 11 run...
Category
1980s Contemporary Regency Georgian Furniture Porcelain
Materials
Lithograph, Woodcut
Composition I
By Roy Lichtenstein
Located in Miami, FL
Screenprint on Lanaquarelle watercolor paper. Hand signed, numbered from the edition of 50 and dated in pencil. Published and printed by Gemini G.E.L., Los Angeles, with their blindstamps and inkstamp on the reverse. Eight colors, in eight runs from eight screens...
Category
1990s Contemporary Regency Georgian Furniture Porcelain
Materials
Screen
Bicentennial Print
By Roy Lichtenstein
Located in Miami, FL
Numbered and signed rf Lichtenstein and dated '75 in pencil lower right by the artist. Blindstamp Styria Studio chop lower right. From the America: The Third Century Portfolio. Publi...
Category
1970s Contemporary Regency Georgian Furniture Porcelain
Materials
Lithograph, Screen
Painting on Blue and Yellow Wall
By Roy Lichtenstein
Located in Miami, FL
From the "Paintings" Series. Published by Gemini G.E.L., Los Angeles. Hand signed, dated '84 and numbered 43/60 in pencil lower right (there were also 11 artist’s proofs). 11 colors ...
Category
1980s Contemporary Regency Georgian Furniture Porcelain
Materials
Woodcut, Lithograph
X-Man from Icons Portfolio
By Keith Haring
Located in Miami, FL
Signed, dated and numbered in pencil on verso by Keith Haring estate. Published by Tony Shafrazi, New York. Reference Littman, K, & Haring K. Keith Haring, Editions on Paper 1982-199...
Category
1990s Pop Art Regency Georgian Furniture Porcelain
Materials
Screen
Woman and the Free Bird - Original etching
By Louis Icart
Located in Paris, FR
Louis Icart
Woman and the Free Bird
Original etching and stencil
Printed signature in the plate
On vellum 16 x 22 cm (c. 6.5 x 9 in)
Excellent condition
Category
Early 20th Century Modern Regency Georgian Furniture Porcelain
Materials
Etching
King Ubu : Birds - Original lithograph, Handsigned & N° (Mourlot #416)
By Joan Miró
Located in Paris, FR
Joan MIRO (1893-1983)
King Ubu : Birds, 1966
Original lithograph
Handsigned in pencil
Numbered / 75 copies
On Arches vellum 54 x 74.5 cm (c. 21.3 x 29.3 inches)
REFERENCES : Catalo...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Lithograph
Musketeer And Children - Lithograph, 1950
By André Derain
Located in Paris, FR
André DERAIN (1880-1954)
Musketeer And Children, 1950
Original lithograph (MOURLOT workshop)
Signed with the artist's stamp
On vellum 26 x 18 cm (c. 10.2 x 7 inches)
Excellent con...
Category
1950s Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Sky from The Underwater, 1926 - Original Lithograph
Located in Paris, FR
E.H. Raskin
Sky from The Underwater
Original lithograph and stencil
Printed signature in the plate
On paper, 37,5 x 27,5 cm (c. 14,7 x 10,8 inch)
INFORMATION : This lithograph is p...
Category
1920s Art Deco Regency Georgian Furniture Porcelain
Materials
Stencil, Lithograph
Still Life with Hand - Original lithograph (Atelier Michel Cassé), 1964
By Le Corbusier
Located in Paris, FR
Le Corbusier
Still Life with Hand, 1964
Original lithograph
Printed signature in the plate
On vellum 42.5 x 35.5 cm (c. 16.5 x 13.7 in)
Edited by Forces-Vives (Paris) in 1964
Exc...
Category
1960s Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Orientalism - Original Lithograph (Les Maîtres de l'Affiche), 1895
By Eugène Grasset
Located in Paris, FR
Eugene GRASSET (1845 - 1917)
Orientalism (Magasin de Nouveautés)
Original lithograph
On vellum
Size 39 x 29 cm (c. 15.3 x 11.4")
INFORMATION : Plate 18 of "Les Maîtres de...
Category
1890s Art Nouveau Regency Georgian Furniture Porcelain
Materials
Lithograph
The July Century - Original Lithograph (Les Maîtres de l'Affiche), 1895
By Charles Herbert Woodbury
Located in Paris, FR
Charles Herbert WOODBURY
The July Century, 1895
Lithograph
Printed signature in the plate
On vellum
Size 39 x 29 cm (c. 15.3 x 11.4")
INFORMATION : Plate 32 of "Les Maîtres de l'A...
