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MAX PECHSTEIN (1881-1955)
MAX PECHSTEIN (1881-1955)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
MAX PECHSTEIN (1881-1955)

Akrobaten III (Varietészene)

Details
MAX PECHSTEIN (1881-1955)
Akrobaten III (Varietészene)
woodcut with stencil-colouring in green and pink, 1912, on cream wove paper, signed in pencil, a very good impression, the colours fresh; with Komposition mit drei Palau-Akten, lithograph by the same hand, 1918, on cream wove paper, signed in pencil; both from the edition of one hundred (there were also 25 on Japan paper), published in Die Schaffenden (year 1, vol. I), by Paul Westheim and Gustav Kiepenheuer, Weimar, 1918, with the publication's blindstamp, the full sheets, in very good condition
Block 218 x 270 mm., Sheet 322 x 419 mm. (K. H 137)
Image 322 x 313 mm., Sheet 420 x 322 mm. (K. L 265)
(2)
Literature
Krüger H 137 & L 265
Söhn 727701-6 & 7
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
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Post Lot Text
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Lot Essay

The founding of the Künstlergruppe Brücke and the birth of Expressionism also marked the beginning of a ‘print revival’ in Germany. After the predominantly reproductive or illustrative print production of the 19th century, prints and in particular woodcuts began to be seen as a powerful and important medium of artistic expression. In order to disseminate and promote this revived print production, artists and artists’ collectives began to issue portfolios, and gallerists and critics, such as Herwarth Walden (1879-1941) and Paul Westheim (1886-1963), published magazines and journals which included original prints.

While some were very short-lived, Paul Westheim’s publication Die Schaffenden, ran from 1918-32 with four issues per year. Each issue consisted of a portfolio containing ten original prints, mostly but not exclusively by German artists, including some of the leading figures of the German avant-garde, such as the Brücke-artists Heckel, Pechstein and Schmidt-Rottluff, and satirists such as George Grosz, as well as lesser-known artists of the time. No other periodical came to showcase and represent the artistic life of the inter-war years to a similar degree.

The present collection of prints from Die Schaffenden includes important woodcuts, etchings and lithographs from the first three years, when it was published in Weimar, by some of the defining artists of the period, all in exceptionally good condition.

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