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Wonderful coincidences

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Readers will have noticed the break in new postings. Reasons: busy, circumstances, preparations for publishing "The Mother of all Books" on German women artists born in the 19th century pioneering with woodblock printmaking 1900-1935. And several more reasons. I was pleased to see the number of "followers" during this break even went up a few: a stimulus to resume. 

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So, today I intend to resume regular updating with new postings. Yesterday a wonderful email was in my in-box, 3,5 years after the original posting on German-American artist Fred Goldberg. There had been earlier comments (do read them) but this one was very special. So here is:      

Fred Fredden Goldberg

(Berlin 24-09-1889 – 5-11-1973 San Francisco)

German, American painter and printmaker.


and this contribution by Steven Less:


Wonderful coincidences! 


After seeing some of my late father's work, an art professor asked me if there was any connection between him (John Hans Less (1923/24 - 2011) and the artist Emil Orlik (1870-1932). Quick research on Orlik revealed that he died while my father was still in grade-school in Berlin. While Orlik had apparently lived and worked in Berlin for many years, and had been in Asia to learn something about woodcutting techniques, etc., and recorded some of his impressions and incorporated the knowledge he acquired in his work, all of this happened long before my father had any inkling that he would find refuge from Nazi persecution in Shanghai. So, I couldn't imagine any direct link.

Then I started to wonder about my father's teachers, who may indeed have been influenced by or at least knew of Orlik's work. This is where, thanks to your website I encountered Fred Goldberg's art for the first time. 

After my father lost his internship position at a printing company in Berlin, where he was being trained to do lithography when the firm was Aryanized, he was briefly able to take private art lessons (in 1938 or 1939) with Fred-Fredden Goldberg. He later had contact with Goldberg again in Shanghai. 

Like Goldberg, my father immigrated from Shanghai to the US after WWII, but in contrast to Goldberg, he ended up on the East Coast. There, he found work as a layout artist for Bambergers' department store, eventually becoming the Bambergers' dept. store chain's VP for advertising. After retiring, he devoted himself to painting. My father never forgot his experiences in Shanghai and during the 1990s he did a series of watercolor drawings intended to illustrate a written memoir and based on original sketches he drew in Shanghai. 

To honor my father's memory and commemorate others from among "the drowned and the saved", I've arranged for exhibitions of his Holocaust- and China-related artwork at the Jewish Museum of New Jersey and the Gaelen Gallery in NJ, as well as Bensheim Museum and at the Heidelberg city archives in Germany. For samples of items included in these exhibitions, see the following websites:








Marie Wippermann in Paris

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These two (signed Paris, 1907 and 1908) and at first sight rather crudely executed and not very appealing or decorative prints recently surfaced. On   closer examination they potentially may add a new chapter to my investigations into the lives of pioneering with color woodblock printmaking artists. First of all: I've never come across any artist by this name:

Marie Wippermann.

And secondly: they are really "early" Modern prints. Assuming she was German (historically there are many French families with a German family name) I also know from experience her family with almost certainty must be found in the upper regions of society: academics, industrials, physicians, intiligentia etc.. But she is simply not mentioned in any of the lexicons or handbooks. In the  Internet I found some Wipperman families at the end of the 19th century but so far without any direct or indirect connection or indications to an artist. (Unless she was baptized 1884 Margarethe and used "Marie" in Paris).  


Finding a German woman artist named Marie Wippermann in 1907 in Paris must be related to the great numbers of well-to-do German young women encouraged by their parents and being able to study in one of the Paris private Academies admitting women in contrast to Germany where women only were welcome well after WW-I.


Let's start with the nicest of the two prints. What is most striking: it is thoroughly "Japanese". In composition, subject and in execution. Below: Kawase Hasui, but decades later.   



Even without a proper title here's also some neurological proof the location in the brain for memory of pictures is the same spot remembering names: while instinctively recognizing the location.......... having seen "millions" of pictures, I had to look up the name of the Paris bridge. 




I have never seen this in such an early European woodblock print but the use of the "Japonist" diagonal in composition was described for instance in this iconic and famous print by Eugen Kirchner (1865-1938). 

Several iconic and later considered Masters of Modern Printmaking were only just active and still in the early years of  their careers as free creating artists, professors and teachers: Orlik, Moser, Thiemann, Klemm, Gabriele Münter, Martha Cunz etc... 


1907 is the year that Urushibara (1888-1953) left Japan for Europe to stay until his departure and return in 1934. His Quai D'Orsay is probably of a later date but only a few years before, in 1902 Henri Rivière published his 36 views on Paris (Eiffel tower) in "Japanese style". 
         

So, after realizing what exactly Marie depicted in 1907 on the banks of river Seine and some happy Googling it was possible to determine the exact location where she stood sketching. 


She shows several small boats anchored on long poles along Quai de Bourbon  on Isle St. Louis looking upstream towards Pont Marie on her right. Visible at the top is the tip of the most outer of a row of "Bateaux Lavoir": moored in river Seine washer boats. They have disappeared all a long time ago but once crowded all the quais of Paris. Not withstanding their romantic appearance life inside must have been pretty harsh, reminding of rows of slaves on a Roman (or French) rowing galley. 

Eugene Atget (1857-1927) a famous early Paris photographer showed these exact same boats on several occasions.  

And one of the painters who stood her was Bernard Lachevre (1888-1950) "Peintre  officielle de la Marine". He is mainly known for his ships portraits.  




Fritz Thaulow (1846-1906). I know I will do a certain Boston reader a great pleasure showing this example of his painting of the bow sections of these same washer boats chained to Pont Marie crossing river Seine connecting Isle St. Louis to the Hotel de Ville district. Thaulow was maybe the finest artist to depict the surface of the water in all his works. He also was a great aquatint etcher. As was his colleague Tavik Frantisek Simon (1877-1942). He chose the same row of Bateau Lavoirs looking down from downstream Pont Louis Philippe. 



Albert Marquet (1875-1947) saw and painted these boats and the bridge from  a window or balcony high up the Quai Bourbon.  




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And here is Marie Wippermann's Paris companion print. The previous owners managed to keep them together for 110 years ! I have no idea about this Paris location. It is an intriguing print most of all because of the dominating sky with towering  white (thunder ?) cloud. 


But most important: I would love to know more (all !) about Marie Wippermann and would like to give her the place among her sister artists she deserves. Not known before last week she now has just one line in the book: "Unknown (German ?) printmaker visiting Paris 1907-1908 known from two woodblock prints". So please, when you've stumbled over this posting Googling "Wippermann" share any information on this artist with me and the rest of the world. 

PS: in 1908 Dresden impressionist painter and printmaker Rose Friedrich (1877-1953) studied for a year in Paris with Claude Monet.


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All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.

Käthe Kuntze: Forgotten Dresden artist (part 5)

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Käthe Kuntze 

(1878-1969)



After finding a portfolio with mixed works (drawings, etchings, lithographic prints, watercolors and a collection of prints by her Dresden artist friends) by deaf Dresden artist Käthe Kuntze in an auction last winter I started sharing its contents in 4 postings with the results of my research March 31th. Two weeks ago, a surprised and pleased family member finding these postings contacted me and shared details on Käthe's life and her family updating her biography that will be included in the upcoming book. The family also allowed me to share and show some never before shown in public marvels by her hand that are safely in the private collection of Käthes relatives. 




