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Karl Hentschel: German printmaker & ceramist in Holland.

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Hentschel, Karl Franz Gustav
           (Dessau, Sachsen-Anhalt 01-12-1884 – 08-05-1859 Tittmoning, Lower Bavaria)


Painter, graphic artist, printmaker and ceramist. Son of Karl Hentschel and Louise Wolf. Studied at Dresden “Königliche Kunstakademie” under Eugen Bracht (1842-1921). Hentschels presence in the Netherlands is recorded from 1909 (when he was 25), living and working in several places in the Netherlands (Egmond aan Zee, Alkmaar, Amsterdam, Heerlen, Schoorl etc..). He married in 1918 Helena Catharina (Lena) Block (born Amsterdam 1891).


In the years he lived in Holland Hentschel is known to have taught woodblock printmaking techniques to Dutch printmaker Jo Bezaan(1894-1952). He  returned to Germany in 1923, settling in Dresden, with an address living in Groß Schönau. Today he seems largely forgotten and obscured, I happened to stumble over a postcard print by him in a local auctions site selling old postcards and decided to investigate.    

Het huis 't Sluisje" in the historic inner city of Amersfoort. A medieval city palace.
Where I (the author) spend a good deal of my late teens with my best friend JW who happened to live here. 

Lithographic print by artist Jo Bezaan.  


This house is probably the best known historic landmark of old-Amersfoort. Numerous artists have created paintings, etching, prints, photos etc.. of this spot.     
In the late 1930 when Hentschel was forbidden to work as a painter (“Berufsverbot”), being of the Jewish faith, he turned to ceramics and became a respected and well-known potter and ceramic artist.




Besides his pottery, collectable and regularly offered in auctions, Hentschel is remembered by his monochrome woodblock prints published as postcards showing picturesque Dutch scenes (Amsterdam & Dordrecht are the only two examples I found so far) published by W. Nederkoorn in Alkmaar (above), and an iconic 1919 poster for Amsterdam warehouse “de Bijenkorf”. 


After his death the potter’s studio in Tittmoning on the Austrian border was continued by potter Erna Leitner(b. 1919) in 1959. It produced some really  nice pottery, simple straight forward design and a joy for for every day use. 


  

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

Hertha Hoffmann & Angela Merkel

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Hertha Hoffmann & Angela Merkel

What do these two women, born almost a century apart possibly could have in common ?


In my collection was for a long time this unspectacular violets print. Scribbled in pencil: "Linolschnitt, Handdruck, Gefarbt" and titled "Stiefmütterchen" and signedHertha Hoffmann-Rudolph

Violets in German are called: "Stiefmütterchen" (little stepmothers). Because it needs so little care and  thrives on neglect. (note: not all stepmothers being bad mothers). 
  
I found just one other example of a print by very unknown Mrs. Hoffmann. Researching the artists trying to compose something of a first biography was until recently without any success. She is not mentioned in any of the artists lexicons nor in Dresslers "Kunsthandbuch" 1921 or 1930 (last edition). She was probably still living in 1959. 


But recently I did find found a small clue, in Berlins 1943 "Adressbuch", the last before old Berlin was thoroughly destroyed in the aftermath of WW-II: she lived at Kupfergraben 6. Which surprised me because this is a very special location in Berlin. It is the entrance to and located opposite one the worlds finest Museums: the Pergamon Museum.


Paris has its Île de la Cité and Notre Dâme but Berlin has its "Museum Insel" housing 6 of the worlds finest Museums. + the Berlin Dom + the reconstructed Castle (Schloss). 

Composition new & old by GC

To answer the question: Berlin Kupfergraben Nr. 6 today is the (guarded) private quarters of the Worlds most powerful woman: Angela Dorothea Merkel (1954): Germany's first woman Chancellor since 2005. To proof there's alway a nice story to tell even when an artist is so obscured as Hertha Hoffmann-Rudolph.


All help from readers and passers-by and any information on Hertha Hoffmann-Rudolph is warmly welcomed and still can be included in the upcoming publication (next post).         

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

Jungfrau, Interlaken: T. Kranz-Böhm

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T. Kranz-Böhm
(died 1949)
(forgotten etcher)

"Original Radierung - Jungfrau mit Lütschine"

Not even his/her first name is delivered to us and he (or she ?) is not mentioned in any of the Lexicons. It was found in this mornings flea-market visit. It is  nothing special but a quite nice small etching of a well known Alp. And a nice puzzle. The year of death could not be verified. 



Googling I found these, around 1900, photographs of the "Bernese Oberland" near Interlaken and Gorge (canyon) of river Lütschine.




It would be nice to know the name of the artist and when and where he/she was born and perhaps something more about the artist. All information is welcomed. There are about half a dozen others examples of this artist to be found Googling: Venice, Freiburg, Cologne etc... 


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

Susanne & the elders, Adam and Eve

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These two prints have in common their square format and biblical theme, both are from my personal collection and still in need of proper identification.


(I read U. Landwil '22 but that is probably not right) 

Susanne and the Elders (German "Holzschnitt, Handdruck" 1922) was a very popular subject for the Old Masters: painters, drawers and engravers, numerous artists have chosen this theme. 

Ernst Nilson, Swedish printmaker: Susanna and the Elders.   


It is funny to see this same (....) woman  modelling and appearing in the Netherlands as well in France. Examples by very unknown Dutch printmakers Jacques Jeichenius Ottens and very famous French printmakers Felix Valloton. 

It is of course (also) a story about the female beauty, male lust, desire and seduction, of dirty old men playing dirty tricks. But behind this theme of a shy bathing woman and the collaborating and blackmailing old bastards is also one of the oldest legal principles: Testis unus testis nullus (one witness is no witness or "no one shall be put to death on the testimony of a single witness").  


