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The image shows a detailed exhibition label or wall text from an art museum. The text provides information about an exhibition of Jugendstil (Art Nouveau) works, highlighting the rarity and significance of such exhibitions in the United States. It mentions that the museum was among the first to mount an exhibition of Jugendstil works and acknowledges the support of the Charles L. Kuhn Endowment Fund.

The text also expresses gratitude to various lenders and curators who contributed to the exhibition, including individuals and institutions from the United States and Europe. It lists specific artworks and their lenders, organized into three galleries:

Gallery I:

1. Plaque in Jugendstil, Germany, c. 1900.
2. Vase, Max Laeuger, Germany, 1896.
3. Color woodcut, Emil Orlik, Germany, 1898.
4. Lithograph, Emil Orlik, Germany, 1898.
5. Mirror, Ernst Neumann-Neander, Germany, c. 1900.
6. Book, Robert Kastner, Germany, 1897.
7. Inkstand, Bruno Paul, Germany, 1905.
8. Plate, Christian-Ad. Kohn-Brandstetter, Germany, c. 1900.
9. Plate, Königliche Porzellan-Manufaktur, Germany, 1907.
10. Inkwell, J.P. Kayser Söhne, Germany, c. 1900.
11. Vase, Friedrich Leistner, Germany, c. 1900.
12. Lithograph, Hermann Obrist, Germany, 1896.

Gallery II:

13. Poster, Jan Toorop, Netherlands, 1894.
14. Lithograph, Jan Toorop, Netherlands, 1894.
15. Poster, Otto Eckmann, Germany, 1897.
16. Book, Theo van Hoytema, Netherlands, 1898.
17. Plate, Ludwig Hohlwein, Germany, c. 1902.

Gallery III:

18. Stamped glass, Theodoor Willem Nieuwenhuis, Netherlands, c. 1900.
19. Cranes, Walter Leistikow, Germany, 1898.
20. Color woodcut, Peter Behrens, Germany, 1899.
21. Color woodcut, Vilmos Zsolnay, Hungary, c. 1900.
22. Vase, Jordis-Kayser, Germany, c. 1900.
23. Glass and pewter, Friedrich Adler, Germany, c. 1900.
24. Book, Boekelo, Netherlands, 1903.
25. Book, Ferdinand Hodler, Switzerland, 1897.
26. Book, Ferdinand Hodler, Switzerland, 1897.
27. Color woodcut, Wassily Kandinsky, Germany, 1903.
28. Color woodcut, Wassily Kandinsky, Germany, 1903.
29. Poster, Ludwig Hohlwein, Germany, c. 1902.
30. Poster, Ludwig Hohlwein, Germany, c. 1902.
31. Poster, H.R. Eelst, Netherlands, 1900.
32. Procession, Wassily Kandinsky, Germany, 1903.
33. Poster, Theo van Hoytema, Netherlands, 1898.

The text concludes with acknowledgments to various individuals and institutions for their contributions to the exhibition.

The image displays a detailed list of works and related information, likely from a catalog or an exhibition catalog focusing on Jugendstil (Art Nouveau) art. The list is divided into several sections and mentions various artists, galleries, and curators.

Here is a detailed breakdown:

1. Introduction and Context:

   • The introduction discusses the significance of the museum profession and the initial exhibition of Jugendstil art in the United States.
   • It highlights the major movements: Jugendstil in Austria and Germany, Art Nouveau in France, Belgium, England, and the Netherlands, and Niewe Kunst in the Netherlands.

2. Curators and Exhibitions:

   • John David Farmer is noted as the curator for a specific exhibition.
   • Several other curators and institutions are mentioned, including Otto Kallir, Galerie St. Etienne, New York; John Rhodes, Jr., Cambridge; Dr. Hans Szwarzenberger, Curator of Sculpture and Decorative Arts at the Museum of Modern Art; and others.

3. List of Artworks and Artists:

   • The list is divided into sections labeled Gallery I, Gallery II, and Gallery III.
     • Gallery I:
       • Includes pieces like Plaque in Jugendstil frame by Framer Art Gallery, Cambridge, and Lent by Edward Munck, among others.
       • Artists and works include:
         • Edward Munck, Storbemizer, Berlin.
         • Peter Behrens, The Kiss, Berlin.
         • Various posters and lithographs by artists like Ernest Moritz Geyger and Arnold Boecklin.
     • Gallery II:
       • Focuses on specific artworks by notable artists such as Jan Toorop, Th. A. Ch. Colenbrander, and Otto Eckmann.
       • Includes pieces like Poster for Deutsche Slacolie by Jan Toorop, and Poster for Het Hoogeland by Th. A. Ch. Colenbrander.
     • Gallery III:
       • Lists artworks such as:
         • Bookplate for M. A. Müller, by Ferdinand Hodler.
         • Posters by Wassily Kandinsky, Les Femmes au Bois, and others.
         • Works by Carl Stiller, Ludwig Hohlwein, and more.

