Archives Scrapbooks

The image displays two pages from a book or exhibition catalog. The left page contains a list of references or bibliography related to the artist Erwin Redl. The entries include books, articles, and exhibition catalogs, with details such as authors, titles, publication dates, and publishers. The references span from 1975 to 2002 and cover various aspects of Erwin Redl's work, including installations, drawings, and sculptures.

The right page includes acknowledgments and credits. The acknowledgments section expresses gratitude to several individuals and institutions for their contributions to the exhibition and catalog. Notable mentions include Min Naomi Lee for her curatorial work, various lenders for their support, and specific individuals for their assistance in research and logistics. The credits list the roles and contributions of people involved in the exhibition, including the curator, essayist, designers, and photographers. Institutions such as the University of Nebraska, the Harry Gallery at the University of Washington, the Dayton Art Institute, and the Burchfield-Penney Art Center are also acknowledged for their support.

Overall, the pages provide a comprehensive list of scholarly resources and express gratitude to the many individuals and organizations that contributed to the exhibition and catalog.

The image shows a page from a book or catalog that includes references to various publications and acknowledgments related to the artist Ernst Barlach.

Publications:

1. 1935: Paul Fechter's introduction to Ernst Barlach's works, titled Einleitung zu Ernst Barlach Zeichnungen, R. Piper & Co., Munich.
2. 1936: Introduction by Ernst Barlach, Fries des Landhauses, Hamburg.
3. 1938: A publication by Hans Prassdorfer, Ernst Barlach's Werke, Privately printed, Hamburg.
4. 1939: A section from H. Salter, "About Ernst Barlach", Convent, Vol. 6, No. 1, Schul, Friedberg, Barlach in Gera.
5. 1946: Paul Schurmann's Begrundung mit Ernst Barlach, Classen & Goerens, Hamburg.
6. 1948: Salter, H. "Ernst Barlach," Filer Verlag, Munich.
7. 1950: Jackson, Namoi's The Development of a Veristic Style in the Sculpture of Ernst Barlach, Rutgers College, New Brunswick, New Jersey.
8. 1951: Various works by Ernst Barlach, including a publication by the Deutsche Akademie für Sprache und Dichtung, Darmstadt.
9. 1952: Ernst Barlach: An Exhibition Catalogue, December 1952 - February 1953, organized by the Deutsche Akademie für Sprache und Dichtung, Berlin.
10. 1954: Carl Gehrys's Introduction to Ernst Barlach, Zeichnungen und Modelle, 45 Mandschurien, R. Piper & Co., Munich.
11. 1966: Visch, Claus: Ernst Barlach und Ernst Ludwig Kirchner, Kunsthalle, Kiel.
12. 1970: Fechner, Peter: Ernst Barlach: Ein Leben für Kunst, Verlag, Weimar.
13. 1972: Ernst Barlach: Ein Leben für Kunst, Wilhelm-Knapp-Verlag, Munich.
14. 1974: List of various books and catalogues related to Barlach, including contributions from various museums and institutions.

Acknowledgments:
The acknowledgments section on the right side of the page thanks several institutions and individuals for their support and contributions in preparing the exhibition and catalog. The acknowledgments include:

• The Art Museums of Princeton University, Beloit College, Ohio, and other institutions.
• Various curators and professors, including Walter M. Hansen, Charmion Hart, William W. Zorinsky, and others.
• Contributions from individuals like Dr. James Bier, Dr. Lee Harrison, Dr. John M. Bellet, and Dr. James M. Geller.
• Specific contributions from the University of Nebraska, the Henry Gallery at the University of Washington, the Darton Institute, and the Busch-Reisinger Museum.

The page emphasizes the collaborative effort and institutional support in compiling and presenting the materials related to Ernst Barlach’s works.

The image displays an open book, with the left page listing various publications related to Ernst Barlach, and the right page containing acknowledgments for an exhibition.

Left Page: Publications

• 1935

  • Fehse, Paul. Introduction to Ernst Barlach Drawings. R. Piper & Co., Munich. Revised edition.

