Gerland or Garland

Gerland or Garland ?

Recently this print surfaced in American Ebay signed in Sütterlin script: "Original Handdruck ......Gerland". It's maybe not as good or refined as Weimar printmaker Margarete Geibel's (1876-1955) many lovely "Goethehaus" prints although it is faintly remembering of her work.  

It is obviously a view from a great House or Castle into a walled garden.  

Print by Margarete Geibel  (below)

And then there's is this picture of a print showing Strassburg cathedral (Fr. "Nôtre-Dame"; Germ. "Munster") towering over rooftops. It could very well be by the same printmaker Gerland. The German owner of the Strassburg print identified (reading) its signature  which is not legible in the photo however as "Garland". 

Thieme-Becker artist Lexicon disregarding the handful of British painters only mentions a Swedish illustrator Jan Erik Garland born in Stockholm in 1905, so hardly a suspect to sign in German (pré WW2) Sütterlin script in which the "e" is very similar to our normal "n". 

In my 1921 and 1930 (last edition) copies of Dresslers Kunsthandbuch (which actually is an address book) I find one art-historian named Otto Gerland (b. 1835) and not one Garland, and besides: Otto was an art historian) 

Googling I found this painting (its in Ebay) the cathedral seen from a slightly different angle by Swiss born Vienna painter Karl Kromer (1889-1964) 

I invite all vistors and readers of this blog/post to help solve this mystery printmakers identity. 

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

 

Eibsee und Zugspitze

M. Jung ?

(Unknown printmaker) 

"Eibsee and Zugspitze" near Garmisch Partenkirchen 

This print was in Ebay for quite some time and I have no clue yet who might have created it. I read M. Jung.?? but I may be mistaken. It has been cut and printed in the "traditional" way much like these "Fichte", fir trees, by my printmaking muze Else Schmiedeberg. 

I have no printmakers in my archive with these initials but Vienna "Wienerwerkstatt" artist M(oriz) Jung (1885-1915) but what I know of his wonderful graphic work does not come near although he is mentioned as "Holzschnitt" artist. 

I'm not an Alps or Bavaria expert but Googling I discovered this spectacularly beautiful region on the German-Austrian border: near Garmisch Partenkirchen, some 70 km south of Munich. The location is pretty accurate. And thanks to the limitless possibilities of the Internet I think this photo is taken from about the same spot where the artist stood 80-100 (?) years ago.  

Please help me to identify this printmaker. 

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

Another nice but unidentified print and printmaker: Help !

Before returning to some more regular postings in printmakers starting this weekend here's another fresh puzzle and enigma. 

This print showed up recently and I do not have the faintest idea who made it. It has a certain Hugo Noske (1886-1960) "feel" about it and I would love to know and give this artist his entry in my to be published relief printmakers index. 

Also very neglected printmaker Viktor Pirkhoff (1875-1962) came to my mind but these artists do not come near the signature R. C............ There's simply no artist matching in my archive. 

Please send in any suggestions for sharing. 

Schütz, not identified printmaker.

Unknown German printmaker. 

Some months ago these block prints (linoleum ?) showed up in Ebay and before being sold I archived the photographs. Maybe showing them together wil help reveal the identity of the maker. Someday. 

And there's this nice print that was shown in a Swiss exhibition last winter by a unknown maker: Hans Schütz. 

All help is welcomed. 

Pictures borrowed freely from the Internet for friendly, educational and  non commercial use only

Goddesses and Putti, Venus and Cupid : Any idea ?

I know, this print (22 x 22 cm.) is nothing like the early XXth century (German) color woodblock prints this Blog is more or less build around. But please let me know what you make of this woodblock (it really is !) print. It emerged from a stack of material from all sorts and periods deriving from all quarters of the compass. And I fell in love instantly (this happens a lot lately, it might have to do with an aging romantic). 

I'm not sure wether the colors are block-printed, or colored by hand, but it has a wonderful pallet of exquisitely warm, glowing and almost sensual "setting sun" earth colors. The laziness and sensuality of the moment is screaming of the paper but I have no idea what the artist tries to transmit to us. It's obviously "Venus, Company and Putti" (her son Cupid). There's no signature or other marking leading to an artist. 

It could be a 17th or 18th century composition by Pieter Paul Rubens (1577-1640), compare also the band around the left upper arm, 

but  Henri Matisse (1869-1954) could also have had a hand in it. And what about 

Aristide Maillol (1861-1944) ?

Did you know he created some exquisite woodcuts ("gravure a bois") too ?

Please send any comment or suggestion. 

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

A.T. = Angela Treu and some considerations.

Angela Treu 

?

