1916 German ART BOOK Catalog 6 ENGRAVINGS Gravures SLEVOGT MANET RENOIR PICASSO

Description: DESCRIPTION : Here for sale is an EXQUISITE and extremely rare ART BOOK with SIX original ENGRAVINGS ( GRAVURES ) , Being the catalogue of the HEINRICH THANNHAUSER - MODERN GALLERY in Munchen which was published ( First and only edition ) in 1916 in Munich ( Katalog der Modernen Galerie Heinrich Thannhauser, München. Mit Einführung von Wilhelm Hausenstein; und 174 Abbildungen darunter 6 Gravuren ) . A profusion of ART PIECES with 6 ORIGINAL ENGRAVINGS ( HELIOGRAVURES ) by MAX SLEVOGT , AUGUSTE RENOIR , EDUARD MANET , MAX LIEBERMANN , WILHELM LEIBL and HUGO VON HABERMANN . Numerous other reproductions by PICASSO , CEZANNE , DEGAS , DAUMIER , DELACROIX , GAUGIN and many others ( The full list of ARTISTS : ). An EXQUISITE ART TRESURE. EXTREMELY RARE. Original blue canvas HC. Gilt embossed headings. 10" x 7.5. 168 chromo pp. SIX original HELIOGRAVURES. Very good condition. Tightly bound. Perfectly clean. Cover somewhat faded. Tear in spine. ( Pls look at scan for accurate AS IS images ) Book will be sent inside a protective packaging . PAYMENTS : payment method accepted : Paypal & All credit cards.SHIPPMENT : Shipp worldwide via registered airmail is $ 35 ( Heavy volume ) . Book will be sent inside a protective packaging . Handling around 5-10 days after payment. The Thannhauser Galleries were established by the Thannhauser family in early 20th century Europe. Their cutting-edge exhibitions helped forge the reputations of many of the most important Modernist artists. Contents 1 History 2 Artists 3 Catalogues 3.1 Moderne Kunsthandlung Brakl & Thannhauser 3.2 Moderne Galerie Heinrich Thannhauser, München 3.2.1 War time selections from the stock of the gallery 3.2.2 Post WWI-exhibitions 3.3 Galerien Thannhauser, Berlin - Luzern - München 4 References 4.1 Notes 4.2 Sources History[edit] Heinrich Thannhauser (1859–1935) opened the first of the Thannhauser Galleries in Munich in the fall of 1909, after deciding to leave the gallery that he had previously opened with his friend Franz Josef Brakl. He called his new business the Modern Gallery (Moderne Galerie) and established it in the glass-domed Arcopalais at Theatinerstraße 7, in the heart of Munich's shopping district. The gallery was, by most accounts, one of the largest and most beautiful art galleries in the city. Designed by local architect Paul Wenz, it occupied over 2,600 square feet of the glass-domed Arcopalais. The gallery was divided between two floors, with nine exhibition rooms on the ground floor and an open, skylit gallery on the floor above. Several of the rooms were set up as domestic environments, as was fashionable at the time. In its early years, the Moderne Galerie (more commonly known as the Moderne Galerie Heinrich Thannhauser) exhibited the work of some of the most notable French Impressionists, Post-Impressionists, and Italian Futurists. It also presented the earliest exhibitions of contemporary German movements and artists who would later come to define the avant-garde: Neue Künstlervereinigung München (New Artists' Association of Munich) in 1909, and Der Blaue Reiter (The Blue Rider) in 1911.[1] Both exhibitions featured the work of Vasily Kandinsky, considered by many to be the pioneer of abstraction in art. The gallery also participated in the Armory Show of 1913, the watershed exhibition that introduced European Modernism to the United States, and mounted the first major Pablo Picasso retrospective during the same year.[1] In 1919, Heinrich Thannhauser's son, Justin K. Thannhauser (1892-1976), established a branch of the gallery in Lucerne (Luzern), Switzerland. He ran the branch until 1921, when he was called back to Munich to assist his father, who had developed a serious condition in his larynx. The Lucerne gallery continued to be under Justin's direction until 1928, when his cousin Siegfried Rosengart assumed control and changed its name to Galerie Rosengart. Over the years, Heinrich and Justin Thannhauser purchased, traded or had on consignment 107 works by Van Gogh or attributed to him. In 2017, the Van Gogh Museum in Amsterdam published the catalogue The Thannhauser Gallery: Marketing Van Gogh.[3] Justin established a third branch in Berlin in 1927. During the 1930s, however, the business operations of all of the Thannhauser Galleries were sanctioned and delayed by the Nazi government. The Nazis were vehemently opposed to the art of the avant-garde, which they branded as "degenerate art." After the death of Heinrich in 1935 and the formal closing of the Galleries in 1937,[2] Thannhauser and his family left for Paris. In 1940, they moved to New York, where Justin, together with his second wife, Hilde (1919–91), established himself as an art dealer.