Franz Marc the Complete Works: The Prints and Sketchbooks by I.B.Tauris

Franz Marc The Complete Works

Volume III Sketchbooks and Prints

Annegret Hoberg and Isabelle Jansen

Compiled by the Städtische Galerie im Lenbachhaus München Edited by the Franz Marc Stiftung Kochel am See

Zwei Füchse (Two foxes), 1913, XXXI, p. 59

PHILIP WILSON PUBLISHERS

Contents Foreword 6 Introductions to the Sketchbooks 9 Introduction to the Catalogue Raisonné of Sketchbook Leaves 11 The Sketchbooks of Franz Marc 15

Catalogue Raisonné of Sketchbook Leaves 23 Sketchbooks 25 Appendix 300

Introductions to the Prints 309 Introduction to the Catalogue Raisonné of Prints 310 The Woodcuts of Franz Marc 319 Franz Marc The Complete Works Volume III Sketchbooks and Prints by Annegret Hoberg and Isabelle Jansen First published in 2011 by Philip Wilson Publishers, an imprint of I.B.Tauris & Co Ltd 6 Salem Road London W2 4BU www.philip-wilson.co.uk ISBN 978-0-85667-598-0 Distributed in the United States and Canada exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010

Catalogue Raisonné of Prints 325 Lithographs and Woodcuts 326 Ex Libris 388 Malbuch Painting Book 391 Stencil Prints 395 Facsimiles 398 Print after Marc 399

© Verlag C.H. Beck oHG, München 2011 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission of the publishers. Designed by Caroline and Roger Hillier The Old Chapel Graphic Design www.theoldchapelivinghoe.com Introductions translated by Christopher Wynne Catalogue translated by Michael Foster Printed in China by Everbest

Glossary 401 Concordances 402 Bibliography 406 Index of Sketchbooks Titles 415 Index of Prints Titles 429 Photographic Acknowledgements 430

Foreword

With this, the third volume, the catalogue raisonné of Franz Marc (1880–1916) is now complete. It follows the two previous volumes: volume I, The Oil Paintings and volume II, Works on Paper, Postcards, Decorative Arts and Sculpture. This third and final volume covers Franz Marc’s sketchbooks and prints and – with more than 1,000 entries – greatly exceeds the scope of the catalogue raisonné published by Prof. Dr Klaus Lankheit in 1970. While Lankheit only included a small selection of 192 sheets from the sketchbooks in his catalogue, it has been possible to a large extent to reconstruct Franz Marc’s thirty-three sketchbooks created between 1904 and 1915, and present them in this volume in chronological order. Not including blank pages, they comprise around 885 leaves with slightly more than 1,000 artworks, as some leaves have depictions on both sides, recto and verso. The importance and special merit of this third volume lie in the fact that – other than with the sketchbooks of August Macke or Vassily Kandinsky, for instance, which have generally survived intact – numerous leaves were removed from Marc’s sketchbooks at an early date and are now to be found widely dispersed in private and public ownership. The methods and documentation used to reconstruct the sketchbooks are described in the introductory essays by the authors, Dr Annegret Hoberg and Dr Isabelle Jansen. As a result, not only have 690 works been added to Lankheit’s list from 1970 in the sketchbook section, but almost 500 work numbers in this volume have never been published before. The incredible number of leaves that it has been possible to trace are all illustrated here in colour for the first time. This has resulted in a new and more profound picture of Franz Marc’s oeuvre as a whole that will both surprise and fascinate art-lovers and experts alike. The forty-four principal graphic works are also presented here in revised chronological order using new pictorial material and with documentation that far exceeds that published by Lankheit in 1970. Apart from one early attempt at etching, Marc’s graphic oeuvre comprises twenty-one lithographs from between 1907 and 1910/11 and twenty-two woodcuts created between 1911/12 and 1914. The appendix also includes ex-libris, printed graphic works and stencil prints. Despite their modest number, Marc’s graphic works have proved to be surprisingly complex. This is less the case with the early lithographs – such leaves are extremely rare and in some cases only exist as single copies – but applies more to the range of variations made of the eighteen black-and-white and four colour woodcuts, some of which were also printed in a number of different editions. The entry under the work number of each print includes precisely recorded information on every individual copy of each motif together with details on the signature, inscriptions, stamps, provenance and the work’s present whereabouts. This laborious method was chosen to provide greater clarity on two

questions that are of prime interest to collectors and experts of Franz Marc’s woodcuts in particular, namely the number of copies Marc made himself of the first prints, and how to differentiate between individual sheets printed by the artist and those made posthumously by his widow, Maria Marc. Finally, clear and precise descriptions are also given of the second, third and up to the sixth editions, such as those made for the magazine Der Sturm or the posthumous ‘Bauhaus Portfolio’, under the respective catalogue numbers. The first two volumes of this catalogue raisonné were published in 2004 and the manuscript for that on the sketchbooks was basically completed in early 2007. Following an interval, since 2009 Annegret Hoberg has been working through and supplementing the material amassed by Dr Claudia Albrecht several years previously for the Print section. We would like to take this opportunity and thank Dr Albrecht most sincerely for the extensive and precise data she collected and for her correspondence with numerous collections of graphic works in Germany and abroad. It was on the basis of this information on individual works and the procurement of photographs that further research was made possible. We are grateful to both authors of the sketchbook section, Annegret Hoberg and Isabelle Jansen, for their typically exacting and tireless work on the catalogue raisonné. Their extensive knowledge has led to such an extremely rewarding conclusion in the form of this volume with its many previously unpublished leaves and documention. In addition, the Franz Marc Stiftung (Franz Marc Foundation) would like to thank Prof. Dr Helmut Friedel, the Director of the Städtische Galerie im Lenbachhaus München, where the project had its roots, for his untiring and energetic support over many years – one of the most important prerequisites for the project’s success. We would also like to express our thanks once again, as in the two previous volumes, to Marie-Luise Lankheit and Dr Klaus Lankheit Jr who provided the authors with invaluable material from the estate of Klaus Lankheit Sr, including written material by Alois Schardt and Maria Marc assembled for the first catalogue raisonné in 1936. Among our colleagues in the museum world we are especially grateful to Dr Rainer Schoch and Dr Yasmin Doorsy of the Graphische Sammlung at the Germanisches Nationalmuseum in Nuremberg. Not only has the inventory that Rainer Schoch carefully compiled of the more than 500 sheets still in the sketchbooks following their acquisition in 1982/83 – a total of some 600 works of art – been a considerable help, but also their tireless cooperation during the extensive process of examining the leaves in the museum and the elaborate photographic documentation of all the works. For the assistance and information provided – and on behalf of all those working in the field of graphic works – we would like to thank the

directors and curators of those collections which are in possession of particularly extensive holdings of Franz Marc’s graphic works: Dr Michael Semff and Dr Andreas Strobl, Staatliche Graphische Sammlung, Munich; Dr Andreas Stolzenburg and Dr Petra Roettig, Kupferstichkabinett, Hamburger Kunsthalle; and Dr Anita BeloubekHammer, Kupferstichkabinett, Staatliche Museen, Berlin. A group of renowned experts who formed the Kuratorium Werkverzeichnis Franz Marc (Franz Marc Catalogue Raisonné Advisory Board) – Dr Erich Franz, Prof. Dr Helmut Friedel, Dr Roland März, Dr Claus Pese, Prof. Dr Carla Schulz-Hoffmann, Prof. Dr Peter-Klaus Schuster, Dr Michael Semff and Prof. Dr Armin Zweite – was there to support those working on the project in the usual reliable way. It offered advice during this scholarly undertaking and made appraisals of new works to be included in the catalogue raisonné. Thanks at this point are due to Dr Wolfgang Eberl who, as the long-standing chairman of the Franz Marc Stiftung, also took on the presidency of the Advisory Board that accompanied work on the catalogue raisonné up until 2010. Thanks are also due to Dr Carl-Heinz Heuer who provided the original initiative for the compilation of a new catalogue raisonné and who helped provide the necessary funding. Finally, we would sincerely like to thank the community of Maria Marc’s heirs for its considerable assistance and cooperation, as well as for making works available for documentation and photographic purposes.

The Editor of the catalogue raisonné is the Franz Marc Stiftung that was founded in 1985 by Mr Otto Stangl (the executor of the estate of Franz Marc’s widow), the heirs of Maria Marc and the Parish of Kochel. For twenty years, the Foundation was also officially responsible for the Franz Marc Museum that it had established and which was inaugurated in 1986. We would like to thank all donors, without whose generous support the completion of this three-volumed work would never have been possible. In particular, we are grateful to the two principal benefactors: the ERTOMIS-Stiftung, Wuppertal and the Stiftung Ahlers pro Arte gemeinnützige GmbH, Herford. The printing of this exceptionally complex third volume was ultimately supported by donations from Jens Mittelen-Scheid and Dr Wilhelm Winterstein. And finally, at the end of this project, our thanks go once again to the publishing houses C.H. Beck, Munich and Philip Wilson Publishers, London for their courage in taking on a catalogue raisonné and, together with the design team in England, producing such an excellent result once again with this comprehensive final volume. Elisabeth zu Sayn-Wittgenstein Director, Franz Marc Foundation

Vorstudie zu ‘Tierschicksale’ (Preliminary study for ‘Fate of the animals’), 1913, XXVIII, pp. 34 and 35

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Prints

Lithographs and Woodcuts

1 Akt auf kariertem Bett Female Nude on Patterned Bed 1907 Colour lithograph, colours and dimensions unknown Schardt VI-1907-1 (‘destroyed’) Lankheit no. 802 No impressions known Not ill.

2 Zwei Akte Two Female Nudes 1907 Lithograph, 19.1 ∑ 20.8 cm Inscribed in the stone: ‘Fz.M.’ (u.r.) Maria Marc notes in her typescript catalogue that the print was produced in October–December 1907 in Munich See the chalk study for the right-hand figure in Sketchbook V, 1907, unpaginated Schardt VI-1908-5 Lankheit no. 810

Known impressions –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/2 Printed in blackish grey with a greyish beige tint stone, white areas partly scraped. Inscribed in pencil by the artist: ‘Frz Marc’ (l.l., beneath the image) Bequest of Dr Paul and Helene Marc, 1948 –Mülheim an der Ruhr, Kunstmuseum in der Alten Post, Inv. no. 2561 Inscribed: ‘F M’ (l.l.). Reverse: round estate stamp ‘Nachlaß/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in pencil Acquired from Galerie de May, Lausanne, 1981 –München, Staatliche Graphische Sammlung, Inv. no. 1951: 248 D Printed in black with a greyish beige tint stone, white areas partly scraped; pale brown machine-made paper. Inscribed in pencil by the artist: ‘Fz Marc’ (linked; l.l., beneath the image). Reverse inscribed in pencil by Maria Marc: ‘2 Akte Kat. 1908/5’ (l.m.) Acquired from Maria Marc, Ried, 1952 ill. –Wien, Albertina, Inv. no. 1918/73 Printed in black. Inscribed in pencil by the artist: ‘Fz. Marc’ (l.l., beneath the image) Acquired from Emil Hirsch, Munich, by the

Kupferstichkabinett of the Kaiserliche Hofbibliothek, 1920 –Private collection Inscribed in pencil by the artist: ‘Fz. Marc’ (l.l., beneath the image). Reverse inscribed in an unidentified hand, probably Maria Marc’s: ‘2 Akte’ (l.m.) Maria Marc, Ried; formerly Rudolf Probst, Mannheim –Köln, Kunsthaus Lempertz, auction 847, 2003, no. 823; M. Kirchdorf ‘signed’ Exhibitions München 1912, Hans Goltz, Erste Gesamt-Ausstellung, no. 175 (‘Akte sitzend’) München 1916, no. 13 Wiesbaden 1917, no. 81 (‘Akte’) Hannover 1936, no. 136 (‘1908’) München 1963, no. 260 Bern 1967, no. 13, ill. München 1980, no. 201, ill. Literature Tobien 1982, ill. p. 67 Düchting 1991, ill. p. 23

3 Leda mit dem Schwan Leda and the Swan 1907 Lithograph (chalk lithograph), 28 ∑ 31.5 cm Inscribed in the stone: ‘Fz. M.’ (u.r.) See the preliminary drawing in Sketchbook II, 1904/08, pp. 6a, 7 (double page) Schardt VI-1908-4 Lankheit no. 804

Only known impression –Stuttgart, Staatsgalerie, Graphische Sammlung, Inv. no. A 49/708 Stiff, pale beige paper. Reverse: round estate stamp ‘Nachlaß/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in violet ink Acquired from Galerie Valentien, Stuttgart, 1949 ill.