(I read ? .Nolte or Holte, 1973, but here also I have my doubts)

And then there's this 1973 archaic (...) and quite "different"Adam and Eva probably linocut print by a still unknown (possibly) Dutch printmaker. Crude and bold in execution and delicate in expression. It would be nice to have a makers name with these prints because they are chosen to  appear in the Bathers and Nymphs Pavilion of the planned exhibition:

"Das Haus der Frau 1935"
(revisiting Leipzig 1914 BUGRA)
Farbholzschnitt: Kunst durch Deutsche Künstlerinnen
(Colour woodblock prints by German women artists) 
(1900-----1935)


Rembrandt's also very "different" Adam and Eve..


All help and suggestions are welcomed.

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

Elisabeth & Hildegard Roeder-Herford

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Elisabeth Roeder

(born probably in Trier (Saarland) around 1890-1895 - after 1923)
German painter and printmaker.
Probably working and living in Herford near Bielefeld. 

Today I keep my promise to Peter and share what I was able to find out after finding this monochrome print by Elsisabeth Roeder-("Herford"). All examples of works shown in this posting are (available) in the collection of Peter: the link to his collections, offers and gallery is at the end of this posting/article. 


With the help of Peter I not only was able to add this nice print of  "a new kid on the block" to my collection but also was able to create a new short-biography to my Lexicon of

German (speaking) women artists born 1850-1900 and involved with "Farbholzschnitt" 1900-1935

Elisabeth is not mentioned in any of the artist lexicons or address books and a quick survey of possible queries and hits in the www. did have not much result. Until I received notice of the subtitle of this print:

 "Hildegard am Hausorgel" 

I liked the print at first sight but knowing the artist portraying her probably younger sister (Hildegard is 18 in 1923) making it even more lovelier and intimate. 

Besides: one must own a pretty big house to install a church organ: you do not have to apply rocket science to figure out her father either was the vicar of one of Herfords churches or he had "something to do" with church music. So here goes: 


This shy and bearded gentleman is Elisabeth's father Karl Roeder, born in Neunkirchen in Saarland in 1860 as son of Karl Roeder Sr. a primary school master. Although Karl Jr. followed in the footsteps of his father as a  primary schoolmaster in Trier he also studied church organ in Berlin. No doubt he taught his daughter Hildegard (b. 1904) too. Hildegard was later married to one Hermann Steinmetz and was a co-author to a commemoration Herford Schools and teacher Karl Roeder booklet in 1960. 



Perhaps the view on the Neustadt Apotheke (from a second floor ?) holds a clue were Elisabeth or the Roeder family lived ? Hopefully a local historian or interested resident of Herford one day will pick up this posting.



Karl Roeder married Auguste Schaun and besides Elisabeth and Hildegard they had another 7 children probably born in Trier but also in Herford because in 1903 Karl Roeder was appointed head of Herford "Musikseminar" also having a position in several Herford schools, being a private teacher, composer, educator choir-master etc... He died in 1933. In his day he was a prolific composer of organ music and much involved in school and community singing. Most of his many compositions (Organ Choral Preludes) were lost in a fire in the last days of WW-II but if you search youtube there are actually some pieces that can be heard: He is no Johann Sebastian but nevertheless wrote some very agreeable music.


So, from having nothing at all on this forgotten artist before today we now have at least a start or a beginning of a short biography and a first catalogue of works. She was probably a local artist, possibly self-taught but judging from the quality of her paintings and prints I certainly had expected to find some local references. It could also be I looked in the wrong places and welcome all help, clues or suggestions and comments (but only the friendly ones).  



Besides these examples that all show landmarks of her homestead Herford (10 Km. north-east of Bielefeld) she also visited the picturesque village of Schieder-Schwalenberg which is not more then 20 Km to the south of Herford. On her way she will have paused halfway in the stunningly beautiful medieval village Lemgo of which I have very fond memories. Schieder-Schwalenberg was popular with painters and it even had its own "Malerkolonie" but as goes with Elisabeth Roeder: not much can be found.




PS: The lovely province of Detmold is also the home country of printmaker Ernst Rötteken  


All the prints and watercolours in this posting are from the collections and gallery of Peter Weidlich: Gluckburgerkonstkontor in Glucksburg near Flensburg on the Flensburg Fjord near the Danish border. Here's the link to Peters Ebay offers and shop well worth a visit : 


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

Susanna and the Elders: solved ! Albert Bechtold

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Dorothea in Austria again solved a mystery. The print "Susanna" (and the elders, symbolised by two pair of spying eyes) was created in 1922 by Austrian sculptor and printmaker Albert Bechtold (1885-1965) who lived and worked in Bregenz.  
  

Thank you Dorothea !


After serving on the Italian front, marrying his Italian wife in 1917 Bechtold created this "Danae", daughter of Euridice, at the "Moment Suprème": the secret conception of Perseus by Zeus symbolised by a golden rain. Bechtold cleverly created a visual second layer to this myth: looking carefully Danae is reaching out to be kissed by bearded Zeus....  


The myth of Danae was depicted by numerous artist: from Rubens and Rembrandt to our modern times. Probably the best known and loved paintings of Danae is by an also Austrian artist: Gustav Klimt.      

Small treasures, gems shared.

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Sorting and organising "other stuff" collected over the years selecting prints for the book and going over piles of paper waiting for identification, restoration and conservation, I selected these various prints for sharing and possible identification. 


I



Almost certain French print, possibly used as book illustration. Possible leading words: "Bergère, Chèvre, Bouc" (Shepherd, goat, buck). Very nice and clever composition and use of claire-obscure.  


II


Found in the Netherlands, although possibly of German origin; 1920's (?) Exceptional and intriguing choice of motiv. A century later "black men" (men of African genetic origin) depicted like this by our grandparents would cause raised eye brows and considered "inappropriate, not done and controversial". A cabaret, brothel or bar scene ?




Lower left the faded signature R (or K) Ta....... . Lower right: Epreuve Artiste (artist proof)

III  


19th century chromolithographic print: (Victorian) reclining nude. Not a Paul Sieffert (1874-1957) painting but bought for a few bucks (€€) and almost just as nice. Sieffert was a French painter almost exclusively known from his numerous reclining nude paintings. And yes: he was pretty good at it. 


