Ernst Wilhelm Nay 1902, Berlin - 1968, Cologne, Germany "Carl Georg Heise zum Geburtstag" (Happy Birthday to C. G. Heise), 1965 Document in the catalog raisonné “Ernst Wilhelm Nay Die Druckgraphik. 1923-1968” by Karheinz Gabler with foreword by Carl Georg Heise (80B). Publisher: Stuttgart, Zurich, Belser Verlag, 1975, 1st edition, 1975 Artist: Ernst Wilhelm Nay
Title: "Carl Georg Heise zum Geburtstag", 1965 Signature Description: Signed in pencil and inscribed "Tirage postérieur" lower right, Numbered "65/200" lower left
Technique: Color woodcut
Sheet Size: 76 x 56 cm / 29.92" x 22.05" inch
Frame: Unframed
Condition: Good condition with no tears, rips, holes, repairs, paint peelings or losses, few light wrinkles on the margins well away from the image (invisible once re-framed), paper slightly toned by time consistent with natural aging and use. Artist's Biography: Ernst Wilhelm Nay (German, June 11,
1902 - April 8, 1968) was born in Berlin.
Ernst Wilhelm Nay (June 11, 1902 – April 8, 1968) was a German painter and
graphic designer of classical modernism. He is considered one of the most
important painters of German post-war art. Biography Nay came from a Berlin civil servant's family. He was
born the second son of six children. His father Johannes Nay fell in 1914 as a
captain in Belgium. Nay completed his humanistic education with the Abitur at
the provincial school Pforta in Thuringia in 1921. During this time he made his
first painting attempts. He began a bookshop apprenticeship in the Berlin
bookstore Gsellius, which he broke off after a year. After that, he supported
himself with odd jobs and began to paint self-portraits and landscapes. With
three of his autodidactically painted pictures, he presented himself in 1924
to Karl Hofer at the College of Fine Arts in Berlin. Hofer recognized
Nay's talent, gave him a scholarship and included him in his painting class. At
the college Nay met his future wife Helene (Elly) Kirchner who worked there as
a model. He finished his studies in 1928. After a first study trip to Paris, the art historian
Georg Carl Heise gave him in 1930 a scholarship for a stay on Bornholm, where
he created the so-called "beach pictures". A year later, he received
the Villa Massimo Fellowship in Rome from the Prussian Academy of Arts,
where small-format, surrealist-abstract images were taken. In 1932, Nay married
Elly Kirchner. The following year he participated in the exhibition
"Living German Art" in the galleries Alfred Flechtheim and Paul
Cassirer. In a critical article of the National Socialists in the
"Volkischer Beobachter" of February 25, 1933, his picture
"Liebespaar" was mocked in 1930 as a "masterpiece of
vulgarity". During summer stays 1935–1936 at the Baltic Sea in
Vietzkerstrand (Pomerania) emerged during a first major phase of the "Thin
and Fischer pictures", 1934–1936, also large-scale pen and ink drawings,
the so-called "fisherman's drawings". In 1937, two of his paintings
were shown in the exhibition "Degenerate Art". Through Heise's mediation,
Nay received financial support from Edvard Munch, which enabled him to
travel to the Norwegian Lofoten Islands, where he painted large-format
watercolors. The so-called "Lofoten-Bilder" (1937–1938) was created
in the Berlin studio according to the motifs of these watercolors. In 1940, he forced himself (especially for financial
reasons) to military service. First, he arrived as an infantryman to southern
France, then to Brittany and in 1942 he was transferred as a card maker to Le
Mans. There he met the amateur sculptor Pierre de Térouanne, who provided him
his studio and even provided painting material. During these years, several
smaller oil paintings and numerous works on paper were created. In 1944, Hans
Lühdorf wrote a diary-like account of Nay's artistic work in Le Mans. Already
in May 1945 Nay was released by the Americans. Because his Berlin apartment,