Exhibitions München 1916, no. 13 Bern 1967, no. 12, ill. Literature Bünemann, 1948/1952, p. 109, ill. 11

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Prints

Lithographs and Woodcuts

4 Spielende Kinder Children Playing 1907 Lithograph (chalk lithograph), 20 ∑ 23.5 cm Inscribed in the stone: ‘F Marc’ (u.r.) Schardt VI-1908-9 Lankheit no. 806 Only known impression - München, Staatliche Graphische Sammlung, Inv. no. 1951:250 D Inscribed in pencil by the artist: ‘frz Marc’ (linked; l.l., beneath the image). Reverse inscribed in pencil by Maria Marc: ‘Kat. 1908/9/Spielende Kinder’ (l.l.) Acquired from Maria Marc, Ried, 1952 ill. Exhibitions München 1916, no. 13 München 1963, no. 264 Bern 1967, no. 17, ill. München 1980, no. 194, ill. Literature Tobien 1982, ill. p. 65

5 Schlafendes Kind Sleeping Child c. 1908 Etching, 15.8 ∑ 12 cm Dated on the basis of the drawings ‘Schlafendes Kind I’ and ‘Schlafendes Kind II’ of 1908 (Cat. raisonné Franz Marc, Vol. II, nos. 100, 101) 6

Not in Schardt Lankheit no. 801 Unique impression München, Staatliche Graphische Sammlung, Inv. no. 1949:78 D Brownish Velin paper. Inscribed in brown ink in an unidentified hand: ‘Probeabzug einer frühen Radierung von Franz Marc. Einziges Exemplar. Platte vernichtet. Z.17. II 1912.’ (l.l., beneath the image) Donated by Mrs Bernard to the Director of the Bayerische Staatsgemäldesammlungen München, 1950 ill. Exhibitions München 1963, no. 257 Bern 1967, no. 1, ill. München 1980, no. 212, ill.

6 Bretonische Bettler Breton Beggars 1907 Lithograph (chalk lithograph), 25 ∑ 29.5 cm Inscribed in the stone: ‘Fz. M.’ (u.r.) Schardt VI-1908-8 Lankheit no. 805 Known impressions –Darmstadt, Hessisches Landesmuseum, Graphische Sammlung, Inv. no. GR 2501 Off-white paper. Inscribed in pencil by the artist: ‘frz Marc’ (linked; l.l., beneath the image) Acquired on the art market, 1955 ill.

–Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1953/187 Pale grey paper. Inscribed in blue indelible pencil by the artist: ‘frz Marc’ (linked; l.l., beneath the image) Acquired from Kunstkabinett Roman Norbert Ketterer, Stuttgart, 1953 –München, Staatliche Graphische Sammlung, Inv. no. 1951:249 D Printed in greyish black on pale grey paper. Inscribed in pencil beneath the image: ‘Bretonische Bettler’ (l.l.) and: ‘Privatdruck Franz Marc’ (l.r.). Reverse inscribed in pencil: ‘Kat. 1908/8/Privatdruck Franz Marc bestätigt Maria Marc’ (l.m.). All inscriptions in Maria Marc’s hand. Acquired from Maria Marc, Ried, 1952

–Private collection, Germany Paper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l., beneath the image) Hauswedell & Nolte, Hamburg, auction 400, 2007, no. 26 Exhibitions München 1912, Hans Goltz, Erste Gesamt-Ausstellung, no. 177 (‘Bettler’) München 1916, no. 13? München 1963, no. 262 Bern 1967, no. 16, ill. München 1980, no. 193, ill. Literature Tobien 1982, p. 66, ill.

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Prints

Lithographs and Woodcuts

9 Bären Bears 1907 Lithograph (chalk lithograph), 19.5 ∑ 26.5 cm Inscribed in the stone: ‘Fz. M.’ (l.r.) Maria Marc notes in her typescript catalogue that the print was produced in October–December 1907 in Munich See the pen and ink sketch in Sketchbook X, 1908/09, p. 29, and the sculpture ‘Zwei Bären’ of 1910 (Cat. raisonné Franz Marc, Vol. II, no. 417) Schardt VI-1908-3 Lankheit no. 808

Marc’ in pencil (l.l. and l.r.) Acquired from the Munich Secession, 1915 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1958/81 Brownish Velin paper. Inscribed in pencil by the artist: ‘frz Marc’ (linked; l.l., beneath the image). Reverse: female nude by an unknown artist, after 1916 Acquired from Kunstkabinett Ketterer, Stuttgart, auction, May 1958 –Köln, Museum Ludwig, Inv. no. ML/G 1912/3 Dark off-white paper Formerly Wallraf-Richartz-Museum, Köln, acquired from P. Prött, 1911

–Essen, Museum Folkwang, Inv. no. A 789 Inscribed in pencil by the artist ‘Franz Marc’ (linked; l.l., beneath the image) Acquired before 1945

–München, Staatliche Graphische Sammlung, Inv. no. 1951:247 D Printed in blackish grey; pale brown machine-made paper. Inscribed in pencil beneath the image: ‘Bären’ (l.l.) and ‘Privatdruck Franz Marc’ (l.r.). Reverse inscribed: ‘Kat 1908/3/2 Bären/Privatdruck Franz Marc/bestätigt Maria Marc’ (l.l.); round estate stamp (upside down) ‘Nachlaß/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in pencil (upper margin). All inscriptions in Maria Marc’s hand. Acquired from Maria Marc, Ried, 1952

–Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut, Graphische Sammlung, Inv. no. SG 844 Printed in light brown; yellowish brown machine-made paper. Reverse: two round estate stamps ‘Nachlaß/ FRANZ MARC/bestätigt:’ with authentication ‘Maria

–Stuttgart, Staatsgalerie, Graphische Sammlung, Inv. no. A 99/6852 Pale brown machine-made paper. Reverse: round estate stamp ‘Nachlaß/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in pencil; accession stamp of the Staatsgalerie Stuttgart; accession stamp of the

Known impressions –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1917-187 Paper tinted brown Acquired from Emil Hirsch, Munich, 1917

Hamburger Kunsthalle, struck out Sold by the Hamburger Kunsthalle, 1950; acquired from August Laube, Buch- und Kunstantiquariat, Zürich, 1999 –Wien, Albertina, Inv. no. 1917/ 73 Reverse: estate stamp inscribed ‘Maria Marc’ Acquired from Maria Marc, Ried, 1920 10

–Wiesbaden, Museum Wiesbaden, Inv. no. L 18 Brownish machine-made paper. Inscribed in pencil: ‘Frz Marc’ (l.l., beneath the image). Reverse inscribed in pencil: ‘Bären’ (l.m.) Acquired 1951 ill. –Private collection, Switzerland Heinrich Stinnes, Köln; Klipstein u. Kornfeld, Bern, 1950s Exhibitions München 1910, no. 82 München 1912, Hans Goltz, Erste Gesamt-Ausstellung, no. 173 München 1916, no. 13 Wiesbaden 1917, no. 82 Bern 1967, no. 11 München 1963, no. 265 München 1980, no. 196, ill. Köln 1996, Die Expressionisten, no. 254 Literature Cat. August Laube, Zürich, 1999 (sale catalogue), p. 22, ill.

10 Hirschpaar Stag and Hind 1907

–Bremen, Kunsthalle, Kupferstichkabinett, Inv. no. 17/33 Printed in brown. Inscribed in pencil (in the artist’s hand?): ‘Franz Marc’ (l.l.) Acquired 1917 as a donation by Paul Schmitz

Lithograph (chalk lithograph), 22.5 ∑ 26.5 cm Inscribed in the stone: ‘Fz. M.’ (u.r.) Maria Marc dates the print to October–December 1907 in her typescript catalogue See the preliminary pencil drawing ‘Hirschpaar’, App p. 320

–Dresden, Staatliche Kunstsammlungen, KupferstichKabinett, Inv. no. A-1929-540 Printed in brown on paper tinted brown Acquired from Prestel, auction 99, 1929 ill.

Schardt VI-1908-7 Lankheit no. 809

–Lübeck, Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck, Inv. no. 1924/133 Printed in dark brown. Inscribed in pencil by the artist: ‘frz Marc’ (linked; l.l.) Acquired 1924

Known impressions –Berlin, Staatliche Museen, Kupferstichkabinett, Inv. no. 1185-1916 Printed in brown; stiff machine-made paper. Inscribed in pencil by the artist: ‘Fz Marc.’ (linked; l.l., beneath the image) Acquired 1916 from Galerie Hans Goltz, München

–München, Staatliche Graphische Sammlung, Inv. no. 1949: 67 D Printed in greyish brown; machine-made paper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l., beneath the image). Reverse inscribed in pencil by

Maria Marc: ‘Hirschpaar/Kat. 1908/7’ (below) Acquired from Maria Marc, Ried, 1950 –Galerie Neher, Essen, 1996; Galerie Thomas, München, 1993; Neumeister Auktionen, München, 1990 Printed in brownish green on paper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l.) Exhibitions München 1912, Hans Goltz, Erste Gesamt-Ausstellung, no. 176? (‘Hirsche’) München 1916, no. 13? München 1963, no. 266 Bern 1967, no. 15, ill. München 1980, no. 198, ill. München, Galerie Thomas, 1993, Künstler des Blauen Reiter, no. 27, ill. Literature Lankheit 1976, ill. 10 Tobien 1982, col. ill. p. 57 Hüneke 1990, no. 16, ill. p. 20

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Prints

Lithographs and Woodcuts

18 Schweine in der Sonne Pigs in the Sun 1908/09 Colour lithograph, four colours, 18 ∑ 27.8 cm Although dated 1908 by Maria Marc in her typescript catalogue, the print was probably produced in 1909. Schardt lists it under the latter date and Maria Marc also inscribed that date on the impression now in Cambridge See the three chalk studies for the print in Sketchbook V, 1907, p. 12a Schardt VI-1909-4 Lankheit no. 811

Known impressions –Cambridge, Massachusetts, Fogg Art Museum, Harvard University, Inv. no. M13946 Colour lithograph in pale green, yellow, grey and pink. Inscribed in pencil by Maria Marc: ‘Nachlass Franz Marc bestätigt Maria Marc 1909’ and ‘1909’ (bottom margin). Reverse: collection stamp of Charles Kuhn Donated by Mr. and Mrs. Charles L. Kuhn, 1962 –Darmstadt, Hessisches Landesmuseum, Graphische Sammlung, Inv. no. GR 2500 Colour lithograph in pink, blue, dark yellow and light olive green, the pink areas presumably coloured additionally in gouache; off-white paper. Inscribed in pencil by the artist: ‘frz Marc’ (linked; l.l., beneath the image) Acquired on the art market, 1955

–München, Staatliche Graphische Sammlung, Inv. no. 1951:253 D Colour lithograph in light blue, yellow and olive green, hand-coloured in pale pink gouache; pale grey paper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l., beneath the image). Reverse inscribed in pencil by Maria Marc: ‘Kat. 1909/4/Schweine in d. Sonne’ (l.m.) Acquired from Maria Marc, Ried, 1952 ill. Exhibitions München 1963, no. 268 (under ‘1909’) Bern 1967, no. 22, ill. München 1980, no. 200, ill. Literature Mus. Cat. Cambridge 1967, fig. 12

19 Badende Frauen Bathing Women 1908/9 Colour lithograph, four colours, 25.8 ∑ 29.8 cm Inscribed in the stone: ‘Fz M’ (l.l.) Although dated 1908 by Mara Marc in her typescript catalogue, the print was probably produced in 1909 See the four chalk studies in Sketchbook II, 1904/8, and the drawings, all dated 1909, in Catalogue raisonné Franz Marc, Vol. II, nos. 102, 131, 136 Schardt VI-1908-10 Lankheit no. 812

Known impressions –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/3 Colour lithograph in pale pink, light blue, yellow and olive green; dark beige machine-made paper. Inscribed in pencil by the artist: ‘Frz. Marc 08’ (linked; l.l., beneath the image) Bequest of Dr Paul and Helene Marc, 1948 –München, Staatliche Graphische Sammlung, Inv. no. 1951: 251 D Colour lithograph in pale pink, light blue, yellow and olive green, the pink areas presumably coloured additionally by hand; pale grey paper. Inscribed in pencil by the artist: ‘Frz. Marc’ (linked; l.l., beneath the image). Reverse inscribed in pencil by Maria Marc: ‘Kat. 1908/10 Badende Frauen’ (l.m.)