Category
1890s Art Nouveau Regency Georgian Furniture Porcelain
Materials
Lithograph
The goddess of Cythère - Original Woodcut, Handsigned, 1979
By Salvador Dalí
Located in Paris, FR
Salvator DALI
The goddess of Cythère, 1979
Original woodcut
Handsigned in pencil
Justified artist proof (Épreuve d'artiste)
On Japan paper 56 x 38 cm (...
Category
1970s Surrealist Regency Georgian Furniture Porcelain
Materials
Woodcut
Cinetic Geometric - Screen Print (Olympic Games Munich 1972)
Located in Paris, FR
After Victor VASARELY
Geometric
Screen Print
Signature printed in the plate
On paper 101 x 64 cm (c. 40 x 26 inch)
Made for the Olympic Games in Munich, 1972
Excellent condition
Category
1970s American Modern Regency Georgian Furniture Porcelain
Materials
Screen
Jane - original lithograph (1897/98)
By Louis Rhead
Located in Paris, FR
Louis Rhead
Jane
Original lithograph
Printed signature in the plate
1897/98
On vellum 40 x 31 cm (c. 16 x 12")
INFORMATION : Published by 'Estampe Moderne, Paris, 1897-1899 and pri...
Category
1890s Art Nouveau Regency Georgian Furniture Porcelain
Materials
Lithograph
Woman and Sun - Original lithograph, Signed
Located in Paris, FR
Jules Perahim (1914-2008)
Woman and Sun, 1974
Original lithograph
Signed in pencil by the artist
Numbered / 199
On Arches vellum 56 x 38 cm (c. 22 x 15 inches)
INFORMATION : From p...
Category
1970s Surrealist Regency Georgian Furniture Porcelain
Materials
Lithograph
The church of Fontenay -Etching, Handsigned
By Mily Possoz
Located in Paris, FR
Mily POSSOZ
The church of Fontenay
MEDIUM : Etching
SIGNATURE : Handsigned
LIMITED : 75 copies
PAPER : Rives vellum
SIZE : 20 x 15"
INFORMATIONS : Bears the blind stamp of the edi...
Category
Early 20th Century Modern Regency Georgian Furniture Porcelain
Materials
Etching
Heaven 18 - Beatrice's Splendor - Original woodcut - 1963
By Salvador Dalí
Located in Paris, FR
Salvador Dali (1904-1989)
Heaven 18 - Beatrice's Splendor
Original woodcut
Signature printed in the plate
1960/63
Printed on paper Vélin BFK Rives
Size 32,8 x 26,4 cm (c. 13 x 10 i...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Woodcut
The Bible : Salomon's Prayer - Original Lithograph
By Marc Chagall
Located in Paris, FR
Marc Chagall (1887-1985)
The Bible, Salomon's Prayer
Original lithography (Mourlot Workshop)
On paper 37 x 26.5 cm (c. 14.5 x 10.2 in)
A second illustration on the back, see photo...
Category
1950s Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Man in Yellow and Red - Surrealist Original Etching
By Ossip Zadkine
Located in Paris, FR
Ossip ZADKINE
Man in Yellow and Red, 1965
Original etching
Printed signature in the plate
On Arches vellum 38 x 28 cm (c. 15 x 11 in)
INFORMATION :
Edited for the portfolio Les Pe...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Etching
Impression of violin - Original etching - 75 copies
By Fernandez Arman
Located in Paris, FR
ARMAN Fernandez
Impression of violin (1979)
Drypoint etching
On Arches vellum c. 23 x 15"
REFERENCES : Field Arman catalog raisonne of prints - Otmezguine / Moreau #248l
INFOR...