  
As always: all help identifying the artists involved is very much welcomed.  

Gijsbertus Jan van Koppenhagen

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Gijsbertus Jan van Koppenhagen 
(the Hague 1909 - 1977 the Hague)
Dutch graphic artist and academy teacher 


Although he taught for 40 years at the Hague Art Academy (Akademie voor Beeldende Kunsten), after studying there 1927-1931, my research into the biography of this hardly known Dutch printmaker delivered hardly any facts. No direct links (parents) to his family that seems to originate mainly from the Arnhem region. The use of first name Gijsbert in this family dates back for centuries. (He is also known as Gijs van K. or Bert van K.)  



This print titled "Hengelaartje" (fisherman) dated 1931 so in the year he graduated from his training and printed on thin Japan paper, is stylishly somewhat reminding of prints by better known printmaker Dirk Hidde Nijland. It popped up in a local sale recently. 


Van Koppenhagen later (from the 1960's ?) seems to have turned his interest and style to abstract geometric compositions executed in linocut print of which I found several in the internet.  


He married in 1935 Meintje (Hermine Wilhelmina) de Wolff who was born in Tegal (Java) in Indonesia in 1911. She had been also a student in the Hague Academy and is said to have worked in her native Tegal too. She is known as painter and sculptrice. As an artist she also remains very obscured: no genealogical or biographical data and hardly any examples (below, attributed to her) of her work. Both artists were member of the Hague artist association "Pulchri Studio".

Begonia's and tabacco plant 

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

All further information would be very welcomed.      

Alice Muntell ?

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Alice Muntell (poss. Munsell) ?

This small (12 x 15 cm.) lithographically printed red pencil or red chalk drawing of a reading women in Victorian dress, comfortably propped up by several pillows, was recently found as local car boot loot. No TV, no cell phone, no "social media" (I fail to understand the meaning of the word" social" in this context, creating obviously rather anti-social behaviour in recent generations). 

It was printed on older (18-19th century) paper (there's a regular grid visible) and in the margin someone scribbled a name. A nice drawing, and a nice puzzle.   




All help to identify the (supposedly) artist (the name mentioned could of course also refer to the sitter), would be very welcomed. 

Happy Easter

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Happy Easter and Greetings 
from Friesland
2019 


"Different" woodblock by unknown Frisian artist with monogram 
S.J.H. 
(or possibly Sj.H.) 

Frisian suiseki

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Suiseki  水石

Sansui Keiseki

The meaning of appreciating a landscape shaped stone.

"It is not a silly thing at all to enjoy a stone in a tray. I see the whole world in a tiny stone. Some objects in this world are huge, and others are small, and they come in all shapes, but they are not that different when you look at their essence" (Hideo Marushima (b. 1934 -).




New Home for a million year old stone.
(with an image resembling a pine tree on a hill or mountain ?)

When I found this mysterious almost 3 Kg. green and orange stone (18 x 15 x 10 cm) with a flat bottom this morning in car boot who would have thought I would that same day be reading and learning about Japanese Empress Suiko who lived and reigned AD. 554-826 who received objects like this as precious gifts from Chinese visiting rulers: naturally formed stones resembling landscapes (or animals). 


And that i would read about Jade, because that is what the stone is made of: nephrite or jadeite: Ca2(Mg,Fe)52 and about Japanese culture and about Zen. The specifique colours and structure of the stone probably make it possible to pin point its origin. It can be seen the stone has been carefully preserved: small natural cracks or veins (impurities ?) have been filled with a perfectly matching orange substance only visible with a magnifying glass.   


Since Empress Suiko's times landscapes stones have been assimilated in Japanese culture: Bonzai stones, philosophers stones. Placed in a bowl of water, or in a pottery bowl filled with sand, or resting in an individually carved wooden "Daiza" which is a special and honourable Japanese arts & crafts profession.



It would go to far beyond the meaning of this humble Blog to publish an essay on Keiseki or on Daiza carving. The interested reader or visitor can find all what is to know in the Internet. All about this mysterious and simple world of

 enjoying what was already there. 

Which is of of course: the perfect synonym for:
happines. 


How did the million years old stone travel from Japan (Korea or China) to the Netherlands ? Where did stay and rest before and with whom ? Who appreciated it probably many generations before our times ? Which river polished it for probably hundreds of thousands of years rolling it slowly downstream ? Who picked it up and where is its Daiza (companion pedestal) ? Did I find the stone or did it find me ?

Obviously the stone already woke the philosopher in me. 


If you think you may have an answer to one of the above questions: please email.

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

           

Linosaurus obituary

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First and most of all I apologise for any inconvenience your visit to this humble Art Blog may recently have caused now it has been degraded by Google law to the levels of visiting a porn site.




What has happened ?

Obviously some sad and frustrated individual has complained about the contents of this Blog. It happened shortly after showing a picture of an Arts & Crafts woodcarving that has since long been in my possession: mating storches that thanks to Google are now considered "pictures of a certain, inappropriate, objectional and explicit nature".
  

The mating storches symbolise the coming of spring and new life. 

(in many civilised and freed communities, liberated of stupid dogmas and blind puritanism)

In almost 10 years the Blog existed it saw almost 1.000.000 visitors from all parts of the Planet. Maintaining a blog about Art, aesthetics and beauty I've never seen or heard any (not one) complaint. It received thousands of friendly and thankful comments and emails. And not to forget: through Blogging I made some great and life time friends.   

So please allow me to correct and update the picture probably in question. To Googles puritan and backward standards that are even laughed at in the caliphate. Where storches allso mate and forbode spring.  


To be honest: I really do not understand Google "policy": there has never been a complaint, no consultation, no message or notice of any kind. Whatso-ever. Nor does Google offer an opportunity to inquire, of hearing the other side, of explaining or ask for a revision. It simply stigmatizes with the click of  a button.   