4. Additional Notes:

   • The list includes provenance details, such as the source of the artworks and their current locations, like the Museum of Fine Arts, Boston, and the Yale University Art Gallery.
   • References to the curators' selections and their sources, such as specific exhibitions and catalogs, are mentioned.

Overall, this detailed compilation is a comprehensive overview of Jugendstil-related artworks, their provenance, and the context in which they are presented.

The image displays a page from an exhibition catalog or brochure. The text is divided into two main sections: an introduction on the left and a list of artworks or items on the right.

Left Side: Introduction

The introduction explains the excitement and challenges of the museum profession, particularly focusing on exhibitions. It mentions that many significant Art Nouveau and Jugendstil works are housed in European museums, with a notable concentration in Paris and Brussels. The text also highlights the scarcity of these works in the United States, attributing this to the lack of interest from major collectors and the obscurity of the movement in the U.S. The introduction expresses gratitude to several individuals and institutions for their support and contributions to the exhibition.

Right Side: Artwork List

This section is titled "GALLERY I" and "GALLERY II," suggesting that the items listed are divided between two galleries.

GALLERY I

1. Plaque in Jugendstil frame, Germany, c. 1900, ceramic, lent by Mr. and Mrs. Joseph Gropper, New York.
2. Edward Munch, "St. Cloud, Paris," Berlin, 1896, lithograph, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
3. Edward Munch, "Lithograph, The Scream," Berlin, 1896, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
4. Ernst Moritz Geyer, mirror, Berlin, c. 1900, lent by Robert Kashe, New York.
5. Arnold Bocklin, poster for the Basel Kunsthalle, Basel, 1887, lithograph, lent by Mr. and Mrs. Joseph Gropper, New York.
6. Joseph Sattler, "Pan," tile, Munich, 1895, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
7. Richard Riemerschmid, "Theater," Munich, 1901, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
8. Max Klinger, "Pallas Athene," Leipzig, 1880-96, aquatint, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
9. Franz von Stuck, "Der Philosoph," Munich, 1890-96, aquatint, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
10. Jan Toorop, poster for Delftsche Slaolie, The Hague, c. 1894, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
11. Jan Toorop, poster for The Netherlands, The Hague, 1902, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
12. Th. A. C. M. van der Chijs, vase, Rozenburg, c. 1886, ceramic, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.

GALLERY II

1. Otto Eckmann, vase, Berlin, 1897/88, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
2. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
3. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
4. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
5. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
6. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
7. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
8. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
9. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
10. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
11. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
12. Otto Eckmann, vase, Berlin, 1897/98, porcelain, lent by The Fogg Art Museum, Harvard University, Cambridge, Massachusetts.

The text is signed by "JOHN DAVID FARMER, Curator" at the bottom of the left section.

The image displays a page from an exhibition catalog detailing the works of the ceramic artist John David Farmer. The text discusses various aspects of the exhibition, titled "One of the Great Pleasures," which focuses on Jugendsil (Art Nouveau) ceramics.

Key Points from the Text:

1. Exhibition Overview:

   • The exhibition is curated by John David Farmer, who was the former curator at the Busch-Reisinger Museum.
   • The exhibition aims to highlight the initial excitement and growing interest in Art Nouveau ceramics over the past few decades.

2. Historical Context:

   • There was a notable lack of literature on the topic in the early 20th century, with the first exhibition of this kind occurring around 1900 in Paris.
   • The popularity and geographic interest in these works have expanded significantly, particularly in Europe and the United States.

3. Selection Criteria:

   • The selection of works for the exhibition was not based on a specific theme or unique artistic merit but rather on the personal interest of the curator.
   • The aim was to represent the variety and richness of Jugendstil ceramics.

4. Exhibition Venues and Dates:

   • The exhibition was first held at the Busch-Reisinger Museum at Harvard University from November 1989 to January 1990.
   • It was also scheduled to be shown at the Smith College Museum of Art in Northampton, Massachusetts, from April to June 1990.

Gallery Lists:

The page includes three gallery lists showcasing various artworks and their details:

Gallery I:

• Lists 24 items, each with descriptions including the artist, title, year, material, and current location or lender.
  • Example: A plaque in Jugendstil frame by Gallé (1900), a ceramic piece lent by Croepper Art Gallery.