And I am also happy to announce some very personal and unique works by Käthe from that portfolio once belonging to Käthe are now on the way home to her relatives taking care of and watching over her legacy. She had a very close relationship with her parents Albert (1842-1933) and Marie (1852-1941) who encouraged her artistically and probably watching over her and her career living in the keepers lodge of the Villa.  




Her father Albert was also a well known entomologist (insect expert and collector, at work above and drawn by Käthe) and keen painter. After receiving  Alberts portrait (detail) it was also possible to determine an etching from the portfolio, "Gartenrestaurant", also shows her parents.
   


This adventure started with finding a picture of her print "Sonnenflecken" in a Frankfurt catalogue. Besides the relationship with her parents she obviously was very attached to her homestead, her only sister Helene and her family, the beautiful villa of her parents build by her father, her studio and the lovely countryside. This part of Germany is the home of many wine estates, grand villas, health Spas, overlooking river Elbe.
  



"Sonnenflecken" was for a long time the only known example (known to me) by this neglected and obscured artist, the result of my research now resulting in opening a treasure cove. These new examples also prove as an artist (with a handicap) she needn't go far away for inspiration (although her father enabled and financed her traveling abroad with Dresden colleaque Martha Schrag (1870-1957).   

The Villa Albert Kuntze as it is generally known in Radebeul near Dresden was also called Villa Hohenberg by Käthe. It is also remarkable Käthe, her sister Helene and both parents all lived to very respectable age (89-91 years). 


More wonderful woodblock prints by Käthe to come in next posting !
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All pictures shared with kind permission of the Kuntze family for friendly, educational and non commercial use only !      

Käthe Kuntze: Forgotten Dresden artist (part 6) and Julie von Paul-Drowetzky.

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Ginstersstrauss - Broom bouquet
Window overlooking Radebeul  
Busy organizing the works created by Käthe Kunze and made available for sharing by Käthe's relatives and working on her biography I recently stumbled over several drawings by a hardly known and equally obscured and forgotten artist. She also lived and worked in Dresden and may have travelled passed Käthe's house on her way to "Zum Pfeiffer" in Radebeul for a days sketching. 



"Zum Pfeiffer" was, and still is, a ***restaurant and popular panoramic weekend goal, to meet and enjoy a glass of local wine, a beer or a lunch on the terrace overlooking the many wine estates and river Elbe and enjoying the wonderful views. 



The restaurant is roughly situated at the same heights as the Küntze residence and maybe  600 meters away. So here are some more works by Käthe created in and near her house joined by Julie von Paul of whom I would love to know more. I share her biography scratched together from the few bits and pieces I was able to find.
"Andenkirsche, Peruanische Blasenkirsche, Judenkirsche"
Phylalis Peruviana


Like Käthe Julie von Paul found inspiration near her home and this "Hosterwitz" garden scene (below) is the only known other work by Julie von Paul. She is not mentioned in any artist lexicon. Hosterwitz is situated 6 km. upstream of Dresden, Radebeul 4 km. downstream.   



Julie Elisabeth (Elsbeth) vonPaul-Droweztky

(Kimahlen estate near Goldingen in Kurland, Russia (now Latvia) 24-11-1864 – 1945 Hosterwitz near Dresden)
Painter and drawer. Studied in Dresden under JohannWalter-Kurau(1869-1932) and Georg Erler(1871-1950). Kurau also came from Latvia and ran a painting school in Dresden. He was of great influence and taught several other later well known printmakers. She is known from a port-folio with 8 drawings of panorama restaurant “Weinschänke zum Pfeiffer” in Radebeul Dresden situated not very far from the home of painter/printmaker Käthe Kuntze. Drowetzky is a not common Polish/Russian name. (In 1864 a miss Melanie Drowetzky in Mittau (Latvia) is mentioned donating one roebel to the church). 



Kimahlen is a Manor House near Goldingen (Kuldiga) in Latvia owned in the 1860-70’s by baron von Buchholtz and baroness von Offenberg suggesting Julie's father worked or was employed at the manor. In the later 19th century Kimahlen changed hands and was owned by several Baltic citizens of importance. Julie's known adresses:

Dresslers Kunsthandbuch 1921: Riga (Latvia), Artilleriestrasse 3. Member ADK, DrKG, VBK
Dresslers Kunsthandbuch 1930: Schloss Pillnitz (Hosterwitz) near Dresden. Member DrKG,VBK, RvbK.
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All pictures borrowed freely from the Internet for friendly, educational and non commercial use only. 

NB: All works by Julie Elsbeth von Paul shown are currently offered by a Dresden art dealer in Ebay.      

Käthe Kuntze: Forgotten Dresden artist (part 7)

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Some more Käthe and some puzzling: 


In 1910 Käthe drew her parents at Hamburg St. Pauli "Landungsbrücke" the floating passenger quais in tidal river Elbe in those days used by ocean steamers and today in use as a busy station connecting Hamburgs mainland with its network of waterway's. It is also an important tourist destination.



It can be (it will be) a co-incidence but in that same year 1910 Emil Nolde(1867-1965) stayed and worked here in Hamburg harbour at this same location (above). 



It can also be seen this is the location where the ferries came and left so Mrs. and Mr. Kuntze and Käthe probably were boarding one of these ferries for a trip along the river, visiting downstream Blankenese, the giant  imperial docks where Germany's (war)ships were build, it's warfs and ships moored to and from all over the globe and its warehouses. 


We see Kathe's parents and their dog probably boarding a ship named "There......." (see the gangway of probably one of the harbour ferries). 

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And then there's this lovely etching: "Strand-Idylle 1912" of a mother and three children and iconic beach chairs ("Strandkorben") my first impulse being: this might be Noordwijk on the Dutch North-sea coast. 



Noordwijk was Max Liebermann's summer retreat (the two drawings above).  He painted here every year between 1905-1913 and his many beach scenes and depictions of Noordwijks Lawn Tennisclub in etchings, drawings and oils are world famous. His friend, Berlin art dealer Paul Cassirer, owned a villa in Noordwijk overlooking the sea.  


The family believes Käthe's beach and dunes works were all created visiting the German North-sea or Ost-see coast. I ask readers to help identifying these locations.



The flag of Schleswick-Holstein (Blue-White-Red) the province north of Hamburg is faintly visible in some of her paintings while the Dutch flag is the opposite.


Schleswig-Holstein                                                Netherlands
But in Käthe's legacy is also this water color showing, unmistakable, a Dutch, Noordwijk (or nearby Katwijk) house and a local fisherman wearing wooden shoes suggesting she probably did visit the Dutch coast.

Käthe Kuntze: Noordwijk ?
Max Liebermann: Noordwijk.
Noordwijk: fishing village in the dunes 

All help identifying the locations of works in this posting + the possible name of the ship in Hamburg are much welcomed.


All pictures borrowed freely from the Internet (and with kind permission of the Kuntze family) for friendly, educational and non commercial use only.           

