Hokusai’s cranes & birds, 1823

Katsushika, Hokusai (1760-1849) :: Cranes. Denshin kaishu ippitsu gafu : zen [Album de dessins d'un coup de pinceau]. Gravure sur bois polychrome, 1823 | src BnF ~ Gallica
Katsushika Hokusai (1760-1849) :: Cranes. Denshin kaishu ippitsu gafu : zen [Album de dessins d’un coup de pinceau]. Gravure sur bois polychrome, 1823 | src BnF ~ Gallica
Katsushika, Hokusai (1760-1849) :: Cranes. Denshin kaishu ippitsu gafu : zen [Album de dessins d'un coup de pinceau]. Gravure sur bois polychrome, 1823 | src BnF ~ Gallica
Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke
Katsushika, Hokusai (1760-1849) :: Cranes. Denshin kaishu ippitsu gafu : zen [Album de dessins d'un coup de pinceau]. Gravure sur bois polychrome, 1823 | src BnF ~ Gallica
Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke
Katsushika, Hokusai (1760-1849) :: Cranes. Denshin kaishu ippitsu gafu : zen [Album de dessins d'un coup de pinceau]. Gravure sur bois polychrome, 1823 | src BnF ~ Gallica
Katsushika, Hokusai (1760-1849) :: Cranes. Denshin kaishu ippitsu gafu : zen [Album de dessins d’un coup de pinceau]. Gravure sur bois polychrome, 1823 | src BnF ~ Gallica
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met
Katsushika Hokusai :: Transmitting the Spirit, Revealing Form of Things: Picture Album of Drawings at One Stroke 1823 | src The Met

Jeanne Mammen (1890–1976) I

Jeanne Mammen :: Sie repräsentiert (och Selbstbild), um 1928.[watercolor, pencil] Bild: VG Bild-Kunst, Bonn 2017 | src Svenska.yle (selfportrait; self-representation)
Jeanne Mammen :: Sie repräsentiert (och Selbstbild), um 1928. [watercolor, pencil] Bild: VG Bild-Kunst, Bonn 2017 | src Svenska.yle

Watercolorist, painter, printmaker. Raised in Paris. Studied art in Paris, Brussels, and Rome from 1906 until 1911. As a German citizen, was forced to flee France with her family at outbreak of World War I; lost all possessions. Impoverished, settled in Berlin in 1916, where she eventually earned a living making illustrations for fashion magazines and posters for Universum-Film AG (UFA), the film distributor.

After 1924 frequently published drawings and watercolors in major satirical periodicals such as Ulk and Simplicissimus, for which she chronicled the experiences of Berlin’s crop-haired, self-reliant “new women” at work and leisure — experiences that mirrored her own. Often showed them in cramped, distorted spaces, some rendered in lurid tones reminiscent of Henri de Toulouse-Lautrec and others in brilliant, orphic colors of the prewar Parisian avant-garde. Enjoyed growing commercial and critical success; in 1930 had first solo exhibition at Galerie Gurlitt in Berlin. At publisher Wolfgang Gurlitt’s behest, made lithographs illustrating a book of erotic Sapphic poetry, Les Chansons de Bilitis, in 1931–32, which was banned by the Nazis.

Under Nazi dictatorship, remained in Germany but lived in a state of “inner emigration”; refused to exhibit or publish. Turned increasingly to painting in Cubist and Expressionist styles out of solidarity with artists who Nazis defamed as degenerate.

quoted from MoMA

Jeanne Mammen :: Zwei Frauen, tanzend (Two women, dancing), ca. 1928. [Aquarell, Bleistift]. Bild: VG Bild-Kunst, Bonn 2017. | src Svenska.yle
Jeanne Mammen :: Zwei Frauen, tanzend (Two women, dancing), ca. 1928. [Aquarell, Bleistift]. Bild: VG Bild-Kunst, Bonn 2017. | src Svenska.yle
Jeanne Mammen :: Die Rothaarige | The Redhead (Thoughts at the Hairdresser's), um 1928. Drawing, watercolour and pencil on paper. | src Berlinische Galeri
Jeanne Mammen :: Die Rothaarige | The Redhead (Thoughts at the Hairdresser’s), um 1928. Drawing, watercolour and pencil on paper. | src Berlinische Galerie