Co-incidance ? This morning newspaper cartoon 
After some serious thoughts I decided the time has come to quit blogging. I cannot and will not be associated with "dirty pictures and obscene websites" Google has now associated me with. For my family, my granddaughters who now must ask permission and consent from their parents to see what kind of filth "Opa" (granddad) may have shared and written. Besides, thanks to Googles'"Policy and Warning" visitor numbers have come to a halt recently. So why bother to continue ? 

Those that count will know how to reach me. The research and the planned publications will continue of course. I plan to remove all (700) postings from the Internet in coming weeks beginning with the oldest. Allowing some time if there's anything you might want to look up or save.      

Thank you for all you support, all send information about forgotten and obscured painters and printmakers and all dear comments left on the postings. It has been a great journey and experience. 


All the best !

Linosaurus ALMOST extinct

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Rectification 

Linosaurus almost extinct


I am confused, pleasantly surprised and humbled by the many supporting emails and comments I received (and still am receiving) after writing the obituary for the Linosaurus blog. Thank you. 

Although still extremely disappointed and annoyed by such ignorance and arrogance I also noticed: a great many readers obviously took the hurdle of the "Beware this site with objectionable contents" button installed by an anonymous and coward reader who did not have the guts to address to me personally and tell me wat his/hers problem were. A policy Google suggests btw. but obviously does not follow up.  

After multiple requests to please not to delete old posts, I of course decided not to take the Blogs contents "down". Directly.  

I have invested 10 years of my life in this Blog as in both books describing my  exceptional collection of prints (richly illustrations and with comments) as well as the second book containing the many hundreds of short biographies dedicated to the obscured German (speaking) women woodblock printmaking artist (were born in the 19th century) and the connections with their teachers, academies, galleries, colleagues and friends accompanied by their Baltic, Scandinavian, Dutch, Hungarian and Russian sisters and colleagues.

Besides I thin I need this platform in the near future to announce the publication for those most interested, the Blog readers. Even if I put it to rest for a while recovering from yesterdays silly, shameful and painful events.

Thank you for your sympathy and support.           

Hildegard Eichwede: Hamburg Uhlenhorst Gaswerke

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Hildegard Eichwede 
(prob. b. Hannover ar.1880 ? - ?) 
(painter,  printmaker)
"Hamburg Barmbek  
Uhlenhorst Gaswerke"

Hildegard Eichwede (Barmbek Gaswerke in Hamburg) 

This print is being offered in the respected Frankfurt Gallerie Joseph Fach, known for its remarkable collection of very fine prints. The price of € 1250 is suggesting it is of extreme quality and/or importance, which it possibly is. It came to my knowledge some time ago and I tried to find out more about this print + the artist. Would I have it to my collection of German women printmakers ? Yes of course. But I'm not a masochist believing it ever will, just cannot afford. I suggest this print should be in the collections of the Hamburgs Kunsthalle. Unobtainable as it may be the most interesting part for me and my research is the artist being completely unknown. She is not known by any other work nor is there any biographic link to be found. Sadly Hildegard has not left a clue or a date on her print. The Barmbek Gaswerke were in function from the 1870's until the 1960's.  I suggest it was created around 1910.   


It reminded me technically (probably by the use of mainly gray and the similar  perspective, and probably because it was created by an artist related with Hamburg) of Agnes Salomon's Brussels Boulevard Vaugirard print (see posting here* ) or follow the label attached to this posting. For a long time Agnes graphic history consisted of just one print, untill my research disclosed a second one. Agnes probably gave up her artistic career after marriage and dedicated her life to motherhood. Could this hint at a shared faith (motherhood), could their prints point to at a mutual teacher ? And who would/could that possibly be ?. We know Agnes attended Munich graphic classes and also went to Paris and although I have a suggestion I will keep the name for later or to the serious researcher who may stumble over this posting and offers to help to identify Hildegard Eichwede.     

Agnes Salomon: Boulevard Vaugirard.

Besides, we peddled the Barmbek canal that is joined to the Alster basin visiting our son Paul and his Anne Maartje who are living and working nearby in this great city. Today hardly anything is reminding of this site once so important to the people and industries of Hamburg. The whole area is turned into very green and pleasant to live in communities.   



Hildegard Eichwede no doubt will prove to be a member of the Eichwede family from Hannover. Descending from the co-founder and later owners of the famous Bernstorff & Eichwede "Hoffbronze-giesserei" which existed until 1873 before it was taken over: Friedrich Wilhelm Eichwede (sometimes mentioned Ferdinand) (1791-1822) who was born in Berlin but married the daughter of Hannover Johann Friedrich Bernstorff (1766-1809) the original founding father, and started the Hannover Eichwede dynasty. 


I tried to tie Hildegard to this family but so far I did not succeed. Here's what I did find out in a nutshell. Hopefully a reader (who now must pass the despicable Google Warning System for which I feel deeply embarrassed and offer my sincere apologies)  will come to aid. 

Friedrich was succeeded as director by his son Wilhelm Christian Eduard Eichwede (1818-1890) but with him the connection to the next generation  of Hannover family members came to a halt. I did not find the name of his wife, nor of any brothers or sisters. 

He is probably the father of more then one son because from the mid 1800's  a Heinrich, Eduard and Ernst Eichwede all from Hannover can be found holding several industrial patents.

The most promising link might be to the family of Hannover architect Christian Hubert Julius Eichwede (1853-1936) who was the father of an important but short lived Hannover architect Ferdinand Eichwede (1878-1909) who was the father of concert pianist Ingrid Eichwede (b. 1905) married to Jewish composer Hans Heller (captured, and later killed, in Paris 1940 by the occupying Germans). After hiding she managed to escape with their son Peter (1929-2002) to America, Peter was also a painter. 


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And then there's the history of artist Gisela Lusser-Sautter (Posen 1914 - after 2009). Read the interview following the link.