Gallery II:

• Lists 12 items, detailing works on loan to the exhibition.
  • Example: A poster for Deutsche Slaclo by Julius Klinger (1902) from the Museum für Kunst und Gewerbe, Hamburg.

Gallery III:

• Lists 9 items, continuing the detailed descriptions of the exhibited works.
  • Example: A vase by Émile Gallé (1900) from the Schweizerisches Museum für Angewandte Kunst, Zurich.

Contributors and Acknowledgements:

The page acknowledges several individuals and institutions that contributed to the exhibition, including:

• Curators and directors from various museums and galleries.
• Private collectors and academic institutions providing loans for the exhibition.

The text concludes with thanks to numerous lenders and contributors who helped make the exhibition possible. The acknowledgment section highlights the collaborative effort in bringing the collection together.

The image is a page from a catalog or exhibition guide for an art exhibition. The page is divided into two main sections: a text section on the left and a list of artworks on the right.

Text Section:

The text is a detailed explanation about the exhibition titled "One of the Great Pleasures," discussing the significance and history of Jugendstil (Art Nouveau) in the United States. Key points include:

• Exhibition Focus: The exhibition is centered around the Jugendstil movement, a unique and influential art movement that emerged in the late 19th and early 20th centuries.
• Geographical Scope: The movement originated in Europe, specifically in France (as Art Nouveau) and Germany (as Jugendstil), and spread to the Netherlands (as Nieuwe Kunst).
• Curatorial Insight: The text mentions the unique emphasis of the German art movement, which was to create a total work of art (Gesamtkunstwerk) and the role of the Boston Museum of Fine Arts in promoting these works.
• Notable Curator: John David Farmer, the curator, is highlighted for his significant contributions to the field.
• Acknowledgements: The text thanks various individuals and institutions, such as Mrs. Lillian Nassau and the Art Department of Rutgers University, for their support in curating the exhibition.

Artwork List Section:

The list includes various artworks displayed in the exhibition, categorized into three galleries (I, II, III). Each entry provides details such as:

1. Gallery I:

   • Otto Kalil, "Galerie St. Etienne, New York," John Rhodes, Jr.
   • Edward Munch, "Sterbezimmer," Berlin, 1896, lithograph.
   • Peter Behrens, "The Kiss," Berlin, 1899, color lithograph.
   • Edward Munch, "Liebesschmerz," Berlin, 1896, lithograph.
   • Ernst Moritz Geyer, "Woman on Stand," Berlin, 1897, woodcut.
   • Arnold Böcklin, "Pan," poster for "Boecklin-Ausstellung in Basel," 1897, lithograph.
   • Joseph Sattler, "Pan," Berlin, 1895/96, poster.
   • Joseph Sattler, "Pan," Berlin, 1895/96, poster.
   • Otto Eckmann, "Vase," Berlin, c. 1897/98, porcelain.

2. Gallery II:

   • Jan Toorop, poster for "Deutsche Sezession," The Hague, 1898, woodcut.
   • Th. A. Ch. Colenbrander, plate with spider, The Hague, c. 1896, ceramic.
   • Otto Eckmann, vase, Berlin, c. 1897/98, porcelain.

3. Gallery III:

   • Bookplate for M. A. Müller, Switzerland (?) c. 1900.
   • Ferdinand Hodler, "Frühlings Sehnsucht," Switzerland, c. 1899.
   • Wassily Kandinsky, "L'Eglise," Germany, 1909, woodcut.
   • Wassily Kandinsky, "Les Femmes au Bois," Germany, 1909, woodcut.
   • Ludwig Hohlwein, poster for Carl Stillers Jr., Munich, 1906.
   • Josef Maria Olbrich, candle-stick, Darmstadt, c. 1898, silver.
   • Jan Toorop, poster for "Freidenker," Austria-Hungary, 1899, woodcut.
   • Theo van Doesburg, vase, Netherlands, 1918, ceramic.
   • Theo van Doesburg, "Composition," Germany, 1918, gouache.

Additional Notes:

• The list also includes attributions and provenance information for some artworks, such as attributions to Theodor Willem Nieuwenhuis and various decorative panels.
• The page includes acknowledgments and attributions to specific institutions and individuals, highlighting the collaborative nature of the exhibition.

Overall, the page provides an insightful look into the Jugendstil movement, emphasizing its impact and the efforts of curators and institutions in presenting these artworks.

The image appears to be a page from a catalog or booklet related to an art exhibition or collection. The content includes a text and a list of artworks, which is divided into sections labeled "GALLERY I," "GALLERY II," and "GALLERY III."