Old Master Drawing

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One can not live by woodblock prints alone so for a change today something very different: 

"Let them deliver it into the hand of the workmen who have the oversight of the house of the LORD, and let them give it to the workmen who are in the house of the LORD to repair the damages of the house, to the carpenters and the builders and the masons and for buying timber and hewn stone to repair the house". (2 Kings 22:5-6)

I would like to ask the help of readers, visitors and all those who may stumble over this posting to establish which biblical theme is shown in this old (master) drawing (24x40 cm). People bringing goods (gifts ?) and Jesus (or King Joshua in the above passage ?) in a coordinating role pointing towards receiving builders/constructors. In the background a building is erected or repaired. I'm no scripture expert, not even religious or a believer, so please send better suggestions.    


Knowing also very little about old master drawings I guess the drawing is 17th maybe even 16th century, possibly Italian and  drawn with red chalk. There are signs of earlier/older repairs, the whole sheet has been probably "doubled" (an extra layer of supporting paper added) suggesting that a previous owner valued the drawing to a high extend. It is beautifully framed and its overall condition is "pretty good" considering its presumed age. 


There's a monogram in a cartouche on a stone, which reads possibly (W J v R)





Googling for information I stumbled over a drawing by Italian renaissance artist Andrea Schiavone (1510/15-1563) executed in a similar style and technique (red chalk, biblical theme, use of shadows and lining etc..) suggesting it's provenance (where was it made ?) and age....... Schiavones "The Last Supper" is in the collection of Spaightwoodgalleries in Upton (MA) USA. 

Andrea Schiavone (It.)
Last Supper
But all these old red chalk drawings look very much alike to the layman's eye. If you have clues, hints or suggestions (or questions) please let me know and drop an email:

All pictures embiggen by mouse-click, if you would like highest resolution pictures or other/more details do not hesitate asking.

(Follow the label (below) to another extraordinary old master drawing) 

Inspiration and all seasons

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Inspiration
&
Flow of consciousness 



Helene Mass (1871-1955) today is considered by most serious collectors and connoisseur the godmother of German color woodblock printmaking. She probably is. She was born in Schönlanke, Prussia (now Trzcianka in central Poland). Too little is known about her life and career, although over the years I was able to collect 38 examples of her prints from auctions, old catalogues, exhibition announcements etc. in my pictures archive. In the aftermath of WW-II Schönlanke, its church and with it its church books were destroyed by the invading Russian red-army. Hopefully more will come to light in the near future. In the region (Posen) lived several Mass families. I wonder if she was familiar with the work of Fritz Thaulow:      


Fritz Thaulow (1847-1906) was a Danish and German trained, Norwegian born painter and printmaker working in Paris, Belgium and the Netherlands. He travelled Europe and even visited the USA. He passed away staying in the well known artist "Hotel Spaander" in Volendam in the Netherlands. There's a wealth of information and plenty of examples of his work in the internet. But you only have to remember this: besides he was probably the finest painter of reflecting water surfaces he also was involved in the revival of aquatint etching at the turn of the century. Preceding modern woodblock printmaking. In all his work, water is the most important and charactaristic feature.


Thaulow's waters brings me too Franz Kupka (1871-1957) who only incidentally showed his fascination with water and it's reflections. I love his bathing Muse and his compositional explorations of the subject. 
  


Having arrived at the nude body: I recently found (stumbled over a passed auction lot) this wonderful and very surprising nude by my personal printmaking muse (teacher and painter !) Else von Schmiedeberg. Although her biography is, like Helene Mass, also very thin and not entirely clear I do know she taught at the same Berlin institution with Emil Orlik (1870-1932).    

I would very much like to get into friendly contact with the lucky 2017 German auction buyer !   

Emil Orlik

Not many woodblock printmakers were involved in the female nude as subject for their creativity let alone women printmakers, but illusive Dagmar Hooge (1870-1930) was and so was  Hedwig  Matthiessen (1878-around 1927/30).  


I think Else Schmiedeberg may have created her auto portrait looking up to the "visitor", painting in her flowering garden (in Leipzig or Berlin) in this oil painting which I recently was able to acquire add to my modest Schmiedeberg collection.    

Else painting in her wonderful red rose garden and the stairs leading up to it brings me back to where I started: Helene Mass but now with this wonderful "Red Ivy" house and garden.
  
Helene Mass
The detail in this last print leads from the lakes and cities and from fall to this summers beach in 1916 surprise print by Dutch painter, lithographer and wood-engraver Jan Visser (1879-1961).






"All things are connected

All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.

All pictures embiggen by mouse click.

Summers puzzle: joined effort with Henriette Grimm

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I recently found a "new name" (as I'm always on the look out for new names building the Index). The name came with this print. There's no point in discussing the print (that came with a tear and isn't all that gloomy as it appears to be on first sight. It would be fun to discover where miss Grimm sat (and spend her holliday ?) My guess: Italy. But I could be totally wrong. 


Grimm, Henriette                  (Basel 30-06-1894 – 1965 Baden Baden)
Painter, illustrator and graphic artist. Studied at Gent Academy in Belgium 1911-1914 and at Basel “Kunstgewerbeschule” 1915-18. In 1920-21 Paris “Académie Julian et Clarisse” and in Leipzig Academy.

Dresslers KHB 1930: Pirna an der Elbe (near Dresden), Rottwerndorferstrasse 6. Member RvbK, Verb. Schweizerische Malerinnen und Bildhauerinnen.

It would be even more fun if you know more about this artist, who enjoyed a thorough artistic education, and are willing to share.


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Updated: September 13th + 14th 

See recent September postings for information and solving this mystery and puzzle.





Mona Elise

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This Daguerotype photograph of a very pretty young women in a wonderful dress and with fashionable hairstyle was found in a charity shop: separated from her family and lost in history. Without words but with a mysterious Mona Lisa smile she invited me to take her home with me. All I know it is probably taken 1870-1910 and she probably originates from Belgium. At home she told me her name is was Elise.  


Elly Proempeler: what's in a name ?

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Elly Proempeler-Ebeling
(05-01-1883 – 25-05-1972 Osnabrück)

Author of “Kriegsgefangen quer durch Afrika”
(“POW through the heart of Africa”)
published in 1918 (Otto Elsner Verlag, Berlin).

Feluccas  on river Nile, Egypt, signed L. Zimmermann 1913. 
Finding a name of a previous owner written on the back of a framed work of art that has been cherished for a century is always intriguing. It is mostly very difficult for the untrained to read German Sütterlin. The script ("Fraktur") was introduced in 1915, became the official German script in 1935 but was banned by Hitler himself six years later. 



Even to modern Germans Sütterlin or "Fraktur" writings (signatures, titles, specifications) are often described: "unleserlich" (eligible). 



Reader Mathias send me a picture of a print signed “L. Zimmermann” with moored feluccas, traditional (North) African sailing vessels, suggesting the printmaker visited Egypt and river Nile. The other two prints (above) are also by the same printmaker. I could tell you one or two things about L. Zimmermann here but that must wait for the book. Emil Orlik (1870-1932), working and teaching in Berlin also traveled Egypt and Sudan, in 1912, and in later years published several works like this "Feluke" and river Nile .