which at the same time served as his studio, had been destroyed by a bomb
attack in 1943, he moved to Hofheim / Ts. And was able to move into a small
studio house through the intermediary of collector and art dealer Hanna Bekker
vom Rath. After the war Nay created from 1945 to 1949 the
so-called "Hekatebilder", which followed from 1949–1951 the
"Fugal pictures". As early as 1946 he met Elisabeth Kerschbaumer, the
assistant to his gallery owner Günther Franke in Munich, and whom he married
after a mutual divorce by Elly Nay in 1949. In 1950 a first retrospective of
the artist took place in the Kestner-Gesellschaft in Hanover. A year later, he
moved to Cologne, which remained his center of life until his death. In 1953 he
drew an abstract film ("A melody, four painters", directed by Herbert
Seggelke) together with Jean Cocteau, Gino Severini and Hans Erni. In the most
well-known pictures of the artist, the so-called "Scheibenbildern"
(1954-1962), the circular form of the disc became the dominant motif in all its
modifications. The most prominent example of this is the 1956 mural
"Freiburger Bild" (2.55 x 6.55 m) for the Chemical Institute of the
Albert-Ludwigs-Universität Freiburg. In 1955, Nay published his manifesto "From the
Gestalt value of color". In this time his work found international
resonance. His first solo exhibition in the USA was shown in 1955, followed one
year later by a solo exhibition in the German pavilion at the Venice Biennale).
He participated in documenta I (1955), II (1959) and III (1964). In 1960, the
German art historian Werner Haftmann published the first Nay monograph. Between
1963-1964 Nay worked on the so-called "eye pictures". At the
suggestion of Arnold Bode Nay painted in 1964 three large, 4 x 4 m measuring
"documenta images", which were presented at the documenta III in
Kassel on the ceiling (the "documenta images" are now on permanent
loan to the Federal Chancellery in Berlin). From 1965, the "late
pictures" were created, on which Nay worked until the end of his life. In
1968, Nay completed the designs for the "ceramic mural" in the
Nuclear Research Center Karlsruhe, which, however, was only posthumously realized.
At the beginning of April, the last painting "White-Black-Yellow" (WV
1303) was created. Shortly thereafter Nay died in his Cologne house of heart
failure. He was buried at the Cologne Melaten cemetery. Work The following explanations are based on the
introductory texts on the various phases of Elisabeth Nay-Scheibler's work in
the catalogue raisonné of oil paintings. Early Pictures (1922–1933) The early pictures of Nay show autodidactically painted
landscapes and portraits of his immediate surroundings, in which influences
of Henri Matisse and his teacher Karl Hofer are recognizable. A
special place takes the painting "portrait Franz Reuter" (WV 6) from
1925, "the image in which Nay was aware of being a painter." His
attachment to abstraction is already evident in the details of the paintings,
and during his nine-month stay in Rome in 1931/32, Nay has hardly any eyes for
the "classical" art of this city, but begins to work on oddly
surreal, small-format still life with larvae, shells or worms to work ("Large
shell with men", 1932, WV 110, "fleeing worms", 1932, WV 128).
In his "Regests to life and work" he remembered this time:
"[...] 1931/32 I was at the German Academy in Rome, annoying because I was
crammed into school with the relics of humanistic education (... I painted
surreal formal pictures, but certainly my own and throughout the course of my
art quite einzubauende images." Dünen- and Fischer pictures (1934–1936) With his mythical animal pictures, which originated
around 1934 and the" dune and Fischer pictures "(" White Bull
", 1934, WV 148," Mandrill ", 1934, WV 153), Nay developed a new
way of image design. Animal shapes delineated by black lines are often
accompanied by simple symbol shapes, such as the circle as sun and moon signs.
