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ARCH.2013.5.7, Rendition: 796068
The image shows two pages from a book or catalog, likely detailing a collection of artworks. Each entry on the pages provides information about a specific artwork, including the title, medium, dimensions, date, and other relevant details such as the edition number or the artist's signature. Here is a detailed summary of the content:
Awakening / Erwachen
Steaming Barbarian / Steamernder Barbar
Signs in Death / Zeichen des Todes
Appeal / Appell
The Poor Cousin / Der arme Vetter
Tanta walks on the bank of the Blue River / Tanta geht am Ufer des Blauen Flusses
The Poor Cousin contemplates suicide / Der arme Vetter erwägt Selbstmord
The Poor Cousin contemplates suicide II / Der arme Vetter erwägt Selbstmord II
From Reflections: triumph over the Poor Cousin / Aus Reflexionen: Triumph über den armen Vetter
Lunch / Mittagessen
The Poor Cousin describes the world of the future / Der arme Vetter beschreibt die Welt der Zukunft
The Poor Cousin and the Wachsman and Schlemihl / Der arme Vetter und der Wachsman und Schlemihl
The Wachsman kills Schlemihl / Der Wachsman tötet Schlemihl
The Poor Cousin farewell / Der arme Vetter Abschied
The Poor Cousin: The Poor Cousin / Der arme Vetter: Der arme Vetter
The Head / Der Kopf
The Head II / Der Kopf II
How horns, War-engins, Hare-snares, King-nets / Wie Hörner, Kriegs-Maschinen, Hasen-Schlingen, König-Netze
Two Figures / Zwei Figuren
Game of Beggars / Bettler-Spiel
Christ in Gethsemane / Christus in Gethsemane
**The Good Samaritan / Der barmher
The image displays a timeline of various issues of the comic book series "The Poor Cosine" (Der arme Ritter in German) published over several years. Here is a detailed summary of each entry:
1919:
92: "Awakening" / "Erwachen"
93: "Storming Rothenburg" / "Stürmendes Rothenburg"
94: "Step In Death's Shadow into Twilight" / "Schritt ins Todesschattenreich in Dämmerung"
95: "Appeal" / "Herzensbitte"
1919 (The POOR COUSIN / Der arme Vetter):
The Woman Follows Reutermark / Die Weibernach:
The Poor Cousin in Love / Der arme Vetter verliebt:
1919 (THE HAD / Der Kopf):
1919-1920:
1920:
115: Kreutinger Women With Young Child / Kreutinger Frauen
116: Mass Imperator
117: "The Prodigal Son" / Der verlorene Sohn
1921:
The Transformation of God / Die Wandlungen Gottes:
This timeline highlights the extensive work and varied scenes depicted in "The Poor Cosine" series, along with other notable works by the artist, primarily illustrated through woodcuts.
The image shows two open pages from a catalog or a book, likely detailing various woodcut prints by the artist Max Klinger. Here is a detailed summary of the content visible in the image:
Awakening (Erwachen)
Sleep in Death (Schlaf im Tod)
Appendix (Beilage)
The Poor Cousin (Der arme Vetter)
The Head (Der Kopf)
The Dog Catcher (Hundefänger)
Kneeling Woman with Dying Child (Knieende Frau mit sterbendem Kinde)
Saint Imperator
Prophet Writing (Schreibender Prophet)
Christ in Gethsemane (Christus im Gethsemane)
The Good Samaritan (Der barmherzige Samariter)
Child's Burial (Kindesbeerdigung)
The Transformations of God (Die Verwandlungen des Gottes)
Each entry provides details on the medium, dimensions, and signature information, with some entries mentioning the publisher and the year of publication. The entries also indicate the presence of hand-colored proofs and the artist's name associated with each piece.
The image shows a page from a book or catalog that appears to be focused on works by the artist Egon Schiele, specifically detailing various woodcut and lithograph prints. The page is divided into two columns with numbered entries, each describing a specific artwork.