  
It would also be interesting to know in which exact year (between 1911-1920) Helene Tüpke-Grande (1871-1946) travelled to Egypt (below).   



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However: this contribution is not supposed to be about prints and printmakers but about Elly Proempeler probably the first owner of the print. 

The name (partly in Sütterlin ?) was enciphered by Frankfurt Enigma Machine Wolfgang as Elly Proempeler.


Elly (for Elisabeth ?) was the daughter of N.N. Ebeling and Johanna Strick (12-10-1854 – 15-06-1928 Osnabruck) and married to lieutenant Karl Proempeler (born around 1878 in Schweppenhausen near Frankfurt). Their names could fit Proempeler und Frau” found on the ships passengers list of Woermann shipping company (“Reichs Post Dampfer”) “SS Admiral” departing 21-04-1914 from Hamburg. They are mentioned in the Namibian (German West-Africa) “Lüderitzbuchter Zeitung”.



SS Admiral and Woermann sister ships: depart from Hamburg (river Elbe) and arrival in SW- Africa.

The Proempelers, assuming they are Karl and Elly, could be returning from a leave to Africa because a 1913 photograph shows Elly Proempeler on the steps of a building in Tabora in German East-Africa (later Rhodesia now Tanzania). Karl Proempeler was appointed “Kaiserliche Bozirksamtmann”, an imperial colonial government official. 



The colony of German East Africa was ruled (1912-1918) by its last governor Heinrich Schnee (1871-1949) who after WWI became a member of the “Reichstag”, the German parliament (below).


With the outbreak of WWI the colony became involved in hostilities with the Belgian and British forces although it was mutually agreed not to “fight over the colonies” by all parties in the mondial conflict. 



The region was considered by both the Germans and British very promising and important for the cultivation of rubber trees. Eventually the complex situation, the disagreement of Schnee with his military commander “Afrika-General”Paul von Lettow-Vorbeck (1870-1964) lead to the remarkable situation German forces kept fighting a succesfull guerrilla war with the allied (British, Belgian and Portugese and native) forces under command of von Lettow.


The famous general happens to be the older brother of Berlin printmaker Christa von Lettow-Vorbeck (1881-1945) (below). 



With 2000 men he kept busy an army of 100.000 and managed to stay undefeated. Von Lettow used the dismantled guns of German cruiser SMS Königsberg which was scuttled by the British Royal Navy 11-06-1915 at Rufiji River. 



When von Lettow, who was a hero even to his enemies and like Schnee a later Reichstag member, was offered an ambassadorship by Adolf Hitler he calmly and politely told Hitler to “go fuck off" and got away with it simply nobody had the balls to arrest him. He was declared an enemy to the State and was denied his pension which I suppose will not have posed him a big problem.



Lieutenant Karl Proempeler, commanding a German military party, fell at the Battle of Saissi, defending a hill near Jericho Farm in Tabora 05-07-1915. 

His wife Elly later was taken POW and deported by the Belgian forces forced to march to Congo across the African continent (“quer durch Africa”) in a heroic journey. The graves of the fallen German soldiers at Saissi were later opened by British forces to find large amounts of ammunition thought to be hidden and used later by returning German forces.



From Congo Elly Proempeler was taken on a ship with other POW’s to be interned in London their convoy hunted by German U-boats near Gibraltar. Surviving also that part of her journey she in London she was permitted to walk free. London at that time was bombed and terrorized by German Zeppelins.


She then was send with a transport from England to a POW camp in Espalion near Toulouse in the South of France. In 1917 with the aid of the Red Cross she was enabled to return home through Switzerland to Osnabrück to learn her father had died and her only brother fell in Flanders trenches. All along her journey she was permitted to keep her camera and together with the book published in 1918 she gave an eye-witness account of her ordeal and the events of 1914-1917.

Elly Ebeling later remarried Ernst Regula(1875-1942) who had a career as a high ranking railway official (“Oberreichsbahnrat”). She was buried with her mother and husband in Osnabrück.



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Danish Karen Blixen, barones von Blixen-Finecke, (1885-1972) married in 1914 and travelled to a life on a farm in neighboring Kenia. The story of her life later became world famous with the movie “Out of Africa” and was based on her 1937 book, published some 20 years after Eli Proempelers account.

PS:
An Otto Proempeler travelled 1913 between Lüderitzbucht and Swakopmund (German West Africa now Namibia) and returned to Hamburg with RPD SS “Kronprinz”the same year. His name is amongst those citizens receiving a German Iron Cross medal in German West-Africa.

Namesake Elisabeth Ebeling (1825-1905) from a merchants family was an extremely prolific German writer of children and fairy tale literature and a libretto (opera) and song writer. She travelled extensively through Turkey, Egypt,Tunesia and Spain.

All information on this Proempeler–Ebeling family is welcomed as are offers of a copy of Elly Proempeler's book which must be interesting reading.  


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Although besides this contribution I cannot withhold this great 1981 drawing "Feluken" by one of my favorite modern and more contemporary German sculptors and printmakers Heinz Theuerjahr (1913-1991).  


All pictures borrowed freely from the internet for friendly, educational and non commercial use only.

Peyraud en Ardèche.

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Hans van Eck
(b. Haarlem 07-04-1941)
Dutch contemporary artist and printmaker 


I do not think Johannes Cornelis ("Hans") van Eck eventually saw a career in linocut printmaking: I only know of two examples of his printmaking endeavors. The signature, and monogram V.E., gave me some headache to solve, but this print, showing rooftops in Peyraud en Ardêche and dated 1969 drew my immediate attention, since I drove by Peyraud only last week and saw the same rooftops half a century later on our way home from a short visit to my sister in law who happens to live in this remote but very beautiful region of France. 

The incredible possibilities of the Internet providing pictures and context to create a posting for sharing and enjoyment.




The small community of Peyraud is situated between two important bridges spanning river Rhône giving acces to the North-Ardêche: at Serrieres and at Andance, some 100 Km. south of Lyon. 



They both give acces to the North Ardêche a scarcely populated district: 1000 meter high hills sloping to the east from the Massif Central towards the Rhône valley with a harsh climate: hot summers and long cold winters.


Once, from medieval times, every plot on the south-facing slopes and hills from the "Massif Central" which was blessed with a well was worked on, on terraces. The water flowing from the many wells is said to have been transported over thousands of years from the Alps in the East through geological layers crossing deep underneath river Rhône.



My sister in law's property is since ages named "Micoulaux" (Fr. mille +  couler - a thousand streams) and indeed the water is pouring from the ground in several places at alt. 900, where morning coffee can be enjoyed like this. 


Today the area is less and less populated, communities, villages and cities in decline, although the southern part, with river Ardêche and it's spectacular "Gorges de l'Ardêche" (the Grand Canyon Light experience) are an immensely popular holliday destination: cano, raft and naturist. 



The once so important production terraces, constructed and claimed by centuries of self-supporting farmers and communities are gradually reclaimed by nature as inhabitants seek work elsewhere and are eventually used for modern forestry growing Douglas firs. 