Inspired by summer stays on the Baltic Sea, where he led a simple life with the
fishermen, Nay recognized in the constant ups and downs of the swell an
original form of dynamics ("dunes", 1935, WV 175). Even in
prehistoric times, the wave or serpentine line with its alternating up and down
bows as a sign of the eternal movement of death and rebirth. Nay transmitted
this formal structure of the movement to dune and nocturnal sea pictures
("Nocturnal Sea", 1935, WV 182). In numerous large-format pen and ink
drawings, which translate the entrances and exits of the boats and the activity
of the fishermen into free line art, Nay prepared his so-called "dune and
fisherman pictures", which also show a strong dynamic in the movement of
the swells, but is also expressed in the contrasting verticals of the boat
masts and sails ("Ostseefischer I", 1935, WV 189) .The figures of the
fishermen are highly abstracted, their spherical or triangular heads showing
only a single punctiform eye in the middle. Lofoten-Bilder (1937–1938) and pictures from 1939 With the beginning of National Socialist rule, Nay's
life situation deteriorated considerably. His images were defamed as
"degenerate" and he was banned from exhibiting, and he was no longer
allowed to buy work materials (canvases, colors, etc.) The material worries of
those years were compounded by the mental strain that resulted from the lack of
contact. CG Heise helped this distressing situation by giving Nay two stays in
Norwegian Lofoten, which had great significance for Nay's artistic development:
"The bizarre formations of the mountains and fjords, the crystal clear
light, the shadowless shining colors of the far north and the primeval The
world of fishermen and whalers never failed to take effect on Nay, where he
found himself confronting a nature that largely corresponded to his own, and
with this experience, his complex of color broke completely [...]. "
Compared to the previous works of the "Lofoten-Bilder" changed
colourfulness Nay choose t expressive colors and uses z. For example, instead
of clouds, strongly colored spots in the skies of the landscapes, which in
combination with the other colors of the picture cancel out the spatial
background effect of the sky ("Lofotenlandschaft", 1937, WV 218;
"People in the Lofoten", 1938, WV 226). The almost always occurring
people are dissolved into rhythmic-dynamic abstractions ("People in the
Lofoten", 1938, WV 240). As abstracted figures, they become expressive
color signatures, whereby landscape and figure appear as equal elements of
chromatic image formation. France Pictures (1940–1944) Most of the works from the France period show
thematically legendary scenes in which abstracted figures seem to be involved
in a superpersonal, tragic or euphoric event. Even the titles, such as
"Eduard's Death I-IV" (1943, WV 311-314) or "The Angel"
(1944, WV 323), reflect the simultaneity of near-death and fullness of life.
The peculiarly shaped head shapes and the eyes marked as closed by a stroke are
reminiscent of skulls ("Liegende", 1943, WV 316). In contrast, the
harmonious-warm color scheme of these images, in which Nay now for the first
time selects yellow as the dominant color and often combined with bright red,
thereby achieving a bright, vivid color sound. In order to bridge the seemingly
perspicuous interstices of his intensively colored and dense pictorial
compositions, he invented a motif of alternating repetitive checkerboard
patterns, a design element that he would always use later. Nay wrote in his
"Regesten": "Those images from the war were actually something
unique in my art. They were born of personal experiences that I clung to
because I could not understand everything else, a constellation that otherwise
never existed in my art. " Hecate Paintings (1945–1948) From 1945, in Hofheim am Taunus, the numerous works of
the so-called "Hecate Period" were created. These works mark a new
stage of development in the field of tension between figurative motifs that are
still recognizable and their almost entirely abstract design in Nay's work,
which reflects both the tragedy of the recent past and the burgeoning hopes of
those first years after the war, the term "Hecate imagery"
coined Ernst Gosebruch (1872-1953) with reference to Nay's
"Daughter of Hecate "I (1945, WV 337), of which Nay also made a
second, smaller version (1946, WV 366)." Significantly, there is a
daughter of the Hecate - a sorceress from the pre-Greek cults, moon goddess and
goddess of death - in Greek Mythology is not This is an alienation or invention
of Nay, as well as the titles in general from this work period, in which often
ancient or bibl It is also striking that Nay's style of painting has changed at
the same time: painting becomes impasto, and Nay now chooses one of many images
much darker palette. In retrospect, Nay himself writes about these works:
"Once again very strong formal ideas came to light that combined with
mythical-magical ones. Paintings, painted thick, the year after year, the older
they get - all the better. Where I meet them, I am delighted. But I am a person
of the present whom the present also determines in his life. " Rhythmic Pictures (1952–1953) At the end of 1951, Nay moved to Cologne, still marked
by war damage, and moved into a loft in Wiethasestraße in Cologne-Braunsfeld.
