Archives Scrapbooks

The image is a spread from a catalog of prints, featuring a detailed list of various works by a particular artist or collection. The left page contains an illustration titled "Fish Woman" by Rolf Nesch, created in 1929. Below the illustration, there is a quote: "Every woman was naked," from the book "Wozzeck" by Georg Büchner.

The right page lists several entries, each with a number, title, description, and additional details such as dimensions and dates. Here is a summary of the entries:

Left Page:

• 1912. THE DEAD DAY. Der tote Tag
  • A play in five acts, created by Paul Cassirer in the same year as the first publication.
  • Contains 13 original lithographs, including a frontispiece and a title page.
  • Various editions and print runs are described, including a deluxe edition on Japanese paper.

Right Page:

• 1914. WAIT TIME. Erwartung

  • A monodrama published by Paul Cassirer in 1917.
  • Includes a frontispiece lithograph by Oskar Kokoschka and 11 lithographs by Alfred Kubin.

• 1918. THE ROSE NEWS MESSENGER. Der Bote

  • A play published by Paul Cassirer in 1918.
  • Features a frontispiece lithograph by Emil Orlik.

• 1918. THE PICTURE MAN. Der Bildermann

  • A play published by Paul Cassirer in 1918.
  • Includes a frontispiece lithograph by Emil Orlik.

• 1918. EXPRESSIONS. Erlebnisse

  • A collection of lithographs by various artists, published by Paul Cassirer in 1918.
  • Includes works by artists such as Lovis Corinth, Max Liebermann, and others.

• 1919. LETTERS. Liebesbriefe

  • A collection of letters published by Paul Cassirer in 1919.
  • Includes a frontispiece lithograph by Emil Orlik.

Each entry provides detailed information about the publication, including the artists involved, the number of lithographs, and the dimensions of the prints. The catalog appears to be a comprehensive record of these works, likely intended for collectors or researchers interested in the art and literature of the period.

The image shows a page from a catalog titled "CATALOG: Prints," featuring various artworks and their descriptions.

1. Title and Subject:

   • The title of the page is "The Dead Day (Der Totentag)" and "The Picture Man (Der Bildermann)" with an emphasis on different artworks by artists associated with the expressionist movement.

2. Works and Descriptions:

   • 1912:

     • "The Dead Day" by Paul Cassirer, illustrated with a note about it being a play in five acts from the "Festspiel" published in 1912. It includes an illustration and mentions it was illustrated by a Japanese artist on two different editions, one with a cover and one with a different inside text.

     • "The Mother Half Way Up the Cellar Stain" (Art I) and other pieces like "The Ghost Crouches Beside the Sleeping Son" (Act I, signed by Le Barach), "The Mother and Koli" (Act I), and "The Night Watcher" (Act II).

     • Specific artworks include "The Sun Cures the Sick" (Act IV), "The Sun Watches the Nightmare" (Act II), "The Mother Kneels by the Bed of the Sleeping Son" (Act II), "The Sun Cures the Sick" (Act IV), and "The Sun Meets Its Unknown Father in the Fog" (Act V).

3. Other Notable Artworks:

   • 1913:
     • "Stargazer I" (signed by Serge & Paul, lithograph).
   • 1914:
     • "The Sun's Vision of Time's Monument" (Act V, signed by Le Barach).
     • "The Reuter News Agency" (signed by Le Barach).
     • "The Sun" (illustrated in several versions).
   • 1915:
     • "The Bethlehem Seed Company" (illustrations by Le Barach).
     • "The Picture Man" (illustrated by Paul Cassirer).
   • 1916:
     • "The Blind Man" (signed by Le Barach).
   • 1918:
     • "From a Modern Day of Death" (signed by Le Barach).
   • 1931:
     • "For Whom Time is an Era and Eternity" (illustrated by Ernst Barlach).
   • 1934:
     • "The Healers" (illustrated by Ernst Barlach).
   • 1936:
     • "Anton Drexler MCMXIII Post Christium Natum" (signed by Anton Drexler).
     • "Duna Nachen" (signed by Duna Nachen).
     • "Lovers' Liebespaar" (signed by Le Barach).
   • 1937:
     • "Serbian Elogy" (signed by Le Barach).