The region's products are pure as they can be, it's markets as markets should be, it's views spectacular, the silence deafening and it's nights, lit by the Milky Way, so stunning one gets out of bed to enjoy in awe and wonder in the middle of the night. 


This is the only other example by Hans van Eck that I happened to know from my archive: maybe its location (France ?) will be revealed one day. 


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All pictures to illustrate this posting are borrowed freely from the internet for friendly, educational and non commercial use only.       

Henriëtte Grimm: Summers Puzzle

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Last week Austrian reader Hannelore Greinecker-Morocutti, herself an illustrator and artist send me a piece of last month's "Summer Puzzle". 
Above an example of Hannelore's work, a print reminding me strongly of the image of British actress Joan Hickson (1906-1998) in her role as Miss Marple. 
Mrs. Hickson, in later, life resembling in looks and in posture closely my dear late mother in law. 


Joan Hickson played Agathe Christies (1890-1976) detective in full color for many years after legendary Dame Margaret Rutherford (1892-1972) did for years in the age of black & white. 












As it happens Henriette Grimm illustrated a 1924 book: "Tanz, Jugend, Gluck" (Dance, Youth, Happiness) with "original" lithographic prints and etchings, it would be interesting to know what exactly is inside the book.  



And Googling I even managed to find some more examples of Henriëttes art. 



  
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All pictures borrowed freely from the Internet for friendly, educational and non commercial use only. 

Henriette Grimm: Abazzia San Fruttuoso, Liguria, Italy

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Puzzle solved ! Reader Hannelore from Austria succeeded, like a modern day  Miss Marple (see before posting) in solving the mystery and puzzle: where and what is this building depicted by unknown printmaker Henriette Grimm ? It proves the incredible powers of combining the human braincell-computer with interconnected modern digital possibilities: powerful, friendly and future possibilities beyond imagination and limitless.  


The other day I read an article how online modern internet gamers are "used" to solve medical and mathematical problems, DNA amino-acid sequencing and other extremely complex puzzles, dilemma's, mathematical and environmental  problems. Just incredible, read here (link)*    


From the armchair in 2017 it is possible, without much effort, to reconstruct this  small part of the visit of Henriette, of whom we still know so very little, to the monastery of San Fruttuoso hidden deep in a lagune on the Ligurian coast of Italy some 20 km. south of Genova. It can only be reached oversea by boat departing from the fishing village of Camogli. Henriette was one of the many woman artists that I am researching who visited Italy. (Henriëtte will appear among the some 300 short biographies of forgotten pioneering German women printmakers published soon). 

Enjoy !

Camogli, Liguria, It. 






And with a birds-eye view:



And from historical photographs it can even be determined when approximately Henriette visited San Fruttuoso to sketch the buildings for later rendering them into a print: after 1903 and probably just before 1915. After the small top building (3 windows) was added and before it was enlarged (+ 2 windows, arrow) . 



The historic and picturesque site, today is almost unchanged by time, below shown in the 1950's and although "discovered an exploited": almost untouched by modern tourisme. 



Thank you Hannelore !!

All pictures borrowed freely from the Internet for friendly, educational and non-commecrial use only.

Henriette Grimm and Ernst Ludwig Kirchner

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Last week I found this book in an antiquarian bookshop: Ernst Ludwig Kirchner 

"Meisterwerke der Druckgraphik" 

"Nirgends lernt man einen Künstler besser kennen als in sein Druckgraphik"
(Ernst Ludwig Kirchner) 


Kirchner (1880-1938) was busy, pioneering with (color) woodblock printmaking in Dresden as early as 1904 when he was captain of "Die Brücke" (active 1904-1913) expressionist artist group. He absorbed influences techniques and examples by many artists like Felix Valloton, at first almost copying styles and subjects.   




Also more traditional subjects by first generation German printmakers had his interest: Heine Rath, Siegfried Berndt and Emil Orlik no doubt.  





And then in those early years of his stormy and tumultuous career one can see his own interests, his feelings and emotions developing into his printmaking. 


Browsing through the book, 340 pages of joy, meeting, enjoying and revisiting many known, lesser and unknown prints by Kirchner there was this déjà-vu encounter.



I have no idea why Kirchners expressive 1904(!) "Burg bei Chemnitz" and Henriette's not dated Italian "San Fruttuoso" print share so many similarities, in composition, execution and in color. Kirchner lived near Dresden, visited and later lived in Switzerland, Henriette was born in Switzerland and later lived near Dresden. But something tells me there's a connection. Somewhere.


Henriette Grimm is mentioned in correspondence in the estate of well known Swiss childrens and fairy-tale book illustrator and graphic artist Ernst Kreidolf(1863-1956). In 1933 a dissapointing exhibition was held in Bern (Sw.) showing the works by Kirchner. Only 1100 visitors attended while in the before exposition 13.000 people visited Ernst Kreidolf’s exposition. Kreidolf was acquainted with both Kirchner and Henriette Grimm.  

Again a great Thank You for reader Hannelore who discovered the location of Henriette's print and pointed me to possible link between Ernst Kreidolf, Kirchner and Henriette Grimm. 
   
All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.

Gerland or Garland

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Gerland or Garland ?

Recently this print surfaced in American Ebay signed in Sütterlin script: "Original Handdruck ......Gerland". It's maybe not as good or refined as Weimar printmaker Margarete Geibel's (1876-1955) many lovely "Goethehaus" prints although it is faintly remembering of her work.  


It is obviously a view from a great House or Castle into a walled garden.  


Print by Margarete Geibel  (below)

And then there's is this picture of a print showing Strassburg cathedral (Fr. "Nôtre-Dame"; Germ. "Munster") towering over rooftops. It could very well be by the same printmaker Gerland. The German owner of the Strassburg print identified (reading) its signature  which is not legible in the photo however as "Garland". 

Thieme-Becker artist Lexicon disregarding the handful of British painters only mentions a Swedish illustrator Jan Erik Garland born in Stockholm in 1905, so hardly a suspect to sign in German (pré WW2) Sütterlin script in which the "e" is very similar to our normal "n". 


In my 1921 and 1930 (last edition) copies of Dresslers Kunsthandbuch (which actually is an address book) I find one art-historian named Otto Gerland (b. 1835) and not one Garland, and besides: Otto was an art historian) 


Googling I found this painting (its in Ebay) the cathedral seen from a slightly different angle by Swiss born Vienna painter Karl Kromer (1889-1964) 

I invite all vistors and readers of this blog/post to help solve this mystery printmakers identity. 
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All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.
 


Kornelie Gerland ?

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Kornelie Gerland 
(b. probably Strassburg 1865) 
Painter in Dresden.
(Possible printmaker).  

My brilliant special Austrian correspondent ("korrespondierendes Mitglied") Hannelore, who to my great pleasure recently accepted this splendid and important position, did it again. But first she corrects me on using the right terminology: Kurrent is the proper name for old German script not Sütterlin. It developed and evolved from 500 years of cursive writing. Sütterlin was a more modern version developed in 1911 based on Kurrent. It was abolished by  the NSDAP in 1941.  



