;.t 651 .4 .A78 1913 CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924101880163 iiliili cJ 1924 101 880 163 MAX LIEBERMANN SELF-PORTRAIT CATALOGUE OF AN EXHIBITION OF CONTEMPORARY GERMAN GRAPHIC ART WITH AN INTRODUCTION BY MARTIN BIRNBAUM THE ART INSTITUTE OF CHICAGO 1913 FINE .4 Thanks are due to Dr. Otto Michael of Berhn, through whose kindness this exhibition has been made possible. CONTEMPORARY GERMAN GRAPHIC ART An exhibition of drawings, lithographs, etch- ings, and woodcuts by German artists ought naturally to prove far more stimulating than one made up of paintings, for even if we go back as far as Diirer we will be forced to admit that his paintings are not as refreshing or im- pressive as his graphic works, and the same is true of practically all the great German mas- ters, with the possible exception of Menzel and Leibl. Germany's artistic genius has always been distinctly graphic, and while it is impos- sible to survey the whole existing field at all exhaustively within the limits of a short essay, one can without delay commence with the names of the three great living leaders, Max Klinger, Hans Thoma, and Max Liebermann, who tower above their compatriots. The first of these shook off the fetters of authority and pedantry, carried on the tradi- tions of the early German master-etchers and engravers, and saved the Graphic Art of his country from the slough of despond into which it threatened to fall. Klinger is not 3 unacademic, his technique is at times labored and old-fashioned in a good sense, but he revived and stimulated interest through the sensational nature of his works, which cover a vast range of subjects. When, in 1878, he first exhibited at the Academy in Berlin he was voted insane, but to-day his amazing cycles of etchings are accepted as immense dramas or epic poems. Had he written blank verse, he would have been an important literary figure. He inherited a solemn, antique grandeur mixed with modern romanticism from Bocklin, and varied influences of the Greeks, Diirer and Rops, are traceable in his work. A grotesque element which never becomes ridiculous, is reminiscent of Goya, and although it would be futile to compare his philosophic works with the wild Spaniard's, the influence of the Ca- prichos cannot be ignored. The extent of Klinger's work is colossal, — almost unbeliev- able, — and yet his attention to minute detail hurts the general effect. His graphic work and paintings have this in common, that the deco- rative borders and ornamented frames are fre- quently more interesting than the pictures they bound, and his delight in using colored marble and metal for his plastic work detracts from a harmonious imposing effect. Everything he does, however, is intellectually and aestheti- 4 cally stimulating, and if he is at times too pro- found and psychological, too much the vision- ary, his many-sided art must nevertheless be recognized as the inspirer of a throng of bril- liant, eager men. Franz von Stuck, an allied nature, is also in- debted to Bocklin, but he has shown only the slightest interest in Graphic Art, whereas Klinger's most personal expressions are not his paintings or statuary but his etchings. The technique and cerebral quality in these appeal to such men as Otto Greiner and Erich Wolfs- feld, whose gigantic plates are among the ar- tistic sensations of the present day. Among others of this group, Fritz Hegenbart is musi- cal and whimsical, while Amandus Faure, Paul Burck, Walter Rehn, and Josef Uhl are fan- tastically inventive. The last-mentioned is a New-Yorker by birth, who is still in the transi- tional stage, but he has already executed some fine portraits in the manner of the distin- guished and lamented Stauffer-Bern. Occa- sionally these men are attracted only by the bizarre in Klinger's work. This is a regrettable tendency, for it may degenerate into morbidity and an abnormal conception of life. Horrible situations often please them, they lack repose and cultivate eccentricity, so that the only con- soling thought which comes to mind is the 5 recollection of Delacroix's epigram, "Donnez