[1] The Thannhausers’ support of artistic progress, and their advancement of the early careers of artists like Kandinsky, Franz Marc, and Paul Klee, paralleled the vision of the Solomon R. Guggenheim Museum’s founder, Solomon R. Guggenheim (1861–1949). In recognition of that connection, and in honor of his first wife and two sons (who died at tragically young ages), Justin Thannhauser bequeathed the most essential and iconic works of his collection, including over 30 works by Picasso, to the Guggenheim Foundation in 1963.[1] Beginning in 1965, the works were on loan to the museum and on view in the Thannhauser Wing. The collection formally entered the Guggenheim's permanent holdings in 1978, two years after Thannhauser's death, and the museum received a bequest of 10 additional works after the death of Hilde Thannhauser in 1991.[1] The gift, containing over 70 works in total,[3] provides an important antecedent to the Guggenheim Museum's contemporary collection and thus has allowed the institution to represent the full range of modern art.[4] Artists[edit] Notable exhibited artists include: Max Beckmann Georges Braque Mary Cassatt Paul Cézanne Edgar Degas André Derain Otto Dix Paul Gauguin George Grosz Vasily Kandinsky Paul Klee Max Klinger Max Liebermann Edouard Manet Henri Matisse Claude Monet Edvard Munch Pablo Picasso Camille Pissarro Pierre Auguste Renoir Alfred Sisley Henri de Toulouse-Lautrec Vincent van Gogh Maurice de Vlaminck Catalogues[edit] Up to 1914, all catalogues were based on exhibitions. Moderne Kunsthandlung Brakl & Thannhauser[edit] 1908: Vincent van Gogh - Prices indicated ("Die Preise verstehen sich in holländ. Gulden.") Moderne Galerie Heinrich Thannhauser, München[edit] 1909: Impressionisten January 1910: Cuno Amiet & Giovanni Giacometti Spring 1910: Félix Vallotton April 1910: Édouard Manet (aus der Sammlung Pellerin) Summer 1910: (Heymel Collection) August 1910: Paul Gauguin mid-July - August 15, 1911: Carl Schuch Oct. 1911: (Theodor Alt) February 13 - March 10, 1912: Kollektiv-Ausstellung Edvard Munch War time selections from the stock of the gallery[edit] Moderne Galerie Heinrich Thannhauser (folder, without date) (pre-1916) Katalog der Modernen Galerie Heinrich Thannhauser, introduction by Wilhelm Hausenstein and 174 reproductions, Munich 1916 Nachtragswerk I mit 76 Abbildungen zur grossen Katalogausgabe 1916, Moderne Galerie Heinrich Thannhauser, Munich, September 1916 Nachtragswerk II mit 105 Abbildungen zur grossen Katalogausgabe 1916, Moderne Galerie Heinrich Thannhauser, Munich, Juli 1917 Nachtragswerk III mit 115 ganzseitigen Abbildungen zur grossen Katalogausgabe 1916, Moderne Galerie Heinrich Thannhauser, Munich, 1918 Post WWI-exhibitions[edit] Galerien Thannhauser, Berlin - Luzern - München[edit] Eröffnungs-Ausstellung unseres neuen Berliner Hauses, Bellevuestr. 13, illustrated catalogue, dated June 1927 ****** Heinrich Thannhauser (born February 16, 1859 in Hürben , today a district of Krumbach (Swabia) ; † 1934 on the German-Swiss border) was a German gallery owner and art collector . As an art dealer, he was one of the most important promoters of early Expressionist art in Germany. Table of Contents 1 Life 2 family 3 literature 4th Individual evidence 5 Web links Life [ edit | Edit source ] Vincent van Gogh : Hill near Saint-Rémy (1888) from the J. K. Thannhauser collection The Jewish Thannhauser family came from Mönchsdeggingen . Heinrich Thannhauser first learned the trade of bespoke tailor. In his modern gallery in Munich, founded in 1904 , Thannhauser first exhibited the works of art by French impressionists such as Édouard Manet , Edgar Degas and Paul Gauguin . Later, the works of Pablo Picasso , who was friends with the Thannhausers, and those of Georges Braque were added. Catalog cover page for the Picasso exhibition in 1913 In 1909 Thannhauser separated from his partner Franz Josef Brakl and continued to run the gallery under the name Galerie Thannhauser . Here in the Arco-Palais , the first exhibition of the Neue Künstlervereinigung München took place in the same year . In 1911 the cooperation with the editorial community of Der Blaue Reiter began . Thannhauser was friends with Theo van Gogh's widow, Johanna van Gogh-Bonger , and her son Vincent , which enabled him to expand his portfolio with important works. In 1918 he let himself be in Berlin by Lovis Corinth and Max Liebermann at the same timeto paint; one had a portrait in the mornings, the other in the afternoons. [1] In 1934 Heinrich Thannhauser wanted to flee from the National Socialists to Switzerland ; at the border he died of a stroke. [2] Family [ Edit | Edit source ] His son Justin Thannhauser , who also became a successful art dealer, set up branches in Lucerne (1919) and Berlin (1927). The parent company in the Arco-Palais , Theatinerstraße 7 in Munich, was closed in 1928. In 1937 the National Socialists confiscated the holdings. Justin Thannhauser emigrated to Paris, where he ran a gallery until 1941, the holdings of which were also confiscated after the occupation by the German Wehrmacht. He managed to flee to New York, where he dared a third time to start over. In 1963 he donated his private collection and that of his father to the Guggenheim Museum , New York, in which a room named after him commemorates him. [3] ****Max Slevogt (8 October 1868 – 20 September 1932) was a German Impressionist painter and illustrator, best known for his landscapes. He was, together with Lovis Corinth and Max Liebermann, one of the foremost representatives in Germany of the plein air style. His work was part of the painting event in the art competition at the 1928 Summer Olympics.