Text Summary:

The text discusses the historical significance of Jugendstil (Art Nouveau) in various European countries and its reception in the United States. It highlights the uniqueness of the German Art Nouveau style and mentions the Boston Museum of Fine Arts as a significant institution for collecting such works. The author, John David Farmer, expresses gratitude to several donors and individuals who contributed to the exhibition, including Otto Kallir, John Rhodes Jr., Robert Kaske, and others.

List of Artworks:

The list provides details of specific artworks, including their titles, artists, dates, mediums, and provenance.

Gallery I:

1. Plaque in Jugendstil by Frappé Art Gallery, ceramic, c. 1900, lent by the gallery.
2. Edward Munch - Stoerbeminner, Berlin, 1896, lithograph, lent by The Fogg Art Museum.
3. Peter Behrens - The Kiss, Berlin, 1899, color woodcut, lent by The Fogg Art Museum.
4. Ernst Moritz Geyser - mirror on stand, Germany, c. 1900, lent by Robert Kashey, New York.
5. Arnold Boecklin - poster for Boecklin-Jubiläum-Ausstellung, Basel, 1897, lithograph, lent by John T. Spaulding.
6. Joseph Sattler - Pan, Berlin, 1895/96, poster, lent by the artist.
7. Joseph Sattler - Pan, Berlin, 1896, poster, lent by the artist.
8. Plate, cup and saucer - Königlich Porzellan-Manufaktur, Berlin, c. 1900, lent by J. Jonathan Joseph, Boston.
9. Max Klinger - Der Philosoph, c. 1890-95, equating, lent by the Fogg Art Museum.

Gallery II:

10. Jan Toorop - poster for Deutsche Salon, The Netherlands, 1902, lent by Edward B. Greene Fund.
11. Th. A. Ch. Colenbrander - vase, The Hague, c. 1900, lent by Martin Eidelberg, Rutgers University.
12. Otto Eckmann - vase, Berlin, c. 1897/98, lent by Martin Eidelberg, Rutgers University.
13. Jan Toorop - poster for Het Hoogeland, The Netherlands, 1902, lent by Edward B. Greene Fund.
14. Th. A. Ch. Colenbrander - plate with spider, The Hague, c. 1886, ceramic, lent by Martin Eidelberg, Rutgers University.

Gallery III:

15. Bookplate for M. A. Müller, Switzerland, c. 1900, lent by Timothy Riggs, Cambridge.
16. Ferdinand Hodler - Frühlingssehnsucht, Switzerland, c. 1900, lithograph, lent by the Fogg Art Museum.
17. Wassily Kandinsky - L'Eglise, Germany, 1909, watercolor, lent by Martin Eidelberg, Rutgers University.
18. Wassily Kandinsky - Les Femmes au Bois, Germany, 1909, woodcut, lent by Martin Eidelberg, Rutgers University.
19. Ludwig Hohlwein - poster for Carl Stiller, Munich, lent by Serge Sabarsky.
20. Josef Maria Olbrich - candlestick, Darmstadt, c. 1902, lent by Lillian Nassau, New York.
21. Erdmann Erdmann - poster for Fremdenverkehrs-Ausschuss, Berlin, 1909, lent by Serge Sabarsky.
22. Theodor Schmitz - vase, Hamburg, c. 1900, porcelain, lent by Martin Eidelberg, Rutgers University.

The works are attributed to various artists and lenders, showcasing a diverse collection of Art Nouveau items from different regions and periods.

The image is a photograph of a printed page that appears to be part of an exhibition catalog or booklet. The page is primarily textual, providing information about various artworks and their lenders for a gallery or exhibition focused on pieces from around the year 1900. The text is divided into three columns:

• The left column contains an introductory paragraph by John David Farmer, listed as Curator. It discusses the significance of the exhibition, noting the pleasure of first-of-its-kind exhibitions and the rarity of Jugendstil works in American collections. It also mentions the collaboration with various art institutions and individuals who loaned work for the exhibition.

• The central and right columns are labeled "GALLERY I," "GALLERY II," and "GALLERY III" at the top and list specific items on display, including their descriptions, creators, dates, materials, and lenders. Some of the artworks mentioned include a plaque by Ludwig Hohlwein, a teapot by Peter Behrens, a bookplate by M. A. Miller, and various other decorative art pieces from the period around 1900.

The items listed include a mix of fine art pieces, decorative items, and functional objects characteristic of the Art Nouveau/Jugendstil movement, and they were loaned from various prestigious institutions and private collections. Each artwork is numbered for reference, likely correlating to their display within the exhibition.

