Philipp Georg Braumüller: husband of Margarethe Havemann

Braumüller, Philip Georg

(Hohenlohehütte 16-09-1870 – 1927)

painter, printmaker and books illustrator. 

and was married to Margarethe Havemann in before posting. His birth place Hohenlohehütte, now Katowice, in Silesia in the South of what is now Poland. 

I found this nice painting of the Isle of Rügen with its iconic cretaceous cliff coast. Observing it having a closer look at his wife's woodblock print "Herbst" convinced me this print was also designed in Rügen and they worked together in this beautiful location, possibly spending their holiday. 

Closeby were the Hiddensee and not far away the Ahrenshoop artist colonies. In summer these wonderful locations and Dover-like Cliffs would have attracted hords of painters. Kandinsky (1866-1944) was here, Eugen Bracht (1842-1921 and Paul Emil Gabel (1875-1938) who painted the Island on several locations (above)   

Allee in Puttbus on Rügen  

My favorite Braumüller painting is this "Allee in Puttbus" painted in soft light in the tradition of "Berlin Impressionismus" and in my humble opinion matching the examples of the Grand Avenues and Tiergarten in Berlin depicted by Liebermann, Ury and Hübner. 

The painter Braumüller in auctions is both mentioned as Philipp Br. or George Br. Sometimes these names are combined indicating he is not that well known today. 

"Runkel and der Lahn"

A family chronicle stating he was born the son of an army general but a disability kept him from a military career. Instead he started his career as gardener in Breslau, some 100 miles to the West from Katowice, then moved to the centre of Germany to study in Kassel Art Academy, and also in the “Kunstschule” in Weimar. He also studied in the painting school of Friedrich Fehr (1862-1927) in Munich and with printmaker Ernst Neumann (1871-1954). He created posters ("Plakatkünstler") with woodblocks and lithography. 

He was wel known for his woodblock portraits of contemporary Munich celebrities like Max Petzold(*), composer Max Reger (1873-1916), theatre director and playwright Otto Falckenberg (1873-1947) and poet Martin Greif (1839-1911). But I was only able to find Falckenbergs (below)

He was a member of the “Graphischen Vereinigung Münchener Künstler”. and exhibited, like and possibly with his wife Margarethe, in the Glaspalast in Munich 1900-1906, in Düsseldorf 1907 and in Wiesbaden 1909.

Painting by Georg Braumuller and photograph of Berlins "Ballon Platz"  

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(*) Petzold, Max (1852-1896), the son of famous international and royal (imperial) landscape architect Eduard Petzold (1815-1891) became like his father a German gardener, garden architect and designer. He was also a painter like Braumüller (below), maybe Braumüller taught his former colleague. 

Petzold worked for some time (1880) with Elvaston Nurseries (above Elvaston Castle and Gardens) near Derby in England. Maybe Braumuller visited his friend  explaining his interest and painting of British historic steam-engine “the Rocket”. Petzold later (1882-1883) crossed the Atlantic and worked in the Central Cemetery* in Cincinnati, Ohio. He then moved to Brasil.
*Probably: Spring Grove Cemetery and arboretum which was designed combining British   landscape design with Paris Père Lachaise cemetery lay-out, by garden architect Adolph Strauch a colleague of his father Eduard. The Braumuller, Petzold and Strauch families originated roughly  from the same region and maybe are a clue and indication for these contacts and ties decades later.  

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

Please send any pictures of other paintings or portraits by Georg Braumuller. 

Margarethe Braumüller-Havemann: from Grabow in county Mecklenburg

Braumüller-Havemann, Margarethe

(Grabow/Mecklenburg 1877 -  died c.1955)

Painter, sculptor and printmaker.  

"Cloth Line"  

This rather well known print by rather unknown Margarethe Havemann  ("Flatterende Windeln") printed and published in 1905 by Seemann for Leipzig art revue "Zeitschrift fur Bildende Kunst" probably made Margarethe, still in het twenties, instantly famous. She was among Germany's pioneering printmakers and although I have no idea about edition numbers it turns up so every now and then in Ebay. 