moi de la boue, je vous ferai des chefs d'oeuvres." Perhaps they are even now at work on masterpieces. It is a relief to turn from such examples of their work to the litho- graphs of Ludwig von Hofmann, another pagan, who is the happy interpreter of eter- nal youth and beauty. His delicate dancing nymphs and fauns, so charmingly described by Hugo von Hofmannsthal, exert an universal appeal. Exquisitely printed, they will do much to rehabilitate the good name of Lithography, by leading people to distinguish between the artistic and the commercial kind. No greater contrast can be offered to the work we have just been considering than the lithographs and etchings of Hans Thoma. His tranquil, unpretentious art owes much to Leibl and that little-known master, Victor Miiller. It is redolent of the atmosphere of the beautiful Black Forest, where he was born seventy-three years ago. One learns with surprise that he went to Paris in 1868, for Thoma is so charac- teristically German that one can hardly believe that he ever left the Fatherland. Yet he was the first German to discover Manet — for the special benefit of Leibl. His lithographs, many of which are symbolistic or religious, were in- spired by a desire to bring genuine art within 6 the reach of thin purses. His drawings, like the man, are powerful and clear, sincere and fine, and they possess high spiritual excellence quite apart from their artistic merit. The good old wrinkled farmers, and the scenes of their wholesome commonplace lives, the land in which fairy-tales flourished, and the poetry of rugged country life, are his favorite themes. Every contemporary artist who depicts Ger- man peasantry is influenced by his fine exam- ple, and all are inconceivable in any other country. Fritz Bohle is, if possible, even more Ger- man than Thoma himself. Artistically speak- ing, he is a direct descendant of Diirer, and his lithographs of sturdy brewers, saints, and ploughmen with magnificent horses, are sculp- tural and monumental. He is, in fact, now at his home in Sachsenhausen, busy with plastic works on a colossal scale. The spirit and power of his pictures remind us of the distinguished Swiss artist Hodler, though technically there is hardly any point of similarity. Thoma also influenced an interesting and significant group of men who abandoned their city studios and made their homes in Worps- wede, a typically German village situated on the edge of the moors not far from Bremen. Fritz Mackensen discovered the artistic possi- 7 bilities of the place in 1884, and in succeeding years he was joined by Otto Modersohn, Hans am Ende, Fritz Overbeck, and finally, in 1894, by Heinrich Vogeler. They enjoyed themselves hugely, worked in the open air, skated, sketched, and hunted, became sons of the soil, took an active part in the life about them, married, built homes, and lived simple lives. In 1895 their combined collected work created a mild sensation. Heinrich Vogeler, the youngest, most versatile, and most poetic, is now devot- ing practically all his time to Graphic Art, but his beautiful home, "Barkenhoff," is filled with examples of his work in all media, in- cluding several delightful tapestries and inter- esting pieces of furniture. We love him best, however, as the prolific etcher of wild flowers and trembling silver birches, German music and romance, childish myths, and as a tasteful book-decorator with a deep love of nature and a pretty fantasy reminding us at times of Walter Crane. No spirit is so jaded that it will not respond to the blithe spirit of the lark which breathes through the mass of his work. It is natural to find many men who are in some artistic way affiliated with those just mentioned, and one of them, Leopold, Graf von Kalckreuth, displays the characteristics of the best German artists. He shows sensitive 8 portraits, idyllic landscapes, and figures which remind us of the Barbizon men. Here, too, we may speak of Paul Baum, who seems to us to be one of the most richly endowed, an etcher whose sympathies are with these quieter spirits, but whose technique, not unlike Sig- nacs, is