Hannelore found a suitable candidate for the unidentified Gerland/Garland print in before posting. An artist named Kornelie Gerland is not be found in any of the known Artists Lexicons (that I have at my disposal) nor in Dresslers Kunsthandbuch. Which makes Hannelore's research all the more special finding a needle in a haystack.    

  
Kornelie Gerland (said to be a painter in Dresden in just one to be trusted biographical mentioning /occasion) was the eldest daughter of Strassburg geology and physics professor, composer, language and ethnic researcher, author and pioneering earthquake expert Georg Gerland



This extraordinary man and his more than interesting career and his families biography will be part of my upcoming publication. I can reveal here Kornelie's younger, and only brother Heinrich Gerland (also a professor) was married to Eva Schott, eldest daughter of Jena glass expert, inventor and entrepreneur Otto Schott. 



Otto Schott was a successful and according to his recently restored Jena villa a  prosperous glass-industrialist fabricating special optical and astronomical products (lenses) which resulted in a spectacular increase in quality of microscopic and astronomical imaging. Today it is a multi billion dollar international company. He closely worked together with Carl Zeiss.   


Otto Schott acted as patron to London based and exiled from Britain beginning of WW-1 German painter-lithographer Georg Sauter (1866-1937). Schotts eldest daughter Eva and her husband had met Sauter visiting London becoming friends. Schotts portrait was made by his protegé Georg Sauter (l.) and by the great  Max Liebermann himself (r.).  



Georg Sauter had married British Lillian, sister of John, Galsworthy (above by Sauter) after meeting her in London National Gallery. George's  brother in law was the author of the famous "Forsyte Saga" and awarded the Nobel prize for literature in 1932. The book was made into one of the first European TV series and extremely popular in the late 1960's.



Sauter was a successful painter heavily influenced by James Abbot McNeill-Whistler (1834-1903), but also creating a scandal winning a second prize in  the prestigious 1909 Carnegie exhibition (read here) with this declared "erotic" painting ("the Bridal Morn" below) of a young women getting dressed by her mother and sister for her wedding day. Hard to understand what the fuzz was actually about a century later. The evolution of the human brain at full......     
  

Coincidence or clue ?
Eva Gerland-Schott died 1976 aged 89 in Hamburg-Wedel while I found the Strassburg Cathedral print, created most probably by her sister-in-law Kornelie Gerland, just 10 km. away in a Hamburg antiquarian shop last weekend. 


  

Thank you Hannelore. All information and suggestions welcomed


All pictures borrowed freely from the Internet for friendly, educational and non commercial use only. 
                

Kornelie Gerland: au Chateau de Pourtalès ?

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Amazingly this obvious companion print of the Castle-Hall-Garden-view print by Kornelie Gerland in before postings was send to me, obviously showing another spot in this unknown castle. I have a feeling it could be a Chateau or Grand House in or near Kornelie's native Strasbourg. Maybe with the help of readers we will be able to determine its location.  





Some playful Googling (Chateau + escalier + Strasbourg) delivered this pretty similar (but not identical and mirrored) French castle staircase in Chateau de Pourtalès in Strasbourg. It was once the house and playground of the very rich bankers wife Melanie de Bussière, Comtesse de Pourtalès (1836-1914) in the 19th century where she entertained some very famous visitors: Franz Liszt, Kaiser Wilhelm-II, Albert Schweitzer (he was a local), Leon Bakst and many others. Today the Chateau is in use as a Hotel.   




All pictures borrowed freely from the Internet for friendly, educational and non commercial use only    

Hein Hopman: unknown Rheinberg printmaker

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Hein Hoppman (1901-1982) 
German painter and printmaker: 
Holzmarkt 
in Rheinberg. 


Ebay is what it is, an auction site, but for the curious and investigative by heart it is also a treasure cove of unexpected and new finds and names. Last week this rather nice color woodblock washed up on the shore lines of Ebay. If not for this print I probably would never have heard of the artist Hein Hoppmann. 


Investigating a bit Hoppmann turned out to be, although he studied in Berlin Academy and exhibited in several European countries and even in New-York (USA), a locally celabrated artist ("Heimatkünstler") and a teacher. He was born, lived, worked, and died and died in his native Rheinberg, a small provincial town near Duisburg in Nordrhein-Westfalia not that far from my part of the World and about the same size as my domicilum: some 30.000 inhabitants. 



I have no idea why the buildings in his 1930's print are no longer there today: most probably by war damage although the automobiles in the above picture seem 1950's. Hoppmann lost most of his work at the end of WW-2. This surviving print fetched nearly 100 a few days back, and I suppose his depiction  of Rheinberg Holzmarkt is of local and historic importance. 




Visiting Hoppmanns Rheinberg digitally I found this wonderful Bodega at Holzmarkt 6 (small yellow star) . Can there be a more invitation to have pint of beer or a glass of wine after visiting Hoppmanns Rheinberg ?



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All pictures borrowed freely from the Internet for friendly, educational and non commercial use only. 
        

Walli Peretz-Brutzkus: revisited

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Before starting a new series of postings with some spectacular and rare prints from historic Hamburg I'ld like to share all the assembled bits and pieces of this  biographic puzzle of one of my favorite but enigmatic printmaking ladies. It has been three years since I posted an article about Walli Peretz. I'ld like to thank co-researcher Hannelore who recently found several new clues possibly giving new direction to answering this question: 


Who was Walli Peretz....? 


It is also a renewed attempt finding and acquiring a copy of this print: "Poppies in a blue vase". New examples of work are also very welcomed.    


Peretz-Brutzkus (Bruskus), Walli (“Frau Wulli”) (Moscow 01-10-1884 - last mentioned in Dresslers Kunsthandbuch 1930).

Painter, printmaker and sculptor, said to have come to Germany from Russia (Moscow) in 1918. Studied with Franz Skarbina (1849-1910) (who taught anatomical drawing in Berlin “Kunstgewerbe Museum”) and with classical historian Otto Seeck* (1850-1921). She is known (to me) by 4 woodblock prints of which three are floral still-life: Sunflowers, Physalis (Chinese lantern), Poppies all prints in a modernist style and one showing a Russian farm. “Walli” is the German equivalent for  the name Valeria, “Valya” the Russian equivalent. The flower prints are all signed “Walli Peretz”.
 
* Otto Seeck is known for his 6 Volume:  “Geschichte des Untergangs der antiken Welt” (History of the Decline of the Ancient World).




Dresslers KHB 1930: “Frau Wulli Peretz-Bruskus”: Berlin NO, Greifswalderstraße 89a. Member RvbK.
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According to Thieme-Becker Algemeine Künstler Lexicon an illustration by
Walli Peretz appeared in color on the title page of:
"Zeitschrift DAHEIM"
Nr. 8: 19 november 1927 and probably featured in an article with an interview.


Genealogy of a Palanga-Moscow Brutzkus family:

Brothers David Brutzkus (1845-1906) and Yosef Brutzkus in 1878 moved from Palanga (Polangen) Kurland (Courland, Russian governorate in Russian Empire, now Lithuania) to Moscow running a business in amber (fossilized resin, “Bernstein”) and later in leather. I could find no offspring of Yosef while David fathered 8 children. 