Acquired from Maria Marc, Ried, 1952 ill. Exhibitions München 1910, no. 80 München 1916, no. 31 München 1963, no. 263 Bern 1967, no. 18, ill. München 1980, no. 202, ill. Literature Pese 1989, p. 92, ill. 39

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Prints

20 Pferde in der Sonne Horses in the Sun 1908/09

Lithographs and Woodcuts

–Köln, Museum Ludwig, Inv. no. ML/ G 1912/ 1 Formerly Wallraf-Richartz-Museum, Köln, acquired from P. Prött, 1911 –Zürich, Kunsthandel August Laube, before 2001

Colour lithograph, three colours, 35.5 ∑ 28 cm Inscribed in the stone: ‘Fz.Marc’ (l.r.) In a letter of May 1908 to Maria Franck the artist states that he is working on this print. Schardt listed the print under 1909, Lankheit 1908 See the oil paintings (Cat. raisonné Franz Marc, Vol. I, nos. 126–131), a pencil drawing and the tempera paintings (Cat. raisonné Franz Marc, Vol. II, nos. 93, 183–184)

2nd edition Three colours, retouched in opaque white or gouache Not in Schardt Lankheit no. 822/2 (‘Pferde in der Schwemme’)

Schardt VI-1909-3 (‘Pferde im Walde’) Lankheit no. 822/1 (‘Pferde in der Schwemme’, erroneously listed as ‘Not in Schardt’)

Known impressions –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1916-641 Colour lithograph, retouched in opaque white. Inscribed in pencil by the artist: ‘Fz. Marc’ (l.l., beneath the image) Acquired at the sale of the Rümann Collection at Emil Hirsch, Munich, 1916

Known impressions –Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut, Graphische Sammlung, Inv. no. SG 843 Colour lithograph in yellow, olive green and bluish grey; paper. Inscribed in pencil by the artist: ‘Franz Marc’ (l.l., beneath the image) Acquired from the New Munich Secession, 1915

–Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/4 Colour lithograph in light yellow, olive green and grey, grey areas partly retouched with gouache; greyish beige Velin paper. Inscribed in pencil by the artist: ‘Frz. Marc’ (l.l., beneath the image) Bequest of Dr Paul and Helene Marc, 1948

1st edition Three colours

–Kochel am See, Franz Marc Museum, Franz Marc Stiftung, donated 1996 in Memory of E. and A. Winterstein, Inv. no. FM 259 Colour lithograph in yellow, olive green and grey, partly retouched in grey gouache; thick pale brown machinemade paper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l., beneath the image). Gift of Dr Wilhelm Winterstein, Munich, 1996 ill. –München, Staatliche Graphische Sammlung, Inv. no. 229240 D Colour lithograph in yellowish green, olive green and grey, grey areas partly hand-coloured; pale grey paper. Inscribed in pencil by the artist: ‘Fz. Marc’ (linked; l.l., beneath the image). Reverse inscribed in pencil, probably by Maria Marc: ‘Franz Marc Pferde im Wald Lithogr. handkoloriert’ (l.m.) Bequest of Oberlandesgerichtsrat Karl Osthelder to the Bayerische Staatsgemäldesammlungen München, transferred to the Staatliche Graphische Sammlung München, 1947 –München, Staatliche Graphische Sammlung, Inv. no. 1951: 252 D Colour lithograph in yellowish green, olive green and grey, grey areas partly retouched with gouache; pale grey paper. Inscribed in pencil beneath the image: ‘Pferde im Walde’ (l.l.) and ‘Privatdruck Franz Marc’ (l.r.). Reverse inscribed in pencil: ‘Kat 1909/3 Pferde im Walde, Privatdruck Franz Marc, bestätigt Maria Marc’ (l.m.). All inscriptions in Maria Marc’s hand Acquired from Maria Marc, Ried, 1952 –Private collection Colour lithograph, reworked with opaque white. Inscribed in pencil by the artist: ‘Franz Marc’ (linked; l.l.) Reinhard Piper Collection, München; acquired from Karl & Faber, München, 1985 ill. –Hamburg, Hauswedell & Nolte, auction 400, 2007, no. 27 Colour lithograph, reworked with opaque white; brownish paper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l.) Possibly Galerie Neher, Essen, before 2001 Exhibitions München 1910, no. 81 München 1912, Hans Goltz, Erste Gesamt-Ausstellung, no. 172 München 1916, no. 30 Wiesbaden 1917, no. 79 (‘Pferde im Walde’) Hannover 1936, no. 138 Berlin, Galerie v. d. Heyde 1936, no. 61 München 1963, no. 267 (‘Pferde im Walde’) Bern 1967, no. 21, ill. München 1980, no. 210, ill. 277 (‘Pferde im Walde’) Dortmund 1996, Von der Brücke zum Blauen Reiter, ill. p. 271 Berlin/Tübingen 1998/99, Der Blaue Reiter und seine Künstler, no. 32, col. ill. p. 244 Stuttgart 2000, no. 9, col. ill. 30 Milano 2003/04, Il Cavaliere Azzurro, no. 18, col. ill. Literature Lankheit 1976, p. 46, ill. 8 Tobien 1982, col. ill. p. 28

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Prints

Lithographs and Woodcuts

pencil by Maria Marc: ‘Spielende Marder’ Acquired 1919 from Emil Hirsch, München –Essen, Museum Folkwang, Inv. no. A 788 Colour lithograph in middle-toned brown and beige. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l., beneath the image) Acquired before 1945 –Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut, Graphische Sammlung, Inv. no. SG 845 Colour lithograph in light and dark brown; machinemade paper. Reverse inscribed in violet pencil by Maria Marc: ‘Nachlaß Franz Marc bestätigt Maria Marc’ Acquired from the Munich Secession, 1915 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/5 Colour lithograph in middle-toned brown and beige; brownish machine-made paper. Inscribed in pencil by the artist: ‘frz Marc’ (linked; l.l., beneath the image) Bequest of Dr Paul and Helene Marc, 1948 –Kochel am See, Franz Marc Museum, Franz Marc Stiftung, donated 1996 in Memory of E. and A. Winterstein, Inv. no. FM 260 Colour lithograph in dark and light brown; pale brown machine-made paper. Inscribed in pencil by the artist: ‘frz Marc’ (linked; l.l., beneath the image) Gift of Dr Wilhelm Winterstein, 1996 –Köln, Museum Ludwig, Inv. no. ML/G 1912/4 Colour lithograph in dark and light brown; paper Formerly Wallraf-Richartz-Museum Köln, acquired from P. Prött, 1911 –München, Staatliche Graphische Sammlung, Inv. no. 1949: 15 D Colour lithograph in middle-toned brown and beige; paper. Reverse inscribed in pencil by Maria Marc: ‘Spielende Marder Kat. 1909/5’ and ‘Spielende Marder’ (l.m.); round estate stamp (much faded) ‘Nachlaß/ FRANZ MARC/bestätigt:’, inscribed in pencil: ‘Maria Marc’ (l.l.) Acquired from Maria Marc, Ried, 1949 ill. –Wiesbaden, Museum Wiesbaden, Inv. no. L 19 Colour lithograph in middle-toned brown and beige; grey paper. Inscribed in pencil in an unidentified hand: ‘Marc’ (l.r., beneath the image). Reverse: round estate stamp ‘Nachlaß/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in ink Acquired 1951 –Berlin, Villa Grisebach, auction 46, 1995, no. 24 Printed in light brown and beige; brownish paper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked; l.l.) 21

21 Spielende Wiesel Playing Weasels 1909/10 Lithograph (brush lithograph), two colours, 28.3 ∑ 18.9 cm Inscribed in the stone: ‘Fz. M’ (l.r.) See the painting ‘Spielende Wiesel’, 1911 (Cat. raisonné Franz Marc, Vol. I, no. 144)

Schardt VI-1909-5 (‘Spielende Marder’) Lankheit no. 823 Known impressions –Berlin, Staatliche Museen, Kupferstichkabinett, Inv. no. 304-1919 Colour lithograph in light brown and middle-toned brown on machine-made paper. Reverse: round estate stamp ‘Nachlaß/FRANZ MARC/bestätigt:’ and authentication ‘Maria Marc’ in ink (l.m.). Inscribed in

Exhibitions München 1912, Hans Goltz, Erste Gesamt-Ausstellung, no. 178 Wiesbaden 1917, no. 80 Hannover 1936, no. 140 (‘Spielende Marder, 1910/11’) München 1963, no. 269 (‘Spielende Marder’) Bern 1967, cat. no. 23, ill. München 1980, no. 211, ill. Literature Tobien 1982, col. ill. p. 17 Hüneke 1990, no. 24, ill. p. 28 München 2005/06, p. 30, ill. 20

22 Zwei Katzen Two Cats 1909/10 Poster for Franz Marc’s first solo exhibition at Josef Brakl’s Moderner Kunsthandlung, Munich, February 1910 Colour lithograph, four colours, 40.2 ∑ 42 cm (image), 91.9 ∑ 63.3 cm (sheet) Inscribed in the stone: ‘lit. Fz. Marc’ (l.l.) ‘AUSSTELLUNG/FRANZ MARC/BRAKLS/MODERNE/ KUNSTHANDLUNG/MUENCHEN GOETHESTR. 64’ Printer’s inscription: ‘Druck H. Eigner – München 31’ (l.r.) See the tempera study in Sketchbook XIV, 1909/10, p. 11 Schardt VI-1910-1 Lankheit no. 824 Known impressions –Berlin, Staatliche Museen, Kunstbibliothek, Inv. no. 14005119 Colour lithograph in yellow, pink, orange and black –Hannover, Sprengel Museum, Inv. no. Gr. 1915, 336 Colour lithograph in four colours Acquired via the Kestner-Museum, Hannover, 1915 –Kochel am See, Franz Marc-Museum, Franz Marc Stiftung, Inv. no. FM 268 Only the central section of the poster, with the image Colour lithograph in yellow, orange, pink and black; thin buff card Karl & Faber, München, auction, 1998; Gift of Dr Wilhelm Winterstein, 1998 –Köln, Museum Ludwig, Inv. no. ML/G 1983/35 Colour lithograph in four colours Galerie Rudolf Probst, Mannheim; Günther and Carola Peill Collection; donated by the Peills, 1983 –München, Staatliche Graphische Sammlung, Inv. no. 1951:254 D Only the central section of the poster, with the image Colour lithograph in yellow, orange, red and black; brownish machine-made paper Acquired from Maria Marc, Ried, 1952 ill. –München, Städtische Galerie im Lenbachhaus, Inv. no. G 13 370 Colour lithograph in yellow, orange, pink and black; beige machine-made paper Acquired from Karl & Faber, München, auction 92, 1964 ill. –Bern, Galerie Kornfeld, auction 229, 1 June 2002, no. 114 Exhibitions München 1910, cover ill. Hannover 1936, no. 139 München 1963, no. 271 Bern 1967, no. 24 München 1980, no. 214, ill. New York/San Francisco 1982, Kandinsky in Munich, no. 289 (Gollek) Fribourg 1985, Von Goya bis Warhol: Meisterwerke der Graphik des 19. und 20. Jahrhunderts aus einer Schweizer Privatsammlung, no. 175 Bern 1986/87, no. 64, col. ill. (‘Sammlung E. W.