The image is a page from a catalog or exhibition guide, likely for an art exhibition focused on Jugendstil (Art Nouveau) art. The page is divided into two main sections: Gallery I and Gallery II, each listing objects and their details, and a third section, Gallery III, which appears to be a continuation or additional list of items. Here is a detailed description:

Header and Introduction

• Title/Introduction: The top of the page begins with a paragraph discussing the significance of Jugendstil (Art Nouveau) in the United States and its rarity in American collections. It highlights the first exhibition of Jugendstil art in the United States, noting its historical importance and the efforts to preserve and display these works. The text emphasizes the unique characteristics of Jugendstil, particularly its emphasis on Germanic art, and acknowledges the contributions of various lenders and curators.

Gallery I

This section lists items from Gallery I, detailing each piece with its title, artist, date, medium, and other relevant information. The items are numbered from 1 to 17, and each entry includes:

1. Plaque in Jugendstil frame (c. 1900, ceramic, lent by the Art Gallery, Cambridge bridge, Massachusetts).
2. Edvard Munch: The Beggar (1896, lithograph, lent by the Art Gallery, Berlin).
3. Ithos Behrens: The Kiss (1899, color woodcut, lent by the Print Department, Boston Public Library).
4. Werner Holz: Self-Portrait (1898, litho-woodcut, lent by the Print Department, Boston Public Library).
5. Ernst Moritz Geyser: Silver on Stand (by Ernst 1896, glass and mirror bronze, lent by Werner Holz, New York).
6. Arnold Busche: The Kiss (1897, lithograph, lent by the Museum of Fine Arts, Boston).
7. Joseph Sattler: Pan tilepage (1895/96, lent by the Museum of Fine Arts, Boston).
8. Ithos Behrens: Lent by C. W. Raffauf (c. 1900, pewter, lent anonymously).
9. Plate, cup, and saucer (Koniglich Porzellan- fabrik, c. 1900, C. G. Koenig porcelain, lent by J. Kayser Sohn, Krefeld, Germany).
10. Inkwell (J. P. Kayser Sohn, c. 1900).
11. Max Klinger: Der Philosoph (1880, 95, aquintint, lent by the Leo M. Museum, Frankfurt).
12. Franz von Stuck: Poster for HV International (no. 19701/1, Munich, J. Joseph, Kunstausstellung, Gift of 1905, lithograph, Ace, no. 19701/1, Gift of 1905, Joseph).
13. Jan Toorp: De Oude Deutsche Stapel (The Netherlands, 1895, lithograph, lent by Yale University Art Gallery, Edward B. Greene Fund).
14. Th. Colbrander: Vase, Maarten Edel (c. 1900, porcelain, lent by Prof. Hans Sachs, De Pels-Leusden Fund).
15. Jan Toorp: Bronze Vase (c. 1897/98, Martin Delain in Bruges mount, lent by Prof. Paul Sacks, Rutgers University).
16. Claus C. G. Behrens: The Young Woman (c. 1902, or earlier, celadon, lent by the Print Department, Boston Public Library).
17. Th. A. Colbrander: Plate with Spider Web (Haagse Plateelbakkerij Rozenberg, The Hague, 1888, ceramic, lent by Prof. Martin Eidel, Purchase, Ede K. Loeb Fund, no. 19702/2).

Gallery II

This section continues the listing of items, numbered from 18 to 33, with similar details:

18. Attributed to Theodor Willem Nieuwenhuis: decorative panel (The Netherlands, gilt parchment, lent by the Print Department, Boston Public Library).
19. Walter Leistikow: Cranes from the Pan IV, 2 (Berlin, 1899, lent by the Print Department, Boston Public Library).
20. Otto Eckmann: Schwertfisch (color woodcut, lent by the Print Department, Boston Public Library).
21. Lent by D. Parker Collection (Pepperell, Massachusetts).
22. Hermann von Hoesslin: Fine Arts, and Inlaid Wood (lent by the Museum of Fine Arts, Boston, Gift of Arthur B. Nichols in memory of Arthur B. Nichols).
23. Jardine, V. Mayers Sohne, Germany: 1805, silver repoussé, lent by the Cooper Hewitt, Smithsonian Institution, Gift of Alice de Bowi on stand, German Art C. 1900, glass and pewter, lent by Prof. and Mrs. Seymour Slive Cambridge.
24. Bowi on stand, German Art C. 1900, glass and pewter, lent by Prof. and Mrs. Seymour Slive Cambridge.
25. Bookplate for M. A. Miller, Switzerland (2).
26. Ferdinand Hodler: Timothy Riggs (Switzerland, c. 1910, lent by Frohlich Seiffarth, Cambridge, Massachusetts).
27. Wassily Kandinsky: L'Entree par la Fosse (Munich, 1908, Wassily Kandinsky, Les Femmes au Bois, Gel. H. Sobin, Acc. Art. no. 1886/63).
28. Wassily Kandinsky: Les Femmes au Bois, Gel. H. Sobin, Acc. Art. no. 1886/63.
29. Ludwig Holzwein: poster for Carl Striller* (Gifts, Salma H. Sobin).
30. Josei Maria Olbrich: Candlestick (Darmstadt, H. R. Erdw, lent by Prof. Vera Sacks, New York).
31. H. R. Erdw, poster for L'Illuminazione Austel* (Wassily Kandinsky, lithograph, lent by Serge Sabarsky, Berlin, 1909).
32. Wassily Kandinsky: Procession, Germany, 1910, gouache on cardboard (Acc. no. 19903, lent by Prof. Martin Eidelberg, Rutgers University).
33. Theo Schme-Baudiss, vase, Verreint Werkstatten fur Kunst im Handwerk, Munich, c. 1910, ceramic, lent by Prof. Martin Eidelberg, Rutgers University.