• 1936

  • Klemens, Gustav. Introduction to Ernst Barlach: Fries des Lebens. Rembrandt, Hamburg.

• 1938

  • Fehse, Paul. Ernst Barlach as Sculptor. Privately printed, Hamburg.

• 1939

  • Salinger, H. "About Ernst Barlach". Convivium, Vol. 6, No. 1, 1939.
  • Fehse, Paul. Ernst Barlach in Geyso. Privately printed, Hamburg.

• 1946

  • Schultze, Paul. Beginnings with Ernst Barlach. Classen & Govern, 1946. Reprinted, Rembrandt, Hamburg.

• 1948

  • Schultze, Paul. Ernst Barlach: The Path to the Monument. Fischer Verlag, Munich. Paperback edition, 1951.

• 1950

  • Jeckel, Hans. Ernst Barlach: The Development of a Sculptor. Deutsche Verlags-Anstalt, Stuttgart. 2nd, expanded edition, 1956.

• 1952

  • Barlach, Ernst. Diary: 1920-1921. Edited by the Deutsche Akademie der Künste, Berlin. Published by the Deutsche Akademie der Künste, Berlin.

• 1957

  • Veh, Claus. Ernst Barlach: Sculpture and Drawing. Fr. Wegner, Hamburg.

• 1967

  • Veh, Claus. Ernst Barlach: The Sculptures. Fr. Wegner, Hamburg.

Right Page: Acknowledgements

Acknowledgements are given to many individuals and institutions for their contributions to the exhibition. Key points include:

• Gratitude is extended to Miss Nannie lacob, whose enthusiasm and knowledge were crucial to the exhibition.
• Thanks to several lenders, including the Art Institute of Chicago, the Cleveland Museum of Art, the Museum of Fine Arts, Boston, the Philadelphia Museum of Art, the Saint Louis Art Museum, the Toledo Museum of Art, and numerous private lenders.
• Special thanks to individuals such as Mrs. Lisa Arndt, Mrs. Kurt Grunebaum, Mrs. Richard H. Lang, and others for their support.
• The assistance of various staff members at the Dallas Museum of Art, particularly the Department of Education, is acknowledged.
• The text also notes that the exhibition was supported by a grant from the National Endowment for the Arts.

In addition, the right page lists the following individuals associated with the University of Nebraska and the Henry Gallery, University of Washington, along with their roles:

• For the University of Nebraska: Clarence H. Moh, Chancellor; Walter L. Stowe, Dean of the College of Arts and Sciences; Howard N. Steller, Assistant to the Director; and Kent L. Toth, Photographer for the exhibition.
• For the Henry Gallery, University of Washington: George M. Harris, Director; and Miss Esther L. Seaville, Secretary for the exhibition.
• For the Rembrandt Reininger Museum: Charles L. Kurtz, Curator.

The image displays a list of exhibitions and publications related to the artist Erna Retzlaff, along with acknowledgments and information about various galleries and institutions.

Exhibitions:

1. 1931

   • Fulda, Parri: Introduction to Erna Retzlaff-Zeichnungen, R. Piper & Co., Munich (Katalogtext, Einführung)

2. 1933

   • Königsberg: Neue Einführung zu Erna Retzlaff: Friez der Lausch Hausfrau, Trautmann

3. 1935

   • Friedberg/Hessen: Erna Retzlaff, zum Gedächtnis, Privately printed, Hanau/R.

4. 1939

   • Salzburg, Md.: "Abenteuer Ernte" (Baruch), Vol. 6, No. 1, pp. 43-44
   • Kallmünz/Vilsbiburg: Retzlaff zum Gedächtnis I & II, Privately printed, Glossow, 1939/40 (1943): New edition, Verlag Vortrag, Leipzig

5. 1946

   • Schorndorf, Paul: Begegnungen mit Erna Retzlaff, Classen & Goverts, Hamburg

6. 1948

   • Schrey, Edgar: Erna Retzlaff, Münch-Volksb. Munich, vol. 9 in: Nachwort des Künstlers

Publications:

1. 1952

   • Vilsbib, Erna: Erna Retzlaff zu Ehren/keit zum Kieler "Gedächtnisausstellung", Frohnau bei Kiel.