Each entry includes the year of creation, artist, and sometimes a brief description, along with the act and sometimes the specific illustration details, such as whether it is signed and the medium used.

The catalog also includes images of the artworks, which range from lithographs to illustrations, giving a visual representation of the pieces described.

The image shows an open book titled "Catalog: Prints" with a focus on two facing pages. The left page features an artwork titled "Das tote Jahr" (The Dead Year) by Max Beckmann, created in 1919. The artwork is a woodcut print, and the description notes that it was printed by the artist himself. The right page lists various works by Max Beckmann, spanning the years 1912 to 1916, with titles and details such as the medium (e.g., lithograph, woodcut), dimensions, and the names of the publishers or owners of the prints. Some of the notable works listed include "The Dead Day," "The Son's Vision of Time's Monument," "The Blind Man," "War," and "The Bethlehem Stable Company in America." The page numbers of the catalog for these works range from 70 to 91.

The image displays a catalog of prints by the artist Paul Laibach, featuring various artworks created between 1912 and 1916. The catalog is divided into two sections:

Left Side:

The left side of the image showcases an illustration titled "Einf bremsl. Krieg colt." (likely a typographical play on words). Below this illustration, there is a note indicating it was published in the "Black Scraper Monthly" in Wiesbaden, 1915.

Right Side:

The right side lists individual prints with their respective titles, descriptions, and publication details. Here are the entries in detail:

• 1912:

  70. "The Mother had was up the collar since": part of Act I, signed L. Harlach, 10/15" x 13/16".
  71. "The Goose crusher beside the sleeping Son": Act I, signed L. Harlach, 11" x 14/15".
  72. "The Father and his Son, the blind wanderer, in conversation": Act I, signed L. Harlach, 10/15" x 11/16".
  73. "The Nightmare beast with the sleeping Son": Act I.
  74. "The Son watches the Nightmare training at his own beast": Act I.
  75. "The Mother knocks by the bed of the sleeping Son": Act II, signed L. Harlach, 10/15" x 13/16".

• 1913:

  76. "The Son courts the toller of a windmill": Act IV, signed L. Harlach, 10/15" x 13/16".
  77. "The Son meets his unknown Father in the fog": Act V, signed L. Harlach, 10/15" x 13/16".
  78. "The Son’s vision of time’s movements": Act V, signed L. Harlach, 10/15" x 13/16".
  79. "The Mother looks herself": Act V, signed L. Harlach, 11/15" x 11/16", printed by Miss Nance Johnson.

• 1914:

  80. Surrogaten I/Sonderblatt lithograph, 18/15" x 10/14".
  81. "The Railway Station Company of America": (Die Belkrams Steel Company of America) by Paul Laibach, 14/15" x 11/16", published in the New York Tribune, August 1914.
  82. Various lithographs: No. 15, 16 December 1914, 13/15" x 9/16".
  83. "The Red Whore of Liberty" (Die Rote Hure von Liberty): Engraved and etched, signed Paul Laibach.
  84. "The Last Evening" (Der letzte Abend): Etching, signed Paul Laibach, 11/16" x 11/12".
  85. Sebastian Berg: Text/Beitrage Berg on Steppenwolf (DAK).

• 1915:

  86. A graphic propaganda broadsheet published by Paul Cassirer, 1914/15, with eleven various contained lithographic illustrations by Laibach.

• 1916:

  87. "The Picture Man" (Der Bildermanne): A portfolio and library paper published by Paul Cassirer, Berlin, with lithographs containing lithographic illustrations by Laibach.
  88. "The Blind Man" (Der Blinde): For the 1916 Christmas issue of Die Aktion, signed L. Harlach, 11/16" x 14/15".
  89. "From the Diary of Death" (Aus einem Tagebuch des Todes): 1916, 11/16" x 15/16".
  90. Anna Dominicus MCMVII Print Christmas Nativity: Signed L. Harlach, 11/16" x 14/15".
  91. Duna Nobel Poem: Signed L. Harlach, 11/16" x 14/15".