Kornfeld, Bern’) Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 11, col. ill. Berlin/Tübingen, 1998/99, Der Blaue Reiter und seine Künstler, no. 37, col. ill. p. 249 Milano 2003/04, Il Cavaliere Azzurro, no. 19, col. ill. München/Wien 2010/11, no. 198, col. ill. p. 255 Literature Lankheit 1976, p. 50, col. ill. p. 3 Lankheit 1978, ill. 6 Tobien 1982, col. ill. p. 75 März 1984, ill. p. 12 Hüneke 1990, no. 52, col. ill. p. 56 Gollek 1988, no. 359, ill. p. 247 Partsch 1990, ill. p.19 Zweite/Hoberg 1991, Der Blaue Reiter im Lenbachhaus, ill. 40

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Lithographs and Woodcuts

the image) and ‘bestätigt Maria Marc’ (l.r.). Reverse inscribed: ‘670 Dr. Hagemann Nr. 2’ (l.l.) and ‘ruhende Pferde’ (l.r.) Bequest of Dr Carl Hagemann, 1948 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/6 Colour woodblock print in blue, middle-toned green and black; bark beige Japan paper. Inscribed in pencil by the artist: ‘Fz Marc 1911’ (linked; l.l.) Bequest of Dr Paul and Helene Marc, 1948 –Hannover, Sprengel Museum, Inv. no. I, 549 Colour woodblock print in black, green and blue; thin Japan paper. Reverse inscribed in pencil by Maria Marc: ‘Nachlaß Franz Marc bestätigt Maria Marc’ Maria Marc, Ried; Gift of Dr Bernhard Sprengel, Hannover, 1969

23 Ruhende Pferde Horses Resting 1911/12 Colour woodblock print, three colours, 16.7 ∑ 22.8 cm Hand-printed from the black block Not in Schardt Not in Lankheit (listed as ‘3 prints from the black block’ in his handwritten notes) Known impressions –Private collection Thin machine-made paper. Inscribed in pencil: ‘No 1’. Reverse: authenticated in pencil by Maria as from the artist’s estate Formerly Maria Marc –Hamburg, Hauswedell & Nolte, auction 243, 1982, no. 942 –Hamburg, Hauswedell & Nolte, auction 395, 2006, no. 1416 Laid Japan paper. Inscribed in pencil beneath the image in an unidentified hand: ‘12’ (l.l.) and ‘Frz. Marc 1912’ (l.r.) Sotheby’s II, auction LO4160, 2004, no. 204 1st edition Hand-printed in three colours Advertised in Der Sturm, vol. III, March 1913, no. 152/153, p. 292: ‘10 hand-printed, numbered and signed impressions, coloured by hand in watercolour [i.e. printed in colour]’ Schardt VII-1912-1 Lankheit no. 825/1 As his no. 443 Lankheit lists an impression taken from the black block and painted over with a coloured sketch in tempera: ‘Woodcut, coloured with tempera, 16.7

∑ 22.3 cm; formerly Ried, Maria Marc (whereabouts unknown, not ill.)’. This impression could not be located, but may be identical with the proof in the collection Etta and Otto Stangl (see below). See the tempera sketch in SB XXII, 1911, p. 13 and the tempera ‘Liegendes Pferd’, 1911 (Cat. raisonné Franz Marc, Vol. II, no. 194) Known impressions Proof impression Kochel am See, Franz Marc Museum, Stiftung Etta and Otto Stangl, Inv. no. St-282 Colour woodcut in blue, green and black (with blue and green printed over each other to produce Prussian blue); thin buff Japan paper. Inscribed in pencil by Maria Marc: ‘Probedruck v. Franz Marc bestätigt Maria Marc’ (m.r., towards the lower margin) Maria Marc, Ried; Etta and Otto Stangl, München and Davos –Berlin, Staatliche Museen, Kupferstichkabinett, Inv. no. 141 – 1931 Colour woodblock print in black blue and green; Japan paper. Inscribed in pencil by Maria Marc: ‘Ruhende Pferde’ (l.m.). Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt’ with authentication ‘Maria Marc’ in pencil Acquired 1931 from W. Cohn, Berlin –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1917-502 Colour woodblock print in black, blue and green; Japan paper. Inscribed in pencil, probably by Maria Marc: ‘No. 7.’ (l.l., beneath the image) Purchased by the Künstlervereinigung Dresden, 1917 ill. –Frankfurt am Main, Städelsches Kunstinstitut, Graphische Sammlung, Inv. no. 65948 Colour woodblock print in blue, blue-green and black; Japan paper. Inscribed in pencil by Maria Marc: ‘Aus dem Nachlaß Handdruck von Franz Marc’ (l.l., beneath

–München, Staatliche Graphische Sammlung, Inv. no. 1951:255 D Colour woodblock print in ultramarine blue, green and black (with blue and green printed over each other to produce Prussian blue; yellowish Japan paper. Inscribed in pencil beneath the image: ‘Privatdruck Franz Marc’ (l.l.) and ‘Ruhende Pferde’ (l.r.). Reverse inscribed in pencil: ‘Privatdruck Franz Marc/best. Maria Marc’ and ‘Ruhende Pferde. Kat 1912/1/Ruhende Pferde’ (below). All inscriptions in Maria Marc’s hand Acquired from Maria Marc, Ried, 1952 ill. –New York, The Museum of Modern Art, Inv. no. 416.40 Colour woodblock print in ultramarine blue, mauve, green and black; Japan paper. Inscribed in pencil: ‘Franz Marc 1911’ (l.l.) Gift of Abby Aldrich Rockefeller, 1940 –Formerly Ulm, Ulmer Museum, Inv. no. 1955.2198 Japan paper. Reverse: authentication by Maria Marc Sold to Auktionshaus Ketterer, München, 1966 –Wien, Albertina, Inv. no. 1913/252 Colour woodblock print in black, cobalt blue and grassgreen. Inscribed in pencil: ‘Fz. Marc 12’ (l.l.) Acquired from Galerie Hans Goltz by the Kupferstichsammlung of the Kaiserliche Hofbibliothek, 1920 –Wien, Albertina, Inv. no. 1996 DL 12 Colour woodblock print in black, blue and green. Inscribed in pencil by the artist: ‘Fz Marc No 5’ (l.l.). Reverse: faded oval stamp. Inscribed in pencil: ‘Besitzer Em. & Sophie Fohn/Bern’ (l.r.) Formerly Kunsthalle Mannheim, confiscated by the National Socialist authorities, 1937; Emanuel and Sofie Fohn; Kunsthaus Zürich, as owned by the Fohns, 1980; Österreichische Ludwigstiftung, 1996, since then on permanent loan to the Albertina –London, Frederick Mulder, 1984 Inscribed in pencil by the artist: ‘11 Fz. Marc 1912’ –Private collection Japan paper; no inscriptions Private collection, Karlsruhe, 1980s –Bern, Gutekunst & Klipstein, auction, December 1949, no. 219 Thin Japan paper. Inscribed in pencil: ‘No 4’ –München, Galerie Thomas, 1999

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–London, Sotheby’s, auction, July 2001, no. 159 Colour woodblock print in royal blue, bright green and black; Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Perhaps identical with the Ketterer impression: see above under ‘Ulm’ –Berlin, Villa Grisebach, 2004 Kunstkabinett R.N. Ketterer, Stuttgart; C. G. Boerner, Düsseldorf, 1957; Hans R. Merle –München, Dietrich Schneider-Henn, auction, June 2005, no. 2164 Colour woodblock print in black, blue, dark green and blue-green; Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil. Inscribed in pencil by Maria Marc: ‘Ruhende Pferde’ Nachlaß Günther Franke, München –Hamburg, Hauswedell & Nolte, auction 383, 2004, no. 895 ‘Signed’ –Hamburg, Hauswedell & Nolte, auction 391, December 2005, no. 1097 Colour woodblock print in black, dark green and blue; white Japan paper. Reverse: round estate stamp ‘Nachlass/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ 2nd edition Printed from the black block and published in Der Sturm: Wochenschrift für Kultur und die Künste, edited and published by Herwarth Walden, Berlin, vol. III, February 1913, nos. 146/147, p. 261

Lithographs and Woodcuts

Not in Schardt Lankheit no. 825/2 3rd edition Printed for Franz Marc. Holzschnitte, 1984 Kassette mit 22 Blatt Holzschnitten, davon vier in Farbe, 1911/12-1914, Auf Bütten, Blattgröße je 40 (39.6) ∑ 52.5 cm, in Nachdrucken von den Originalholzstöcken, 1984 Otto Stangl Nachlaßverwalter, München 1984 Auf vollrandigem Bütten (Wasserzeichen: Christuskopf, ‘GB 1980’, Hand mit Ärmelansatz), Drucker: Gerhard Köhler, Baden-Baden Auflage: 30 arabisch und 2 römisch numerierte Exemplare, jeweils im unteren Bereich des Blattes, Mitte mit Trockenstempel des Nachlaßverwalters: ‘Handdruck/vom Originalholzstock/bestätigt/ Otto Stangl’ Lose Blätter in Kartonumschlägen in Leinwandkassette Nach Fertigstellung der Mappen wurden alle Holzstöcke in den Besitz der Franz Marc Stiftung, Franz Marc Museum, Kochel, übergeben, um weitere Nachdrucke für immer auszuschließen. Sie sind dort unter den Inv. Nrn. FM 231-252 registriert. (In Franz Marc. Holzschnitte [Woodcuts], 1984 Box containing 22 woodblock prints, 4 in colour, 1911/12–1914 Paper with full margins (watermark: head of Christ, ‘GB 1980’, hand with sleeve) Each 40 (39.6) ∑ 52.5 cm (sheet) Printed from the original woodblocks, 1984 Printed by Gerhard Köhler, Baden-Baden Issued by Otto Stangl, estate administrator, Munich, 1984 Thirty sets numbered with Arabic numerals, two with Roman numerals

Each sheet bears the embossed stamp of the estate administrator: ‘Handdruck/vom Originalholzstock/ bestätigt/Otto Stangl’ (l.c.) Loose sheets in cardboard envelopes in cloth-covered box After production of the boxed edition all woodblocks were handed over to the possession of the Franz Marc Stiftung, Franz Marc Museum, Kochel am See (Inv. no. FM 231–52), in order to prevent further impressions being taken) Exhibitions München 1912, Der Blaue Reiter, no. 148 Berlin 1912, Neue Sezession V. Ausstellung, no. 60 (‘Pferde’) München 1912, Hans Goltz, Erste Gesamt-Ausstellung, no. 179 (‘Blaue Pferde’) Berlin 1916, no. 43 (‘hand-coloured in watercolour’) Wiesbaden 1917, no. 75 Hannover 1936, no. 141 Berlin, Galerie Nierendorf 1936, no. 78 Amsterdam/Bruxelles 1955, no. 55, ill. 55 München 1963, no. 273 Bern 1967, no. 25, ill. Berkeley/Fort Worth 1979/80, no. 18, ill. München 1980, no. 216, ill. Düsseldorf, Wittrock, 1984 (3rd edition 1984, pp. 52–60, ill. 1) Bielefeld 1985/86, Kunsthalle: O meine Zeit! ill. p. 122 Mannheim 1987/88, Entartete Kunst – Beschlagnahmeaktionen in der Städtischen Kunsthalle Mannheim 1937, no. 287 Berlin 1986, Expressionisten, Die Avantgarde in Deutschland, no. 195, ill. Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 19, col. ill. München/Münster 1993/94, Sammlung Etta und Otto Stangl, no. 58, col. ill. (proof impression) Davos/Dresden 1996/97, Sammlung Etta und Otto Stangl, no. 97, col. ill. p. 131 (proof impression) Wien 1998, Expressionismus aus der Sammlung Sofie und Emanuel Fohn, no. 35, col. ill. Berlin/Tübingen 1998/99, Der Blaue Reiter und seine Künstler, no. 46, col. ill. p. 258 Stuttgart 2000, no. 56, col. ill. 89 München/Budapest 2001, no. BR 27, col. ill. Milano 2003/04, Il Cavaliere Azzurro, no. 39, col. ill. Hannover 2009, Macke, Marc und Delaunay, no. 149, col. ill. p. 81 Literature Schardt 1936, ill. p. 96 Brooks 1951, p. 96 f., ill. 36 Walden/Schreyer 1954, Der Sturm, ill. p. 11 (impression from black block) Wingler 1954, Der Blaue Reiter, no. 3, ill. (impression from black block) Buchheim 1959, Der Blaue Reiter ill. p. 149 (impression from black block) Sotriffer 1971, Expressionismus und Fauvismus, ill. p. 56 (reversed) Dieter Elger 1988, Expressionismus, ill. p. 170 (impression from black block) Meißner 1989, ill. 14 Mus. cat. Los Angeles 1989, German Expressionist Prints and Drawings, Davis 1823, ill. (Sturm impression) Schulz-Hoffmann 1990, no. C 33 Barbara Dossi, Albertina. Sammlungsgeschichte und Meisterwerke, München 1998, p. 186, col. ill. no. 67 Mus. cat. Kochel 2008, col. ill. p. 72

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24 Fabeltier Fabulous Beast 1912

2nd edition 7 colours Schardt VII-1912-11 Lankheit no. 826/ 2 (‘4 colours’)

Colour woodblock print, 7 colours, 14.5 ∑ 21.7 cm 1st edition Hand-printed from the black block Not in Schardt Lankheit no. 826/1 Known impressions –Hannover, Sprengel Museum, Inv. no. Gr. 1956, 21 Thin Japan paper. Inscribed in pencil: ‘No. 1’ (u.l.). Reverse inscribed in pencil by Maria Marc: ‘aus dem Nachlass Franz Marc bestätigt Maria Marc’ Acquired 1956 by Kestner-Museum, Hannover from Auktion Ketterer Stuttgart, no. 24, 1956

Known impressions –Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut, Graphische Sammlung, Inv. no. SG 840 Colour woodblock print in yellow, red, green, violet, pink, salmon pink and black; thin Japan paper. Reverse inscribed in pencil by Maria Marc: ‘Nachlaß Franz Marc. Bestätigt Maria Marc’ (l.m.l.) Acquired from the New Munich Secession, 1915 –Hamburg, Hamburger Kunsthalle, Inv. no. 1950/14 Colour woodblock print in yellow, vermilion, green, violet, pink, salmon pink and black; Japan paper. Reverse: stamp ‘Handdruck vom Originalholzstock bestätigt Maria Marc’ (presumably rectangular, largely

cut off by lower edge) and inscriptions in pencil in Maria Marc’s hand Bequest of Dr Paul and Helene Marc, 1948 –München, Staatliche Graphische Sammlung, Inv. no. 1951: 262 D Described by Lankheit (no. 444) as ‘woodcut, coloured in tempera in six colours, a colour sketch for the colour woodcut’. Apart from some pink areas, there is no evidence of hand-colouring as opposed to printing Colour woodblock print in green, violet, vermilion, pink, yellow, salmon pink and black, the pink areas presumably additionally coloured by hand. Inscribed in pencil, probably by Maria Marc: ‘No. 5’ (l.l., beneath the image). Reverse inscribed in pencil by Maria Marc: ‘Nachlass Franz Marc bestätigt Maria Marc Fabeltier Katal. 1912/11’ Acquired from Maria Marc, Ried, 1952 ill.