[1] Contents 1 Biography 2 Selected paintings 3 References 4 External links Biography[edit] He was born in Landshut, Germany, in 1868. From 1885 to 1889 he studied at the Munich Academy, and his early paintings are dark in tone, exemplifying the prevailing style in Munich. In 1889 Slevogt visited Paris, where he attended the Académie Julian. In 1896, he drew caricatures for the magazines Simplicissimus and Jugend, and the next year he had his first solo exhibition in Vienna. Toward the end of the 1890s his palette brightened. He travelled again to Paris in 1900, where he was represented in the German pavilion of the world exhibition with the work Scheherezade, and was greatly impressed by the paintings of Édouard Manet. In 1901 he joined the Berlin Secession. A trip to Egypt in 1914 resulted in 21 oil paintings in a fresh bright style, as well as numerous watercolors and drawings; on the return journey he stopped off in Italy. In June he acquired the country seat Neukastel. After the outbreak of World War I he was sent as official war painter to the western front. The war experience brought about a search for new style appropriate to the expression of the horrors of war. In the same year he became a member of the Prussian Academy of Arts in Berlin. He designed scenery for the performance of Mozart's Don Giovanni in the Dresdner state opera in 1924. In 1929 he was given a large 60th birthday exhibition in the Prussian academy of the arts in Berlin. During the last year of his life he worked on the religious mural Golgatha in the peace church in Ludwigshafen on the Rhine. It was destroyed by bombing raids during World War II. Max Slevogt died in Leinsweiler (at that time in the Rheinpfalz part of Bavaria) in 1932. He is buried in the burial place of the family Finkler east of his house, the so-called Slevogthof (with wall paintings) at Neukastel. **** Max Liebermann (20 July 1847 – 8 February 1935) was a German painter and printmaker of Ashkenazi Jewish ancestry, and one of the leading proponents of Impressionism in Germany and continental Europe. In addition to his activity as an artist, he also assembled an important collection of French Impressionist works. The son of a banker, Liebermann studied art in Weimar, Paris, and the Netherlands. After living and working for some time in Munich, he returned to Berlin in 1884, where he remained for the rest of his life. He later chose scenes of the bourgeoisie, as well as aspects of his garden near Lake Wannsee, as motifs for his paintings. Noted for his portraits, he did more than 200 commissioned ones over the years, including of Albert Einstein and Paul von Hindenburg.[1] Liebermann was honored on his 50th birthday with a solo exhibition at the Prussian Academy of Arts in Berlin, and the following year he was elected to the academy.[2] From 1899 to 1911 he led the premier avant-garde formation in Germany, the Berlin Secession. Beginning in 1920 he was president of the Prussian Academy of Arts. On his 80th birthday, in 1927, Liebermann was celebrated with a large exhibition, declared an honorary citizen of Berlin and hailed in a cover story in Berlin's leading illustrated magazine.[2] But such public accolades were short lived. In 1933 he resigned when the academy decided to no longer exhibit works by Jewish artists, before he would have been forced to do so under laws restricting the rights of Jews.[2] His art collection, which his wife inherited after his death, was looted by the Nazis after her death in 1943. In his various capacities as a leader in the artistic community, Liebermann spoke out often for the separation of art and politics. In the formulation of arts reporter and critic Grace Glueck he "pushed for the right of artists to do their own thing, unconcerned with politics or ideology."[1] His interest in French Realism was offputting to conservatives, for whom such openness suggested what they thought of as Jewish cosmopolitanism.[1] ***** Wilhelm Maria Hubertus Leibl (October 23, 1844 – December 4, 1900) was a German realist painter of portraits and scenes of peasant life. Contents 1 Biography 2 Career 3 Nazi-looted art 4 Notes 5 References 6 External links Biography[edit] Leibl was born in Cologne, where his father was the director of the Cathedral choir. He was apprenticed to a locksmith before beginning his artistic training with the local painter Hermann Becker in 1861.