• Undated:

  92. "Lovers / Liebende": Etching, 14/15" x 11/16", signed L. Harlach, text by Mrs. Die Arnhold.

The entries provide a glimpse into the various themes and styles explored by Paul Laibach, showcasing his work in different formats and publications.

The image shows an open catalog book focused on prints. The left page contains a detailed description of a print titled "Der tote Tag" ("The Dead Day") by Paul Cassirer, published in 1912. The print is associated with a play by the same name by Paul Cassirer, illustrated with woodcuts by Ernst Barlach.

The right page lists various prints, primarily by Ernst Barlach, with their respective titles, publication details, and edition sizes. Here are some key entries:

• 1912: "Der tote Tag" by Paul Cassirer, illustrated by Ernst Barlach.
• 1913: "Stargazer I" ("Der Sternseher I"), a lithograph by Barlach, with an edition size of 143/150.
• 1914: "War Time: Kriegspiel" ("War Game"), a propaganda broadsheet by Paul Cassirer, with woodcut illustrations by Barlach, edition size 11/15.
• 1916: "The Picture Man" ("Der Bildermann"), a portfolio by Paul Cassirer, illustrated by Barlach, edition size 150/200.
• 1916: "The Blind Man" ("Der Blinde"), a lithograph by Barlach, edition size 110/125.
• 1916: "He for Whom Time is As Eternity and Eternity As Time" ("Ihm, dem die Zeit wie Ewigkeit und Ewigkeit wie Zeit"), a woodcut by Barlach, edition size 9/15.
• 1916: "Annunciation" ("Mariae Verkündigung") and "Pietà" ("Pietà"), woodcuts by Barlach, with various edition sizes.

The image of the print on the left page is a detailed woodcut showing a figure with a stylized, almost abstract depiction, characteristic of Barlach's work. The catalog entries provide insight into the prints' themes, publication details, and the number of copies produced in each edition.

The image is a page from a catalog titled "Catalog: Prints." The page displays a list of prints along with their descriptions, numbers, and dates. Here is a detailed summary:

1. Image on the Page:

   • The left side of the page features a black-and-white print titled "Der Totentag" (The Dead Day). The artwork is a complex, intricate design with a text at the bottom that reads "MUTTER BECKEN, WAR KRIEGE, WOIDENSTADT, 1919."

2. Catalog Entries:

   • No. 70: "The Dead Day" (Der Totentag)

     • Description: A play in five acts, titled by Paul Casirer as the tenth publication of the Pan Press, Berlin, 1912. Illustrated with twenty woodcuts, each with a separate text. Two numbered copies on Japanese paper, each with a unique cover design. One copy has a handmade cover on Dutch paper with a headband, and the other has a handmade cover on linen paper with a headband. Both are illustrated with two woodcuts, printed lithographically by Paul Casirer in Berlin. The first copy was published in 1919 and the second in 1925.

   • No. 71: "The Goose Cruncher Beside the Sleeping Son" (Act 1)

     • Signed by Le. Baruch, 11" x 14"

   • No. 72: "The Mother and Koln, the Blind Wanderer" (Act 1)

     • Signed by Le. Baruch, 11" x 14"

   • No. 73: "The Nightmare Beside the Sleeping Son" (Act 1)

     • Signed by Le. Baruch, 11" x 14"

   • No. 74: "The Son Watches the Nightmare Treating at His Own Heart" (Act 1)

     • Signed by Le. Baruch, 11" x 14"

   • No. 75: "The Mother Kneels by the Bed of the Sleeping Son" (Act 1)

     • Signed by Le. Baruch, 11" x 14"

   • No. 76: "The Son Curses the Father of His Nightmare" (Act 4)

     • Signed by Le. Baruch, 11" x 14"

   • No. 77: "The Son Sees His Unknown Father in the Fog" (Act 5)

     • Signed by Le. Baruch, 11" x 14"

   • No. 78: "The Son's Vision of Time's Monument" (Act 5)

     • Signed by Le. Baruch, 18" x 14"

   • No. 79: "The Mother's Hand" (Act 5)