Jeanne Mammen (1890–1976) made her name in the late 1920s with illustrations for magazines like Simplicissimus, Ulk and Jugend. In an enthusiastic review, Kurt Tucholsky wrote that her figures leaped “from the paper with skin and hair”. Mammen’s favourite motif were women in the city: in a café, at a ball, at the bar or in some sleazy joint. “The Redhead”, printed in Ulk in 1928, sits in the hairdresser’s chair. She is lost in thought as she looks towards the viewer: we are her mirror. The hairdresser is just finishing off the job. The look is perfect: the pale smock, the white skin, the brown shades in the background are an ideal background to set off her red hair, her lips and the blue shadow around her catlike eyes. “The Redhead”is a vamp rather than the sassy athletic young lass more typical of the times. This capricious creature exudes an air of cold detachment. Her beauty is not intended to seduce but is sufficient unto itself. [quoted from Berlinische Galerie]

Jeanne Mammen :: Vor der Leistung | Before the Performance, 1928. Drawing, watercolour and pencil on paper. Private collection, Berlin. | src Arthive
Jeanne Mammen :: Vor der Leistung | Before the Performance, 1928. Drawing, watercolour and pencil on paper. Private collection, Berlin. | src Arthive
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. | src MoMA
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. | src MoMA
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. | src MoMA
Jeanne Mammen :: Carnival in Berlin N III (Fasching Berlin N III), ca. 1930. Watercolor and pencil on wove paper. © 2016 Jeanne Mammen / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany | src MoMA
Jeanne Mammen :: Illustration für die Zeitschrift "Simplicissimus" - Illustration for the magazine Simplicissimus, around 1930. [Aquarell, Bleistift]. | src arthive
Jeanne Mammen :: Illustration für die Zeitschrift “Simplicissimus” – Illustration for the magazine Simplicissimus, around 1930. [Aquarell, Bleistift]. | src arthive

The Botanist, vol. 4, 1840

Protea Cynaroides. Artichoke-like flowered Protea. From: The Botanist, vol. 4, 1840.
Rhododendron Caucasico-Arboreum ~ Shewy Hybrid Rhododendron
The Botanist; containing accurately coloured figures of tender and hardy ornamental plants; with descriptions, scientific and popular; intended to convey both moral and intellectual gratification. Vol. 4, 1840. | src internet archive

Poire et Rose, 1968

René Magritte :: Poire et Rose, from Moyens d’Existence (Kaplan & Baum 20), 1968. Etching and aquatint in colors on wove paper, stamp signed and numbered in pencil 16/150, with the Atelier René Magritte blindstamp, printed by Atelier Georges Visat, Paris. | src Bonhams

Clotilde et Alexandre Sakharoff

Clotilde et Alexandre SAKHAROFF. Programme, 1930s. | src interencheres
Clotilde et Alexandre SAKHAROFF. Programme, late 1920s – 1930s. (Dessin: N.C.) | src interencheres

L’Atlantide (1921)

Poster for the French silent film L’Atlantide (aka Missing Husbands, Lost Atlantis), directed by Jacques Feyder, starring Stacia Napierkowska as Queen Antinea (1921). Poster design by Manuel Orazi. | src IMdB
Poster for the French silent film L’Atlantide (aka Missing Husbands, Lost Atlantis), directed by Jacques Feyder, starring Stacia Napierkowska as Queen Antinea (1921). Poster design by Manuel Orazi. | src IMdB

La Syphilis (1910s)

Louis Raemaekers :: L’Hecatombe. La Syphilis. “An image meant to warn Belgian soldiers returning from the front of the dangers of ‘The French Pox’. It depicts a dangerous woman standing both seductively and menacingly in front of a field of graves.” | src The Guardian

Frontispice de Odilon Redon

Frontispice symboliste de Odilon Redon à l’eau-forte et pointe sèche sur vergé, pour un ouvrage de l’auteur oublié Adrien Remacle (1849-1916). La passante. [Roman d’une âme]. Paris, Bibliothèque artistique et littéraire, 1892. Édition originale. | src Arenberg Auctions

4 dessins de Romain de Tirtoff

Romain de Tirtoff (1892-1990) dit «Erté» :: «Les Modes excentriques». Robe argent, doublée orange, 1918. Graphite, encre noire, gouache, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: «Le Harem moderne», Robe argent sur des fils de perles, 1918. Plume et encre noire, gouache, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: Robe du soir pour Henri Bendel, printemps 1915. Graphite, encre noire, aquarelle, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: Robe du soir pour Henri Bendel, printemps 1915. Graphite, aquarelle, rehauts de gouache et d’argent. | src MAD ~ Musée des Arts Décoratifs