Here’s a detailed summary of each entry on the page:
Left Column:
No. 92 (1919) Awakening (Erweckung):
No. 93 (1919) Stepping in Death (Schritt im Tod):
No. 94 (1919) Step in Death (Schritt in Tod):
No. 95 (1919) Appeal (Berufung):
No. 96 (1919) The Poor Cousin contemplates suicide (Der arme Vettern contempliert Selbstmord):
No. 97 (1919) The Poor Cousin’s vision of God (Der arme Vetterns Vision von Gott):
No. 98 (1919) Poor Cousin (Der arme Vettern):
No. 99 (1919) Poor Cousin’s triumph over the Poor Cousin (Der arme Vetterns Triumph über den armen Vettern):
No. 100 (1919) Listener at the door (Der Hörer am Tor):
No. 101 (1919) The Poor Cousin describes the world of the future (Der arme Vettern beschreibt die Welt der Zukunft):
Right Column:
No. 102 (1919) The Poor Cousin and the Watchman find Sibethmarch (Der arme Vettern und der Wächter finden Sibethmarch):
No. 103 (1919) The Head (Der Kopf):
No. 104 (1919) The Dog Catcher (Der Hundefänger):
No. 105 (1919) Kneeling Woman with Dying Child (Kniende Frau mit sterbendem Kind):
No. 106 (1919) Impudent (Unverfroren):
No. 107 (1919) The Head (Der Kopf):
No. 108 (1919) Two Figures (Zwei Figuren):
No. 109 (1919) Group of Beggars (Gruppe von Bettlern):
No. 110 (1919) Prophet Writing (Schreibender Prophet):
No. 111 (1919) Christ in Gethsemane (Christus in Gethsemane):
No. 112 (1919) The Good Samaritan (Der gute Samariter):
No. 113 (1919) Child’s Burial (Kindesbegräbnis):
No. 114 (1919) The Transformations of God (Die Verwandlungen des Gottes):
The entries include descriptions of the artworks, their sizes, and signatures, providing a detailed catalog of Schiele's woodcuts and lithographs from 1919.
The image shows the inside pages of a book, specifically a catalogue or list of works by an artist, likely from the 20th century. Here is a detailed summary of the contents visible:
Left Page:
Right Page:
The page lists various other works from different years, including:
Each entry includes the title, the year of creation, and the signature of the artist, L.E. Baratsch.
The book seems to be a catalog or inventory of signed artworks, providing detailed information about each piece including the medium, title, and specific dates and signatures.
The image depicts two open pages of a book, with the left page numbered 92 and the right page numbered 114. The content appears to be a catalog or listing, possibly of artworks or literary works, as it includes titles, authors, and some descriptive text.
92. Awakening (Erwachen)
93. Standing Ruth (Stehende Ruth)
94. Step in Death (Schritt in den Tod)
95. Appeal (Ruf)
1919. THE POOR COUSIN (Der arme Vetter)
A drama in a traveler scene, published by Paul Cassirer, Berlin, in 1919, with twenty original lithographs. Presented in the edition of 150 copies, this being copy number 8, signed by the artist and Ernst Barlach.
96. The Poor Cousin contemplates suicide (Der arme Vetter denkt an Selbstmord)
97. The Poor Cousin’s vision of God (Der arme Vetter sieht Gott)
98. “Franz Katerfel’s triumph over the Poor Cousin” (Franz Katerfels Triumph über den Armen Vetter)
99. Listener at the door (Horender an der Tür)
100. The Poor Cousin describes the world of the future (Der arme Vetter schildert die Welt von morgen)
101. The Poor Cousin and the Watchman find Siebenhaar on the beach (Der arme Vetter und der Wächter finden Siebenhaar am Strand)
102. The Watchman follows Siebenhaar (Der Wächter folgt Siebenhaar)
103. The final victory of the Poor Cousin (Der arme Vetter siegt)
1919. THE HEAD (Der Kopf)
A poem by Rainer Maria Rilke, illustrated with ten woodcuts by Ernst Barlach, published by Paul Cassirer, Berlin, in 1919. This is copy number 8 of an edition of 300, signed by the artist and the poet.
104. The Head
105. Two Figures
1920. THE GOOD SAMARITAN (Der barmherzige Samariter)
A poem by Rainer Maria Rilke, with woodcuts by Ernst Barlach, published by Paul Cassirer, Berlin, in 1920. This is copy number 8 of an edition of 300, signed by the artist and the poet.