[1] He entered the Munich Academy in 1864, subsequently studying with several artists including Carl Theodor von Piloty. He set up a group studio in 1869, with Johann Sperl, Theodor Alt, and Rudolf Hirth du Frênes. At about the same time, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on many of the local artists by his demonstrations of alla prima painting directly from nature.[2] Leibl's paintings, which already reflected his admiration for the Dutch old masters, became looser in style, their subjects rendered with thickly brushed paint against dark backgrounds. Career[edit] In 1869, following Courbet's suggestion,[3] Leibl went to Paris, where he was introduced to Édouard Manet, but was forced to return to Germany in 1870, due to the outbreak of the Franco-Prussian War.[1] In 1873 Leibl left Munich for the isolated Bavarian countryside, where he depicted the local peasants in everyday scenes devoid of sentimentality or anecdote. The sketchlike quality of his earlier paintings was replaced by greater precision and attention to drawing. Living from 1878 to 1882 in Berbling, he painted perhaps his best-known work, the Three Women in Church (Kunsthalle, Hamburg). Its intensely realistic style recalls Hans Holbein in its clarity of definition. During the following years he moved to the town of Bad Aibling and, in 1892, to Kutterling, as his paintings united the disciplined drawing he had adopted in the 1880s with a new delicacy and luminosity. Leibl painted without preliminary drawing, setting to work directly with color, an approach that has parallels to Impressionism. His commitment to the representation of reality as the eye sees it earned him recognition in his lifetime as the preeminent artist of a group known as the Leibl-Kreis (Leibl Circle) that included, among others, Carl Schuch, Wilhelm Trübner, Otto Scholderer, and Hans Thoma. During the first half of the 1870s, Leibl executed a series of 19 etchings[4] in a meticulous style. His charcoal drawings are conceived in great masses of light and shadow, blocked in as though he were using a brush and paint. He visited the Netherlands in 1898, and his work was included in the Berlin Secession exhibition the following year. He died in Würzburg in 1900.[1] **** Hugo Joseph Anton Freiherr von Habermann (14 June 1849 – 27 February 1929) was a German painter and draftsman. He is sometimes referred to as "the Elder" to distinguish him from his nephew of the same name, who was also a painter. Contents 1 Life 1.1 Later career and honors 2 References 3 Further reading 4 External links Life[edit] Habermann was born in Dillingen, the son of Philipp, Baron von Habermann, by his marriage to Pauline, Countess Leutrum von Ertingen. In 1858 the family moved to Munich, where Habermann attended prestigious schools and had his first lessons in art. In 1868 he began studying law, but he showed little enthusiasm for a legal career.[1] Consultation ("Problem Child", 1886), the best-known painting from his early period In 1870, he served as an army officer in the Franco-Prussian War,[1] but despite this distraction managed to produce his first painting on the subject of Ruth and Boaz. The following year, he was appointed to oversee the artists who were painting portraits of the prisoners-of-war in Ingolstadt. It was then that he decided to give up his law studies and become a painter. When Habermann returned to Munich, he took some preliminary lessons from Hermann Schneider (1847-1918), then entered the Academy of Fine Arts. In 1874, he was accepted for the master class of Karl Theodor von Piloty. He had his first exhibition four years later. He completed his studies in 1879 and opened his own studio. Portrait of a Lady (1908), an example of his later period Together with Bruno Piglhein and Fritz von Uhde, he opened a private art school in 1880. Unfortunately, it attracted few students and was soon closed.[1] That same year, he joined Allotria, an organization for "revolutionary" artists that would be a precursor to the Munich Secession. At the Munich International Art Exposition of 1897, Luitpold, Prince Regent of Bavaria, named him a Royal Bavarian Professor (a largely ceremonial position) for his painting Salomé. In his later years he would, in fact, specialize in portraits of women. Later career and honors[edit] Habermann was a co-founder of the Secession and became its second President, after Piglhein.[1] In 1905, he was appointed a full Professor at the Academy and, in 1909, was named a member of the Bavarian Maximilian Order for Science and Art. During this period, he discovered the Spanish painter El Greco, which had an immediate and obvious effect on his style. In 1922, he married his long-time model and companion, Olga Hess. Two years later he retired and, the following year, received the Pour le Mérite, Civil Class, from Paul von Hindenburg, the President of Germany. His health began to deteriorate in 1928 and he moved into his studio, becoming a virtual recluse until his death in Munich on 27 February 1929. . ebay5440/198

Price: 225 USD

Location: TEL AVIV

End Time: 2024-11-23T05:29:29.000Z

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