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Schardt II-1912-33 (‘overpainted woodcut, tempera’, ‘Coll. Koehler’) Lankheit no. 444 –Ulm, Ulmer Museum, Inv. no. 1965.2472 Colour woodblock print in vermilion, chrome green, violet, yellow, pink, light pink and black; Japan paper. Inscribed in graphite pencil beneath the image: ‘Franz Marc’ (l.l.) and ‘5/10’ (l.r.) Acquired 1965 from the Galerie Springer, Berlin –New York, The Solomon R. Guggenheim Museum, Inv. no. 1970.166 Thin Japan paper. Inscribed in pencil: ‘No 2’ (l., beneath the image) and, by Maria Marc, ‘Nachlaß Franz Marc bestätigt Maria Marc’ (m.l.). Reverse inscribed by the artist in pencil: ‘Fabeltier’ Acquired from the Hilla von Rebay Foundation, 1967 –Wien, Albertina, Inv. no. 1996 DL 13 Colour woodblock print in yellow, salmon pink, vermilion, violet, green and black, additionally coloured in pink gouache. Inscribed in pencil, probably by Maria

Marc: ‘No. 4’ (l.l., beneath the image) Formerly Hamburg, Hamburger Kunsthalle, confiscated by the National Socialist authorities, 1937; Emanuel and Sofie Fohn; Kunsthaus Zürich, as owned by the Fohns, 1980; Österreichische Ludwigstiftung, 1996, since then on permanent loan to the Albertina

Franz Marc bestätigt Maria Marc’ (l.l., beneath the image). Reverse inscribed in pencil: ‘Fabeltier’ (l.m.l.) ill.

–Hannover, Sprengel Museum, Inv. no. I, 559 Printed from the black block and coloured in six colours in watercolour, using stencils; thin Japan paper. Inscribed in pencil by the artist: ‘Frz. Marc’ (l.l., beneath the image) and in an unidentified hand, probably Heinrich Stinnes’s: ‘Sturm 19. VIII. 16. Fabeltier handaquarellierter Holzschn. 5. Dr. – einziges sign. Exempl.’ (l.r.) Herwarth Walden, Berlin; Dr Heinrich Stinnes, Köln; auction, Ketterer, Stuttgart, 1955; Gift of Dr Bernhard Sprengel

Exhibitions Hannover 1936, no. 154 Berlin, Galerie Nierendorf 1936, no. 76 New York, Buchholz Gallery, 1945, Contemporary Prints, no. 34 (‘colored by hand’) München 1963, no. 286 München 1980, no. 217, ill. Bern 1986/87, Der Blaue Reiter, no. 116a, ill. Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 21 (impression from black block) Schulz-Hoffmann 1990, no. C 31 Expressionismus aus der Sammlung Sofie und Emanuel Fohn 1998, no. 36, col. ill. Hannover 2009, Macke, Marc und Delaunay, no. 142, col. ill. p. 81 München/Wien 2010/11, no. 199, col. ill. p. 257

–New York, Achim Moeller Fine Arts, 1998 Printed from the black block and hand-coloured in watercolour, the edges of the block painted over in black; 14 ∑ 22 cm. Inscribed in pencil: ‘No. 2’ ‘Nachlaß

Not in Schardt Not in Lankheit

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Literature Gollek 1988, no. 361, ill. p. 248 Mus. cat. Kataloge des Ulmer Museums, VI 1983, no. 136, ill. Hüneke 1990, no. 31, col. ill p. 35 3rd edition Printed from the black block and coloured in six colours – red, green, yellow, orange, pink and violet – using stencils; thin Japan paper and tissue paper. Inscribed in pencil by the artist: ‘Frz. Marc’ (l.l., beneath the image) Bound into the 50 deluxe and 10 museum copies of the Blaue Reiter Almanac, Munich 1912 ill. Not in Schardt Lankheit no. 826/3 The following impressions undoubtedly removed from copies of the deluxe and museum editions of the Blaue Reiter Almanac:

Basel, Öffentliche Kunstsammlung, Kupferstichkabinett Berlin, Staatliche Museen, Kupferstichkabinett, Inv. no. 23-1968 Emden, Kunsthalle München, Städtische Galerie im Lenbachhaus, Inv. no. G 13 141 New York, Serge Sabarsky Gallery Inc. Exhibitions Berlin 1916, no. 53 (‘hand-painted in watercolour’) Wiesbaden 1917, no. 76 Bern 1967, no. 35 Bielefeld 1985/86, O meine Zeit!, ill. p. 123 Berlin/Tübingen 1998/99, Der Blaue Reiter und seine Künstler, p. 138, no. 49, col. ill. p. 261 Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 20, col. ill. Dortmund 1996, Von der Brücke zum Blauen Reiter, ill. p. 273 Bremen 2000

Literature Almanach Der Blaue Reiter, 1912, n. pag. Buchheim 1959, Der Blaue Reiter, ill. p. 53 Dokumentarische Neuausgabe des Almanachs 1965, ill. p. 17 Vogt 1977, Der Blaue Reiter, ill. 64 Moeller 1987, Der Blaue Reiter, ill. 60 Hüneke 1990, no. 31 p. 150, col. ill. p. 35 Jentsch 1990, Illustrierte Bücher des Expressionismus, 1990, ill. p. 54 Mus. Cat. Dortmund, Meisterwerke des Expressionismus und der Klassischen Moderne, 1995, ill. p. 100 Hoberg 2008, Almanach Der Blaue Reiter 4th edition Printed for Franz Marc. Die Holzschnitte, 1984 (see cat. no. 23) Literature Düsseldorf, Wittrock, 1984 (4th edition 1984, pp. 52–60, ill. 22)

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25 Versöhnung Reconciliation 1912 Woodblock print, 20.1 ∑ 26 cm Inscribed in the block.: ‘M’ (l.l.) In a letter of 23 August 1912 to Herwarth Walden the artist describes the print as ‘an attempt to illustrate Mrs Lasker-Schüler’s poem “Versöhnung” from “Meine Wunder”’ and states that he will be sending Walden the woodblock for Der Sturm, along with fifteen signed and numbered impressions on Japan paper, the following day 1st edition Hand-printed

Lithographs and Woodcuts

Advertised in Der Sturm, vol. III, September 1912, nos. 125/126, p. 142: ‘Originalholzschnitt, 15 Exemplare vom Künstler auf Japanpapier handgedruckt, signiert und numeriert’ Schardt VII-1912-4 Lankheit no. 837/1 (‘15 copies on Japan paper’) Known impressions –Amsterdam, Stedelijk Museum, Inv. no. A 6899 Authenticated by Maria Marc Collection Regnault; acquired from Auktionshaus Brandt Auctioneers, Amsterdam, 1958 –Düsseldorf, Kunstmuseum, Graphische Sammlung, Inv. no. 51/401 Very thin transparent Japan paper. Reverse: rectangular

stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.) Acquired from Dr. Klihm, München, 1951 –Duisburg, Stiftung Wilhelm Lehmbruck Museum, Inv. no. 679/1957 Yellowish Japan paper. Inscribed in pencil: ‘franz Marc’ (l.m.) Acquired from Versteigerung Ketterer, Stuttgart, auction 30, no. 611, 1957 –Hagen, Karl Ernst Osthaus-Museum der Stadt Hagen Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Acquired from Kunstkabinett Ketterer, Stuttgart, 1951 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/9 Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil by Maria Marc: ‘Versöhnung’ (l.m.) Bequest of Dr Paul and Helene Marc, 1948 –Hannover, Sprengel Museum, Inv. no. I, 552 Silver-coated Japan paper. Inscribed in pencil by the artist: ‘Franz Marc No 4’ (l.l.) Gift of Dr Bernhard Sprengel, 1969 –Kochel am See, Franz Marc Museum, Franz Marc Stiftung, donated in Memory of E. and A. Winterstein, Inv. no. FM 287 Thin greyish brown paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Gift of Dr Wilhelm Winterstein, 2005 –Köln, Museum Ludwig, Inv. no. ML/G 1924/44 Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Acquired from Karl Nierendorf, 1924 –Los Angeles County Museum of Art, Department of Prints and Drawings, Inv. no. 55.78 Japan paper Anonymous Gift –Probably formerly Mannheim, Kunsthalle, Inv. no. H 1917 [781] (‘Frau mit Hund’) Confiscated by the National Socialist authorities, 1937 –München, Staatliche Graphische Sammlung, Inv. no. 1949: 72 D Buff silver-coated Japan paper with embossed network of lines. Inscribed in pencil beneath the image: ‘Versöhnung’ (l.l.) and ‘Privatdruck Franz Marc’ (l.r.). Reverse inscribed in pencil: ‘Versöhnung Kat. 1912/4 Privatdruck Franz Marc bestätigt Maria Marc’ (l.m.). All inscriptions in Maria Marc’s hand Acquired from Maria Marc, Ried, 1949 –München, Städtische Galerie im Lenbachhaus, Inv. no. GMS 709 Fairly stiff Japan paper. No inscriptions Donated by Gabriele Münter, 1957 ill. –Saarbrücken, Saarland Museum, Stiftung Saarländischer Kulturbesitz, Inv. no. NI 1563

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Japan paper. Reverse: round estate stamp ‘Nachlaß/ FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.r.); inscribed in pencil by Maria Marc: ‘Versöhnung’ (l.m.) –Wien, Albertina, Inv. no. 1920/158 Japan paper. Reverse: ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Acquired from Galerie Boerner, 1920 –Zürich, Graphische Sammlung der ETH Zürich, Inv. no. 1963.23 Pale beige Japan paper. Reverse inscribed in pencil by Maria Marc: ‘Maria Marc Versöhnung’ (lower margin) Acquired from Galerie L’Art Ancien, Zürich, 1963 –Köln, Kunsthaus Lempertz, auction 847, November 2003, no. 827 Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil

2nd edition Printed in Der Sturm: Wochenschrift für Kultur und die Künste, edited and published by Herwarth Walden, Berlin, vol. III, September 1912, nos. 125/126, p. 133 (Else Lasker-Schüler’s poem is printed on p. 134) Not in Schardt Lankheit no. 837/2 ill. 3rd edition Printed for Franz Marc. Holzschnitte, 1984 (see. cat. no. 23) Exhibitions Hannover 1936, no. 144 Berlin, Galerie Nierendorf 1936, no. 69 München 1963, no. 276 Bern 1967, no. 28, ill. Berlin 1980, Zeichen des Glaubens, ill. p. 105 München 1980, no. 228, ill.