     • Signed by Le. Baruch, 14" x 11"

   • No. 80: "The Son's Vision of Time's Monument" (Act 5)

     • Signed by Le. Baruch, 14" x 11"

   • No. 81: "Stargazer I" (Sternschauer I)

     • Lithograph, 14" x 10"

   • No. 82: "Stargazer II" (Sternschauer II)

     • Lithograph, 14" x 10"

   • No. 83: "The Reuter News Agency" (Die Reuterpresse)

     • Lithograph, 14" x 10"

   • No. 84: "The War Time" (Kriegszeit)

     • Lithograph, 14" x 10"

   • No. 85: "The Bethlehem Steel Company in America" (Die Bethlehem Steel Company in Amerika)

     • Lithograph, 14" x 10"

   • No. 86: "The Blind Man" (Der Blinde)

     • Lithograph, 14" x 10"

   • No. 87: "The Picture Man" (Der Bildermann)

     • Lithograph, 14" x 10"

   • No. 88: "He For Whom Time is As Eternity and Eternity as Time" (Zeit ist ihm Ewig und Ewig Zeit)

     • Lithograph, 14" x 10"

   • No. 89: "Anna Dorothea MCMXXXI Post Christum Natum"

     • Lithograph, 14" x 10"

   • No. 90: "Dora Naum Pach"

     • Lithograph, 14" x 10"

   • No. 91: "Lovers" (Liebespaar)

     • Lithograph, 14" x 10"

   • No. 92: "The Picture Man" (Der Bildermann)

     • Lithograph, 14" x 10"

Each print is identified with a specific number, title, and dimensions, and many are signed by Le. Baruch. The catalog also includes detailed descriptions and publication information for the works.

The image shows an open book laid flat, displaying two pages. On the left page, there's a title that reads "CATALOG: Prints," followed by a black and white print depicting a figure – it looks expressive and somewhat chaotic with other figures or elements around it. Beneath the illustration, there's a caption in German, "Haß brennt. Krieg tobt." which translates to "Hate burns. War rages." A credit line underneath states "Woodcut, 1919" and mentions that it is lent by the Busch-Reisinger Museum.

On the right page, there is a list of different artworks or prints with their corresponding details. The texts are organized in two columns and include titles, descriptions, dimensions, and other information such as the year, where some are signed by the artist "L. R. Barlach." The years mentioned near the titles range from 1912 to 1916, and other notes make reference to various exhibitions, publications, or lenders who have provided the items for viewing or inclusion, naming individuals and museums. Each entry appears to have an item number, denoting an organized catalog.

The image shows an open catalog or book spread with a section titled "CATALOG: Prints." On the left page, there is a black and white woodcut artwork titled "Hate Burns, War Rages," created in 1919 and lent by the Busch-Reisinger Museum. The image depicts a large figure tightly hugging themselves, possibly symbolizing agony or despair, surrounded by smaller distressed figures.

The right page lists various prints and lithographs organized by year and title, along with descriptions, measurements, and the names of the artists. It begins with works from 1912 under the heading "THE DEAD DAY / Der tote Tag," describing a play illustrated with lithographs by E. Barlach and others. It continues with listings from 1913 to 1916, including works related to war time and pictorial literary papers published by Paul Cassirer, with lithographic illustrations by Barlach. Each entry includes details such as the title, date, medium, dimensions, signatures, and lending institutions or individuals.

The image shows an open book or catalog titled "CATALOG Prints" on the left page. The right page displays a detailed listing of artworks, likely from an art catalog or auction catalog. Here's a breakdown of the visual elements:

Left Page:

• Title: "CATALOG Prints" is prominently displayed at the top.
• Illustration: A black-and-white drawing or print of a figure, possibly a man, is depicted on the left side. The figure appears to be in a dynamic pose, with a stylized, expressive style. The illustration is labeled with the name "Ernst Brentl" at the bottom, along with the text "STREIT COFF" and additional details: "Wagen, Wack, Wagens. 1919" and "Leih von Dr. Buch Kollektiv Museum." This suggests the artwork is part of a collection or loan from a museum.