2. 1953

   • Lübeck-Optenhof, Georg: Erna Retzlaff der Illustratorin, Franz Westermann Verlag, Wolkenbuecherschau

Exhibitions at Various Institutions:

The following institutions held exhibitions of Erna Retzlaff's works:

• Zanesville, Ohio: The Art Museum, Princeton University; Hibbit College Art Collections, Illinois, WI; De Jurius von Horváth Museum, Los Angeles; University of California, Los Angeles; College Women's Collections; Hoch-Reitzinger Museum, Lawrence University; Currier Gallery of Art, Manchester, NH; The Grinnell Museum of Art.
• University of Nebraska: Sheldon Memorial Art Gallery.
• Cedar Rapids: Iowa Masonic Library; Cedar Rapids Museum of Art.
• Grinnell, Iowa: Faulconer Gallery, Grinnell College.
• The Henry Gallery: University of Washington, Seattle.
• For the Dayton Art Institute: Dayton, Ohio.
• For the Rahr-West Art Museum: Manitowoc, WI.
• For the Burchfield Penney Museum: Christian L. Kuhn, Corfu.

Acknowledgements:

Acknowledgments are due to Miss Naomi Jacobson, whose enthusiasm and knowledge of the artist's work were invaluable. The exhibition aims to complement and complete the earlier presentation of many studies of Erna Retzlaff's life and art at Bard College in 1972. Special thanks go to the lenders of the materials, including:

• The Art Institute of Chicago
• The Art Institute of New York
• Mrs. Lina Arnholdt
• New York

Additional thanks to various individuals and institutions for their assistance, including:

• The Metropolitan Museum of Art
• The German Embassy, Washington, D.C.
• Long Island University
• Bard College
• University of Nebraska faculty
• The Board of Publications and many private scholars

Overall, the image highlights the extensive exhibition history and scholarly acknowledgment of Erna Retzlaff's work.

The image shows a page from a book or catalog dedicated to the artist Ernst Barlach. The page contains a detailed list of acknowledgments and references related to the exhibitions and publications about Ernst Barlach.

Here is a detailed summary of the contents:

Acknowledgements:

The acknowledgments section thanks numerous individuals and institutions for their contributions to the exhibition and the publication. It includes:

• For the University of Nebraska:

  • Wallace E. Harrison, Chairman
  • Charles M. Hax, Director of the University Art Galleries
  • Klaus H. Vollmar, Assistant to the Director
  • Klaus Tönsmann, photographer for the exhibition

• For the Henry Gallery, University of Washington:

  • Gordon Onslow Ford, Curator

• For the Darton Institute:

  • Miss Elizabeth L. Seaver, Director

• For the Busch-Reisinger Museum:

  • Charles L. Kuhn, Curator

The acknowledgments also mention the assistance of various other individuals and institutions, including:

• Art historians, curators, and professors from different universities and museums.
• The German Embassy and the German Cultural Institute in New York.
• The Ernst Barlach Society, Hamburg.
• Various museums and galleries in the United States and Germany.
• The German Information Center, New York.
• The Goethe Institute in New York.
• The Ernst Barlach Archive, Hamburg.

Bibliography:

The bibliography lists several books, articles, and exhibitions related to Ernst Barlach:

1. 1925:

   • Paul Fechter: "Introduction to Ernst Barlach Zeichnungen, R. Piper & Co., Munich" (2nd revised edition)

2. 1936:

   • Kurt Marti: "Introduction to Ernst Barlach, Fritz von Uechtritz, Hamburg"

3. 1939:

   • Friedlander, Hans: "About Ernst Barlach," Concordia, Vol. 6, No. 1, 1939
   • "Ernst Barlach in Greifswald" (exhibition catalog)

4. 1946:

   • Paul Schrecker: "Begleiter zum Ernst Barlach, Claassen & Goverts, Hamburg" (2nd revised edition)

5. 1948:

   • Seligmann, Hans: "Ernst Barlach, Fischer Verlag, Munich" (9th edition)