It could well be the brothers were active in both Palanga, where amber was found and products locally manufactured by Jewish artisans, and Moscow because we find a son Yoel Brutzkus born in 1885 in Palanga, not in Moscow. From 1882 when the “May-Laws” were instituted and effective for 30 years, tens of thousands of Russian Jews were expelled from Russia many of them moving to Berlin. The Brutzkus family was banished from Moscow by Grand Duke Sergei Aleksandrovich in 1891 and were forced to move to Warsaw although children were often allowed to study in the Academies of Moscow and St. Petersburg.



Palanga or Polangen isa small sea-side resort and village in the Baltic (now Lithuania, then under the law of the Russian Empire). It was with Königsberg a centre of the amber trade (fossilized resin used in jewelry, decoration and articles like pipe-stems) along the “Amber Road”, since ancient times the trade route between finding and production places to markets in Scandinavia, the South of Europe, Venice, Turkey and the Middle East to Persia. 




From the mid 19th century Russia became the largest market for amber and its products. In the 18th century the Baltic area had became a safe heaven for Europenan and Russian Jews. Palanga and the Amber trade and related crafts were decribed in the travel account of a 1827 journey made to St. Petersburg by Italian-British physician, writer and traveler Augustus Bozzi Granville(1783-1872): Palanga counted 1400 inhabitants of which 600 were Jews. Most of them prosperous. It was also a popular sea side resort for all Lithuanian and Baltic Jews. 


Amber was in use as jewelry, smoking pipes and in a rough variety as basis for varnish. It is/was found on the beaches of the southern Baltic Sea after strong westerly winds and also in superficial strata as well as in coal pitts: Up to 150-200 tons per year was produced, amber having a very low density of 1.10 (= exceptionally light) allowing it to float in salt water.



- Moritz Behr Brutzkus (b. around 1850): trader in amber in Berlin and Königsberg: see below. He could be related with David and Yosef Brutzkus. In 1845 a David Behr Brutzkus(aged 54, b. around 1791) lived in Palanga, probably the son of Behr Rachmiel Brutzkus (b. 1751). They are listed in the 1845 “8thRekrutenverpflichtung” listing all male inhabitants with their age for taxing reasons.
-  Abraham Naum Kahn, amber trader from Palanga living in Moscow 1885
- David and Yosef Brutzkus, brothers and amber traders from Palanga living in Moscow since 1878.


Sergei Aleksandrovich Romanov (1857-1905) was the 5th son of Tsar Alexander-II and younger brother of Tsar Alexander-III who preceded Nicolas-II. He was in service as the impopular and hated Governor-General of Moscow responsible for the expulsion of 20.000 Moscow Jews and murdered by bombing in 1905.

May-Laws: Temporary regulations regarding the Jews (also known as May Laws) were proposed by minister of internal affairs Nikolai Ignayev and enacted on 15 May 1882 by the Emperor Alexander III. Originally, regulations of May 1882 were intended only as temporary measures until the revision of the laws concerning the Jews, but remained in effect for more than thirty years

Berlin-Charlottengrad: Expelled and banished during WW-I and after the 1917 revolution some 63.500 Russian Jews settled in Berlin mostly around the Kurfurstendam, Berlin-Charlottenburg bringing their businesses, shops, schools, universities  etc…  . With the rize of the Nazi regime from 1933 many later travelled to Paris, New-York and Palestine. A century later this part of Berlin houses 200-300.000 Russian speaking inhabitants and again is knicknamed Charlottengrad.


David Brutzkus (1845-1906) trader in amber married 1868 in Palanga (Kurland) Pessia Kohn. According to genealogical information they had 8 children of which I so far have been able to trace 7 in my research: Julius(1870), Boris (1874), Sergius (-), Margalit (-), Elena (1887), Yoel (1885), Sophia(-). A possible 8th child: Walli (Valeria/Valya) (Moscow 1884).

1) Dr.Julius Davidovich Yehuda Brutzkus (Palanga 1870-1952 Israel). Historian, scolar and politician. In 1923 he served as Minister for Jewish Affairs in the Lithuanian Parliament and was elected to the Lithuanian Parliament in November 1923.
Brutzkus was an ardent Zioninst and encouraged Jews to engage in political action and self-defense.
2) Prof. Dr. Boris Davidovich (Dov Ber) Brutzkus (Palanga 1874 – 1938 Jerusalem). Economist and professor 1907-1922 in St. Petersburg and Leningrad and at Jerusalem Hebrew University his wife Emilia Osipova-Brutzkus (1873-1952) and their three sons were expelled from Russia in 1922 then moved to Berlin, in 1933 fleeing Nazi Germany to Paris and from there emigrated 1935 to Israel. Two of his sons became leading architects in Israel like his brother in law Shlomo Gepstein (married to his sister Margalit). 
3) Dr. Yoel Davidovich Brutzkus (Palanga/Polangan- Kurland 1885 - 1948(?) Tara (Omsk/Siberia Russia). Mentioned born in Palanga while his father is mentioned to have moved/started  business to Moscow in 1878. Lithuanian Hebrew teacher. Studied mathematics and physics at Moskou University and was as a student actively involved as a Zionist. During WW-I active in Yakupo center helping Jewish refugees from Russia. Taught 1928-1940 physics and mathematics in Kaunas (Kovno) Hebrew Schwabe Gymnasium. Zionist and member of Lithuania cultural centre “Tarbut” and of the central Zionist committee.  Married 1927 Anne Pieseliewicz who taught German language, since 1922, at Schwabe Gymnasium. After the occupation of Lithuania and closure of the Kaunas Gymnasium he taught at Kaunas “Shalom Aleichem” Yiddish Gymnasium, but soon after in 1942 arrested and transported to Siberia where he perished in 1948.
4) Margalit Brutzkus (d.1952) married to architect Shlomo Gepstein (Ukraine 1882 – 1962 Tel-Aviv) who was trained at St. Petersburg Art Academy.
5) Sergius Brutzkus, emigrated at some point (well before 1922) to New-York, America.
6) Elena Brutzkus (Moscow 24-08-1887 – USA ?) married Moscow 14-06-1917 Leo Lazarovitsch Posner (1888 – 1946 USA). “Shortly thereafter they went on their honeymoon. They took the Trans-Siberian Railroad from Moscow to Vladivostok, then they took a ship, such as the Iki Maru, one of Japan’s international ferries, across the Sea of Japan to Yokohama, Japan. Because of the Bolshevik Revolution, Leo and Elena were never able to return to Russia. They lived in Yokohama for five years. On April 1, 1922, they and their 2 1/2 year old son, David (b. 1919), boarded a Chinese steamship, the S.S. Nanking, bound for San Francisco. Seventeen days later, on April 17, they landed at the Angel Island Immigration Station in San Francisco Bay. Soon after, they boarded a train to the East Coast. They settled in Brooklyn, New York, to be near Elena’s brother, Sergius Brutzkuswho sponsored them so that they could become Americans”.
7) Sophia Brutzkus.




(8 ?) Walli (Valeria/Valya) Brutzkus (Moscow 1884). For registration in Dresslers Kunsthandbuch 1930 she would herself have given specifics like place and date of birth.