Düsseldorf, Wittrock, 1984 (3rd edition 1984, pp. 52–60, ill. 13) Bern 1986/87, Der Blaue Reiter, no. 90, ill. Hannover 1989/90, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 32, ill. Münster 1994, no. 137, col. ill. p. 299 Budapest/München 2001, Mattis-Teutsch und der Blaue Reiter, no. BR 37, ill. München/Wien 2010/11, no. 203, col. ill. p. 261 Literature Hartlaub 1919, Kunst und Religion, ill. 40 Hartlaub 1947, Graphik des Expressionismus, ill. 29 Brooks 1951, p. 99ff., ill. 39 Tobien 1982, ill. p. 76 Gollek 1988, no. 364, ill. p. 249 Pese 1989, ill. 89, p. 173 (Sturm impression) Rosenthal 1989, ill. 13 Stuttgart 2000, ill. 113

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Prints

29 Die Hirtin Shepherdess 1912 Woodblock print, 22.2 ∑ 7.3 cm Inscribed in the block: ‘M’ (u.l.) 1st edition Hand-printed Advertised in Der Sturm, vol. III, February 1913, no. 148/149, p. 276: ‘Special edition: 10 hand-printed impressions on Japan paper, signed and numbered’ (see also in Der Sturm, vol. III, March 1913, no. 152/153, p. 292) Schardt VII-1912-8 Lankheit no. 828/1 (‘10 copies on Japan paper?’) Known impressions –Basel, Öffentliche Kunstsammlung, Kupferstichkabinett, Inv. no. 1930.85 Inscribed in pencil by the artist: ‘F. Marc N.9.’ (l.l.) Acquired 1930 from Stössinger, Berlin –Bremen, Kunsthalle, Kupferstichkabinett, Inv. no. 55/335 Japan paper. Reverse: rectangular stamp (below, pasted over): ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil. Inscribed in pencil: ‘Hirtin’ (l.m.) Acquired 1955 from Otto Stangl, Munich –Darmstadt, Hessisches Landesmuseum, Graphische Sammlung, Inv. no. GR 2502

Lithographs and Woodcuts

Printed in green; thin beige tissue paper. Inscribed in pencil by the artist: ‘Fz Marc N. 5’ (linked; l.l., beneath the image). Reverse inscribed in pencil, probably by Maria Marc: ‘Hirtin’ (l.m.) Donated by Dr Gisela Bergsträsser, Darmstadt, 1955 ill. –Düren, Leopold-Hoesch-Museum der Stadt Düren, Inv. no. LHM 1956/1739/280 Buff Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Acquired from the estate of the painter Hans Becker, Düren, 1956 –Halle, Staatliche Galerie Moritzburg, Landeskunstmuseum Sachsen-Anhalt, Inv. no. G. 4916. Inscribed in pencil: ‘No 10’ (l.l., beneath the image). Reverse inscribed in pencil: ‘No 10’ (l.l. corner of the image); round estate stamp ‘Nachlaß/FRANZ MARC/ bestätigt:’ with authentication in pencil: ‘Maria Marc’ Purchased by the Ministerium für Kultur, Berlin, 1961 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/13 Reverse inscribed in pencil by Maria Marc: ‘Woodblock print vom Originalholzstock bestätigt Maria Marc’ (l.l.) Bequest of Dr Paul and Helene Marc, 1948 –Hannover, Sprengel Museum, Inv. no. I, 556 Inscribed in pencil by the artist: ‘Fz. Marc’ (l.l.). Reverse inscribed in pencil: ‘no 6’ (l.l.) Auktion Ketterer, Stuttgart, no. 14, 1951; Gift of Dr Bernhard Sprengel, 1969

–Karlsruhe, Staatliche Kunsthalle, Inv. no. 1954-150 Grey Japan paper. Inscribed in pencil in an unidentified hand: ‘1912 HIRTIN’ (l.l.). Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.) Acquired from Auktionshaus Ketterer, Stuttgart, auction 20, no. 1651, 1954 –München, Staatliche Graphische Sammlung, Inv. no. 1951: 259 D Beige Japan paper. Inscribed in pencil beneath the image: ‘Hirtin’ (l.l.) and ‘Privatdruck Franz Marc’ (l.r.). Reverse inscribed in pencil: ‘Hirtin Kat 1912/8 Privatdruck Franz Marc bestätigt Maria Marc’ (l.m.). All inscriptions in Maria Marc’s hand Acquired from Maria Marc, Ried, 1952 –München, Städtische Galerie im Lenbachhaus, Inv. no. G 16 283 Thin Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt’ with authentication ‘Maria Marc’ in pencil (l.l.) Acquired from Gisela Macke, Bonn, 1981 –Philadelphia Museum of Art, Inv. no. 1948-76-229 Beige Japan paper. Inscribed in pencil by the artist: ‘Fz. Marc. Nr. 1’ (l.l., beneath the image); purple collection stamp of Heinrich Stinnes (Lugt 1376 a; l.l.) Heinrich Stinnes, Köln; purchased with the Temple and Leeter Funds, 1948 –Stuttgart, Staatsgalerie, Graphische Sammlung, Inv. no. A 48/390 Thin buff machine-made paper. Inscribed in pencil, probably by Maria Marc: ‘No 7’ (l.l., beneath the image).

Reverse: round estate stamp ‘Nachlaß/FRANZ MARC/ bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil, probably by Maria Marc: ‘Hirtin’ (l.m.) Acquired from Karl & Faber, München, 1948 –Halle, Sammlung Kracht, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt Japan paper. Inscribed in pencil by the artist: ‘Fz Marc No 3.’ (l.l., beneath the image) –Private collection Reverse: round estate stamp Maria Marc, Ried; formerly Rudolf Probst, Mannheim –Rhineland, private collection Thin brownish beige Japan paper with enclosed threads; embossed collection stamp of Heinrich Neuerburg (Lugt Suppl. 1956, No. 1344a; l.l.), inscribed in pencil: ‘98’ (below). Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil by Maria Marc: ‘Hirtin’ (l.r., from bottom upwards) Acquired by Heinrich Neuerburg, 1950s –Essen, private collection Japan paper. Inscribed in pencil by Maria Marc: ‘Nr. 1/ Aus dem Nachlaß/Handdruck Franz Marc/bestätigt/ Maria Marc’. Reverse: estate stamp with authentication ‘Maria Marc’ in pencil Maria Marc; Helene Rohlfs; Prof. Paul Vogt ill. –New York, Serge Sabarsky Gallery Inc. Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalstock bestätigt:’ with authentication ‘Maria Marc’ in pencil –Amsterdam, Christie’s, May 1991, no. 218 Thin Japan paper. Inscribed in pencil: ‘No. 8’ (l.l.) –Heidelberg, Winterberg, auction 66, April 2003, no. 1323 Greyish beige paper –München, Ketterer, auction 293, 2005, no. 20 Japan paper. Inscribed in pencil by the artist: ‘FzMarc. No. 4’ (linked; l.l., beneath the image) –Hamburg, Hauswedell & Nolte, auction 398, December 2006, no. 904 Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalstock bestätigt:’ with authentication ‘Maria Marc’ and ‘Hirtin’ in pencil 29/1

2nd edition Printed in Der Sturm: Wochenschrift für Kultur und die Künste, edited and published by Herwarth Walden, Berlin, vol. III, January 1913, nos. 144/145, p. 253 Not in Schardt Lankheit no. 828/2 ill. 3rd edition Printed for Franz Marc. Holzschnitte, 1984 (see cat. no. 23) Exhibitions Tokyo 1914, Hibiya Art Museum, No. 53, 2/10 Berlin 1916, no. 42 Wiesbaden 1917, no. 73 29/1

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Hannover 1936, no. 146 Berlin, Galerie Nierendorf 1936, no. 70 München 1946, Moderne Graphik, no. 74 Amsterdam/Bruxelles 1955, no. 61, ill. München 1963, no. 282 (in Lankheit erroneously ‘no. 32’) Bern 1967, no. 32, ill. Berkeley/Forth Worth 1979/80, no. 26, ill. p. 84 München 1980, no. 220, ill. Düsseldorf, Wittrock, 1984 (3rd edition 1984, pp. 52–60, ill. 5) Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, cat. no. 23, ill.

Berlin/Tübingen 1998/99, Der Blaue Reiter und seine Künstler, no. 47, p. 380, ill. p. 259 Halle 2005, no. 24, ill. p. 125; no. 54 München/Wien 2010/11, no. 204, col. ill. p. 262 Literature Wingler 1954, Der Blaue Reiter, ill., no no. Buchheim 1959, Der Blaue Reiter, ill. p. 132 Tobien 1982, ill. p. 20 Gollek 1988, no. 366, ill. p. 250 Mus. cat. Los Angeles 1989, German Expressionist Prints and Drawings, Davis 1824, ill. (Sturm impression) Mus. Cat. Darmstadt 1993/94, no. 56, col. ill.

357

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Prints

Lithographs and Woodcuts

30 Schlafende Hirtin Sleeping Shepherdess 1912 Woodblock print, 19.9 ∑ 24 cm Inscribed in the block: ‘M’ (u.r.) 1st edition Hand-printed Advertised in Der Sturm, vol. III, March 1913, nos. 152/153, p. 292: ‘Special edition: 10 hand-printed impressions on Japan paper, signed and numbered’ Advertised in Der Sturm, vol. IV, 1913, nos. 160/161, p. 32: ‘Hand-printed edition: 10 numbered and signed impressions’ Schardt VII-1912-6 Lankheit no. 829/1 (‘10 impressions on Japan paper?’) Known impressions –Berlin, Staatliche Museen, Kupferstichkabinett, Inv. no. AM 56-1958 Thin Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil by Maria Marc: ‘Schlafende Hirtin’ (l.m.) Formerly Saarbrücken, Staatliches Museum Confiscated by the National Socialist authorities, 1937; recovered from the estate of the art dealer Bernhard A. Böhmer, Güstrow, by order of the Zentralverwaltung für Volksbildung, March 1947; transferred to the Museen der Museumsinsel, Berlin, 1947 –Bern, Kunstmuseum, Inv. no. E 4879 Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Acquired from Auktionshaus Klipstein, Bern, October 1951

inscribed in pencil by Maria Marc: ‘Schlafende Hirtin’ (l.m.) Acquired from W. Buller, Duisburg, 1947

authentication ‘Maria Marc’ in pencil (l.l.); inscribed by Maria Marc: ‘Schlafende Hirtin’ (l.m.) Acquired from Gisela Macke, Bonn, 1981

–Essen, Museum Folkwang, Inv. no. A 67/57 Off-white paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ (l.l.) Acquired from Galerie Theo Hill, Köln, 1957

–New York, The Solomon R. Guggenheim Museum, Inv. no. 49.1218.1 Yellowish Japan paper

–Hagen, Karl Ernst Osthaus-Museum der Stadt Hagen Reverse: estate stamp, inscribed by Maria Marc (?): ‘Maria Marc Schlafende Hirtin 05347’, and rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ Acquired from Galerie Otto Stangl, München, 1954 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1947/102 Japan paper. Inscribed in pencil, probably by the artist: ‘No 12’ (l.l., beneath the image). Reverse: round estate stamp ‘Nachlaß/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in pencil; beside this, inscribed in pencil by Maria Marc: ‘Schlafende Hirtin’ Acquired from Galerie Rud. Hoffmann, Hamburg, 1947 –Hannover, Sprengel Museum, Inv. no. I, 554 Japan paper. Inscribed in pencil by the artist: ‘No. 5 Fz. Marc’ (l.l.) Ketterer, Stuttgart, auction 22, 1955; Gift of Dr Bernhard Sprengel, 1969 –Karlsruhe, Staatliche Kunsthalle, Inv. no. 1961-185 Grey Japan paper. Rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l); purple oval collection stamp of Max Kamm (l.l. corner of the image); inscribed in pencil in an unidentified hand: ‘Schlafende Hirtin’ (l. m.) Acquired from Oberregierungsrat Kamm, Baden-Baden, 1961 ill. –Lübeck, Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck, Inv. no. 1958/13 Japan paper. Inscribed in an unidentfied hand: ‘schlafende Hirtin’ (l.m.) Gift of Dr F. Schmalenbach, 1958

–Chicago, The Art Institute of Chicago, Department Prints and Drawings, Inv. no. 1956.654 Gift of Joseph R. Shapiro, 1956 –Düsseldorf, Kunstmuseum, Graphische Sammlung, Inv. no. 47/74 Transparent beige Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.);

–München, Staatliche Graphische Sammlung, Inv. no. 229242 D Transparent Japan paper. Inscribed in pencil by Maria Marc: ‘Schlafende Hirtin’ (l.m.). Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Bequest of Oberlandesgerichtsrat Karl Osthelder to the Bayerische Staatsgemäldesammlungen München, transferred to the Staatliche Graphische Sammlung München, 1947 –München, Staatliche Graphische Sammlung, Inv. no. 1951: 258 D Thin beige machine-made paper. Inscribed in pencil beneath the image: ‘Schlafende Hirtin’ (l.l.) and ‘Privatdruck Franz Marc’ (l.r.). Reverse inscribed in pencil: ‘Schlafende Hirtin Kat. 1912/6. Privatdruck Franz Marc bestätigt Maria Marc’ (l.m.). All inscriptions in Maria Marc’s hand Acquired from Maria Marc, Ried, 1952 –München, Städtische Galerie im Lenbachhaus, Inv. no. G 16 282 Thin Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt’ with