Cleaning up and arranging picture files for the publication of my German Women Artists, born 1850-1900, involved in modern color woodblock printmaking Lexicon (I agree: a mouthful to cover the contents. Suggestions for an appropriate but shorter title welcomed)*. 

Somewhere(?), sometime (nov. 2012) I found the picture (not the print) of this toucan monogrammed A.T. and somehow(?) scribbled the name Angela Treu, but never was able to find an artist by that name. 

The only artist (I know of) befitting these inititials is August Trummer (b.1946 -) from Graz.   But I doubt he's the one (above left). As a printmaker he wrote the catalogue-raisonné on  Carl Rotky's (1891-1977) prints and obviously was influenced a lot by the master from Graz (above right). Lovely prints with lovely Rotky pastel colors.   

The artist A.T. must have had access to a Zoo (Tiergarten/Tierpark) nearby: Dresden, Berlin, Graz ?

Dresden printmaker Martin Erich Philipp (1887-1978) saw his family of "Pfeffer-fresser" (species of South American toucan family) no doubt in Dresden Zoo. He created his first print in 1909 (cat. D7) and decided to  do it again in 1924 (cat. D17).

Dutch printmaker Ed Jeska, artist name of Jan Staats Kiewiet (1899-1977) will have seen his toekan-bird in Artis ZOO in Amsterdam and so will have  Willem Hendrik van den Berg (1886-1970) a not widely known painter and printmaker and director of Amsterdam Rijks-Academie 1938-1953.  

Samuel Jesserun de Mesquita (1868-1944) -above- was a regular visitor of Artis ZOO and was even named the "Master of Artis" which did not prevent him being murdered in Auschwitz. Today there is a renewed interest in his wonderful woodblocks and in 2005 a monograph  (380 pages) was published. 

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(*) a Title

(Friedrich Fabrizius Max Karl Freiherr) or short: Fritz von Ostini  (1861-1927) -left- was an influential German editor, author humorist and lyric. He wrote the monograph's of a dozen or so contemporary painters (many famous and all male). He is most renowned for his "verdict" on woman painters calling them  "Malweibchen" in 1914. I think "painting bitches" comes close as to describe the contempt he held for women-art and women artists. Not very humorous, not a nice man. Women artist had suffered greatly to reach to the levels and positions they'd earned in 1914 and still not being admitted or allowed in the Academies. After the death of Anton von Werner (1943-1915) who had been in charge of the Berlin "Hochschule für Bildende Künste" from 1875(!) and personally stood between admittance of women in the Academy it became only possible for women to enter the Academie in 1919 after WW1 had ended.  


Some teachers, like Vienna professor sculptor Edmund Ritter von Hellmer (1850-1935) -right- declared openly it to be "a waste of time educating women as artists since they married anyway". Despite chauvinist pigs like Ostini and von Hellmer there were women who by sheer perseverance managed to have a career. Discovering this new technique and creating the most fantastic woodblock prints (and other works of art of course) never surpassed in originality and quality in the history of Art to this day.


"Druckweiber" (printmaking galls ?) would be a "fun" title, with historical meaning and relevance, but of course could easily be explained as inappropriate. Many of the women artists (most of them Ladies) involved in early printmaking, let us say from the start of Orlik's Berlin training classes, from 1905 onwards, were not "galls" but accomplished artists  already in their 40's and 50's when attending. 

     

Orliks 1905 poster (although it says 1895 when Orlik still was in Munich, for the "Verein der Berliner Künstlerinnen". A welcome gift to the  Berlin colleagues and sisters he would soon co-operate with, in the year of his appointment in Berlin? Or more probable: commissioned by its director Margarethe Hoenerbach 1848-1924).

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

Varia

A varied posting with help requested to identify some more prints and printmakers. 

Graz: Grazer Dom and rooftops 

Printmakers Carl Rotky (1891-1977) and Norbertine von Bresslern Roth (1891-1978) both were natives of Graz, but I'm very curious about the signature on this rather nice woodblock print: W. (Wilhelm, Walter ?) Hörgler, Hirgler ? (see also the Monogram in the block: WH) 

Unknown Printmaker: Girl with a scarf.

Carl Moser (1873-1939) certainly was intrigued by scarfed and bonneted (Brittany) girls, but also by the fabric and patterns of lace, cotton, dresses, cloth etc.  He for ever was experimenting, changing and altering designs, horizons and compositions seaking perfection as I am planning to show in next posting.  

And because of the attention to fabric and patterns this print reminds me also of prints by illusive printmaker Dagmar Hooge (1870- after 1921).

Until a good signed example or copy shows up only the help of a reader who recognizes this print may help to identify.