impressionistic. We find a beautiful rhythm in his line, fine balance in his composi- tion, purity and sincerity in his feeling, a keen, refined vision combined with modern methods. The line particles, drawn on the divisionist prin- ciple, take the place of the impressionist color particles, and are intelligently varied. His talented pupil Erna Frank shows little of his technical influence in her sparkling litho- graphs of European capitals. There may also be grouped with these a host of gentle, smiling plates by such men as Hermann Struck, whose fine Jewish studies won favor with many dis- tinguished collectors when his work was first shown, and who now adds some American scenes in which the right note has been happily caught; the interesting landscapes of Robert Scholtz; Cissarz' exquisite dry-points; Alexan- der Olbricht's fresh and original views of his neighbors' gardens in winter; and lastly the technically beautiful plates of Peter Halm, whose marvellous copies of old masters have overshadowed his power as an original artist. 9 Professor Max Liebermann is the last of the giants, and his famous motto, "Zeichnen ist Weglassen," is the watchword of the latest gen- eration of artists. He is of the encouraging race of men that dares to think of progress on certain new lines even after a Michelangelo, Phidias, or Da Vinci passes away. His inimi- table drawings have the energy and audacity of masterful youth, and in his latest paintings the character and impetuosity of the first studies are fortunately preserved; but there are still discriminating critics who prefer the drawings, lithographic studies, and etchings of boys bathing, Jewish ghettos, horse-races, polo games, and pig-sties to his final painted works. He, of course, adores Menzel; but Degas, whom the little German master, strangely enough, could not understand, is his deity. Examples of both their works hang on the walls of Pro- fessor Liebermann's beautiful home on the shore of the Wannsee. He discovered Degas — who may have introduced him to the Japanese masters — about the year 1873, when he went to Paris shortly after the Franco-Prussian War. On his return, he transferred the artistic centre of Germany to Berlin, of which, according to Meier-Graefe, he is the symbol. Liebermann is simple and matter-of-fact, free from his early sentiment, concise to austerity, almost icy in 10 HANS THOMA SELF-PORTRAIT his wit. Like our generation he moves so rapidly, that there is no time for a method like Menzel's. The little giant copied faith- fully and minutely, leaving the artistic result more or less to chance. Liebermann never leaves anything to chance. Nature must yield to his temperament and conception, and, being a modern virtuoso, he prefers media which are delicate and swift. His pastels and litho- graphs achieve the fairylike exquisiteness of Whistler and of our still unknown master, Robert Blum. He worships at the shrine of Degas the draughtsman, and not Manet the painter, and we can bestow no higher praise on him than by stating that his mastery is com- parable to the Frenchman's. To-day he is rec- ognized as Germany's national, conscious ar- tistic tradition. The genius of all the younger artists seems to run in his direction, and there exists an army of brilliant German draughts- men who can attack without fear or exertion problems which would strike terror to our sober American artists. Their strength often becomes unruly and chooses passionate themes which are too fervid for our conventions and tempered enthusiasm, but their sincerity com- pels our belief. A man like Max Slevogt puts us to shame by choosing as the source of in- spiration for a vast series of lithographs our 11 own James Fenimore Cooper's forgotten works. The pages glow with life and vigor and virility. Their charm of rapid execution and their fugitive manner, so admirably suited to the medium, are fascinating, and this foreigner has caught again and again the spirit of the work in a truly amazing fashion. Even the initials are noteworthy, and such a book, com- parable in certain respects to Menzel's monu- mental "Frederick the Great," ought certainly to arouse our dormant creative energies. Sle- vogt has already produced etched work equally brilliant, impressions which strike the essen- tial note of any scene he chooses to depict. His work is printed at the "Pan Presse" in Berlin, a printing establishment in which all the men are artists. Reinhold Hoberg, the di- rector, is himself an etcher and lithographer of more than ordinary ability. The. press is still in its infancy, but already it is recognized as a worthy successor of the famous magazine "Pan," which was an effort to organize all branches of art. Lack of publicity, the costli- ness of the publication, disputes among its associates, and perhaps its intellectual pro- gramme and didactic aim, killed it. It is to be hoped that this new enterprise will receive more encouragement. Besides books contain- ing lithographs by Max Beckman and Lovis 12 Corinth, earnest artists of wild inspiration and almost brutal masculine power, the press has produced a volume by Emil Pottner, in which the text and illustrations are all printed from stone. Other publications of exceptional inter- est, about to appear, are the graphic works of three great sculptors: Wilhelm Lehmbruck, whose etchings, like Rodin's, are masterly little revelations of his conception of form; Ernst Barlach, the wood-carver, who is like a power- ful Gothic shade come to life; and August Gaul, an animal-sculptor who threatens to dethrone Barye. Recently the press issued a portfolio of etchings by Willi Geiger dealing with life in the bull-ring. This young artist, at one time a pupil of Franz von Stuck and Peter Halm, was not satisfied with making studies as an on- looker: he must needs become a matador and take part in the fight. His remarkable works, superb in their realism, were evidently done "right off the bat," yet the skill in placing upon the plate could hardly be improved upon. He has caught actions of a moment's duration like a magician. The works were carried out with such intensity that no apology need be offered for their creation, even after the existence of Goya's "Tauromachia." Geiger might be taken as a type of the most promising young German artist. He is only thirty-four years 13 old, and already many portfolios of etchings and book-plates have issued from his studio. His studies with Professor Halm insured a firm foundation, but Geiger, like most other youth- ful revolutionists, began by claiming to be immune from affectation, convention, monot- ony, and morality. In their desire to impress themselves on the world as personalities, these fiery young men shout until they are a trifle hoarse, refuse resolutely to tone down their passions, play pranks with their ability, insist to the point of fanaticism on themes with an erotic tinge, and finally quiet down to produce work of lasting value. Fortunately they re- main delightfully undisciplined, attack every subject and medium, and constantly refuse to work in narrow fields. Hans Meid, a gifted man of rare temperament and curious tech- nique, who has executed famous series of etched illustrations for Shakespeare's "Othello" and for "Don Juan"; Wilhelm Galhof, whose brilliant lithographs show woman unfortu- nately only in her debasement; and Max Mayrs- hofer, a wayward, promising draughtsman, are in this circle, which is very large. A whole school of gifted artists have revived an interest in woodcuts. The delicious colors and attractive subjects ought certainly to inter- est our American connoisseurs. It is encour- 14 aging to note that they all recognize the limi- tations of the medium and confine themselves strictly to essentials. The method is Japanese, but the colors are modern, often borrowed from the palettes of Van Gogh and Gaugin. We may make especial note of Walter Klemm, an alluring artist whose subjects range from skating-rinks to birds and flowers; Emil Pott- ner, a specialist in entertaining philosophic farmyard studies; Arthur lilies and Heine Rath, whose obviously beautiful works exert an instantaneous appeal, being well drawn and glowing in color; Emil Orlik, some of