Listen here*  to an unknown Cloth Line Ballet: one of my favorite Fats Waller (1904-1943) original compositions. He too was inspired by cloth fluttering in the winds: childhood memories ?  

Grabow in Margarethe's time, the village and Havemann residence (left)  

Margarethe was one of 6(*) surviving children of well to do Friedrich (Fritz) Wilhelm Heinrich Havemann, owner of an international seed business in Grabow in county Mecklenburg, a small trading village situated and connected by road, river, canal and train roughly between Hamburg and Berlin, and Therese Marie Lautrup who originated from Flensburg in Denmark.  

Besides this supplement edition print a handful of illustration-like (calendar ?) prints by her hand turn up regularly. One of them shows the old centre of Hamburg, a view well familiar because the "Alsterfleet" impression by Hugo Amberg (one bridge up) appeared not so long ago in this Blog (follow the label below). Working and living in Hamburg the Braumüller and the Amberg couples will probably have been acquainted. 

"Alsterfleet" woodblock by Hugo Amberg

She had studied with painter, printmaker Ernst Neumann (1871-1954) in Münich and was married to painter and printmaker Philipp Georg Braumüller (1870-1927). The couple  moved to and worked in Berlin (1905) and later moved to Hamburg where Margarethe was appointed teacher in the “Kunstgewerbeschule für Mädchen” in Hamburg in 1909. 

She exhibited, like and possibly with her husband between 1900-1908, in the Münich “Glaspalast”, in Berlin (“Große Berliner Kunstausstellung”) and in Bremen in 1906. She worked for the Magazine “Licht und Schatten” and was a close friend of Ida Demel (1870-1942). With her she co-founded the “Bundes Hamburger Künstlerinnen und Kunstfreundinnen”. Her subjects were landscape, cityscapes of Hamburg and Berlin. Her work is collected in the graphic collection of the Folkwang-Museum in Essen.

The most interesting print by Margarethe however is this "Herbst" (Fall). Although it is probably also a view of something else. I will show in next posting.

(*) Margarethe, Hedwig, Fritz (died 1907), Otto (died 1914), Robert, Richard and Hans 
  

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She was a sister of Richard Havemann (1875-1943) a famous trainer of wild animals. He started his career as an animal care-taker in Berlin Tiergarten Zoo. There he developed a show with big cats he often raised with a bottle from birth but eventually this show was judged "not appropriate" by the ZOO direction. It is good to hear ethics and thoughts about animal welfare are not exclusively from "our days". 

Havemann then bought the animals, travelled all over Europe and the USA, with his act, witnessed the San Francisco earth quake in 1906, lost many of his animals, returned to Germany and joined Hagenbeck's Circus with his act. Eventually, obviously he did not retire, his luck ran out and he was killed by his act: he was attacked by a bear he’d raised and trained as a cub and died, aged 68, from his injuries.
  

She was also sister of Hans Havemann (1887-1985) an influential teacher and writer who was the father of dissident and partisan and head of Berlin Humboldt University Physical Chemistry Department Robert Havemann (1910–1982).

Her sister Hedwig (b.1882) was a children's book writer and was married to poet Albert Sergel (1876-1949). They lived and worked in Berlin. Sadly Albert later turned sympathetic towards national socialist ideas.  

I found a book by the Sergels illustrated by Germany's famous children book illustrator Else Wenz-Vietor (1882-1973). She was one of the first women illustrators who could make a living from her work. Sadly her work today is often "related" with the national socialist world. She claimed artistically being inspired by British illustrator Arthur Rackham (1867-1939).    

Margarethes husband Georg Braumüller is interesting enough to have his own posting which will follow next.  

Margarethe is possibly related to (a niece of) printmaker Antonie Ritzerow (Grabow 1877 - ?) but that is still under investigation and will be revealed in due time. 

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

Emmy Gotzmann: first result & great find !

Emmy Gotzmann

(1881 - ?)

U-Bahnhof Bülowstrasse, Berlin 
(seen in the direction of Nollendorfplatz, next station)

U-Bahnhof Bülowstraße today.