In an interview she told of receiving painting lessons from “her mother and her sister Tante Marie Eichwede (Posen 1875-1944) who were both painters". She appeared to be the daughter of Dr. Julius Sautter(b. 1878 - after 1939). Could her mother have been  Hildegard Eichwede ? Dr. Julius Sautter is mentioned as  “Oberlandesgerichtsrat” a judge in the town of Celle (1923-1939) and relieved from his duties because of not being co-operative enough (not a faithful German) with the Nazi regime.  Celle is situated just some 20km. north-east of Hannover. 

In 1948 Gisela married Ir. Robert Lusser (1899-1969) a famous inventor and engineer who lost his first wife in allied bombing of their house that may have been directly aimed at him. See his interesting Wikipedia entry here*

Marie Eichwede (1875-1944) is mentioned as "Malerin" (painter) in Dresslers Kunsthandbuch 1921 living in Hannover and likewise in 1930 but also mentioned as "Kunstgewerblerin" (Arts & Crafts artist). 

All clues and information about "who was and what happened to Hildegard Eichwede" are very much welcomed and will be treated with all respect.


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

This extraordinary print is for sale at Gallerie Joseph Fach Frankfurt 
     

Truus Braster: all roads leading to .......

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Today I'ld like to share an account of the events following my yesterdays "doing me rounds".


Truus (Geertruida) Braster
(Nijmegen 22-06-1921 – 07-05-2018 Grou) 
 Selftaught hand weaver. 

(please send any biographic and/or genealogic specifics) 


"Landschap 1992"                   "Kalkar 1991"

This posting started yesterday with the discovery of 5 "items of interest" at a befriended local used-goods and vintage & industrial design furniture dealer who occasionally does house clearings. It happened to be 5 pieces of “tweed” carefully matted, all with titles and dated in handwriting on the back around 1991.



"Summer 1991"                         "Winter 1991" 

After completing my “rounds” on the bike, and doing my research the "items" turned out to be hand woven “landscape art” by one T. Braster. It was not difficult finding the link between my recent acquisitions and the artist who had lived not far away from where we live, for the last 50 years and had passed away to meet her maker exactly (to the day !) one year ago. 

"Oranjewoud 1990" 

Besides her obituary (she died last year, reaching the aged of 97 in the nearby village of Grou) there’s a local newspaper interview dated several years back in which she explains what her art was about. As a self taught hand weaver she had held a fascination and had become inspired by the geometry in the landscapes she saw, translating the patterns and lines into the fabric created in her loom. Created by an 80 year old: they must be the result of a lifetime of loving observation and skill this posting is also kind of a tribute.   

We both like them very much, so after clearing a perfect spot on a wall they will continue to please us in the future.    


She had been married to Jaap (Jacob) van der Meij (Amsterdam 1923–1999 Spain), sculptor, painter and monumental artist who lies buried in Hollum-Ameland. He'd studied at the academy in Amsterdam under Heinrich Campendonk (1889-1957), once a member of “der Blaue Reiter” and friends with Wassily Kandinsky and Franz Marc he'd fled the Nazi regime and taught monumental art in Amsterdam since 1935. 

Campendonck had also been the teacher of Max Reneman(1923-1978), a painter and sculptor but also a dentist who died in a plain crash near Sicily in 1978. 1878 was the  year I graduated as a young dentist and started my professional career on the island of Ameland. Reneman was, when he died tragically young one of the international icons of prosthodontics, the practise, study and theory of dynamics in full dentures in Amsterdam. Along his professional line of research also worked his colleague and close friend prof. Guus Flögel( b. 1925) who happened to be my prosthodontics professor in Utrecht. They revolutionized the world of prosthodontics getting much attention (and probably funds for much needed research) combining research and practise with humour and art.

In their wake followed prof. Warner Kalk( b. 1945) becoming one of the worlds most influential, leading and awarded prosthodontists. He acted as the head of the Dentistry department and professor of Oral Function in Groningen University when I came to work there in 2001, training students and also involved in prosthodontics.   


For Frisians, van der Meij’s most capturing work is probably the monumental (really huge) concrete statue of 3 impressive "giants" near the city of Dokkum. On a clear day they could easily view their makers ancestral island of Ameland on the horizon. Jaap van der Meij’s roots lay on the island of Ameland. His ancestors have lived and loved for generations on the island: seafarers, fishermen, wheelmakers and peasants. He was laid to rest among his ancestors.
           

The obituary of Truus Braster mentions few people. Becoming so old and having no children most people met in their lifetime will have “gone before”. But her friend Jentsje Popma(b. Zwolle 1921 and also nearing 100) a contemporary Frisian painter born in the same year as Truus Braster, was.  


Two examples of Popma's paintings:
the dikes  guarding Friesland and its islands against the North-sea  

Popma had  studied in the Academies of Rotterdam and Amsterdam earning the Cohen Gosschalk price in 1946 as (most) promising student, and then studied painting at Groningen Academie Minerva. He followed a career as glazer en sculptor before he took up a career in painting in the late 1980’s (after the age of retirement: artists never retire) becoming probably Friesland’s most celebrated contemporary landscape painter. 

All roads leading to ..........

all pictures embiggen by mouse-click

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

Emile René Menard: intimiste

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With this vintage postcard I thought to have found a nice copy of a perhaps lost painting. Since the day I found it I presumed it to be "Pomona" the goddess of fruitful abundance and protectress of gardens, harvest and fruits. I was probably blinded by the divine buttocks and jumping to conclusions I completely missed the point: there aren't any fruits ! 



Pomona was also the name of a "Reform" shop, selling bio-organic fruits and vegetables, healthy oils, brown cane sugar, nuts, "Protifar" (protein supplement) and the original Swiss Bircher Müesli of my youth in the Dutch city of Amersfoort in the 1950-60's. It was run by a friendly elderly (in my memory) Jewish (I think they were ) couple with the family name of Tobias. They were somehow related to my stepfather. It's too late to ask. 
Follow the label to an earlier article with Bircher Müesli and printmaker Margarete Donath. 