whose prints will be mistaken for Oriental products, and who is even now sojourning among the Japanese; Gerhard Graf, a quiet, hidden worker, whose varied talents ought to win rec- ognition; Martin Philipp, a many-sided artist whose complete works, we hope, will be col- lected and seen here; and Charlotte Rollins, a woman with a rare feeling for color and a charming sense of design. She is only one of many talented women, like Annie Lowenstein, a successful experimenter in colored etching, and Kathe KoUwitz, who have made splendid names for themselves as original artists. The last named deserves a monograph to herself. This charming, simple little gray lady lives with her husband, a physician, among the poor 15 people of Berlin, and devotes her life to minis- tering to their wants. No one would suspect that these works were made by feminine hands. To find a parallel we must read the tragedies of Hauptmann. Up in the North there is a remarkable painter, one Einar Niel- sen, whose works breathe a similar spirit. The tragic pathos of sunless lives, their depressing sorrows and struggles with poverty, their cheerless homes, disease and death, are de- picted with tremendous authority and loving sympathy. Among the cherished treasures of the great cabinet of engravings in the Berlin Museum is a complete set, in all states, of her really marvellous and poignant works. Men like Arthur Kampf, president of the Royal Academy of Art in Berlin, have worked in the same genre but hardly with equal — certainly with no greater — power. Drawings quite antithetical to these are fur- nished by the great humorist weeklies, "Die Jugend" and "Simplizissimus," the contribu- tors to which are also, as a rule, distinguished decorators of printed books. These men have mastered French methods of simplification, and have been students of Beardsley without losing their individuality. Marcus Behmer has just shown a representative collection of his curious etchings, drawings, and lithographs in 16 New York. Justice can hardly be done to such men by showing a few examples of their work, for they are immensely versatile. Thomas Theodor Heine has made a name for himself in connection with the Hyperion Verlag in Munich, and also as a painter and as a sculptor, but he is still drawing occasionally for jour- nals, and there is no goal which he may not reach. Olaf Gulbransson has been the witty star of "Simplizissimus" for so many years that few know he is a native of Christiania; and Emil Preetorius, who has also been with the Hyperion Verlag, is already claiming a unique place. Alastair's exotic women, amusing and technically strange, suggesting Beardsley in form and Bakst in color, and a satire on "Life and Death" by Georg Hermann Gelbke, may here be mentioned. All of these men know how to mix piquant French absinthe with their stein of Miinchener. From these it is natural to pass on to the latest phases of art — cubism, neo- and post- impressionism, futurism, expressionism, etc. — which seem to be fast gaining ground in all European countries. We shall be surprised to find that Lyonel Feininger, one of the most interesting men of this school, is a New- Yorker. He emigrated to Germany in 1887, began his career as a musician, and still plays 17 Bach's organ preludes when he is not etch- ing. In Paris, where he may be said to have found himself, he exhibited with the Inde- pendents, and he retains the wit and humor of his early weekly contributions to the "Chi- cago Tribune," which may still be remem- bered. His ancient engines have a curious human interest, but the weird perspective and primitive methods which remind us of Henri Rousseau and again of Picasso, will arouse a storm of criticism. Moriz Melzer, Max Pechstein, Artur Segal, Franz Marc, H. Richter- Berlin, Georg Tappert, and a host of others, belong to the German futurists who air their revolutionary doctrines in Walden's "Sturm" and that extraordinary magazine, "Der Blaue Reiter." They, too, are influenced by the French and Italian ultra-moderns, but some of their barbaric subjects and color harmonies are not extreme. They