Category
1970s Modern Regency Georgian Furniture Porcelain
Materials
Etching
La Confession de Dante - Engraving - 150 copies
By Salvador Dalí
Located in Paris, FR
Salvador Dali
La Confession de Dante (1960)
Heliogravure reworked with drypoint
Signature printed in the plate
On BFK Rives Vellum paper
Size 32.8 x 26.4 cm (c. 13 x 10")
Reference...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Etching
Clown with a Medal - Original Handsigned Lithograph
By Enrico Baj
Located in Paris, FR
Enrico BAJ
Clown with a Medal
Original stone lithograph
Handsigned in pencil
On vellum 38 x 27 cm (c. 15 x 11 inch)
Excellent condition
Category
1970s Pop Art Regency Georgian Furniture Porcelain
Materials
Lithograph
The Divine Love of Gala - orignal etching - signed - 1974
By Salvador Dalí
Located in Paris, FR
Salvador Dali
The Divine Love of Gala
Original etching and stencil
Handsigned in the right corner
with the blind stamp of the editor in the left corner...
Category
1970s Surrealist Regency Georgian Furniture Porcelain
Materials
Stencil, Etching
Friendship, Eve, 1969 - Original Handsigned Etching, Numbered /50
By Man Ray
Located in Paris, FR
Man Ray (Emmanuel Radnitsky, aka)
Friendship, Eve, 1969
Handsigned original etching
On vellum, 23 x 17 cm (c. 9 x 6,6 inch)
Numbered /50 copies
INFORMATIONS : This etching is par...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Etching
A Black Devil - Engraving - 150ex
By Salvador Dalí
Located in Paris, FR
Salvador Dali
A Black Devil (1960)
Heliogravure reworked with drypoint
Printed signature in the plate
On BFK Rives Vellum paper
Size 32.8 x 26.4 cm (c. 13 x 10")
References:
- Fie...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Etching
Selfportrait with a Baby Dog - Signed Stone Lithograph - 1928
By Marie Laurencin
Located in Paris, FR
Marie LAURENCIN
Selfportrait with a Baby Dog (1928)
Stone Lithograph
Printed in Atelier Mourlot
Plates signed
On China paper 42 x 31 cm (c. 17 x 12")
Excellent condition
Category
1920s Realist Regency Georgian Furniture Porcelain
Materials
Lithograph
Roberte's Head - Original Handsigned lithograph
By Pierre Klossowski
Located in Paris, FR
Pierre KLOSSOWSKI
Roberte's Head, 1989
Original lithograph
Handsigned in pencil
Justified EA (artist proof)
On Arches vellum 65 x 50 cm (c. 26 x 20 inch)
Excellent condition
Category
1980s Modern Regency Georgian Furniture Porcelain
Materials
Lithograph
Three Girls Playing Music - Stone Lithograph - 1928
By Marie Laurencin
Located in Paris, FR
Marie LAURENCIN
Three Girls Playing Music (1928)
Stone Lithograph
Printed in Atelier Mourlot
Printed signature in the plate
On China paper 31 x 42 cm (c...
Category
1920s Realist Regency Georgian Furniture Porcelain
Materials
Lithograph
An Artist's Model - Lithograph (Les Maîtres de l'Affiche), 1895
Located in Paris, FR
Julius Mendes Price
An Artist's Model, 1895
Lithograph
Printed signature in the plate
On vellum
Size 39 x 29 cm (c. 15.3 x 11.4")
INFORMATION : Plate 3 of "Les Maîtres de l'Affich...
Category
1890s Art Nouveau Regency Georgian Furniture Porcelain
Materials
Lithograph
Surrealist Machine, Fausta, 1969 - Original Handsigned Etching
By Man Ray
Located in Paris, FR
Man Ray (Emmanuel Radnitsky, aka)
Surrealist Machine, Fausta, 1969
Handsigned original etching
Also printed signature in the plate
On vellum, 23 x 17 cm (c. 9 x 6,6 inch)
Numbered ...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Etching
Playing Cards - Lithograph poster for "Le Surrealisme" by Max ERNST (Mourlot)
By (after) Max Ernst
Located in Paris, FR
Exhibition poster after Max ERNST featuring an image of playing cards
HIgh-quality lithograph printed in Mourlot workshop in 1964
Created for the exhibition "Le Surréalisme, Sources...
Category
1960s Surrealist Regency Georgian Furniture Porcelain
Materials
Lithograph
Laughing Girl - original lithograph (1897-1898)
By Armand Berton
Located in Paris, FR
Armand BERTON (1854 - 1927)
Laughing Girl
Original lithograph
Printed signature, as issued
1897/98
Printed on paper Vélin (wove)
Size 40 x 31 cm (c. 16 x...
Category
1890s Art Nouveau Regency Georgian Furniture Porcelain
Materials
Lithograph
"The World Weary" Copper Plate Heliogravure
By Ferdinand Hodler & R. Piper & Co.