Nay reacts to this change from a rural domicile to the urban, lively departure
situation of the Rhenish metropolis with a new, completely non-objective image
design. Even under the influence of musical excitement (Cologne was then
already known for its important concerts of New Music), images now emerge in
which the clear contours of the fugals dissolve images in a violently moving
rhythm, resulting in finer, more spontaneous and gestural color forms expresses
the mostly black line structures are accompanied. The musicality of these
images is reflected in their titles: "Vocal sound" (1952, WV 604),
"Silver melody" (1952, WV 600) or "Black rhythms, red to
gray" (1952, WV 629). Looking back on this period, Nay wrote in 1962:
"I was particularly interested in the absolute tone and the often extended
negative forms of Webern's music. That was around 1950. Later, the compositions
of serial and punctual music were added. Next to Dallapiccola and Nono, Boulez
impresses me the most. This one because of his extensive work in electronic
music, whose technique I met here in Cologne." Scheibenbilder (1954–1962) In his most well-known, longest and critically most
successful period to date, Nay makes the round shape of the disc – in all its
variations – the main motif of his painting, which he now increasingly reflects
theoretically. In 1955 he publishes his book "On the Design Value of
Color", in which he outlines the fundamentals of his "first
system" of color "punctuation." As Nay discovered the
"disc" as a central design element, he himself describes it this way:
"That's how it started I started with very innocuous new experiments and
found out: If I go with a brush on the canvas, there is a small blob, I enlarge
that, then I have a disc.This disc is of course already doing a lot on the
surface If I add other slices, then a system of at least colored and quantitative
proportions is created, which can now be combined and further assembled into
larger image complexes. " After Nay had combined the slices initially with
graphic elements, they became the sole in 1955 Picture motif and from today's
point of view "classical" works of this period emerge.From 1957/58
Nay changes the outer Ers His discourses are shaped more openly and softer in
their outlines ("Rondo", 1958, WV 871), then developed more out of
the circular movement of the brush ("Chorisch Grau", 1960, WV 971)
and finally with Partially violent gestures "to strike through"
begins ("Ecstatic Blue", WV 990, 1961). Behind this was the fact that
Nay felt that he had to "open" or "overcome" his hitherto
stringently enforced system of selective placement of color at some point, so
as not to get stuck in a "modern academy of painting". Augenbilder (1963–1964) The spontaneous crossing of the discs leads Nay around
1962/63 to the discovery of the ocular motif, which as a further development of
the "disc" for two years, the image of the so-called "eye
images" determines ("eyes", 1964, WV 1092 In the light of the
artist's intention to "open", it is characteristic that with this
motif of the "eye", for the first time in years, something
reminiscent of the human being is visible again (Magda, p. 26). This primeval
theme of seeing and being looked at together, promising magical powers and
spellbinding defenses in archetypal symbols, but also symbolizing light and
spiritual awareness, is a daunting challenge to Nay's completely non-objective