are ridding their works of "thought," and depend solely on line and color. Often their effects are produced by exaggeration, but Michelangelo and Daumier resorted to the same means. Pechstein's "So- malitanz," to single out an example, seems to us peculiarly felicitous and amusing. Kandinsky we frankly fail as yet to understand, but we hesitate to sneer, for a survey of these anar- chistic works only impresses us with the free- 18 MAX KLINGER FROM A PHOTOGRAPH BY PERCHEID dom of art in our day. Germany is, after all, artistically a youthful country, full of vitality and promise, without centuries of cultivated tradition behind her, like France; and now that the doctrines of Severini and other Italian fu- turists are being accepted in the land of Gho- dowiecki and Rethel, no one can say whither the movement may lead. Merely to hurl shafts of cheap ridicule at new work is easy enough, but to prove conclusively that it is silly, or even grotesque, is not so simple. Art has been defined as exaggeration, as omission, or as self-expression. These passionate young aspirants, who seem capable of doing any- thing, argue cleverly and brilliantly that their art answers not one but all these requirements and definitions. They claim that they are hounded because they consistently avoid and despise prettiness. At any rate, they are enjoy- ing themselves hugely, and perhaps these strange, enigmatic pastimes are preludes to great and unexpected developments. We are not sufficiently conservative to deny them their possibilities and privileges, for these reckless descendants of Menzel have only just begun. Violent agitation and conflict with tradition cannot in the end result in much harm, and may do good. To make critics and public rail like madmen is in itself an achievement. It 19 remains, however, to be seen whether, having rediscovered a few important principles, and having attracted attention, they can avoid the pitfalls of the usual danger, propagandism, and can bear in mind the principle of relativity of values. You cannot safely glorify Picasso and forget Ingres, or hail Van Gogh and ignore Leonardo. Martin Birnbaum. 20 CATALOGUE OF AN EXHIBITION OF CONTEMPORARY GERMAN GRAPHIC ART HELD AT THE ART INSTITUTE OF CHICAGO January 2d — January 19th 1913 CATALOGUE ALASTAIR (Pseudonym). 1. Eleanora Duse. Hand-colored print. 2. Lady with the Cane. BARLACH. ERNST. 3. a.-d. "Der Tote Tag." Lithographs. BAUER, KARL. 4. Beethoven. Lithograph. 5. Goethe as a Boy. BAVM, PAUL. 6. Dutch Village. 7. a. Landscape with Qiurch Tower. b. ViUage Street. 8. St. Anna, Holland. BECKMANN, MAX. 9. Eurydikes Wiederkehr von Johannes Gutl^nann. With nine lithographs by Max Beckmann. 10. Lithographic Illustrations for the New Testament. BEHMER, MARCUS. 11. Arion. Etching. 12. Alexander Olbricht. 13. The Javanese Doll. 14. Book-plates. 15. Etching for Voltaire's "Zadig." 23 BOHLE, FRITZ. 16. Washing Horses. Lithograph. 17. Feierabend. BiJLOW, AGNES VON. 18. Mont-Parnasse. BVRCK, PAUL. 19. Dance of Death. Introduction. 20. The Train. 21. The Mountain-climber. 22. The Earthquake. BVTTNER, ERICH. 23. Sunlight through the Trees. 24. The Artist Nitsche. 25. Child Resting. 26. In the Park. CISSARZ, J. V. 27. A Young Bearded Man. 28. Ex Libris. 29. The Harbor Smithy. 30. The Port of Fohr. 31. Ex Libris. 32. The WindmiU. CORINTH, LOVIS. 33. The Pig-sty. 34. Mother and Cliild. 35. "Das Buch Judith," With twenty lithographs in color by Lovis Corinth. 36. "Das Hohe Lied." With twenty-six lithographs in color by Lovis Corinth. ENDE, HANS AM. 37. The Hut on the Moor. 24 FAVRE. AMAI^DVS. 38. The Tight-rope Walker. 39. Barentanz. FEININGER, LYONEL. 40. Carusselplatz. 41. The City at the End of the World. 42. An Old-timer. 43. Old Locomotive. 44. The Disparagers. 45. The Gate. 46. The Rising Sun. 47. Montmartre. FISCHER, OTTO. 48. Island in the Elbe. 49. Weisswassergrund. FRANK, ERNA. 50. Moltkebriicke. 51. Wittenbergplatz. 52. Notre Dame. 53. Rue des Grands Augustins. GALLHOF, WILHELM. 54. Der Backfisch. 55. The Auditorium. 56. Nude. 57. The Animal-tamer. 58. The Handmaidens. GAVL, AUGUST. 