The goddess Pomona is usually associated and depicted with fruits, usually an apple or apples and she has been the subject of paintings and sculptures since ancient times. This example by an unknown artist telling the myth of Pomona being seduced (all mythical women were seducable and seduced by the gods) by Vetrumnis. 

Sculptor Aristide Maillol (if you happen to be in Paris visiting his charming museum is an absolute must) was also was intrigued by the goddess Pomona: he created several versions: in the nude and draped, with arms lowered and with arms stretched. Copies are kept and displayed in collections and museums all over the world: in Paris, Philadelphia, Amsterdam, Moscow etc.. and this version, with arms outstretched, is in Prague. I'll inform you about Maillol's  gorgeous model in a minute.



My Pomona however does not seem to be involved with fruits or apples although the artist did relate her posture to holding or inspecting some branches above her head. Maybe it was to emphasize "certain parts" of her beautiful body, I mean, when wearing high heels would be not an obvious or logic choice, standing in a field, being naked and obviously being invited to model in a pastoral landscape. 



The solution to the question "what is it ?", came to me recently: it is a copy of another version of (a detail of) a lithographic print by Emile René Menard (1862-1930) a French academic painter. Another version (in red chalk) is kept in the London British Museum. The detail, above right(now with fruits !) is from the original print below:   



His lithographic drawing "Automne" was published in the first album of the illustre editions of Estampe Moderne in 1897. 

The main figure is reaching and inspecting the fruit (oranges ?) and the title "Automne" is   referring to ripe fruit and harvest. Possibly Menard choose the title to avoid naming and explaining the relation with an annoyingly bored looking second figure.
My personal opinion is that it would have been wiser to dismiss the competing for attention  damsel on the left. It takes the attention from the gravitational centre of the original composition (the buttocks !).  I suppose Menard has wrongly added the bored "cousin" to balance his composition. He shouldn't have, as my photoshopped version proves: much, much better, I'ld say: near perfect.  



PS: I'ld love to find an affordable copy of the original print for my collection and to exhibit this story in the book. Offers welcomed. 

The best  description I found describing Menard he was an "intimist", a painter of intimate situations...... He'd studied under William Bougereau and was friends with Gustave Courbet and Lucien Simon. In this painting, composition-wise, he was smart not to disturb the centre of gravity (where the eyes come to rest) which im(not so)ho, is the classic updone red hair of the model.


Emile René Menard 
In his time Menard was famous and appreciated and commercially very successful for his "Italian" panoramic landscapes often with dramatic skies and often depicting a bathing women (a good reason to be undressed after all and suggestive of a mythical (non erotic) background. It is known he travelled to the Mediterranean regularly. 


Arisitide Maillol 
I suppose Aristide Maillol (1861-1944) must have been acquainted with Menards work while I think Menard would not have known about Maillol's model and muse Dina Vierny (1919-2009) who with her bequest, became the founder of Maillols museum. So what follows is probably co-incidental, chance, fiction and purely hypothetical. But also too good not to mention and share. 

      
This photo proofs the natural beauty of Maillols model Dina who was just 15 when Maillol "discovered her" and why she became his favorite model for so many of his sculptural master pieces.  


And then I found this 1937 photograph by photographer Pierre Jamet (1910-2000) of Dina in a posture (arms raised) that could have inspired Menard for his "Automne", or my Pomona, had he not been dead for 7 years in 1937. Maillol however had still 7 years of creativity ahead of him in which he would create many master-pieces with Dina.  


  


Maillol did several versions of a sculpture "Nue debout coiffant" (standing nude doing her hair). I have no idea if the old man was present sketching during this summery hozing of Dina (in Villeneuve sûr Auvers, not far from Paris) but I can imagine he was and created this drawing.     


With the possibilities of the modern internet Dina's classic beauty immortalised by Maillol can be admired 360C., almost in 3D, combining the hundreds  of good pictures from all over the world taken from every angle.  But these will do here. 


Dina also modelled for Pierre Bonnard and Henri Matisse and I think it could be Dina in here also, doing her hair. 


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

Rahel Bodlaender, unforgotten.

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Hail surviving Blog readers. 

After a sabbatical and Blog-"retraite" I salute new visitors & welcome back all revisiting old friends. 

This is the account, résumé or summing up of my recent investigations into the forgotten life of Berlin flower painter Rahel Bodlaender. I stumbled over her name in another of my research projects: that of Berlin Secessionist and flower painter, portraitist and leader of the VdBK drawing classes  George Mosson (1851-1933), in his life-time an artist of great fame, but today like Rahel almost completely obscured. Unlike his many famous Berlin fellow artists (Max Liebermann, Lovis Corinth) George Mosson has never been the subject of any serious research leading to a monograph or cataloque résumé. This posting is the introduction to the next composed around his person and his work. 

All help, corrections and additions are welcomed. 
All my genealogy and other findings shared on request.

Bodlaender, Rahel (Rachel)

 (Ortelsburg in Silesia 25-05-1863 – murdered 17-09-1942 Theresienstadt)


Painter of flower still-life. Not known as graphic artist. Daughter of Wolf Bodlaender and Berta N.N. Her mothers family name is still unknownHer father is probably the teacher (“Lehrer”) Bodlaender who is permitted to start a Jewish elementary school in Ortelsburg (Szczytno) in East Prussia in 1863 for a limited period of 3 years. Rahels sister Grete was born in Ortelsburg a year later. Another sister Lina (Eveline) however was born in Dirschau (Tczew) in 1869 near Gdansk in Pommern, some 100 km Westwards an indication Wolf Bodlaender and his family left Ortelsburg and moved from Ortelsburg to Dirschau ?


In the official death certificate in Theresienstadt of her younger sister Grete the names of the parents, Wolf and Berta are mentioned. On their deportation the three sister lived together in Berlin at Siegmunds Hof Nr. 6. in the Tiergarten district.


