Mediterrane Küste 1959: Artist Identification

 Mediterrane Küste 

(40 x 54 cm.)  1959

The artist who created this lovely large abstracted Mediterranean woodblock (Farbholzschnitt) landscape was never properly identified: Karl......?     '59. So it is high time to request some help and suggestions from readers.

65 years old but as fresh as made last week. I count 10 different colour blocks and/or templates. 

All suggestions welcomed.   

www.dashausderfrau.nl

Abraham de Verwer.

 Abraham de Verwer (1585-1650)

(and the Dutch panorama) 

was a Dutch painter and contemporary of Rembrandt (1606-1669) also working in Amsterdam. This very Dutch river view fac-simile water colour drawing, a German high quality 1920 reproduction, was found in the same left-over bunch as the Finding Moses drawing shown in the before posting (and explaining). It once belonged to the same private collection. Its today's whereabout is unknown.    

100 years later:

with some simple mouse clicks it is possible to find related (stretched, oblong) format drawings by de Verwer to share. In  just one second (still amazed every time, being from the "Scotty-beam-me-up" and Thunderbirds generation. They show the hand of a keen observer and fine draughtsman. The oblong 13,5 x 34 cm. format adding greatly to the panorama "experience". Besides this typical format (2:5) drawing several more classic format (2:3) works by his hand can be found. Many of them marines with great panorama compositions and many types of ships and vessels drawn with great precision.

Finding Moses

Rembrandt - Rembrandt(?) - Ferdinand Bol 

Finding Moses 

Moses, who (this is a heartbreaking story) was set afloat in a basket by his mother Jocabed (Jochebed) in river Nile, as ordered by the Pharaoh to dispose of all Jewish born boys. This drawing shows the moment he is found and rescued and, ironically by Termuthis, the Pharaoh's own daughter. All this happend around 1250 BC if we may believe the stories and the chronicles. And the bible of course.  

Or: as close as a mortal collector on a budget can get to owning an (almost) original Rembrandt.

The drawing was part of the vast collections of important Dutch art historian, collector, critic and Rembrandt expert Dr. Cornelis Hofstede de Groot (1863-1930). He acquired it in 1902 (bought in London) and all his life he was confident he owned a (another, he had several more) original Rembrandt drawing. He was the world's expert after all. He also concluded Rembrandt's student Ferdinand Bol (1616-1680) used Rembrandt's sketch, praised jubilantly for all its qualities, for his painting. The praise is completely deserved IMHO: it is one of those genial and artistic Wonders-of-the-World pairing maximal expression and movement to ultimate simplicity perhaps equalled by Picasso's wonderful genial hand and mind 250 years later. 

Realising this is "just" a 100 year old quality reproduction I remember knowing this drawing since my 1960's High School years. 60 years later this copy kind of found me. Just try and find one ! 

  

1923

HANDZEICHNUNGEN HOLLÄNDISCHER MEISTER 

Aus der Sammlung Dr. C. Hofstede de Groot  im Haag

Neue Folge 

Vierzig (40) ausgewählte Zeichnungen Rembrandts, seines Kreises und Seiner Zeit. 

Herausgegeben von Prof. Dr. Felix Becker 

Verlag Bernhardt Tauchnitz - Leipzig 

Edition of 525. 

90 examples of Hofstede's extraordinary collection of Old Master drawings were published in 2 large sized folios of "fac simile" (technically best possible) reproductions (containing each 50 and 40 pieces) with explaining text. By Prof. Dr. Felix Becker  (1864-1922 and yes, involved in the Thieme-Becker Artist lexicon) with a beautiful type-face title page by Walter Thiemann (1867-1951). 

After a century these folios are not extremely rare because printed in higher edition numbers. They were ordered and bought by collectors, archives, libraries, museums and individuals who of course could not afford the originals, like Hofstede de Groot could. Our grandparents (at least the better situated) obviously used a choice of these fine reproductions to frame and decorate their homes.  