59. Etched Studies of Animals. GEIGER, WILLI. 60. Death. 61. Ex Libris. Six examples. 62. From the cycle "Liebe." 63. From the cycle "Liebe." 25 64. Scandal. 65. The Bull-fight. 66. The Bull-flght. 67. The Bull-flght. 68. The Bull-fight. 69. Self-portrait. GELBKE, GEORG HERMANN. 70-73. From the cycle "Life and Death." 74. Tug of War. GEYGER, ERNST VON. 75. Afi'endisputation. 76. The Marabu. 77. Toilette of the Elephants. GRAF, GERHARD. 78. Sans Souci. 79. Rothenburg. 80. Rothenburg. 81. Wood-nymph. GREINER, OTTO. 82. Lithograph. GROSSMANN, RUDOLF. 83. Berlin und Umgegend. A portfolio of lithographs. GULBRANSSON, OLAF. 84. Three Aristocrats. 85. Bjornson. HALM, PETER. 86. Reichenau. 87. The Chapel in the Field. 88. The Danube at Waltenburg. HEGENBART, FRITZ. 89. The Struggle. 90. Prepared for Flight. 91. The Dew-drinker. 26 HEINE, THOMAS THEODOR. 92. The Social Question. 93. Panic. 94. Germania in the Wood. HOBERG, REINHOLD. 95. Stormy Landscape. 96. Brother Tramps. H OEM ANN, LUDWIG VON. 97-105. The Dance. ILLIES, ARTHUR. 106. Nasturtiums. 107. Fog on the Elbe. 108. Fly-orchid. JAHN, GEORG. 109. Bohemian Goose-girl. 110. Washing Horses. KAISER, RICHARD. 111. The River-bank. KALCKREVTH, GRAF LEOPOLD VON. 112. The Gleaners. 113. Anglers. 114. Self-portrait. 115. Woman leading a Cow. 116. Ktinzelrau. KAMPF, ARTHUR. 117. Les HaUes. 118. The Stroll on the Beach. 119. Adoration of the Shepherds. 120. Convalescent. KANDINSKY. 121. Composition No. 4. 27 KAPPSTEIN, CARL. 122. The Toy Dogs. 123. Winter. 124. The Swan-pool. KLEIN-DIEPOLD, LEO. 125. Old Woman. KLEMM, WALTER. 126. Pelican. 127. Sea-swallow. 128. Ducks. 129. Swimming Ducks. 130. Bluefinches. KLINGER, MAX. 131. Landscape, Chiemsee. OVID 132. a. Title-page. 133. b. Invocation. 134. c. 135. d. Pyramus and Thisbe. 136. e. The Lion. 137. f. The Meeting. 138. g. The End of the Song. 139. h. Intermezzo. 140. I. 141. /. Narcissus — Echo. 142. k. Intermezzo. 143. {-145. n. Apollo and Daphne. 146. 0. Ovid. FROM THE CYCLE OF "EVE AND THE FUTURE" 147. a. Eve. 148. b. The Future. 149. c. The Future, II. 28 FROM THE CYCLE "DEATH" 150. a. Night. 151. b. The Fishermen. 152. c. The Sea. 153. d. The Road. 154. e. The Child. 155. f. Herod. 156. g. On the Tracks. 157. h. The Poor. KOLLWITZ, KATHE. 158. Without Work. 159. Head of a Woman. 160. A Woman. 161. Death and the Woman. 162. Riot. WEBERAUFSTAND 163. a. Want. 164. b. Death. 165. c. Consultation. 166. d. The Rioters. 167. e. The Seizure. 168. f. The End. PEASANT REBELUON 169. a. Title. 170. b. The Scythe. 171. c. Arming. 172. d. The Plough. 173. e. Field of Massacre. 174. f. After the Battle. 175. g. Prisoners. KiJHNE, WALTER. 176. The Royal Palace, Berlin. 29 LEDERER, FRITZ. 177. Girardis. 178. Self-portrait. 179. Paul Wegener, the Actor. 180. Portrait of a Lady. LEHMBRUCK, WILHELM. 181. The Dance. 182. Bashful Girl. 183. Three Women. 184. Cleopatra. 185. Mother and Child. 186. Reclining Nude. LIEBERMANN, MAX. 187. Shepherdess Knitting. 188. Girl with a Cow. 189. Child in a Cradle. 190. Boys Bathing. 191. The Beer-garden. 192. Mother and Child. 193. A View of the Ghetto. 194. The Alster, Hamburg. 195. The Race-course. 196. Self-portrait. 197. Street in Zaandvoort. 198. Goats Grazing. 199. Hollandisches Skizzenbuch. Text von Oscar Bie. LbWENSTEIN, ANNIE. 200. Street in Vannes. 201. The Promenade. 202. The Old Port. 203. The Cafe. 204. a. and b. The Market-place in Dresden. MARC, FRANZ. 205. Horses. 30 MAYRSHOFER, MAX. 206. The Idiot. MEID, HANS. 207. Carriage at the Door. 208. The Fountain. 209. Don Juan's Farewell. 210. Nocturne. 211. arcus IV. MELZER, MORIZ. 212. The Queen and her Poet. 213. The Shot. 214. Shades. 215. Two against One. MOLLER, OTTO. 216. The Market. OLBRICHT, ALEXANDER. 217. The Little Garden in Winter. 218. The Large Garden in Winter. ORLIK, EMIL. 219. Scene from "Michael Kramer." 220. Hermann Bahr. 221. Market in Gradek. 222. Portrait of Hodler. 223. A Woman Seated. 224. Resting in the Hills. PAESCHKE, PAUL. 225. Concert in the Lustgarten. PAULSEN, INGWER. 226. The Cathedral. PECHSTEIN, MAX. 227. Somali Dance. 228. The Hunt. 31 229. Head of a Fisherman. 