Rahel Bodlaender (she signed her work R. Bodlaender) today is known by 4 oil paintings (a kind of Biedermeier interior still-lives) and 4 postcards “after paintings by the artist” published by Wohlgemut & Lissner, the Berlin quality printing and publishing house of all well-known graphic artist in Berlin.
Nothing is known about where, under who or when she studied or which year she (and her sisters Grete and Lina) came to Berlin, nor how they might be related to the other Bodlaender families living in 19th century Berlin. Their specific family name indicates they must be all related to a pinpoint location somewhere around 1800. 


Bodlaender family name.

In the second half of the 19th century and first decades of the 20th, a dozen to two dozen Bodlaender family members lived in Berlin. Merchants,  doctors,  a vet and a urologist; a lawyer and a colonial ware shop owner, widows and single women school teachers. But  what ties the Bodlaenders together seems to be an area in East Prussia, also known as “Ober-Schlezien”. More specifiquely the area  around the small town of Rosenberg. The woodland district is locally also known as Bodland. In Rosenberg and its surrounding villages (dwellings) the first Jewish settlers are said to have arrived in the second half of the 18thcentury. The area since the 18th century is known for its thriving glass industry attracting many new settlers. Among them many were Jews from the eastern regions of Prussia known as Masuria.

The link to the Bodlaender family name can also be found in the name of the village: 

Bogacica (German: Bodland) is a village in the administrative district of Gmina Kluczbork, within Kluczbork County, Opole Voivodeship, in south-western Poland. It lies approximately 6 kilometres (4 mi) west of Kluczbork and 37 km (23 mi) north-east of the regional capital Opole.
Bogacka Szklarnia (German: Bodländer Glashütte). In the region several of these glass manufacturing industries started in the late 18th century 
Kluczbork (German: Kreuzburg O.S.)
Rosenberg O.S. (Polish: Olesno)

Following  the genealogical trails of several 19th century (Berlin, and Prussian) Bodlaender families they all seem to lead  to 1750-1800 Moses, Salomon, Samuel (Wolff and Louis) Bodlaender.  
I suppose the Jewish pioneers that settled here from other parts of Poland may have adopted the Bodlaender (meaning simply “from Bodland”) family name to their traditional Jewish patronymic names.  

 

Rahel Bodlaender perished (was left to die) a week after arriving in Theresienstadt  (North of Prag, halfway Dresden) with “Transort 1/60 ” which had departed from Berlin Sept. 7th 1942. She was 79 years old. She died in the most inhumane, horrifying and desolate conditions from “ENTERITIS/Darmkatarrh”, a routine “diagnosis” found in most official death certificates after her death in this hell on earth. The Nazis were as meticulous as they were criminal book keepers. Death by starvation, by fleas, lice and infectious diseases, dysentery, typhus and cholera. In all death certificates the doctors have Jewish names too. I suppose they literally eventually “shared the same faith”. Why spend Arian doctors on old, sick and dying Jewish people that weren’t even regarded as humans ? 



With the same cattle-wagon “Alter Transport 1/60” Rahels two sisters Grete, born 1864, and Lina (Eveline) born 1869, arrived in “Modellstadt” Theresienstadt. Lina died 4 days later with the same diagnosis (73 years old) as did Grete who held on until Jan. 12th 1943, 4 months later, 78 years old.  All together 33.430 people would die here, including 3 more  Bodlaender family members. Literature describes many of the Jewish people living in rural Eastern provincial communities left for Berlin in the second half of the 19th century. To find and build better lives. 

The sisters were known last living in Berlin Siegmunds Hof nr. 6 not far from the entrance of Berlin Zoo at Tiergarten park where “Lehrerin” Lina rented an apartment in a district housing many Jewish people and had its own synagogue. A few 100 meters from where the train conveniently left. 


Today Rachel Bodlaender, but for the postcards and a lonely auction record, is a completely forgotten and obscured artist and I suppose the 3 sisters, once living, loving and working human beings have long since vanished from memories and faded away into the mist of history. 



Rahel, Greye and Lina also have not yet been honoured with a “Stolperstein” Germanies sympathetic commemorating pavement brass plaques remembering the names and places were Jews once lived and from where they were torn away, expelled and deported. I intend to inform the Berlin Stolperstein project manager one of these days.  

As has happened so many times before I felt compelled to try and give this artist at least a small place within the world of her sister artists in my Artist Index or Lexikon. By trying to find and re-unite her with her family and place in history.  


In the Netherlands I found a Dutch Bodlaender family deriving from Dr. Moritz Leo Bodlaender (1899-1968). He was born in Breslau and gave the name Wolf (Berlin 1925-2013) to one of his two sons. Dr. Bodlaender settled in the Netherland in 1935 and naturalised in 1950. Maybe the solution of my quest lies more near home then I could have ever foreseen when I started it.

Rahel is not mentioned in any of the Artist Lexicons but I found her in Dresslers Adress book 1921 and 1930. Living at Straßburgerstrasse 9. In 1931 she is mentioned  “Blumenmalerin” living at the same address and a member of the RvbK (“Reichsverband bildende Künstler”) 

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Please help me to find Rahel, Grete, Eveline, and their parents Wolf & Berta Bodlaender's connections and roots that must be within the Jewish community in the "Kreis Rosenberg" (Olesno) area  around 1800. 

Email: gerbrandcaspers@icloud.com


All pictures embiggen by mouse-click


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


Roman Black (Blachowski) (1915-1969): Unknown British printmaker

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Roman Black 

(Poznan 1915 - 1969 ?)

 too good to stay unknown 

 Polish-British printmaker 


Three Graces (linocut) 





This copy of Roman Blacks 3 graces was found in the National Gallery of Victoria in Melbourne Australia; it was purchased in 1955 from the Estate of the artist. It is the only example of his printmaking I was able to find after stumbling over it accident, researching the various classic 3 Graces engraved and lithographical copies after antiquity sculptures and old-master examples.