Footer

• The page ends with a note from John David Farmer, Curator, expressing gratitude to the lenders and donors for their contributions to the exhibition. The note emphasizes the importance of the subject and the museum's commitment to preserving Jugendstil art.

Visual Layout

• The page is formatted in a clean, organized manner with clear headings (Gallery I, Gallery II, Gallery III) and numbered entries.
• Each item is described with concise details, including the artist, date, medium, and lender.
• The text is dense but well-structured, making it easy to follow.

Overall Context

The page is part of an exhibition catalog or guide, likely for a museum or art institution. It serves as a reference for visitors, providing detailed information about the displayed artworks and their origins. The focus on Jugendstil (Art Nouveau) art highlights the historical and cultural significance of the exhibition.

The image appears to be a page from a catalog or exhibition brochure. The page contains text describing an exhibition of works by the German artist Otto Kallir, with additional information about the works on display and their provenance.

The text on the page reads:

"ONE OF THE GREAT PLEASURES and excitements of the museum profession is the first-of-its-kind exhibition. A perusal of exhibition literature does not seem to suggest that this is the initial exhibition in the United States devoted entirely to the general and called Jugendstil in Austria and Germany, and called Jugendstil in Northern and Germany, and Nieuwe Kunst in the Netherlands; these movements are rather less well known than the Art Nouveau manifestations in France, Belgium, England and the United States. There is good reason for this relative obscurity: most of the great works from this period and geographical area have remained in Europe and there may even be a Paris-inclination in this country toward the art of Brussels, which more closely approximates the work of Tifan, Will Bradley and other Americans.

Several factors led to the selection of this particular subject. At the least, of course, is the singular aspect of the museum itself, with its unique emphasis on Germanic art. Moreover, the arts of this period have always been of great interest to the former curator (the Busch-Reisinger Museum was one of the first institutions to mount an Art Nouveau survey a number of years ago), and this will be the first exhibition made possible by the Charles L. Kuhn Endowment Fund, established in honor of a year ago to provide additional exhibition funds.

The relative rarity of Jugendstil works in this country does not mean that there are not fine examples in museum and private collections; it does mean, however, that diligence and, above all, cooperation is necessary to bring them together. It is, therefore, with great pleasure that I thank the following lenders and curators who have been so generous with their works and so helpful in the search for fine examples of the exquisite art from around 1900.

Mrs. Lillian Nassau, New York; Robert Kashey, Shepherd Gallery, New York; Martin Edelstein, Rutgers University, New Brunswick, New Jersey; Otto Kallir, Galerie St. Etienne, New York; John Rhodes, Jr., Cambridge, Massachusetts; John Ackerman, Astor Courter, Department of Prints and Drawings, Museum of Fine Arts, Boston; James May, Director, The Vienna Workshop, New York; Miss Janet Thorpe, Associate Curator, Cooper-Hewitt Museum, Department of Decorative Arts and Design, Smithsonian Institution, Washington, D.C.

Joseph Gross, Cambridge; Sinclair Hitchings, Keeper of Prints and Drawings, Boston Public Library, Boston; Miss Louisa Dresser, Curator, Worcester Art Museum, Worcester, Mass; Agnes Morgan, Director, Worcester Art Museum; Harvey D. Feins, Director, Fogg Art Museum, Harvard University, Cambridge, Mass; Alan Shestack, New York; Timothy Riggs, New York; Serge Sabarsky, New York; Professor and Mrs. Seymour Yale University Art Gallery; Prof. and Mrs. Wish, Cambridge, Mass; and several anonymous lenders who wished to remain anonymous.

I would like to extend a special note of gratitude to J. Jonathan Ostowe of Boston whose interest in the museum of this subject has led him to donate a permanent collection.