230. Portrait. PHILIPP, MARTIN. 231. Macaws. 232. Orange and Blue Macaw. 233. Diana. 234. Maenad. 235. Cranes. POHLE, CARLA. 236. Portrait. 237. Reclining Men. 238. "Women with a Child. 239. Double Portrait. 240. Portrait of a Lady. POTTNER, EMIL. 241. Sommertage im Gefliigelhof. With twenty litho- graphs and text by E. Pottner. PREETORIVS, EMIL. 242-245. Lithographs from a Portfolio of Ten Plates. PRETZSCH, MORITZ. 246. Birches. 247. The Mill. 248. Night. RATH, HEINE. 249. The Zwinger, Dresden. 250. Skabiosa on the Window-sill. 251. Versailles. 252. Pont Royal. 253. Still Life. 254. Skabiosa. 255. Petit Trianon. REHN, WALTER. 256. The Fool. 32 RICHTER-BERLIN, H. 257. Woodcut from "Der Sturm." ROLLIVS, CHARLOTTE. 258. Geraniums. 259. Landscape. 260. Primula and Apples. 261. Still Ufe. ROSLER, WALDEMAR. 262. Six Lithographs of the Environs of Berlin. SCHARFF. EDWIN. 263. Horsemen. SCHINNERER. ADOLF. 264. The Mountain Picnic. 265, 266. From the cycle of "Samson." SCHNEIDER, GUSTAV. 267. San Gimignano. 268. Florentine Landscape. 269. On the River Swine. SEGAL, ARTUR. 270. Lotos. Woodcut from "Der Sturm." SLEVOGT, MAX. 271. Giant and Dwarfs. 272. D'Andrade as Don Juan. 273. Witches' Dance. 274. D'Andrade as Don Juan. The Champagne Song — I. 275. Struggle with a Panther. 276. Struggle with a Tiger. 277. Self-portrait. 278. Nymph and Faun. 279. FareweU. 280. Works of James Fenimore Cooper. Translated into German. Illustrated with many lithographs by Max Slevogt. 33 STRUCK, HERMANN. 281. The Longfellow House, Cambridge. 282. New York Harbor. 283. Book-plates. 284. Jewof Jaflfa. 285. Jerusalem. 286. Gerhart Hauptmann. 287. Schierke in Winter. 288. Jewish Beggar. 289. The Talmudist. 290. From the Venice Set. STUCK, FRANZ VON. 291. Pan. Cover design. TAPPERT, GEORG. 292. The Clown. THIELMANN, WILHELM. 293. To the Christening. 294. Old Man Resting. 295. Village Dance. THIEMANN, CARL. 296. Anemones. 297. Amaryllis. 298. Clivia. THOMA, HANS. 299. The Violinist. 300. Gardone di Sopra. 301. Christ and Nicodemus. 302. The Protector of the Vale. 303. Christ and the Woman of Samaria. 304. Spring Landscape. 305. Lago di Garda. 306. Landscape at Happach. 307. Storm Clouds. 308. The Archers. 309. The Voyage. 34 VHL, JOSEF. 310. Self-portrait. 311. A LitUe Girl. 312. Peasant Funeral. VOGELER, HEINRICH. 313. The Seven Ravens. 314. Spring. 315. In May. 316. Nymph. 317. "Barkenhoflf." 318. A Fairy-tale. 319. The Blackbird. 320. A Night in March. 321. The Frog's Bride. 322. The Fisherman. 323. The Stork. 324. At Noon. 325. The Lark. 326. The Annunciation. WOLFSFELD, ERICH. 327. A Game of Chess. ZEISIXG, WALTER. 328. Hamburg Harbor. 329. Place S. Michel. 330. Dresden: Terassenufer. 35 ADDENDA AND ERRATA BEHMER, MARCUS. 15. a.-d. Etchings for Voltaire's Zadig. 331. Voltaire. 332. Flowers. 333. The Funeral Pyre of Mme. Almona's Widowhood. CLAVSS, BERTHOLD. 334. Crows. 335. Hamburg-Blankenese. 336. Abendunterhaltung. 337-339. Book-plates. COHN, META. 340. The Larch Forest. 341. October in the Tyrol. GABLER, ERNST. 342. The Crossing. 343. The River. GAUL, AUGUST. Instead of No. 59 substitute as follows : 344. Sheep. 345. Penguins. 346. Condors and Ibis. 347. Sheep Resting. 348. Goats. 349. Ostriches. GREINER, OTTO. Instead of No. 82 substitute as follows: 350. The Dance. Lithograph. 351. Siegfried Wagner. Woodcut. 352. Ulysses and the Sirens. Lithograph in Colors. 353. Ganymede. Etching. Courtesy of H. E. Stoehr, Esq. 354. An Max Kllnger. Lithograph. Courtesy of R. Ederheimer, Esq. HAUG, R. 355. The Seconds. 356. In Memoriam. HECKENDORF, F. 357. The Open-air Restaurant. KAUL. AUGUST. 358. Hamburg: Fleet. 359. The Windmill. KUHNE, WALTER. 360. On the Coast. 361. Birches. NOLDE, EMIL. 362-364. Three Lithographs. PICKARD, E. 365. Lubeck. SCHOLTZ, ROBERT. No. 269 is improperly credited to Gustav Schneider. 269. On the River. 366. Harbour. — S. Margherita. SLEVOGT, MAX. 274. a. Declaration of Love. STERL, ROBERT. 367. Breakfast-table. 368. Nikisch. 369. Astrachan. 370. Return from the Field. The portrait of Max Klinger reproduced in this catalogue is after a photograph by Perscheid.