Käte Hoch · liegender weiblicher Akt

**Käte Hoch** (1873-1933) ~ Untitled (Reclining female nude), ca. 1910. Woodcut on thin Japan paper, with red coloring, probably added later. Inscribed “original woodcut” at the bottom left | src Nosbüsch & Stucke

**Käte Hoch** (1873-1933) ~ Ohne Titel (Liegender weiblicher Akt). Holzschnitt auf dünnem Japan, mit punktuellem, wohl später hinzugefügtem roten Kolorit, um 1910 | src Nosbüsch & Stucke

Die deutsche Malerin Käte Hoch (1873-1933) studierte von 1891-1894 an der Münchner Damenakademie. Ab 1906 betrieb sie eine eigene Mal- und Zeichenschule in München und nahm u.a. an Ausstellungen der Münchner Secession und des Kunstvereins München teil. 1933 stürmte ein SA-Trupp ihre Wohnung und ihr Atelier in Schwabing, wobei der Großteil ihrer Werke zerstört wurde.

The German painter Käte Hoch (1873-1933) studied at the Munich Women’s Academy from 1891-1894. From 1906 she ran her own painting and drawing school in Munich and took part in exhibitions at the Munich Secession and the Munich Art Association, among others. In 1933, an SA troop stormed her apartment and studio in Schwabing, destroying most of her work.

Louise Bourgeois · Gouaches

**Louise Bourgeois** (1911 – 2010) ~ The Ticking of the Clock: The Heartbeat, 2008. Gouache and colored pencil on paper, suite of 12 | src Hauser & Wirth

**Louise Bourgeois** (1911 – 2010) ~ Les Fleurs, 2009. Gouache on paper, suite of 18 | src Hauser & Wirth

‘Louise Bourgeois. My Own Voice Wakes Me Up’

First solo exhibition in Hong Kong of works by renowned French-American artist Louise Bourgeois (1911 – 2010). The exhibition is curated by Jerry Gorovoy, who worked closely with Bourgeois from the early 1980s until her death in 2010.

For more than 70 years, Bourgeois created forms that merged the concrete reality of the world around her and the fantastic reality of her inner psychic landscape. Her creative process was rooted in an existential need to record the rhythms and fluctuations of her conscious and unconscious life as a way of imposing order on the chaos of her emotions. The body, with its functions and distempers, held the key to both self-knowledge and cathartic release. ‘My Own Voice Wakes Me Up’ takes its title from one of Bourgeois’s ‘psychoanalytic writings,’ dated December 1951 and written at the very beginning of her intensive analysis. In this text, she describes how her own voice awakes her from a dream in which she was calling out (‘maman, maman’) while pounding on her husband’s chest. The exhibition focuses on distinct bodies of work from the final two decades of the artist’s life, including fabric sculptures, hand poses, late works on paper, topiary sculptures, and rarely exhibited holograms. | text Hauser & Wirth

Cat and Butterfly by Min Zhen

**Min Zhen** (Chinese, 1730–after 1788) ~ Cat and Butterfly, ca. 1788 (ink on paper). From Album of Miscellaneous Subjects | src Cleveland museum of art

Min Zhen painted this album for his friend Dailili Shanren in exchange for a scholar’s stone.

Cat and butterfly [ 貓和蝴蝶 ] are homophones for the characters “mao die” 耄耋 (octogenarian), so this painting expresses hope that the artist’s friend will live a long life.