A possible clue: 
From the Yad Vashem archive: Valya Peretz, “dr. of Davyd” lived prior to WW-II in Vitebsk, Belorussia (USSR). During the war she was in Dergachi (USSR) according to a list of residents and evacuated persons in 1942 and the Central Database of Shoah Victims. She could be identical with Wulli Peretz-Brutzkus.

In Vitebsk well known Jewish Lithuanian painter Joeri (Jehoeda) Pen (1854-1937) since 1896 ran a private Jewish Art School (“Zeichenschule”) acting as Russias centre of Jewish art education and that was allowed to function even after the 1917 Revolution and still active until 1937 when Pen was murdered in his home. Marc Chagall, Ossip Zadkine, El Lissitsky and many others later famous artists studied here.

Miscellaneous

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Rosa Wolbe-Brutzkus in Berlin:

Moritz Behr Brutzkus married Jenny Aronsohn. He is mentioned an official in the “Königliche Bernsteinwerke” (Royal Amber Company) in Königsberg the family living alternatively in Königsberg (1902) and Berlin Charlottenburg (1913) as a tradesman (in amber and products).
- Rosa Brutzkus (Königsberg 20-07-1882 – 15-08-1942 murdered Riga) married Berlin professor Dr. Eugen Wolbe (Berlin 06-04-1873 – 22-09-1938 Berlin-Tiergarten), a gymnasium teacher since 1904, publicist and autograph-collector. He was from a Berlin Jewish family and was forced to resign and stop working by the Nazi’s in 1933. In Berlin Tiergarten in 2003 a memorial plague was placed commemorating him and his colleagues from the “Fichte Realschule”.


- Bianca Hedwig Brutzkus (Berlin 25-01-1878 – 18-07-1920 Berlin) married Berlin-Charlottenburg 14-10-1902 Bernhard Saenger (19-07-1861 Sagar – d. before 18-07-1920) attorney at law in Berlin-Charlottenburg (1902). He was the son of Elias Davids Saenger (Retowo 1833 – 22-05-1916 Berlin-Charlottenburg) cantor in Charlottenburg (1902) and Cäecilie Kohn.
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Another member of the Brutzkus family from Palanga:


Berta Brutzkus (Palanga/Polangen 01-05-1887 – 12-08-1965) married German-Russian Communist Jakob Reich (his first marriage) (1886-1955 New-York). She studied medicin from 1904 in Switzerland (promotion in 1912). Exiled in Zürich their daughter Hanna (08-04-1914 –  17-03-1992) was born. Until 1915 she worked as pediatrician in Zurich University Clinic and 1915-1918 in a refugee camp in Austria. 1920-31 as physcian in Berlin, and from 1924 with the Russian Trade commitee. In 1929 she joined the KPD and worked as a specialist in the Sovjet Union from 1931, since 1943 in the Ministry of Health. In 1949 she returned to Germany. 

All help identifying Walli Peretz-Brutzkus is welcomed. For the reader that can  help me find and and acquire a Poppies print I can be very generous.

All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.  

Else Zinkeisen and friends: around Hamburg Bellevue and Ausser Alster.

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Today some more nice pictures of picturesque Hamburg, to be more specific of the beautiful surroundings of the Alster the 2 lakes in the heart of this great city.

Visit also my earlier posting on the Alster Ühlenhorster Fährhus with Margarete Braumullers iconic print of this location that was destroyed in the bombing and firestorms following Operation Gomorrha in 1943 with the rest of Hamburg and was never rebuild. (use the search option or follow the labels to this post) 

Helene Mass, View on the Alster and Jungfernstieg
 from the Lombardsbrücke Haltestelle 

To my surprise Helene Mass was in Hamburg too (and in Amsterdam !), I wonder if the two printmakers ever met, hard to believe they did not. Another recent discovery is Else Zinkeisen (before 1910) studied privately in Berlin with painter Franz Skarbina (1849-1910 !)and an even greater surprise is that Wally Peretz-Brutzkus, of whom we know so very little, also was Skarbina's student (as was Marianna von Buddenbrock btw). This will all be revealed in the upcoming book and later postings.
 
Ernst Eitner, "Monet of the North": Alster ferry on its way to Uhlenhorst.   


Arthur Illies: Alster ferry on its way from Uhlenhorst.   
The many districts of this big city that are spread around the Alster were interconnected with a steam ferry service in service again today.


Many bridges spanning the many canals and branches, the inner city of Hamburg is often compared to Amsterdam. 


This print, possibly of historic importance, was recently discovered and is showing the "Fernsicht Brücke". For a while however we wrongly assumed it might be the Eppendorfer-Winterhude bridge depicted below by Hamburg photographer-printmaker Bernhard Troch (1867-1924). 


   
Eppendorfer Brücke with horse and carriage 


Fernsicht Brücke 

With its companion bridge the "Krugkoppel Brücke" the "Fernsicht Brücke" it closes the circuit around the Ausser Alster in the north. It is seen looking into the "Rondeelkanal" and "Rondeelteich" a "Cul de sac" of the Ausser Alster  occupied by the villa's of Hamburg prosperous elite build in the second half of the 19th century.  


Fernsicht Brücke in 1892, entrance to the Rondeelteich
Both wooden bridges were build around 1890 and replaced in 1927/28 by concrete and macon work bridges still standing today. They give access to "Bellevue": Hamburgs posh district with grand villas and city palaces build and owned by the rich and influential. Compare living here with living around Central Park in New-York, around Tiergarten in Berlin or in the heart of London. 

View from "Fernsicht" 
The new Fernsicht Brücke shortly after completion in 1928 
Most interesting is also the horse drawn coach: "Kaiserliche und Königliche Post" connecting Hamburg with the world with a network of fast and modern designed coaches working in clockwork schedules until the steam engine took over.






Unknown painter Bruno Liedmann: Deutsche Post (eBay find)  

This also never before seen (not by me) and recently found in Hamburg print by Else Zinkeisen of whom my research learned she possibly was from a prosperous family of Hamburg city-centre chemists/pharmacists shows the entrance (Park Tor) to a park.  
Else Zinkeisen: Park Tor
The Hamburg Stadt-Park in Winterhude is not far away and it is also not far from the "Künstlerhaus" were she lived in 1930. I would love to receive more genealogical and biographical information concerning the Hamburg Zinkeisen family.

Helene Mass: Kinder im Park
Else Zinkeisen had two artistic cousins in Dresden and is remotely connected to the famous Scottish painting Zinkeisen sisters Anna and Doris who derive from  a Zinkeisen timber trading branch of the family. 
  
Arthur Illies: Alster Wiese
And this Else Zinkeisen print (below) that came to me through different channels could very well show the, or a, "Stadt Park" or Alster meadow although Else Zinkeisen traveled and created views of other places (like Munich). Before today she was mostly know and remembered for her views of river Elbe seen from the heights of Hamburg-Altona.



More Alster and Hamburg in next posting.

Please send any information on Else Zinkeisen (27 aug. 1871 - prob. around or after 1934)


All pictures borrowed freely from the internet for friendly, educational and non commercial use only.    


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