JOHN DAVID FARMER Curator

GALLERY I

1. Plaque in Jugendstil frame, Germany, c. 1900, ceramic. Lent by Gropper Kunst, Berlin, 1989.
2. Edward Munch, The Bridge, Germany, 1896. Lent by the Fogg Art Museum, Boston, 1989.
3. Peter Behrens, The Kiss, Berlin, 1909, color woodcut. Acc. no. 1956.58. Purchased 1956.
4. Ernst Ludwig Kirchner, Mirror on stand, Germany, c. 1900, lithograph. Lent by the Museum of Fine Arts, Boston, 1989.
5. Moritz Geyer, fog on stand, Germany, c. 1900, glass and silver bronze. Lent by the Museum of Fine Arts, Boston, 1989.
6. Robert Bonfils, poster for Bocklin in Jubliäums-Ausstellung in Basel, 1897, lithograph. Lent by the Museum of Fine Arts, Boston, 1989.
7. Joseph Sattler, Pan tiletape, Berlin, 1995/96, lithograph. Acc. no. 1996.23. Cambridge, Mass.
8. A. Ch. Kalischer, plate with spider motif, Berlin, c. 1900, poster. Lent by ANTIQ. Kunstfeld, Berlin, 1990.
9. Plate, cup and saucer, Königlich Porzellan-Manufaktur Berlin, c. 1900, porcelain. Acc. no. 1970.9. Acc. no. 1934.14.
10. K. Kayser Sohn, Krefeld, Germany, 1909, color woodcut. Lent by Timothy Riggs, Cambridge, Mass.
11. Max Klinger, Der Philosoph, Leipzig, c. 1890-95. aquatine. Lent by the Fogg Art Museum, Boston, 1989.
12. Franz von Stuck, poster for IX. Internationale Kunstausstellung, Munich, 1905, lithograph. Acc. no. 1970.11. Gift of J. Jonathan Hanberg, Boston.
13. Jan Toorop, poster for Deutsche Scholie, The Netherlands, 1895, lithograph. Lent by Yale University Art Gallery, Edward B. Greene Fund.
14. Th. A. Ch. Kolenbrander, vase, The Hague, c. 1890, porcelain. Lent by Prof. Martin Eideberg, Rutgers University.
15. Otto Eckmann, vase, Berlin, c. 1907/98, porcelain. Acc. no. 1987.9. Lent by Prof. Martin Eideberg, Rutgers University.
16. Jan Toorop, poster for Het Hoogeland, Beekbergen, The Netherlands, 1902 or earlier, lithograph. Lent by Yale University Art Gallery, Edward B. Greene Fund.
17. Th. A. Ch. Kolenbrander, plate with spider motif, Berlin, c. 1896. Acc. no. 1970.2. The Hague, Haagse Plateelbakkerij Rozenburg, Purchase, Eda K. Loeb Fund.
18. Attributed to Theodoor Willem Nieuwenhuis, decorative panel, The Netherlands, stamped gilt parchment. Lent anonymously.
19. Walter Leistikow, Cranes, from Pan IV. 2, Berlin, 1899. Lent by the Print Department, Boston Public Library.
20. Otto Eckmann, Schwertbrillen, Berlin, color woodcut. Lent by the Print Department, Boston Public Library.
21. Peter Behrens, Pine Forest, color woodcut. Lent by the Museum of Fine Arts, Boston, 1989.
22. Ernst Moritz Geyer, mirror on stand, Germany, c. 1900, carved and in-laid wood. Lent by the Museum of Fine Arts, Boston, 1989.
23. Jardinere, V. Mayers Sohne, Germany, c. 1905. silver repoussé. Lent by the Cooper-Hewitt Museum of Decorative Arts and Design, Smithsonian Institution.
24. Bowl on stand, Germany, c. 1900, glass and pewter. Lent by Prof. and Mrs. Seymour Slive, Cambridge, Mass.
25. Bookplate for M. A. Müller, Cambridge, c. 1900. Lent by Timothy Riggs, Cambridge, Mass.
26. Ferdinand Hodler, Frühlingsbesuch, Switzer-land, lithograph. Lent by the Fogg Art Museum.
27. Wassily Kandinsky, l'Eglise, Gift, 1909. Acc. no. 1966.53. Gift by Selma H. Sobin.
28. Wassily Kandinsky, Les Femmes au Bois, Ger-many, 1909, woodcut. Acc. no. 1986.59.
29. Ludwig Hohlwein, poster for Carl Stiller Jr. Schule, Munich, 1908. Lent by Serge Sabarsky, New York.
30. Josef Maria Olbrich, candlestick, Darmstadt, Germany, c. 1902, pewter. Lent by Serge Sabarsky, New York.
31. H. G. Erdt, poster for Fremdenverkehr Austel-lung, Berlin, 1909, lithograph. Lent by Serge Sabarsky, New York.
32. Wassily Kandinsky, Procession, Germany, 1903, gouache on cardboard. Acc. no. 1959.1.
33. Theo Schum-Baudiss, vase, Vereinigten Werk-stätten für Kunst im Handwerk, Munich, c. 1900, porcelain. Lent by Prof. Martin Eideberg, Rutgers University."