Cat and Butterfly by Fu Shan

**Fu Shan** (1607-1685) (attributed to) ~ Cat and Butterfly. Ink on satin, hanging scroll | src Bonhams

La Femme et le Pantin · 1928

**Edouard Chimot ~** Etching for Pierre Louÿs’ «La Femme et le Pantin», Paris, 1928

**Pierre Louÿs** **& Edouard Chimot ~** La Femme et le Pantin. Les Editions d’Art Devambez, Paris, 1928
Etchings in colour and black and white by Edouard Chimot | src Chiswick auctions

**Edouard Chimot ~** Colour etching for Pierre Louÿs’ «La Femme et le Pantin», Paris, 1928

Black cat by Hiroaki (1929)

**Takahashi Hiroaki** (1871–1945) ~ Cat with a Bell, 1929. Color woodblock print on paper. Publisher: Kaneko Fusui (1897-1978)

Takahashi Hiroaki was the first print designer to collaborate with the publisher Watanabe Shôzaburô to revive the themes and techniques of 19th-century ukiyo-e prints. Between 1907 and 1923, when the Great Kantô Earthquake destroyed both prints and blocks, they produced over 500 designs. After the quake, Hiroaki began anew, sometimes creating modified versions of his earlier designs. This work, however, is from his output for a different publisher, Kaneko Fusui, who apparently allowed him to do more experimental designs. The swirling patterns in the background, done in soft yellow-orange, show the movement of the baren pad during the printing process. Takahashi worked with Kaneko for only four years, between 1929 and 1932, so prints from this publisher are relatively rare. (quoted from Portland Art Museum)

**Takahashi Hiroaki** (1871–1945) ~ Cat with a Bell, 1929. Color woodblock print on paper. | src Portland Art museum

Ex-libris

Exlibris / emilhtitz | src Schneider-Henn (link to pdf)

Ex-libris / Karl Sievert | src Schneider-Henn (link to pdf)

Standing nude by Ernst Fuchs

**Ernst Fuchs ~** Stehender weiblicher Akt in Rückenansicht mit Frucht; ca. 1969. Farbserigraphie auf Japon Nacré (Colour silkscreen). | src Jeschke Jádi (JVV) Auktion 147 lot 902

Jan Toorop · Salad Oil style

**Jan Toorop ~** Poster for Delft Salad Oil, 1894 (RP-P-1912-2395) | src Rijksmuseum

Affiche Delftsche Slaolie (1894)
This poster was commissioned by the Nederlandsche Oliefabriek, an oil manufacturer in Delft. Two women with wavy hair and billowing draperies occupy most of the composition. One of them is dressing a salad.

The inscription on top Delftsche Slaolie makes it clear that the advert concerns salad oil, as do the bottles of salad oil on either side of the text. Below it is the crowned coat of arms of the factory (N O F), with a decorative area with peanuts on the left. The majority of the poster is taken up by the two graceful female figures with long hair and billowing draperies. One sits and is dressing a lettuce salad in a large container; the other has her gaze and hands raised. The women with their emphatic contours draw attention away from the actual advertisement, namely for the salad oil. The wavy, rhythmic interplay of lines with which the women’s hair fills the picture surface made such an impression that it became an icon and lent Dutch Art Nouveau its nickname, slaoliestijl, the ‘salad oil style’. | text adapted from Rijksmuseum [x]

**Jan Toorop ~** Image Design for a Poster. Wagenaar’s Cantata ‘The Shipwreck’, 1899. Zincograph in blue-black on yellow wove paper | src AIC

**Jan Toorop (1858-1928) ~** Two female figures with clock in hand, 1913 (?). Pencil and chalk on paper. | src Rijksmuseum

**Jan Toorop ~** Twee gestileerde vrouwelijke figuren met klok in de hand (1894)

Jan Toorop (1858–1928) was born on the island of Java in the Dutch East Indies, Toorop settled in the Netherlands at the age of eleven. After studying art at the Rijksakademie in Amsterdam, he’d spend his time between The Hague, Brussels, England (where his wife was from), and, after 1890, the Dutch seaside town of Katwijk aan Zee. It was during this time that he developed his distinctive style: highly stylized figures, embedded in complex curvilinear designs, with his dynamic line showing influence from his Javanese roots. While perhaps most famous for turning these techniques to his exquisite poster designs, Toorop also produced a substantial body of work far removed from the anodyne demands of the advertising industry, beautiful but haunting works dealing with darker subjects such as loss of faith and death (that you can find in this other post). | text adapted from Public Domain review