Thus the reality is most folios found are incomplete and complete folios are rare. Savaged folios in different states of disintegration are found in car boots, in junk- and charity shops. They are usually inexpensive, and it is always a surprise how many and which prints were left behind. 

In my cheap copy 24 from 40 were left.  Among them was "Finding Moses".  

Today making a copy digitally with a computer, a commercial inktjet printer and cellphone photo or scan is child's work. In 1923 it took incredible craftsmanship to photographically (glass-plate negative)-lithographically create a quality reproduction of a work of art like this drawing. Analog, by hand. 

---------------

Ferdinand Bol (1616-1702)

Finding Moses:  since around 1900 in Amsterdam Rijksmuseum  

No doubt after the sketch by who-ever drew it, and situated in the Egyptian summer (his nude version causing controversial commentaries).  

Rembrandt

 Finding Moses (Amsterdam Rijkmuseum)

Rembrandts version drawing of "Finding Moses", also an extraordinary drawing and also a masterpiece. A great oriental drawing/sketch with a very modern "feel". The both cut-off umbrella and the wheel (almost driving from the scene) are brilliant details. However, compared with the iconic sketch above by who-ever  created it ...............

Moses ter Borch (1645-1667)

Short lived Moses ter Borch, he died 22 years old in England, must have had notice of Rembrandt's Finding Moses. The umbrella and the servant reaching Moses from the water to another helper in the company in his drawing are very suggestive. 

Pedro América (1843-1902)  

After the actual finding and rescue of Moses who later would lead his enslaved people from Egypt to the Promised Land the story says his mother even saw Moses back to breast feed him and make him survive the ordeal on the Nile and thus at least knew he was safe after all. After which he was raised by his foster mother Termuthis in the court of Seti I or his son Ramses II (the records are inconclusive). Pedro América choice this moment of mother and child and either he had inside knowledge Jocabed was a stunningly beautiful woman or deliberately romanticised the biblical scene.  

-----------------

After Hofstedes death much of his collections of books, drawings paintings etc.. were bequested to different Dutch Museums. 

---------------

Tea ceremony ?

Help requested  

I have no idea who created this print.

 Nor any clue to what we see: a tea ceremony ?

(23 x 47 cm.) 

It is a thoroughly Japanese (Chinese, Korean ?) in subject,  in style and character but also signed and edition numbered  (135/200) it seems to me it almost must have been created by a European artist.

The print was recently found in a large older graphics collection with mainly many fine French and Dutch artists. 

The print is laid-down (glued to a backing board) and the matt (passe-partout ) seems 1940-50s.   

Please send any idea of suggestion to help identify the maker. 

H . A . Sin B

is what I read but this made no sense so far. 

THANK YOU !

Hans Schütz 1906

 FRÜHZEIT des Modernen Holzschnitts

This winter print was exhibited in the winter of 2014-15 in Städistche Wessenberg-Gallerie in Konstanz in an exhibition showing 60 winter woodblock prints from the collection of Munich collector Felix Häberle (1941-1921). Sadly there was no catalogue (inquired). Its title "Baum über ein Bach in verschneiter Landschaft" probably was an educated guess. Considering the reputation of collector "Rechtsanwalt" Haberlé the attribution to Hans Schütz (Schüz) (1883-1922) and the date (1906) can be trusted and was read probably written underneath.  

Another copy of this exceptional print was never seen before or since (at least not by me.....). 

1906    

places Hans Schütz, who before today was never described as a pioneering "Holzschnitt" artist, in the heart of the birth of Modern Printmaking and among his colleagues who were active in this field: Kandinsky, Thiemann, Klemm, Orlik, Neumann, Berndt. 

Than, very recently another copy emerged as:

"In den Isargauen bei Garching" 

Orig.- Farbholzschnitt von Hans Schütz.  