image design. But he does not renounce the association of the magical aura of this
figurative form, but brings the effect of the large-scale eye-forms of his
images into balance with a very moving, abstract formal language, which he
incorporates into a passionately unfolding chromaticism. All registers of a
strongly contrasting colourfulness, as well as the emphasis on delicate-light
and dark-colored contrasts, brings Nay into this dialogue and thus increases
the vitality and freedom of his image design. But despite the newly won and
spiritedly used painterly freedom, the details and the overall conception of
these paintings have a controlled order. In public, the new and so unusually
expressive images Nay were perceived ambivalent. The three "documenta
images" of 1964 (WV 1121, 1122 and WV 1123) were discussed in the so-called
"documenta dispute" extremely controversial and led to some violent
polemics against Nay. Late Pictures (1965–1968) From 1965, Nay made one final turn in his work: he
abandoned the "monostructure" of the "disc shape" as a
dominating design element and developed his "second system" of
colored "sequence", for which not only one changed style of painting
(the paint becomes fluid and even), but above all a re-expanded and formally
very clear repertoire of forms is characteristic. For example, precisely
defined spindle shapes ("Spindle - Red", 1967, WV 1260), chains of
round or oval discs ("Red Chain", 1965, WV 1180) and bow shapes
("With dark gray arch form", 1966, WV 1208) and Ribbons, often
associated with organic remembering associations. In the last pictures even
"figurative", partly even reminiscent of the form of human formations
emerge, with which in these pictures, according to Nay, a beyond the
traditional opposition "abstract against real", lying, "hitherto
unknown human representation" or a "new visual picture of man"
beyond the opposition "abstract" or "real", Nay finds with
these works to a new, almost third and by himself as "elementary"
designated image form, in which the always central theme of his art – the human
being – returns to the picture in a completely new way.In 1967, in his last
essay "My Color", which he himself published, he writes: "It is
worth living so far that the real color image can arise and the color sounds in
such a way that without special intention of the artist human becomes visible,
human and creaturely in new, unknown he formulation. " The written estate is since 1979 in the Archive of Fine
Arts in the Germanic National Museum. In September 2005, the Ernst Wilhelm Nay
Foundation, which manages and manages the artistic estate of Nay, was founded
in Cologne. Exhibitions
(selected) 1946: E. W. Nay, Gallery Gerd Rosen, Berlin 1950: E. W. Nay (Retrospektive),
Kestner-Gesellschaft, Hannover 1955: Ernst Wilhelm Nay, Kleemann
Galleries, New York 1956: Ernst Wilhelm Nay. Deutscher Pavillon,
28 Biennale die Venezia, Venedig 1959: E. W. Nay (Retrospektive),
Kunstverein für Rheinlande und Westfalen, Düsseldorf 1964: I. Internationale der Zeichnung.
Sonderausstellung Ernst Wilhelm Nay, Mathildenhöhe Darmstadt, Darmstadt 1964/1965: Ernst Wilhelm Nay. Gemälde 1955–1964,
Kunstverein in Hamburg, Hamburg/ Badischer Kunstverein, Karlsruhe/ Frankfurter
Kunstverein Steinernes Haus, Frankfurt a. Main 1969: E. W. Nay (Retrospektive),
Wallraf-Richartz-Museum, Köln/ Nationalgalerie, Berlin/ Städelsches