6. 1950:

   • Jackson, Naomi: "The Development of a Fantastic Style in the Sculpture of Ernst Barlach," Ph.D. dissertation, University of Pennsylvania

7. 1952:

   • Ernst Barlach: "Epilog," December 1951 - February 1952, exhibition catalog, published by the Deutsche Akademie für Kunst und Literatur, Berlin

8. 1952:

   • Various exhibitions and acknowledgments for contributions to the Ernst Barlach exhibition, including:
     • The Art Institute of Chicago
     • The Art Museum, Princeton University
     • The Metropolitan Museum of Art, New York
     • The Busch-Reisinger Museum, Harvard University
     • The German Museum, Munich
     • The Kunsthalle, Hamburg

The page reflects a comprehensive effort to recognize and credit the numerous contributors and resources that informed and supported the exhibition and publication about Ernst Barlach.

The image displays a page from a catalog or exhibition booklet that includes several bibliographic references and acknowledgements related to the artist Ernst Barlach.

Bibliographic References

The left side of the page lists the following publications and works:

• 1935: Paul Fechter, Einführung zu Ernst Barlach Zeichnungen, R. Piper & Co., München (1949, revised edition).
• 1936: Kurt Korff, Einführung zu Ernst Barlach: Fries der Lahnschiffe, Hamburg.
• 1938: Ernst Barlach, Gesammelte Briefe, privately printed, Hamburg.
• 1939: Helmut Salzer, "Über Ernst Barlach", Convivium, Vol. 6, No. 1, pp. 3-12.
• 1946: Paul Scherhorn, Begleitheft zu Ernst Barlach: Klassiker & Genossen, Verlag Roderich G. Fischer, Hamburg.
• 1948: Helmut Salzer, Ernst Barlach: Fünf Jahre nach seinem Tod, Munich-Pasing, vol. 9 in Mitteilungen des Kunstvereins.
• 1950: Naomi Jackson, The Development of a Verbal Style in the Work of Ernst Barlach, Ph.D. dissertation, University of London.
• 1951: Ernst Barlach, Ausstellungskatalog, December 1951–January 1952, exhibition catalog with essays by Hans Lammert, Herbert Brongers, and others, published by the Deutsche Akademie der Künste, Berlin.
• 1952: Claus Groth, Ernst Barlach: Ein Künstler aus Kiel, Friedrich Pustet, Regensburg.
• 1957: Fritz Lienhard, Ernst Barlach: Der Bildschnitzer, Verlag W. Kohlhammer, Stuttgart.
• 1958: Carl Georg Heise, Einführung zu Ernst Barlach: Zehn Jahre nach seinem Tode, 45 Manuskripte, R. Piper & Co., München.

Acknowledgments

The right side of the page lists acknowledgments to various individuals and institutions:

• For the University of Nebraska:

  • Charles M. Hansen, Chancellor
  • Walter C. Mendenhall, Director of the College of Arts and Sciences
  • John M. F. Moore, Dean of the College of Arts and Sciences
  • Charles L. Kuhn, Curator
  • Kurt Tetzlaff, Assistant to the Director for Exhibitions
  • George D. Stout, Photographer for the exhibition

• For the Henry Gallery, University of Washington:

  • Carleton C. Carveth, Curator

• For the Dayton Art Institute:

  • Miss Ethel L. Scovell, Director

• For the Busch-Reisinger Museum:

  • Charles L. Kuhn, Curator

• Acknowledgments for the Exhibition:

  • The exhibition was made possible through the contributions and knowledge of many individuals, including:
    • Miss Naomi Jackson, whose thesis on Ernst Barlach's work was pivotal.
    • Dr. Paul Fechter, for his early publication.
    • Various museums and institutions: The Art Institute of Chicago, The Art Institute of Chicago, The Metropolitan Museum of Art, The Museum of Modern Art, The Philadelphia Museum of Art, The San Francisco Museum of Art, The Walker Art Center, and others.
    • The staffs of the Ernst Barlach Archive, the Ernst Barlach Foundation, and the Ernst Barlach Society.