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–San Francisco, The Fine Arts Museums of San Francisco, Achenbach Foundation for Graphic Arts, California Gift of Col. David McKell, 1960 –Stockholm, Moderna Museet, Inv. no. NMG 1927/1951 Japan paper. Inscribed in pencil by the artist: ‘N. 3 Fz Marc’ (linked; l.l., beneath the image) Acquired from AB Sandbergs Bokhandel, Stockholm –Washington, DC, National Gallery of Art, Rosenwald Collection, Inv. no. 1951.16.62 Japan paper. Inscribed in pencil by the artist: ‘No 4 Frz. Marc’ (l.l., beneath the image). Reverse: collection stamp of Lessing J. Rosenwald (Lugt 1932d) Acquired as part of the Lessing J. Rosenwald Collection, 1951 –Wien, Albertina, Inv. no. 1917/71 Japan paper. Inscribed: ‘No 10’ (l.l., beneath the image). Reverse: round estate stamp, inscribed in pencil: ‘Maria Marc’ Acquired by the Kupferstichkabinett of the Kaiserliche Hofbibliothek, 1920 –Private collection Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt’ with authentication ‘Maria Marc’ in pencil; ‘Schlafende Hirtin’ Maria Marc, Ried; formerly Rudolf Probst, Mannheim 2nd edition Printed in Der Sturm: Wochenschrift für Kultur und die Künste, edited and published by Herwarth Walden, Berlin, vol. IV, May 1913, nos. 160/161, p. 25 Not in Schardt Lankheit no. 829/2 ill. 3rd edition Printed in Der Sturm: Wochenschrift für Kultur und die Künste, edited and published by Herwarth Walden, Berlin, vol. VI, April 1916, nos. 23–24, p. 137

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Not in Schardt Lankheit no. 829/3 4th edition Printed for Franz Marc. Holzschnitte, 1984 (see cat. no. 23) Exhibitions Tokyo, March 1914, Hibiya Art Museum, no. 38, 9/10 Berlin 1916, no. 45 Wiesbaden 1917, no. 67 München 1918, Hans Goltz, Der expressionistische Holzschnitt, no. 142 München 1926, Graphisches Kabinett, ill. p. 79 Hannover 1936, no. 145 Berlin, Galerie Nierendorf 1936, no. 75 Amsterdam/Bruxelles 1955, no. 59, ill. 59 München 1963, no. 278 Bern 1967, no. 30, ill. Berkeley/Fort Worth 1979/80, no. 27, ill. p. 85

München 1980, no. 221, ill. Düsseldorf, Wittrock, 1984 (4th edition 1984, pp. 52–60, ill. 6) Berlin 1986, Expressionisten, no. 198 Bern 1986/87, Der Blaue Reiter, no. 88, ill. Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 24, ill. Köln 1996, Die Expressionisten, no. 261 Berlin/Tübingen 1998/99, Der Blaue Reiter und seine Künstler, no. 55, ill. p. 267 Budapest/München 2001, Mattis-Teutsch und der Blaue Reiter, no. BR 28, ill. München/Wien 2010/11, no. 205, col. ill. p. 262 Literature Westheim 1921, Das Holzschnittbuch, ill. p. 176 Hartlaub 1947, Graphik des Expressionismus, ill. 30

Brooks 1951, p. 97F, ill. 38 Walden/Schreyer 1954, Der Sturm, ill. p. 102 Buchheim 1959, Der Blaue Reiter, ill. p. 160 Jähner 1972, ill. p. 30 Vogt 1977, Der Blaue Reiter, ill. 45 Tobien 1982, ill. p. 19 März 1984, ill. next to no. 16 Moeller, 1987, Der Blaue Reiter, ill. 62 Gollek 1988, no. 367, ill. p. 250 Mus. cat. Los Angeles 1989, German Expressionist Prints and Drawings, Davis 1827, ill. (Sturm impression) Rosenthal 1989, ill. 12 Partsch 1990, col. ill. p. 53 Rosenthal 1992, ill. 12

359

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Prints

Lithographs and Woodcuts

33a Wildpferdchen 33b Wildpferdchen Postcard sent from Sindelsdorf to Lily Klee-Stumpf, Postcard sent from Sindelsdorf to Bernhard Koehler, Munich, 14 March 1913 Berlin, 15 March 1913 Postmarked ‘Sindelsdorf 15. 3. 1913’ Woodcut coloured with tempera, 6 ∑ 8 cm (part of a 14.1 ∑ 9.1 cm postcard; Lankheit 1970 states that the written part, Verso inscribed by Maria Marc: ‘Frau/Lily Klee-Stumpf/ which has been separated, is in the same private München/Ainmillerstr. 32/Grths.’ collection) Recto inscribed by Maria Marc: ‘14.III.13 Meine liebe Postmarked ‘Sindelsdorf 16. März 1913’ Frau Klee – mit Freude hören wir, dass es Ihnen nun Verso inscribed: ‘Herrn/Bernh. Koehler/Berlin S. 42./ besser geht – und hoffentlich übersteht auch der Bubi Brandenburgstr. 34’ die schlechten Tage bald. Wenn es Ihnen wirklich Recto inscribed: ‘Lieber Herr Köhler, ich weiß angenehm sein sollte, käme ich gerne am Mittwoch eigentlich nicht, ob ich mich/freuen soll über Ihre nachmittag ½ 5 zum Klavierspielen. Aber nur wenn Sinnesänderung/betreff des Kauffes [?] oder klagen – es Ihnen nicht zu viel ist. Ich bitte Sie herzlich, mir ich sah’s/schon in meinem Schlafzimmer hängen./ ganz offen zu schreiben – ich möchte Sie nicht quälen Aber die Wahrheit zu sagen freue ich mich,/dass u. ermüden. Ich wäre Ihnen auch dankbar, wenn Sie er in der Galerie bleibt. Meine Seele/hängt sehr an mir auf jeden [continued on the verso:] Fall antworten dem Bild, – man mag darüber/sagen was man will. würden, weil ich an Frl. Piekler schreiben muß und Schicken Sie es doch/in den “Sturm” als Ihren Besitz, mich bei ihr ankündigen möchte. Es wäre mir lieb, es kommt dann/mit allen anderen Bildern nach Schluß wenn Sie mir gleich Antwort schrieben, damit auch zu [continuation on the reverse] Ihnen zurück. Ich Frl. P. die Ankündigung zeitig genug erhält. Und zeige es/ganz gern einmal. Sie/könnten ja mit Walden/ nochmals, bitte schreiben Sie mir ganz offen. Und nun telefonieren, ob er viel übrigen/Platz hat./Was soll weiter recht gute Besserung u. herzliche Grüße Ihnen das mit den Fu-/turisten in Rom sein? Ich/weiß von allen von uns beiden! Ihre Maria Marc’ nichts; in unserem/Käseblatt steht natürlich/nichts; (14.III.13 My dear Mrs Klee – we’re delighted to hear that ich bin neugierig./Gratulier zum überstandenem/ you’re feeling better – and we hope your lad will soon Lebensgefahr, eine unge-/mütliche Sache./Herzl. get over the bad days. If you really don’t mind, I’d like Grüße für Sie und/Ihre Familie von uns/Ihr F. Marc’ to come by on Wednesday afternoon at 4.30 to play the (Dear Mr Köhler, I’m not at all sure whether I should be piano. But only if it isn’t too much for you. I beg you, glad about your change of mind regarding the purchase tell me quite frankly – I wouldn’t want to get on your [?] or complain about it – I already imagined it hanging nerves & tire you. I’d also be grateful if you’d let me in my bedroom. But to tell the truth I’m glad that it will 33a know either way, because I must write to Miss Piekler be staying in the gallery. My soul is very attached to the and let her know I’m coming. I’d be glad if you could painting – whatever one may say about that. Send it write straight away, so that I can tell Miss P. in good to the ‘Sturm’ as your property, then at the end it will time. Once again, do be quite frank. And now best be returned to you with all the other paintings. I’d like wishes for a quick recovery and warmest greetings to very much to exhibit it. You might telephone Walden you all from both of us! Yours, Maria Marc) and ask if he has much space left. What’s this about the Futurists in Rome? I know nothing; there’s nothing Location about it in our local rag of course; I’m very curious. My Leicester City Museum congratulations on surviving the threat to your life – an unpleasant business. Warmest greetings from us to you Exhibitions and your family. Yours, F. Marc) Berlin/München/Saarbrücken 1991, Expressionistische Grüße, no. 125, ill. p. 160 Location Whereabouts unknown Not in Schardt Not in Lankheit Provenance ill. Private collection, Gauting

33b recto

33b verso

Exhibitions München 1963, ex cat.

Location Whereabouts unknown

Not in Schardt Lankheit no. 720 (no ill.) ill.

Literature Briefwechsel Macke-Marc 1964, p. 155, ill. p. 154 [verso text reprinted here from this publication]

Not in Schardt 33c Wildpferdchen Not in Lankheit Postcard to August Macke, postmarked 20 March 1913 ill. 14.1 ∑ 9.1 cm Recto inscribed: ‘Lieber August, die Koehler-affaire/ ist schon geklärt; Thannh.[auser] schiebt es auf/ein 33d Wildpferdchen Versehen seiner Buchführung u. hält/sich an Tausch; Postcard sent from Sindelsdorf to Vasili Kandinsky, dank für Nachricht./Wegen Delaunay schrieb Neuer-/ Munich, June 1913 Kunstsalon (Dietzel) Königinstr. 44;/er wird es schon 14.1 ∑ 9.1 cm nehmen, auch schnell,/wenn man es dringend Inscribed beneath the print: ‘Wildpferdchen’ (l.l.) and macht. Sonst/ev. auch Goltz. Ich kann mich jetzt ‘Privatdruck Franz Marc’ (l.r.) auf keine/Korrespondenz darüber einlassen, da wir/ Verso inscribed: ‘Herrn/Wass. Kandinsky/Kunstmaler/ uns eben reisefertig machen nach Meran,/wo unser in München./36 Ainmillerstr. 36/Rgb’; Sindelsdorf Vater ziemlich schwer krank [continued on verso:] im postmark, date illegible [June 1913] Sanatorium ist; die Eltern wollen uns sehen und laden ‘L. K, ich vergaß gestern näheres über den Ihrem Brief uns ein. Adresse: Meran, Villa Maja (bis ca. 27.III.). beigelegten Brief einer Frau M. Copeck und den 2 Deine Kollektion Herbst nimmt jeder in München; ich Büchern zu fragen, die sie Ihnen schicken will, – empfehl Dir am meisten Dietzel. (Schmidt ist ja weg, haben Sie sie schon? Ich bin neugierig. Hat die Dame geht nach Mannheim zu Wichert). Aber schreib jetzt etwas mit dem Maler Copeck zu thun? Ich kenne und nicht erst im Herbst. – Schade, daß wir Euch hier Reproduktionen nach Bildern von ihm, ganz fein, aber nicht sehen, aber wir begreifen Lisbeth sehr wohl. Bei nicht bedeutend. Herzlich Ihr F. M.’ uns ist auch Musik-hausse. 2 mal 4, Fz. M.’ (D[ear] K, I forgot yesterday to ask you about the letter (Dear August, the Koehler business has been resolved; from a Mrs M. Copeck enclosed with your letter and Thannh[auser]. has attributed it to an error in his bookthe 2 books she wants to send you – do you have keeping and is adhering to the exchange; thanks for them already? I’m very curious. Is the lady connected telling me. Neuer-Kunstsalon (Dietzel) Königinstr. 44 with the painter Copeck? I’ve seen reproductions of has written about the Delaunay; he’ll take it, quickly paintings by him – most refined, but not important. too, if it’s made urgent. Otherwise Goltz might possibly. Warm regards. Yours, F. M.) I can’t enter into further correspondence about it now Donated by Gabriele Münter, 1957 because we’re getting ready for a trip to Meran, where our father is rather seriously ill in the sanatorium; the Location parents want to see us and have invited us to stay with München, Städtische Galerie im Lenbachhaus, them. The address: Meran, Villa Maja (until about Inv. no. GMS 717 27.III.). Everyone in Munich would take your autumn Acquired 1957 as a donation from Gabriele Münter collection; I recommend Dietzel most highly. (Schmidt has gone: he’s moved to Wichert in Mannheim). But Exhibitions write now and don’t wait until the autumn. – It’s a München 1980, no. 219, ill. shame we won’t see you here, but we understand Lisbeth very well. We’ve had a rise in music, too. 2 ∑ 4, Fz. M.)

33d recto

33c

Literature Briefwechsel Kandinsky-Marc, 1983, no. 176, p. 227 Gollek 1988, no. 369, ill. p. 251 Not in Schardt Not in Lankheit ill.