The revealing of this painting is the result of using the immense possibilities of a friendly Internet. Combining knowledge, effort and research I'm really happy to show the world this wonderful painting that has not been seen, admired or enjoyed for so long. 

(Bülow station see in the direction of Nollendorfplatz, next station)

From Emmy's viewpoint side of the street looking towards the left: Luthers Kirche. Looking right would give the exact view on Bülow station and Potsdamerstraße crossing. This view before the line was raised, the station build and a passage was created through the wall of houses. 

And after raising the line and creating a passage. Around 1905   

This posting is also an announcement and a welcome to Emmy Gotzmann's biography that will appear later this year in honor of the obscured life and career of this wonderful and neglected painter. Who knows what other great paintings will be revealed. It's publication will be announced in this Blog. 

The newly build Bülow station, the front is situated along Potsdamersträße.   

This station is one of three rather famous stops in Berlins basic first "Hochbahn" line build in the late 1890's and opened in 1902. 

Between the Luthers Kirche and Berlin-Zoo/Kaiser Wilhelm Memorial Church  completed in 1906 on Auguste-Viktoriaplatz and Kurfürstendamm): Wittenbergplatz, Nollendorfplatz (with "Kaufhaus des Westens" founded in 1905) and Bülowstraße crossing Potsdamerstraße. The iconic station buildings were destroyed, like anything else, in the allied bombing in the last year of WW2. However, Bülow Bahnhof was rebuild.

Emmy must have taken the Godfather of Impressionists Camille Pissarro's (1830-1903) 1897 depictions of Boulevard Montmartre with high viewpoint and  diagonal compositions in mind. Pissarro was exhibited in Berlin with 40 paintings in Kunstsalon Cassirer in 1907 in nearby Victoriastraße 35 (along with 4 works by my research subject Fanny Remak by the way).

Lovis Corinth: Berlin, "Unter den Linden" and the Brandenburger Tor (were the Liebermanns owned a city palace).

 

Max Slevogt: "Unter den Linden". 

Berlin Seccesionist Lovis Corinth (1858-1925) and Max Slevogt (1868-1932), with Max Liebermann (1847-1935) the three leading Berlin impressionists, likewise choose the high viewpoint and diagonal composition in their "Unter den Linden". And maybe Slevogt had the greatest of impressionists in mind: Claude Monet's Rue de Montorgueil from 1878 (left) 
  

Lesser Leo Ury

(Nollendorf Station)

Emmy's painting is all the more important because there are so few examples of Berlin street views in painting. Let alone of the U-bahn, build after the example of New Yorks above-ground system. That is besides the paintings by a painter who was always to stand in the shadows of this trio: Leo Lesser Ury (1861-1931) owned a studio at Nollendorfplatz(1) and he just had to look outside to paint in the rainy atmosphere that is so characteristic for much of his work.

(1) The name of Ury's neighbor George Cormon (a Berlin seccessionist) keeps popping up in many artists biographies. Cormon, a painter of flowers, also taught and ran a painting school. 
   

Thank you Hartwig D.(2) and author Ferdinand Ruigrok van de Werve ! 

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

(2) to the protection of the owner of the painting. 

Fanny Remak part V: Emmy Gotzmann

Gotzmann-Conradt, Emmy Auguste Elisabeth 

(Frankfurt am Main 19-03-1881 – uncertain(*) Berlin)

German painter (also known as Emmi Gotzmann-Hardt(*).

I stumbled upon Emmy Gotzmann her name combined with Eugenie Fuchs (before posting) in a 1927 exhibition account (see lower) from the archives of the "Verein der Berliner Künstlerinnen". I discovered, like is the case with so many women (or Jewish) artists, not much information about this artist can be found or is publicly available in the Internet or in literature today.(*) What follows, illustrated with just two examples of paintings by her hand, probably is more or less correct:

Emmy Gotzmann "An der Flensburger Förde" 1905. 