The acknowledgments also note the financial and logistical support from numerous universities, museums, and private individuals, who contributed to the preparation and exhibition of the works.

The image shows two open pages of a book or catalog with text content. The left page lists a number of references from different years (1935 through 1954). The text entries on the left page appear to be bibliographic references to works about or by Ernst Barlach, indicating various authors, titles of works, publishers, and cities.

The right page is headed with the title "Acknowledgments," which implies that the text following is thanking individuals and institutions for their contributions or involvement in the publication or the work associated with it. It specifically acknowledges Miss Naomi Jackson for her knowledge and enthusiasm, followed by a statement about the lenders to the exhibition. Mentioned institutions include The Art Institute of Chicago and The Art Institute of New York, among others. The lower part of the right page thanks people associated with various galleries and museums, including the University of Nebraska, the Henry Gallery at the University of Washington, the Dayton Art Institute, and the Busch-Reisinger Museum.

The book itself is open in a way that the curvature of the pages suggests it is resting on a flat surface, and the background is a neutral gray. The pages appear crisp and clean, indicating the book is well-maintained or possibly new.

This image shows an open book laid flat with visible pages containing text. The left page lists numerous bibliographic references and acknowledgments related to Ernst Barlach, including authors, publication years, and titles of works, mostly in German. The acknowledgments section thanks Miss Naomi Jackson and various institutions and individuals for their contributions to an exhibition related to Ernst Barlach's work. It mentions museums and art institutes that loaned materials for the exhibition.

The right page acknowledges specific individuals associated with several institutions, including the University of Nebraska, the Henry Gallery at the University of Washington, the Dayton Art Institute, and the Busch-Reisinger Museum, naming roles such as Chancellor, Curator, and Director. It also credits Kaz Tada as the photographer for the exhibition. The text is printed in a clean, formal typeface on cream-colored pages.

The image shows an open book, displaying two pages side by side. The left page is titled "Acknowledgments" and contains a formal acknowledgment section. The text begins with:

"Acknowledgments"
Without whose enthusiasm must be made, first of all, to Miss Naomi Jackson without whose must and knowledge of the present exhibition could not have been realized. Naomi’s generous publication of her many studies of the life and art of Berlichingen will serve to implement the early and complete exhibition whose persons made possible the showing of the material in four museums."

The acknowledgment continues, listing various individuals and institutions that contributed to the exhibition or publication, including:

• Miss Naomi Jackson
• Miss Lisa Arnold
• The Art Institute of Chicago
• The Art Institute of New York
• The University of Nebraska
• The University of Washington
• The Dayton Art Institute
• The Busch-Reisinger Museum

The right page contains a list of bibliographic references or works cited, formatted in a standard academic style. Each entry includes:

1. Year (e.g., 1915, 1936, 1939, etc.)
2. Author(s) and title of the work
3. Publisher or location
4. Place of publication (e.g., Munich, Hamburg, etc.)

Examples of entries include:

• 1915: Paul Fuchs, Paul Friedel zum Errat Baluck Zeitschniften, H. Piper & Co., Munich
• 1936: Kortzinger, Hugo, Introduction to Ernst Friedel, Das Land der Lauch, Verlag Hamburg
• 1939: Friedel, Ernst, Friedel zum Goldschmied, Privately printed, Hamburg
• 1996: Schwarz, Paul, Bergmann über Ernst Friedel, Clausen & Görres, Hamburg

The layout is clean and organized, typical of an academic or exhibition catalog. The text is typed in a serif font, and the page numbers are visible at the top corners, indicating that this is part of a larger publication. The overall design suggests a formal, scholarly context, likely related to an art exhibition or academic study.

The image shows an open book, with the pages facing the viewer. The book appears to be a scholarly publication, likely a catalog or exhibition guide, given the detailed text and structured layout. The pages are white, with black text and some highlighted or emphasized text in different fonts or sizes. The left page has a table of contents or list of contributors, with entries numbered and organized into categories or sections. The right page contains text related to the exhibition or publication, with headings, subheadings, and paragraphs. The overall design is clean and professional, with a focus on readability and clarity.