Kunstinstitut, Frankfurt a. Main/ Kunstverein in Hamburg, Hamburg 1970: E. W. Nay. Bilder aus den Jahren
1935–1968 (Retrospektive), Museum Städtische Kunstsammlungen, Bonn 1976: Nay. Un Maestro del Color. Obras die 1950
a 1968, Museo de Arte Moderne, Instituto Nacional de Bellas Artes,
Mexiko-Stadt 1980: E. W. Nay. Bilder und Dokumente (Retrospektive),
Germanisches Nationalmuseum Nürnberg/ Haus der Kunst, München/ Bayer-AG
Erholungshaus, Leverkusen/ Wilhelm-Hack-Museum, Ludwigshafen a. Rhein/ Neue
Galerie, Kassel 1985: Bilder kommen aus Bildern. E. W. Nay
1902–1968. Gemälde und unveröffentlichte Schriften aus vier Jahrzenten,
Museum Haus Lange, Krefeld/ Westfälischer Kunstverein, Münster/ Kunstverein in
Hamburg, Hamburg 1990/1991: Ernst Wilhelm Nay. Retrospektive,
Museum Ludwig in der Josef-Haubrich-Kunsthalle, Köln/ Kunsthalle Basel, Basel/
Scottish National Gallery of Modern Art, Edinburgh 1998: Ernst Wilhelm Nay, Stedelijk Museum,
Amsterdam/ Gemäldegalerie Neue Meister, Dresden/ Wilhelm-Lehmbruck-Museum,
Duisburg 2002/2003 E. W. Nay. Variationen. Retrospektive
zum 100. Geburtstag, Kunsthalle der Hypo-Kulturstiftung, München/
Kunstmuseum Bonn, Bonn 2009: E. W. Nay. Bilder der 1960er Jahre,
Schirn Kunsthalle, Frankfurt a. Main/ Haus am Waldsee, Berlin 2013/2014 Ernst Wilhelm Nay. Bilder,
Michael Werner Kunsthandel, Köln 2016: NAY 1964, Aurel Scheibler, Berlin 2017/2018: Ernst Wilhelm Nay, Almine Rech
Gallery, London 2018: Ernst Wilhelm Nay. 1948–1951, Jahn
und Jahn, Munich Museums
(selected) ·
Kunstmuseum Basel, Basel, Switzerland ·
Nationalgalerie Berlin, Berlin, Germany ·
Indiana University Art Museum, Bloomington, IN, United
States ·
Royal Museums of Fine Arts of Belgium, Brussels,
Belgium ·
Tate Modern, London, England ·
Albright-Knox Art Gallery, Buffalo, NY, United States ·
Busch-Reisinger Museum, Cambridge, MA, United States ·
The Detroit Institute of Arts, Detroit, MI, United
States ·
Staatliche Kunstsammlungen Dresden, Dresden, Germany ·
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany ·
Wilhelm Lehmbruck-Museum, Duisburg, Germany ·
Folkwang Museum, Essen, Germany ·
Städelsches Kunstinstitut, Frankfurt am Main, Germany. ·
Staatliche Galerie Moritzburg, Halle, Germany ·
Kunsthalle Hamburg, Germany ·
Sprengel Museum, Hannover, Germany ·
Wadsworth Atheneum, Hartford, CT, United States ·
Staatliche Kunsthalle Karlsruhe, Karlsruhe, Germany ·
Neue Galerie Kassel, Kassel, Germany ·
Museum Ludwig, Cologne, Germany ·
Kaiser Wilhelm Museum, Krefeld, Germany ·
Museum der bildenden Künste, Leipzig, Germany ·
Landesmuseum Mainz, Mainz, Germany ·
Städtische Kunsthalle Mannheim, Mannheim, Germany ·
Milwaukee Art Museum, Milwaukee, WI, United States ·
Bayerische Staatsgemäldesammlungen, München, Germany ·
Westfälisches Landesmuseum, Münster, Germany ·
The Solomon R. Guggenheim Museum, New York, NY, United
States ·
Germanisches Nationalmuseum, Nürnberg, Germany ·
Landesmuseum Oldenburg, Germany ·
Saarlandmuseum, Saarbrücken, Germany ·
The Saint Louis Art Museum, Saint Louis, MO, United
States ·
Staatsgalerie Stuttgart, Stuttgart, Germany ·
Museum Wiesbaden, Wiesbaden, Germany ·
Museum Moderner Kunst Vienna, Vienna, Austria
· Portland Art Museum, Oregon, United States. Additional Information: Carl Georg Heise (28 June 1890 – 11 August 1979) was a German art
historian. From 1945 to 1955 he was director of the Kunsthalle