Emmy Gotzmann studied in Berlin 1901-1904 with Max Uth (1863-1914) who in 1897 opened a private painting school for young women and also 

Max Uth

within the “Zeichen und Malschule des VdBK” with Hans Baluscheck (1870-1935) and Martin Brandenburg (1870-1919. 

Hans Baluscheck (l.) and Martin Brandburg (r.) 

She undertook travels to paint in Teterow (1901) and Penzlin in Mecklenburg (both north of Berlin) and in 1903 visited the “Ekensund Kunstlerkolonie” on the German-Danish border becoming close friends with Danish painter Anton Nissen (1866-1934) and Berlin Secessionist  Otto Heinrich Engel (1866-1949). Engel painted her at work (painting), below. 

Otto Engel: Emmy Gotzmann at work in Ekensund.

In 1905 she stayed with Ekensund sculptor Heinz Weddig (1870-1846), left, who created her marble bust (where-abouts unknown). In 1905-06 and 1908-109 she attended winter courses in nude-drawing organized by Weddig in the “Kunstgewerblichen  (Arts and Crafts) Fachschule” in Flensburg. In 1908 she travelled to Italy and in that year was awarded a solo exhibition in Flensburg “Kunstgewerbemuseum” which was received with great enthusiasm and praise by the local press, mainly because her mastering and use of light and color.

"Flensburg, Blick von Duburg" shown in 1908.

Old (1910) postcard showing Flensburg from Duborg.

Historical Flensburg with Mount Duborg  

Today: Panorama Flensburg from Duborg   

She had been married to Frankfurt bank employee Walter Emil Albert Conrad but was divorced in 1909. She was later married, and divorced in 1928, to Jewish actor and declamator Ludwig (Leo) Hardt (1886-1947) who later emigrated to the US.

Left Ludwig Hardt painted by Lesser Ury (1861-1931). See next posting for more connections with this Berlin impressionist painter who always worked in the shadows of Max Liebermann, Lovis Corinth and Max Slevogt.  

Above: Tietsensee, a park just around the corner of Philippi-strasse, Berlin.  

Horst Miesler (b.1934) Bismarckstrasse in 1907, near to Philippi-strasse as Emmy Gotzmann would have seen it.

From about that time, 1909, she lived in Berlin-Charlottenburg, Philippistr. 11 (this district of Berlin was developed around 1905) and she is mentioned in this address in the census of 1935 and 1943(*)

Heinrich Zille (1858-1929), the beginning of the century immensely popular "cartoonist" and photographer of Berlin life, lived and worked nearby. He saw and probably photographed and drew the area's early development.  

Emmy Gotzmann is mentioned in the VdBK archives: an exhibition 19 nov. - 20 dec. 1927 showed 155 works by 59 artists. On this occasion the city of Berlin bought two paintings: one by Emmy Gotzmann and one by Eugenie Fuchs (1873-1943) (below) 

The exhibition held on 16 march – 15 april 1930 showed 86 paintings by 47 artists. 500 Reichsmark of premium price money was shared between Gertrud Fredrich (1874 - ?), Eugenie Fuchs (1873-1943), Emmy Gotzmann, Marie Isenbart (? -1935) and Thesa Steltzner (Frankfurt  a/d Oder 8 jan. 1868 – ?). 

She took part but was not a member of the Berlin Seccesion in 1912, represented with one picture ("Arlesienne") she was among all the great names of that period, Liebermann, Corinth, George Mosson, Orlik etc.... 
(The name and studio of George Mosson is popping-up almost in every biography of painting (Jewish) women I've researched so far, see also the next posting)

Although Emmy Gotzmann once was a much praised and respected painter only mentioning of a handful of paintings is delivered to our times and are known  (to me) today(*). 

Please remind: all information found in the Internet is at best: unreliable. But considering my efforts to find out more about the life of Fanny Remak I decided to publish this posting. Please send examples of paintings by Emmy Gotzmann. And also any information on Fanny Remak is very welcomed. 

(*) A much deserved biography by the hand of former gallery owner Ferdinand Ruigrok van de Werve from Flensburg will appear later this year probably clearing the many uncertainties and answering the many questions.

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