Moritz von Gruenewaldt, in Dresden Zoo ?

Otto Robert 

Moritz von Gruenewaldt

(1870 born Estonia – 1933 died Münich)

Estonian-German bookplate artist

and woodblock printmaker.

I don’t think many people ever heard of this artist except maybe the bookplate collector. A handful of bookplates can be found Googling, exquisite miniatures,  and there has been a folio (or book) in existence showing this work in the first decade of the 20^th century. 

This lovely print of a duck very reminding of the William Nicholson (1872-1949) duck from his Square Book of Animals (1899) but also of Hilde Exner's (1880-1922) pigeons, of the Ver Sacrum (or Vienna Secession) period: 1903. 

Otto Robert's aristocratic portrait I've found in the Estonian archives of the “Korporatsioon Livonia” the student club of the Tartu (Dorpat) University where he was a member 1890-1891. This university was established 1632, when the Swedes ruled, and was preceded by an even older Gymnasium. 

Under Russian Rule since 1710, the (a) Moritz von Gruenewaldt family even made it to governor halfway the 19th century but I have no idea if this has any relation with Otto Roberts branch of the family. 10 years before an Otto Ernst Moritz von G. (b.1860) was also a student member but he was inscribed a law student a decade before in 1880, he was born in St. Petersburg, Russia. It was in this membership archive he was named Otto Robert. All later reference only speaking of Moritz von Gruenewaldt. The signature is always "M.v.Grunewaldt". Confusing.

Not long ago I saw a woodblock print that made me strongly think of Martin Erich Philipp, the pictures not good enough to identify the signature then. It was just the sort of “déja vu” discovering the prints of Walter Helfenbein (1893-1984). I introduced this Dresden artist recently here*. I have a strong feeling both men were in Dresden Zoo with Philipp. It was the "Crowned Crane" print below. 

And then recently I saw another one but now recognizing the style and the signature. Both prints, the "Crowned Crane" and the "Lady Amhurst Pheasant" probably have belonged together (the one below had a Berlin dealer label) because, with some time in between they were offered by the same seller.

And from a collectors point of view they, “of course”, should have stayed  together or at least be re-united some day. But I can only conclude they aren’t anymore. Maybe one day they will, who knows. Whoever has the Crane, maybe stumbling over this posting, he or she may contact me any time. 

Written in pencil on the back of the small sheet (it measures only 12 x 18 cm.) a to me not readable text (in Fraktur Schrift: "zum kleinen lieben …..probably ending with: ….. von ….Grünewaldt.") and the date: October 1925. Maybe there's a clue. Maybe a certain German collector who helped out before can.   

 Martin Erich Philipp's prints of Dresden Zoo Pheasants and Cranes from a around decade before. 

This posting summing up what I’ve discovered so far on this forgotten,  obscured but talented artist. Any additions, corrections or comments are as always very welcome.

All pictures borrowed freely from the Internet for friendly, educational and non-commercial use only.  

Hélène Mass (Maß), painter printmaker (III)

Emil Orlik

(Prag 1870- Berlin 1932)

Painter, Printmaker, Professor

Father of Modern Printmakers

Trying to understand how, in a relative short period, woodblock printmakers like Hélène Maß and so many of her contemporaries from northern Germany achieved such high originality and quality I’ve been journeying around the 1890-1920 period. Meeting the printmakers, painters, the professors, teachers, the visiting artist, exhibitions, critics, publications, organisations etc.

 Emil Orlik (l.) in William Nicholson mode  and Nicholson (r.) in Orlik mode

The pivotal figure in Modern Printmaking in Germany is Emil Orlik. Once he was appointed professor, aged 34, in the Royal Art School of the Arts and Crafts Museum in Berlin in 1904 I guess most later known printmaking artists, German and visitors from abroad, will have been under his guidance and influence.

Market: William Nicholson (l.) and Emil Orlik (r.)

In 1902 Orlik returned from Japan. Before he’d visited William Nicholson in London, Felix Valloton in Paris, Max Liebermann in Munich and August Lepère in Paris was still alive, all pioneers of Modern printmaking. Thus Orlik became the funnel between the “before and after” printmakers on the hinge of the 19th and 20th century.     

 Felix Valloton(l.) and Emil Orlik (r.)

In Berlin Orlik succeeded Otto Eckmann (r.) who’d died in 1902. Before, both men were active in Vienna and München. In the south of Germany a first group of German modern printmakers was inspired: Norbertine Bresslern Roth, Carl Thiemann, Carl Moll, Walter Klemm, Martha Cunz, Karl Johne, Ludwig Jungnickel. These artists often originated from neighbouring countries, Hungary, Suisse, Austria. 

Orlik held his position in Berlin until the end of his life in 1932.  Would I like to see the 1900-20 school records and archives to see who was there and when, but I fear these might not have survived the 1930's disapproval and rejection and later the rage and fires that destroyed majestic old Berlin in 1945.