Right Page:

• Content: The right page is formatted as a catalog listing, with numbered entries (71–91) detailing various artworks, likely prints or illustrations. Each entry includes:
  • Title: The name or description of the artwork.
  • Artist: The creator of the piece.
  • Medium: The type of work (e.g., lithograph, woodcut, etc.).
  • Dimensions: Size specifications, often in centimeters (e.g., "15 x 10 cm").
  • Year: The year the artwork was created.
  • Additional Notes: Sometimes includes details about the technique, subject matter, or publication history.

Examples of Entries:

1. 1912:

   • "The Dead Day" (Der Tote Tag) by Paul Cassier. A play in five acts, performed at the theater pub Die Fledermaus in Berlin. Illustrated with typography, lithography, and woodcuts.

2. 1913:

   • "The Son's Vision of Time's Monument" by Paul Cassier. A graphic propaganda brochure published by Bund für Arbeiter-Kultur.

3. 1914:

   • "War Time" by Paul Cassier. A graphic propaganda brochure published by Bund für Arbeiter-Kultur.

4. 1916:

   • "The Picture Man" (Der Bilder-Mann) by Paul Cassier. A pictorial and literary paper published by Bund für Arbeiter-Kultur.

5. 1916:

   • "The Blind Man" (Der Blinde) by Paul Cassier. A woodcut illustration.

6. 1916:

   • "From a Modern Dance of Death" by Paul Cassier. A woodcut illustration.

7. 1916:

   • "When Time Is At Eternity and Eternity As Time" by Paul Cassier. A woodcut illustration.

8. 1916:

   • "He Is Enough and Enough Is Zei der Zeit vor Uns" by Paul Cassier. A woodcut illustration.

9. 1916:

   • "The Mother Reaches the Blue Wanderer" by Paul Cassier. A woodcut illustration.

10. 1916:

    • "The Nightmare Bends the Nightmarish Tear" by Paul Cassier. A woodcut illustration.

11. 1916:

    • "The Son Watches over the Lying Son, at His Own Heart" by Paul Cassier. A woodcut illustration.

12. 1916:

    • "The Mother Kneels by the Bed of the Sleeping Son" by Paul Cassier. A woodcut illustration.

13. 1916:

    • "The Son Reaches the Killer of His Act" by Paul Cassier. A woodcut illustration.

14. 1916:

    • "The Son Meets His Unknown Father in the Fog" by Paul Cassier. A woodcut illustration.

15. 1916:

    • "The Picture Man" by Paul Cassier. A pictorial and literary paper published by Bund für Arbeiter-Kultur.

16. 1916:

    • "The Blind Man" by Paul Cassier. A woodcut illustration.

17. 1916:

    • "From a Modern Dance of Death" by Paul Cassier. A woodcut illustration.

18. 1916:

    • "When Time Is At Eternity and Eternity As Time" by Paul Cassier. A woodcut illustration.

19. 1916:

    • "He Is Enough and Enough Is Zei der Zeit vor Uns" by Paul Cassier. A woodcut illustration.

20. 1916:

    • "The Mother Reaches the Blue Wanderer" by Paul Cassier. A woodcut illustration.

21. 1916:

    • "The Nightmare Bends the Nightmarish Tear" by Paul Cassier. A woodcut illustration.

22. 1916:

    • "The Son Watches over the Lying Son, at His Own Heart" by Paul Cassier. A woodcut illustration.

23. 1916:

    • "The Mother Kneels by the Bed of the Sleeping Son" by Paul Cassier. A woodcut illustration.

24. 1916:

    • "The Son Reaches the Killer of His Act" by Paul Cassier. A woodcut illustration.

25. 1916:

    • "The Son Meets His Unknown Father in the Fog" by Paul Cassier. A woodcut illustration.

26. 1916:

    • "The Picture Man" by Paul Cassier. A pictorial and literary paper published by Bund für Arbeiter-Kultur.

27. 1916:

    • "The Blind Man" by Paul Cassier. A woodcut illustration.

28. 1916:

    • "From a Modern Dance of Death" by Paul Cassier. A woodcut illustration.