Located in Chicago, IL
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...
Category
1910s Symbolist Regency Georgian Furniture Porcelain
Materials
Paper
Ballet und Pantomime "Bingha", plate #8.
By Walter Schnackenberg
Located in Chicago, IL
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...
Category
1920s Art Deco Regency Georgian Furniture Porcelain
Materials
Paper
"What the Flowers Say" Copper Plate Heliogravure
By Ferdinand Hodler & R. Piper & Co.
Located in Chicago, IL
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...
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1910s Symbolist Regency Georgian Furniture Porcelain
Materials
Paper
E. Strache, Handzeichnungen folio, "Kneeling Female, Semi-Nude" Collotype plate
By (after) Egon Schiele
Located in Chicago, IL
after 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 mas...
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1920s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Paper
Gerlach's Allegorien Plate #78: "Hunting" Lithograph by Carl Otto Czeschka
By Carl Otto Czeschka
Located in Chicago, IL
after Carl Otto Czeschka, (1878-1960), Austrian
A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...
Category
1890s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Lithograph
Gerlach's Allegorien Plate #93: "Science" Lithograph by Carl Otto Czeschka
By Carl Otto Czeschka
Located in Chicago, IL
after Carl Otto Czeschka, (1878-1960), Austrian
A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...
Category
1890s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Lithograph
H.O. Miethke Das Werk folio "The Family" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 w...
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Early 1900s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Paper
Gerlach's Allegorien Folio, plate #58: "Sculpture" Lithograph, Gustav Klimt.
By Gustav Klimt
Located in Chicago, IL
As an artist trained in the applied arts, Gustav Klimt valued all forms of art, including the graphic arts. This final design from 1896 for inclusion in Allegorien published by Gerlach & Schenk demonstrates respect for artistic precedent and for a wide range of media and technique. The publication was printed in an unknown number of copies. Klimt’s rendering in latin of the title, “SCVLPTVR.,” with three-dimensional effect on the wall, is a figurative allusion to this medium as well as a literal reference to Ancient Rome. By doing the same with his signature and date in roman numerals on the right hand side of the image, Klimt places himself, The Artist, firmly in this linear and legitimizing context of art history and as its modern standard-bearer. Playing on Classical mythology and the story of Pygmalion, in which a statue comes to life, Klimt presents his modern Venus holding an apple. Klimt’s Venus exhibits a curvilinear softness; there are no angles. Klimt deftly shows the possibilities in a graphic image to give life to dark, wavy hair and tenderness to swelling breasts and belly. To further emphasize the allegory of thriving modern art, he contrasts his Venus with the cold, hard ancient classical head whose eyes are vacuous and whose hair is but a stylized mass of curls. Klimt’s living Venus stands in front of the large bust and large classical pillar upon which is a sculpture of a Sphinx and a Greek Attic bust. As if a gallery to represent sculpture’s “best of” through the ages, the upper horizontal panel includes bust depictions in marble, cast metal and wood...
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1890s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Lithograph
"Head of an Italian Woman" Copper Plate Heliogravure
By Ferdinand Hodler & R. Piper & Co.
Located in Chicago, IL
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...
Category
1910s Symbolist Regency Georgian Furniture Porcelain
Materials
Paper
H.O. Miethke Das Werk folio "Nuda Veritas" collotype print
By Gustav Klimt & K.K. Hof-und Staatsdruckerei
Located in Chicago, IL
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 wi...
Category
Early 1900s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Paper
Ottokar Mascha Folio, plate 8: "Poster for the 1st Vienna Secession Exhibition"
By Gustav Klimt
Located in Chicago, IL
After GUSTAV KLIMT (1862-1918) THESEUS UND MINOTAURUS, 1898, final design submission for poster advertising the first exhibition of the Vienna Secession, (In Mascha, no. 8) As a cele...
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1910s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Lithograph
Gerlach's Allegorien Folio, plate #53: "Junius" Lithograph, Gustav Klimt.
By Gustav Klimt
Located in Chicago, IL
Contributors to Gerlach & Schenk’s publications valued design and innovation in the graphic arts just as much as they examined allegories as subject matter for exploration. Here, Gus...
Category
1890s Vienna Secession Regency Georgian Furniture Porcelain
Materials
Lithograph