 Hélène Maß, woodblock (l.) and Max Uth (1863-1914), oil (r.)

So many talented women, Else Schmiedeberg-Blume, Elisabeth von Oertzen, Eva-Maria Marcus, Hélène Maß, Joahnna Metzner, Elisabeth Consentius, Margarethe Gerhardt, Hélène Prausnitz-Sagert, Erna Halleur, Ilse Koch, Käthe Hoch, Dagmar Hooge, Lina Ammer, Lisbet Schulz, Eva Roemer, Wally Peretz-Brutzkus, Hélène Isenbart, Meta Cohn-Hendel, Christa Lettow. Relatively few men: among them Carl Alexander Brendel, Daniël Staschus and Heine Rath.

Hélène Maß, woodblock (l.) and Richard Puls (1855-1932), oil (r.)

Most of these women were from well to do families, well trained accomplished painters following courses, classes and lessons in the abundance of first class academies, schools and studios. Some even had been to Paris. A mixed company of generations, married woman and teenagers. In some cases the influence of the painter-teacher on the later printmaking careers is obvious and I think crucial to the quality, diversity and success this "new" method of creating affordable and accountable art in original and individual copies.

 Hélène Maß woodblock (l.) and Walter Leistikow drawing (r.)

Sometimes these Master-Mate connections are known and delivered to us: Else Schmiedeberg~Lovis Corinth, Hélène Maß~Walter Leistikow and Johannes Iten, Carl Alxander Brendel~Paul Frederik Meyerheim and  father Albert), Eva Maria Marcus~Corinth and Orlik. In others I hope one day more details, bits and pieces of their lives and careers will turn up. This medium is one way of trying. Feel free to comment and send suggestions, additions and corrections. 

Hélène Maß and Eva Maria Marcus (1884-1970) woodblock.

Orliks' coming to Berlin, with his drive, his talent and his printmaking know-how was not a seed that fell in a growing pot, but the Messiah of Modern printmaking sowing with generous hands in what must have been the most fertile fields of artistic and aesthetic talent on the planet in the first decades of the 20-th century.  

Emil Orlik portraits by his Munich friend Bernard Pankok (1872-1943)   

To be continued, there's more to come. 

The overlap in posting with other printmaking blogs is purely coincidental, possibly due to the present interest and Emil Orlik exhibitions in Germany.

All pictures borrowed freely from the Internet for friendly and educational use  only.

Red haired beauty !

Victorian Red Haired Beauty by unknown artist 

Contemporary Red Haired Beauties by Corry Kooy

Charles' latest posting in ModernPrintmakers revealing a lovely small print of two cows: "Rouge and Noire" by Sylvain Boxsius (1878-1941) coincided with a planned posting on woodblock prints showing cows.

So this is a good opportunity starting with the colorful red beauties first. The opening painting of a "herd of red cattle along river Flist" by Dutch artist Corry Kooy. Although not a print perfectly illustrating the nostalgic feeling we  (at least I) have when enjoying a nostalgic scenery that has almost disappeared from our landscapes.  

 William Nicholson (1872-1949)   Anne Faulkner (1862-1933)

Since the times these printmakers took to the meadows, sat and sketched their subjects, much has changed. Many of the herds staying indoors nowadays, the bovine milking types through selective breeding changed into far more powerful and productive feno-types. Red cows and mixed stock have allmost completely disappeared. This posting with these lovely examples of times gone by a tribute to the colorful cow.

Carl Alexander Brendel (1877-1948)

Siegfried Berndt (1889-1946)

Hiroshi Toshida (1876-1950)

Kathleen Hale (1898-2000) - Johan van der Zee (1898-1988)

This "ordinary" black & white sister had to be included here ofcourse. Japanese printmaker Kanae Yamamoto (1882-1946), when staying in Brittany in 1912, made some great and surprisingly Modern (European) prints. After investigating his no doubt relationship with Breton printmaker Henri Rivière (1864-1951) I'll show them soon.

Likewise, although not prints, these cows (thank you Lily Japonisme!) also in Brittany by Paul Gauguin (1848-1903) and painted in 1890 before leaving for Tahiti 1891 I couldn't resist. His close friend Vincent, himself a red head, shows his love for red beauties and  simultaniously, with a wink, paying his respect to Old Master Jacob Jordaens (1593-1678) 

And while painting this peaceful family group of red ladies (above) one of the more sensitive German printmakers Walther Klemm (1883-1937) perhaps  found his inspiration for this print.

Hans Neumann (1873-1957) printed these probably Alpine red haired cows but they could also be grazing over the white cliffs of Dover. 

Closing this thematic posting with contemporary Dutch printmaker Margriet de Goede.