Freisinger Künstlerpresse W. Bode 

Isargauen is a park along river Isar in the heart of Munich. Walter Bode (1934-2022) was the founder of a bibliophile printing house in town of Freising. Considering the reputation of Walter Bode as a printer and his annotation it may have been printed from the original blocks although there is no mentioning of "Nachlass" (posthumously). Sadly both Häberle and Bode can no longer be consulted. 

Hans Schütz married Else, an artist, the daughter of pioneering Swiss health tourism pioneer and sanatorium founder in Arosa: Dr. Otto Herwig. Schütz died, 39 years old of pneumonia in the 1922 flu pandemic himself a "Kurort" patient. 

Read more about Hans Bode, Otto and Else Herwig and Hans Schütz in the accompanying my collection book of biographies.

All further information is very welcomed.  

Alfred Möllner: "a kind of Nolde"

 Alfred Möllner 

(born Hildesheim 1930 - ?)

"Meer mit roten Wolken"

If you ever dreamed to have and to hang an Emil Nolde (1867-1956) painting, and are not financially solid enough to transfer 7.3 Million €. to the auction house, try finding one of the signed and limited to 150 copies lithographic reproductions by Nolde's probably last and most talented student (1953-54) Alfred Möllner. Affordable but great art.  It'll do for me, has too. The sensation of "having" is perhaps greater than visiting Nolde online or even experiencing and undergoing Nolde's originals in his museum. 

Displayed, matted and framed 50 x70 this Möllner Opus Magnus (IMHO) is a stunning art work, an eye catcher and will prove to be a conversation piece in any interior.  

Emil Nolde: €7,3.000.000 in a recent auction. 

5 of Möllners paintings were lithographically reproduced (image seize 36 x 50 cm., date unknown). Sets and individual copies sometimes appear in eBay etc. They represent expressionist sky impressions over Germany's North provinces (Emil Nolde country...). They will not throw you in poverty.  

Titles: "Friesenhof" - "Wolken über dem Horizont" - "Abend im Teufelsmoor" - "Küstenlandschaft".

Finding not more than a dozen other examples of Möllners expressionist water colour landscapes (all in one auction....) and besides the facts he was born in Hildesheim, studied in Karlsruhe academy and was Noldes last master-student, shortly before Nolde's death, NOTHING can be found about his artistic career and life. Following the titles of some of his works: he visited America, the Caribic and England. No exhibition records came to light.   

He or she who knows more is invited to share this knowledge.    

 

(All pictures borrowed freely from the Internet for friendly, academic and non commercial use). 

Pont Neuf

 Le Pont Neuf (Paris)

The location is a well known, iconic and famous one: the oldest stone bridges of Paris connecting the western tip Isle-de-la-Cité (square Vert-Galant) with 2 sets of arches with the North and South banks of River Seine. Although there are 4 possible location of this perspective, seeing both Pont du Carrousel and Pont des Arts on the horizon,  below the arch, it is most likely this location:

Besides the fisherman, a mysterious tramrails (of which no examples of this structure in other copies of art or photograph could be found), some beached small vessels and the outline of a Bateau Lavoir (lower right) is visible. 

Although many artist impressions (paintings, etchings etc) of the Pont Neuf can be found the passage on quay level is not found very often.  First of all the Armington artist etching couple (Frank & Caroline) who frequented this particular site, came to mind but the signature tells different ! 

Maybe an interested reader or specialist can help reading the signature.....

Some nice examples by well and lesser known artists: 

Caroline Armington 

   

Jules de Bruycker 

William Wilson (Scottish)

August Lepère

All help and suggestions to the artist are very welcomed !

Lill Tschudi: 1944

Sooner than expected the question of attribution was solved by my American collecting friend and print expert Tom Clemens in Boston who's friend Ben Weiss, curator of Boston Museum of Arts, identified the print by a copy in New-York Metropolitan Museum of Art database in the Garfield collection. 

https://www.metmuseum.org/art/collection/search/835184

Its title, to me and my special collection, is adding an extra layer of interest and emotion to her work: 

"Neue Flüchtlinge kommen ins Lager". 