106. The Good Samaritan
1921. THE TRANSFORMATIONS OF GOD (Die Wandlungen Gottes)
A special series of woodcuts published by Paul Cassirer, Berlin, in 1921, an edition of one hundred and ten numbered impressions, this being number 8, signed by the artist. The blocks were cut in 1918, and the edition was printed in 1921 by the publisher.
107. The Dog Catcher (Der Hundefänger)
108. Kneeling Woman with Dying Child (Kniende Frau mit sterbendem Kinde)
109. Man Praying (Der betende Mensch)
110. Prophet (Der Prophet)
The text is well-organized, with each entry providing details about the specific artwork, including the title, medium, dimensions, and signature details. The content appears to focus on the works of Ernst Barlach, a notable artist.
The image shows an open book displaying pages 92 and 93. The text appears to be a catalog or detailed listing of artworks, specifically lithographs and woodcuts by the artist E. Barlach. The pages are organized by year and title, with dimensions and additional information about each piece, including signatures, editions, and lenders.
On the left page (page 92), there is a list under the year 1919 titled "THE POOR COUSIN / Der arme Vetter," which is described as a drama in twelve scenes, along with detailed descriptions and sizes of lithographs numbered 92 to 105, including titles like "Awakening," "Storming Barbarian," "Sleep In Death," and several scenes involving the poor cousin.
The right page (page 93) continues the list from 1919 under the title "THE HEAD / Der Kopf," which is a poem illustrated with ten woodcuts by Barlach. It lists artworks numbered 106 to 118, such as "Book lent by Miss Naomi Jackson," "Hate burns," "Two Figures," "Group of Beggars," "Christ In Gethsemane," and several others. There is also a heading for 1921 titled "THE TRANSFORMATIONS OF GOD / Die Wandlungen Gottes," describing a special series of woodcuts published in 1921 with details about editions and publishing information.
The text is formatted neatly in a classic serif font, with italicized titles and some words in parentheses. The pages are set against a neutral background with part of another book or object visible behind it.
This is an image of two open pages from a catalog or a book, listing various works of art with their titles, medium, dimensions, signature details, and lending information. The left page lists items numbered 92 to 95 and 96 to 105 under the title "1919 THE POOR COUSIN / Der arme Vetter," suggesting these pieces are part of a series related to that theme. The right page continues the list with items 106 to 112 under the 1919 heading and begins another section with item 113 for the year 1921 titled "THE TRANSFORMATIONS OF GOD / Die Wandlungen Gottes."
All works mentioned are attributed to an artist whose initials are "I. E. Barlach." The dimensions are given in inches, and the types of works include lithographs, woodcuts, and possibly one book. The lending sources vary, suggesting that these works are on loan from individuals or institutions for an exhibition or similar event. Each item's description includes specifics such as the scene represented or the subject if it's part of a series, offering additional context.
The image shows an open book displaying a detailed catalog or inventory of artworks, likely from an art collection or exhibition. The left page is numbered 92, and the right page is numbered 114, indicating a structured and organized listing. Each entry includes the following elements:
Each entry includes the artist's name, medium (lithograph), dimensions, and sometimes additional notes such as the number of copies or special features (e.g., signed, numbered).
The catalog appears to be a detailed inventory of artworks, possibly from a private collection, museum, or exhibition. The structured format, including entry numbers, titles, artists, dates, and dimensions, suggests it is intended for reference, research, or auction purposes. The inclusion of both Paul Walter and Hans Arp indicates a focus on modern or contemporary artists of the mid-20th century.
The image is a close-up of an open book, likely a catalog or a reference book, with several pages displayed. The pages are filled with text, predominantly in black font, and appear to be organized in a structured format with numbers and headings. The left page shows entries numbered from 92 to 102, each containing details about various artworks or publications, possibly by the artist E. Barlach. The entries include titles, dimensions, signatures, and sometimes dates or locations of exhibitions. The right page has entries numbered from 103 to 113, with similar detailed descriptions. The book's pages are white, and the text is neatly organized, suggesting a formal or academic context. The spine of the book is visible at the top, indicating it is part of a larger collection or series.