The page appears to be from an exhibition catalog or brochure, providing information about the exhibition, the works on display, and their provenance. The exhibition is focused on the German Jugend

The image is a page from a catalog or publication, likely related to an art exhibition or collection. The page is divided into two columns of text, with the left column containing a narrative or descriptive passage and the right column listing items with corresponding numbers.

Left Column:
The left column contains a narrative passage discussing the exhibition of artworks, possibly focusing on a specific artist or theme. The text mentions the initial exhibition of artworks in the United States, which developed due to the general call around 1900 in Austria and Germany. It highlights the obscurity of these works and the efforts of collectors and curators to bring them to the forefront. The passage also acknowledges the support of specific individuals, such as Mrs. Lillian Nassau, Robert Kashey, and others, for their contributions to the exhibition.

Right Column:
The right column lists a series of items, each with a corresponding number. These items appear to be artworks or artifacts, possibly from the exhibition mentioned in the left column. Each entry includes a brief description, the artist's name, and sometimes additional details such as the medium, date, and provenance. The items are categorized under different galleries (GALLERY I, GALLERY II, GALLERY III), suggesting a structured exhibition layout.

Items Listed:

1. Plaque in Jugendstil frame, Germany, c. 1900, ceramic. Lent by Gropper Art.
2. Edward Munch, Berlin, 1896, lithograph. Lent by the Fogg Art Museum.
3. Peter Behrens, The Kiss, Berlin, 1899, color woodcut. Acc. no. 1956.11.
4. Edvard Munch, Liebespaar, Berlin, 1906, lithograph. Lent by the Fogg Art Museum.
5. Ernst Moritz Geyer, mirror on stand, Germany, c. 1900, glass and silver bronze. Lent by Robert H. Greene.
6. Arnold Böcklin, poster for Böcklin-Jubiläumsausstellung, Basel, 1897, lithograph. Gift of Mrs. Dorothy Nichols in memory of her daughter Arthur B. Nichols.
7. Joseph Sattler, Pan lithograph, Berlin, 1895/96. Lent by the Fogg Art Museum.
8. Iris pattern dish, Orient-Anonymus-Kunstfeld, c. 1900, pwter. Lent by J. A. Miller, Cambridge.
9. Plate, cup, and saucer, Königliche Porzellan-Manufaktur Berlin, c. 1900, porcelain. Acc. no. 1970.9 a-c. Gift of Jonathan Joseph, Boston.
10. Max Klinger, Dar Philosophy, Leipzig, 1890, 95, aquaint. Lent by Timothy Riggs, Cambridge.
11. Franz von Stuck, poster for IX. Internationale Kunstausstellung, Munich, 1905, lithograph. Acc. no. 1971.11. Gift of J. Jonathan Joseph, Boston.
12. Jan Toorop, poster for Delitsche Snoelie, The Netherlands, 1895, lithograph. Lent by Yale University Art Gallery, Edward B. Greene Fund.
13. Th. A. Ch. Kolenbrander, vase, The Hague, 1890, porcelain. Lent by Prof. Martin Eidelberg, Rutgers University.
14. Otto Eckmann, vase, Berlin, c. 1897/98, porcelain. Lent by Prof. Martin Eidelberg, Rutgers University.
15. Jan Toorop, poster for Het Hoogeland, Beekbergen, The Netherlands, 1902 or earlier. Lent by Yale University Art Gallery, Edward B. Greene Fund.
16. A. Ch. Kolenbrander, plate with spider web, The Hague, c. 1896, ceramic. Acc. no. 1970.2. Purchase, Eda K. Loeb Fund.

Analysis:
The page provides a detailed overview of an art exhibition, highlighting the historical context, the significance of the artworks, and the contributions of various individuals and institutions. The right column serves as a catalog of the exhibited items, providing essential information for viewers and researchers. The exhibition seems to focus on Jugendstil and Art Nouveau artworks, with a strong emphasis on German and Austrian artists. The inclusion of specific lenders and donors underscores the collaborative nature of such exhibitions, involving both public and private collections.