New, Jewish, refugees fleeing Nazi Germany in 1944, seeking and finding shelter, arriving in Switzerland. It also solves the question which side of the paper is front and besides gives insight in her actual printing technique and her use of materials. 

Unexpectedly it is also of a frightening actuality.  

During WW-II Switzerland sheltered some 300.000 mostly Jewish refugees, but controversially also send many back at its frontiers following the "all life boats are full" principle. A frightening and haunting resemblance and food-for-thought and contemplation to today's (European) migratory problems. 

These photo's borrowed freely from the Internet for friendly, non commercial and academic use only. 

Unknown Lill Tschudi ?

 "Unbekannte" Lill Tschudi ?

Last summer this print popped up in an internet auction. It had stayed unrecognised and unwanted by any impulsive buyer, serious collector or commercial dealer: there's no signature. No signature, no attribution, no interest, no (commercial) value ? 

But then: who needs a signature with something this good ? Finally cataloging last year's collection acquisitions it was suggested (thank you Tom) it might be by the hand of Swiss artist Lill Tschudi (1911-2004) who was trained in London's Slate school and created over 300 often iconic prints. A second example of this print however was not yet found. 

It could be the reverse side is the correct side: both sides are of almost identical quality: the ink/paint through and through the fabric. Maybe another technical clue ? The (to me) illegible and faint (carved) lettering below is reversed in the above version of the picture. 

Looking for clues it seems very likely it is indeed (must be) by her hand: Style, Perspective and Colours are very similar to some (choice) examples found in the Internet.  What she depicted may be an orphanage or convent's dining room (although the women seem to wear no caps or robes of any religious sort). 

Two more of my favourite Lill Tschudi prints (who was a student of Claude Flight in London and Fernand Léger in Paris): "women(!) students in the nude drawing class" and b"athing women". 

Since prints by Lill Tschudi normally would be financially out of reach this may have been the only chance of ever being able to represent this printmaker in my special collection:

www.dashausderfrau.nl. 

He or she, stumbling over this posting, who knows more: all information is very welcomed. 

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

Fernand Lambert 2: La Laitière

 La Laitière

Recently this large drawing was discovered and rescued after being dismissed by its former owners. I think, as best as I can, the signature may read "Fernand Lambert 1903". But it could also be Fernande (she) and/or Cambier ........  Benezit Lexicon does not give any other serious candidates besides the painter Fernand Lambert (before post) who was born in Lyon but studied and had a career in Paris. 

It is an exact copy of Jean Baptiste Greuze's (1725-1805) painting of "La Laitière" (the milkmaid). The painting is since 1900 officially part of the Louvre collection with its pendant painting "La Cruche Cassée" (the broken pitcher). We know Greuze's wife Anne-Gabrielle modelled for the milkmaid. They later divorced. Both paintings have deeper layers of symbolic meaning (virginity, virtue, status etc..).  

At least 2 engraved versions of "La Laitière" are known: by Greuze's contemporary Jean Charles Levasseur (1734-1816), which is a mirrored version, and a 1901 "Heliogravure" published by Braun Clement & Cie for "Revue de l'Art ancien et moderne". 

My suggestion is this drawing may have been an academic exercise, by Fernand Lambert while studying in Paris under Bougeareau and when the painting was not that long in the Louvre. 

I also think it far too accurate and professional to be created by an amateur. 

Any other suggestions or knowledge concerning the history of this milkmaid is very welcomed. 

PS: Milkmaids were often used as models in paintings because of their fair and unscarred skin: in times of small pocks and tuberculosis many milkmaids had built an immunity to the microbes causing these wide spread and devastating diseases. The fair skin of milkmaids helped clever physicians to understand better the cause and paths of the disease and ultimately leading to the development of vaccines, inoculations, prevention, medication and cure. For which we should be thankful instead of suspicious.