29. 1916:

    • "When Time Is At Eternity and Eternity As Time" by Paul Cassier. A woodcut illustration.

30. 1916:

    • "He Is Enough and Enough Is Zei der Zeit vor Uns" by Paul Cassier. A woodcut illustration.

31. 1916:

    • "The Mother Reaches the Blue Wanderer" by Paul Cassier. A woodcut illustration.

32. 1916:

    • "The Nightmare Bends the Nightmarish Tear" by Paul Cassier. A woodcut illustration.

33. 1916:

    • "The Son Watches over the Lying Son, at His Own Heart" by Paul Cassier. A woodcut illustration.

34. 1916:

    • "The Mother Kneels by the Bed of the Sleeping Son" by Paul Cassier. A woodcut illustration.

35. 1916:

    • "The Son Reaches the Killer of His Act" by Paul Cassier. A woodcut illustration.

36. 1916:

    • "The Son Meets His Unknown Father in the Fog" by Paul Cassier. A woodcut illustration.

37. 1916:

    • "The Picture Man" by Paul Cassier. A pictorial and literary paper published by Bund für Arbeiter-Kultur.

38. 1916:

    • "The Blind Man" by Paul Cassier. A woodcut illustration.

39. 1916:

    • "From a Modern Dance of Death" by Paul Cassier. A woodcut illustration.

40. 1916:

    • "When Time Is At Eternity and Eternity As Time" by Paul Cassier. A woodcut illustration.

41. 1916:

    • "He Is Enough and Enough Is Zei der Zeit vor Uns" by Paul Cassier. A woodcut illustration.

42. 1916:

    • "The Mother Reaches the Blue Wanderer" by Paul Cassier. A woodcut illustration.

43. 1916:

    • "The Nightmare Bends the Nightmarish Tear" by Paul Cassier. A woodcut illustration.

44. 1916:

    • "The Son Watches over the Lying Son, at His Own Heart" by Paul Cassier. A woodcut illustration.

45. 1916:

    • "The Mother Kneels by the Bed of the Sleeping Son" by Paul Cassier. A woodcut illustration.

46. 1916:

    • "The Son Reaches the Killer of His Act" by Paul Cassier. A woodcut illustration.

47. 1916:

    • "The Son Meets His Unknown Father in the Fog" by Paul Cassier. A woodcut illustration.

48. 1916:

    • "The Picture Man" by Paul Cassier. A pictorial and literary paper published by Bund für Arbeiter-Kultur.

49. 1916:

    • "The Blind Man" by Paul Cassier. A woodcut illustration.

50. 1916:

    • "From a Modern Dance of Death" by Paul Cassier. A woodcut illustration.

51. 1916:

    • "When Time Is At Eternity and Eternity As Time" by Paul Cassier. A woodcut illustration.

52. 1916:

    • "He Is Enough and Enough Is Zei der Zeit vor Uns" by Paul Cassier. A woodcut illustration.

53. 1916:

    • "The Mother Reaches the Blue Wanderer" by Paul Cassier. A woodcut illustration.

54. 1916:

    • "The Nightmare Bends the Nightmarish Tear" by Paul Cassier. A woodcut illustration.

55. 1916:

    • "The Son Watches over the Lying Son, at His Own Heart" by Paul Cassier. A woodcut illustration.

56. 1916:

    • "The Mother Kneels by the Bed of the Sleeping Son" by Paul Cassier. A woodcut illustration.

57. 1916:

    • "The Son Reaches the Killer of His Act" by Paul Cassier. A woodcut illustration.

58. 1916:

    • *"The Son Meets His Unknown

An open book is placed on a wooden surface. The book is titled "Catalog Prints." The book contains a list of prints, along with their descriptions, dates, and other relevant information. The book is filled with black-and-white illustrations. The book is open to a page that contains a description of a print titled "The Play of the Day." The print is described as a play in verse by Paul Cassirer, published in a book with a seven-page lithograph. The print is presented in a portfolio with a printed vignette and a signature. The print is signed by E. Barth, 1912, and is dated 1912.