It is distantly reminding of the 3 Graces (painting) by his contemporary Austrian painter and graphic artist Otto Rudolph Schatz (1900-1961)




Roman Black was born in 1915 in Poznan (Poland) asRoman Ian Błachowski where he studied geography. He might be related to a prof. Stefan Blachowski (1898-1962), a psychologist and after WW-II rector of Poznan Academy. Roman Blachowski is the author of 20 scientific papers in the field of geography published before 1940. 


Before WW-II he was interested in painting and had his first exhibitions in Poznań. The war found him in Great Britain where he took the pseudonym Roman Black. After the war ended he studied, among others at the Polish School of Painting in London, exhibiting his work in London and Madrid. 


His naturalisation was approved march 10th 1949 (“seaman and artist, living 15 Winchester Road”). He is only otherwise known from a series of colourful linocuts with Spanish landscapes kept or exhibited in Poznan, but I could not retrieve any pictures.  




A 1959 watercolour showing the historical bridge in Mostar in (Bosnia-Herzegovina) was auctioned as a lot of 4 in a 2018 sale (+ “Teatro Roman, Verona” and two others) by Roseberys in London. 





 

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













Hildegard Schwartz : Lübeck and the Mondschein sonata

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 Hildegard Schwartz

(born 1890/91 - 1960 Niendorf) 

Forgotten Schleswig printmaker and illustrator

Finding a new, not mentioned before, forgotten printmaker with a nice find (print) after so many years of researching women German printmakers, is not an every day event. It happens sometimes with the help of friendly readers, fellow collectors with a heart for history and combing the beaches and shores of auctions and washed-up and discarded art: Ebay.


As a printmaker Hildegard Schwartz obviously is not acting in the same league as f.e. Helene Mass or Helene Tüpke-Grande. Besides: the  print is hand coloured (by her ?) which is not exactly every prints collector's cup of tea..... But charming it is 


Some investigation learned Hildegard happened to be a typical local artist, illustrating local publications on local history. The half a dozen prints I was able to find show local landmarks, the surrounding villages and landscapes. She was however pretty accurate in her designs. 



About het life (where was she born ?, who were her parents and her family ?, typical starting questions for the biographer) almost nothing is known. I have a hunch she was of local, possibly Lübeck descent: she studied locally. Hopefully an interested person "on the spot", interested  in local history joins in ....  

She studied in Lübeck, acted in the Gothsmund artist colony and lived in Niendorf (not far away village on the coast (where "her family had a summer house"...........) and where she also is buried.  


Lübeck: "Marienkirche, Markt" and "Rathaus" 




Lübeck before March 29th 1942 was one of the most beautiful well preserved medieval Hanseatic trading cities with a rich history and a wealth of historical buildings situated on the Trave river and estuary. It had Germany's most beautiful  and preserved "Rathaus" or city hall dating back to the 11th and 12th century. It lies east of Hamburg, and south of Kopenhagen. It was for centuries the gateway to the Baltic: to Stockholm, to Danzig and Saint Petersburg. 

400 tonnes of bombes dropped by RAF Bomber Command in a perfect frosty moonlit night turned it into rubble. 


A first (!) retaliation for the destructing of Coventry (and the Baedecker raids) two years earlier in what the Nazis named "Operation Mondschein Sonate"......(they had a euphemistic name for all their atrocities). An eye for an eye....    Historic Hamburg, Dresden, Berlin and dozens of other German cities were to follow, Lübeck was just target practising.....  Tooth for tooth...... Hammurabi's Law.  4000 years of civilisation, or was it marking the end of it ? Had there been another, a civilised way ?


Hildegard saw the still peaceful market presumably around 1930. She lived nearby and possibly was born here. People dressed in winter cloth but the one tree (in the centre) still in leaves: october, november ? Children looking eagerly to the balloons: no cell phones yet. 


Lübeck was rebuild, where and if possible, to its former glory, like Coventry, Berlin, Hamburg and Dresden were eventually rebuild. Mankind is great in repairing and rebuilding. We are the absolute champions in repairing and rebuilding. We have to be. The weakness and eventually "Untergang" of our destructive species is our greed and disability to prevent destruction. To prevent destruction while playing the Mondschein Sonata. All other species on the planet seem to have a build-in warning and survival strategy: not to completely destroy the environment from which it evolved and in which it lives, not destroying the environment of its neighbours. There seems to be something fatally, Pathetically wrong in our design.  


   Detail of "Das Lübeck Spiel", illustration by Hildegard Schwartz

All fresh information on Hildegard Schwartz is very much welcomed: gerbrandcaspers@icloud.com

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Hildegards short biography will be part of the upcoming (this winter) publication:

Das Haus de Frau (Vol. III)*

1914-1939: BUGRA Leipzig revisited 

Enlightening and un-obscuring like the sun rising...... 

An ABC, a Lexicon, a Who is Who containing 400 pages of short biographies of hundreds of German women printmakers born 1850-1900 pioneering and active with woodblock printmaking 1900-1935. Their Dutch, Scandinavian and Baltic sisters, the art galleries, academies, artist associations, many of their male colleagues, the roots to the Paris printmakers, their schools (not being allowed to study in the Academies), their teachers and inspiration etc....  

    * This volume accompanying my collection of prints presented in Volume I and II.

Many (most) of the best loved artists-printmakers of pur times before were still never properly researched. They are collected by their name and fame and at best dates of birth and death. 

"Collecting art without knowing about the artist is like collecting stamps without a catalogue"............

The identities, lives and careers of hundreds of forgotten artists revealed; disappeared and murdered Jewish artists retrieved, links to addresses, schools and colleges, exhibition and gallery records and work inventories etc...   

Sharing my archive of 20 years collecting biographic notes and the result of many years of research.   

The publication date will be announced in this Blog. 

The first edition will be available and printed by subscription only 

(Please wait:  no reservations before). 

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

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New website

Under construction

(Daily uploading of collection material to the gallery).  


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New Book 
2 Volumes - 475 pages
(limited private edition, 20/25 available) 





Return and resurrection of the Linosaurus 


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