Hamburg. Life
Heise was born into a Hamburg mercantile family with artistic interests. In about 1906 Aby Warburg became his mentor, and recommended to him a period of studying art history with Wilhelm Vöge in Freiburg. Subsequently, he went to Adolph Goldschmidt in Halle and—against Warburg's advice—to Heinrich Wölfflin in Munich. In 1910 he travelled to Italy with Wilhelm Waetzoldt and Warburg, visiting Venice and finally Ferrara, where Warburg was researching the frescoes in the Palazzo Schifanoia. In 1912 Warburg travelled with him to Rome to the art historians' congress. In 1914 he was rejected as a volunteer for military service, then studied in Berlin and Kiel where in 1915 he obtained his doctorate under the supervision of Count Vitzthum von Eckstädt with a thesis on North German painting in the Middle Ages, which he dedicated to Warburg. In 1916 Heise worked at the Hamburger Kunsthalle, where he compiled a catalogue under Gustav Pauli of the museum's older paintings. From 1919 to 1921 together with Giovanni Mardersteig and initially also Kurt Pinthus he edited the newspaper Genius. Zeitschrift für werdende und alte Kunst.übeck, previously the residence of the author Ida Boy-Ed. After the war he was the
director of the Hamburger Kunsthalle from 1946 to 1956, and held a
professorship at the University of Hamburg. The art-historical "Heise
Collection", containing 9,000 titles, is today in the Staats- und
Universitätsbibliothek Bremen ("State and University Library of
Bremen"). He is counted as a significant champion of German classical
modernism (Klassische Moderne). Writings
·
(as editor) Unterhaltung mit Friedrich dem
Großen (diaries of Henri de Catt 1758–1760, translated by
Clara Hertz). Kiepenheuer: Weimar 1916. ·
Norddeutsche Malerei. Studien zu ihrer
Entwicklungsgeschichte im 15. Jahrhundert von Köln bis Hamburg). Wolff: Leipzig 1918. ·
(as co-editor with Giovanni Mardersteig): Genius.
Bilder und Aufsätze zu alter und neuer Kunst. Wolff: Munich 1920. ·
Lübecker Plastik. Cohen: Bonn 1926. ·
Lübecker Kunstpflege 1920–1933. Published on behalf of the Museum
für Kunst- u. Kulturgeschichte. Lübeck 1934. ·
Fabelwelt des Mittelalters. Phantasie- und Zierstücke
Lübeckischer Werkleute aus drei Jahrhunderten. 120 photographs by W. Castelli. Rembrandt: Berlin
1936. ·
Deutsche Bildschnitzer der Dürerzeit. Günther und Co.: Berlin c. 1940. ·
Persönliche Erinnerungen an Aby Warburg. New York 1947. ·
Der Lübecker Passionsaltar von Hans Memling. Ellermann: Hamburg 1950. ·
Führer durch die Hamburger Kunsthalle. Christians: Hamburg 1955. ·
(ed.): Rembrandt von Rijn, Die Nachtwache
1642. Reclam: Stuttgart 1957. ·
Lovis Corinth. Bildnisse seiner Frau. Reclam: Stuttgart 1958. ·
Der gegenwärtige Augenblick. Reden und Aufsätze aus
vier Jahrzehnten. Gebr. Mann: Berlin 1960. ·
Das Museum in Gegenwart und Zukunft. Festvortrag zur
Jahrhundertfeier des Wallraf-Richartz-Museums. Cologne 1961.
·
Grosse Zeichner des XIX. Jahrhunderts. Gebr. Mann: Berlin 1959.
Shipping & Handling: All items are sent through registered mail or by E.M.S. Fast delivery service (up to 4-5 business days), depends on the weight and measures of the purchased item. You may add insurance for the item with an additional fee. Please e-mail us for other shipping methods. Artshik provides full assurance that all items sold are exactly as described! We guarantee all items we sell are 100% authentic! |