33d verso

367

378

Prints

40 Geburt der Pferde Birth of the Horses 1913 Colour woodblock print, four colours, 21.5 ∑ 14.5 cm Inscribed in the block: ‘M’ (l.r.) One of four prints intended as illustrations to Genesis, the book that the artist chose to illustrate in the planned Blaue Reiter edition of the Bible. See also cat. nos. 39, 41–42 Schardt VII-1913-5 Lankheit no. 840 Known impressions Proof impression Kochel am See, Franz Marc Museum, Franz Marc Stiftung, Zustiftung der Erbengemeinschaft Stangl, Inv. no. FM 187 Printed from the black block and hand-coloured in green, vermilion and brown gouache, retouched in opaque white in four places. Very thin transparent Japan paper. Inscribed in pencil by Maria Marc: ‘Geburt der Pferde’ (l.m.). Reverse inscribed in pencil by Maria Marc: ‘Probedruck Franz Marc, bestätigt Maria Marc’ (lower margin) Maria Marc, Ried; Etta and Otto Stangl, München and Davos ill.

Lithographs and Woodcuts

–Basel, Kunstmuseum, Inv. no. 1930. 83 Japan paper. Inscribed in pencil by the artist: ‘4/Frz. Marc’ (l.l.) Acquired 1930 from Stössinger, Berlin –Delmenhorst, Städtische Galerie, Sammlung Stuckenberg, Inv. no. 1331 Colour woodblock print in black, sienna, vermilion and green umber. Velin paper Acquired from Antiquariat D. Eckert, Bremen, 1998 –Formerly Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1929-509 Confiscated by the National Socialist authorities, 1937 –Düren, Museumsverein des Leopold-Hoesch-Museums Düren, Inv. no. MV 1953/5 Colour woodblock print in green, vermilion, brown and black. Thin buff Japan paper. Reverse (before restoration in 1973): rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil; inscribed in pencil by Maria Marc: ‘Geburt der Pferde’ Acquired from Galerie Dr. Klihm, München, 1953 –Frankfurt am Main, Städelsches Kunstinstitut, Graphische Sammlung, Inv. no. 65953 Colour woodblock print in green, red, brown and black, thin buff Japan paper. Inscribed beneath the image in pencil by the artist: ‘10./Fz. Marc’ (l.l.). Reverse: round estate stamp u. l. ‘Nachlaß/FRANZ MARC/bestätigt:’, with authentication ‘Maria Marc’ in pencil (l.l.);

inscribed in an unidentified hand: ‘Geburt der Pferde’ (l.m.) and ‘Dr. Hagemann Nr. 1’ (l.r.) Bequest of Dr Carl Hagemann, 1948 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/19 Colour woodblock print in green, red, brown and black. Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil by Maria Marc: ‘Geburt d. Pferde’ (l.r.) Bequest of Dr Paul and Helene Marc, 1948 –Hannover, Sprengel Museum, Inv. no. I, 565 Colour woodblock print in black, red, green and brown. Inscribed in pencil by the artist: ‘Franz Marc’ (l.l.) Gift of Dr Bernhard Sprengel, 1969 –University of Lawrence, Kansas, La Vera Pohl Collection. Inscribed: ‘Tierschicksale’ and ‘no. 2’ (both l.r.) –Los Angeles County Museum of Art, Robert Gore Rifkind Center for German Expressionist Studies, Inv. no. M.82.288.204 Colour woodblock print in black, red, rose and green on Japan paper Galerie Rudolf Probst, Mannheim; private collection, Los Angeles; acquired from Heritage Gallery, Los Angeles, 1972 –Probably formerly Mannheim, Kunsthalle (‘Tiere mit roter Sonne’) Confiscated by the National Socialist authorities, 1937 –München, Staatliche Graphische Sammlung, Inv. no. 1948:48 D Colour woodblock print in green, vermilion, pale brown and black. Fairly stiff beige Japan paper. Inscribed in pencil by Maria Marc beneath the image: ‘Geburt der Pferde’ (l.l.) and ‘Privatdruck/Franz Marc’ (l.r.) Acquired from Maria Marc, Ried, 1949 –München, Städtische Galerie im Lenbachhaus, Inv. no. G 12 717 Colour woodblock print in black, green, pale brown and light red. Japan paper. Inscribed in pencil beneath the image, probably by Maria Marc: ‘No. 4’ (l.l.). Reverse: round estate stamp u. l.: ‘Nachlaß/FRANZ MARC/ bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil by Maria Marc: ‘Geburt der Pferde’ and ‘Marc’ (m.) Acquired with Funds from the Gabriele Münter Bequest, 1960 –Münster, Landesmuseum für Kunst und Kulturgeschichte, Inv. no. K67-246 LM Colour woodblock print in black, green, brown and red. Yellowish Japan paper. Inscribed in pencil by Maria Marc: ‘Nr. 1 aus dem Nachlaß/Handdruck von Franz Marc’ (l.l., beneath the image) and ‘bestätigt Maria Marc’ (lower margin). Reverse inscribed by in pencil by Maria Marc ‘2a’ and ‘Geburt der Pferde’ (l.l.) Acquired from Galerie Dr. Klihm, München, 1967 See the impression listed below under ‘Stuttgart’, which is inscribed with the no. ‘1’ in the artist’s own hand –Stockholm, Moderna Museet, Inv. no. NMG 626/1915 Colour woodblock print in black, green, brown and orange. Inscribed in pencil by the artist: ‘2./FzMarc’ (l.l., beneath the image) Acquired from Gummessons Konsthandel, Stockholm, 1915

–Stuttgart, Staatsgalerie, Graphische Sammlung, Inv. no. A 68/4587 Colour woodblock print in black, red, brown and green, red and green areas reworked in gouache. Pale Japan paper. Inscribed in pencil by the artist: ‘1. Frz.Marc’ (linked; l.l., beneath the image); collection stamp of Heinrich Stinnes in brown (Lugt Suppl. 1376a; l.l.); inscribed in pencil, probably by Heinrich Stinnes: ‘Sturm 19. VII. 15.’ and ‘Geburt der Pferde v. Marc Woodblock print und Aquarell 1/10’ (l.r.) Herwarth Walden, Berlin; Heinrich Stinnes, Köln, from 1915; acquired as part of the Hugo Borst Collection, Stuttgart, 1968 ill. –Ulm, Ulmer Museum, Inv. no. 1963.2423 Colour woodblock print in black, vermilion, chrome green and middle-toned brown. Japan paper. Inscribed in pencil by the artist: ‘7/Frz. Marc’ (l.l.) Acquired from Kornfeld & Klipstein, Bern, auction 110, 1963 –Rhineland, private collection Colour woodblock print in green, light red, pale brown and black. Buff Japan paper. Embossed stamp of the Heinrich Neuerburg Collection. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil by Maria Marc: ‘Geburt d. Pferde’ (l.r.) Acquired by Heinrich Neuerburg, Köln, 1950s –Berlin, Villa Grisebach, auction 96, 2001 Colour woodblock print. Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (below) 2nd edition Printed for Franz Marc. Holzschnitte, 1984 (see cat. no. 23) Exhibitions Berlin 1916, no. 48 (‘hand-coloured in watercolour’) Wiesbaden 1917, no. 71 Hannover 1936, no. 158 Amsterdam/Bruxelles 1955, no. 63 München 1963, no. 291 Bern 1967, no. 41, ill. New York 1975/76, no. 77 Berkeley/Fort Worth, 1979/80, no. 42, ill. p. 99 Berlin 1980, Zeichen des Glaubens, ill. p. 105 München 1980, cat. no. 233, ill. Düsseldorf, Wittrock, 1984 (2nd edition 1984, pp. 52–60, ill. 16) Bielefeld 1985/86, O meine Zeit!, ill. p. 124 Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 35, col. ill. Los Angeles 1993/94, Expressionist Utopias, ill. 10 München/Münster 1993/94, Sammlung Etta und Otto Stangl, no. 62 p. 127, col. ill. (proof impression) Münster 1994, no. 140, col. ill. p. 303 Köln 1996, Die Expressionisten, no. 264, ill. 223 Davos/Dresden 1996/97, Sammlung Etta und Otto Stangl, no. 101 p. 142, col. ill. p. 134 (proof impression) Berlin/Tübingen 1998/99, Der Blaue Reiter und seine Künstler, no. 72, col. ill. p. 284 (proof impression) Bremen 2000, Der Blaue Reiter, no. 44, col. ill. Stuttgart 2000, no. 114, col. ill. 153 Milano 2003/04, Il Cavaliere Azzurro, no. 71, col. ill. Münster 2007/08, Freiheit der Linie, no. 140, col. ill. Kochel/Halle/Bern 2010/11, Marc, Klee, p. 115, col. ill.

München/Wien 2010/11, no. 211, col. ill. p. 267 Literature Moderne Graphik der Sammlung Stinnes 1938, no. 725 Lankheit 1950, ill. p. 34 Brooks 1951, pp. 101f., ill. 41 Meißner 1980, ill. 21 Mus. cat. Ulm, 1983, Graphische Sammlung I, no. 138, col. ill. Gollek 1988, no. 372, ill. p. 253

Mus. cat. Kochel 1989, ill. p. 39 Mus. cat. Los Angeles 1989, German Expressionist Prints and Drawings, Davis no. 1834, col. ill. Pese 1989, ill. 95, p. 180 Rosenthal 1989, no. 41, col. ill. Hüneke 1990, no. 89, ill. Mus. cat. Münster 1991, Das Kunstwerk des Monats, col. ill. on cover (with further literature) Patrimonia-Heft 161, 1999, Franz Marc Museum Kochel, col. ill.

379

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Prints

Lithographs and Woodcuts

42 Schöpfungsgeschichte II The Creation II 1914 Woodblock print 23.7 ∑ 20 cm Inscribed in the block: ‘M’ (l.r.) One of four prints intended as illustrations to Genesis, the book that the artist chose to illustrate in the planned Blaue Reiter edition of the Bible. See also cat. nos. 39–41 1st edition Hand-printed from the black block Not in Schardt Lankheit no. 843/1 Known impressions –Duisburg, Stiftung Wilhelm Lehmbruck Museum, Inv. no. 680/1957 Yellowish white Japan paper. Reverse inscribed in pencil by Maria Marc: ‘Nachlass Franz Marc bestätigt Maria Marc’ (l.m.) and in pencil in an unidentified hand ‘306’ (l.r.) Acquired from Versteigerung Ketterer, Stuttgart, auction 30, 1957, no. 619, ill. 139 –München, Staatliche Graphische Sammlung, Inv. no. 1949:70 D Thin, transparent buff Japan paper. Inscribed beneath the image in pencil: ‘Schöpfungsgeschichte II’ (l.l.) and ‘Privatdruck Franz Marc’ (l.r.). Reverse inscribed in pencil ‘Schöpfungsgeschichte II. Kat. 1914 2/ Privatdruck Franz Marc bestätigt Maria Marc’ (l.m.). All inscriptions in Maria Marc’s hand Acquired from Maria Marc, Ried, 1950 ill.

2nd edition Three colours, printed from three blocks

–Los Angeles, Grunwald Center for the Graphic Arts, University of California

Schardt VII-1914-2 Lankheit no. 843/2

–Mülheim an der Ruhr, Kunstmuseum in der Alten Post, Inv. no. 217 Colour woodblock print in black, green and yellow Acquired from Galerie H. Trojanski, Düsseldorf, 1955

Known impressions Proof impression Private collection Printed in black and hand-coloured in gouache in green and a lighter and a darker shade of brown ochre, partly reworked in opaque white. Transparent Japan paper Etta and Otto Stangl, München and Davos/Maria Marc, Ried Probably identical with Lankheit no. 494 (no ill.): ‘Schöpfungsgeschichte II, 1914; woodcut, coloured in tempera in two colours; 23.7 ∑ 20 cm; colour sketch for colour woodcut no. 843; Schardt II-1914-13; Staatliche Graphische Sammlung München’. No hand-coloured impression matching this description can be found among the holdings of the Staatliche Graphische Sammlung München –Basel, Öffentliche Kunstsammlung, Kupferstichkabinett, Inv. no. 1940.56 Colour woodblock print in yellow, green und black. Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil Acquired from Gutekunst und Klipstein, Bern, 1940 –Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1950/22 Colour woodblock print in black, green and yellow. Japan paper. Reverse inscribed in pencil by Maria Marc: ‘Nachdruck vom Originalholzstock bestätigt Maria Marc’ (l.l.) Bequest of Dr Paul and Helene Marc, 1948

–München, Staatliche Graphische Sammlung, Inv. no. 1949:69 D Colour woodblock print in black, green and yellow. Pale beige Japan paper. Reverse inscribed in pencil by Maria Marc: ‘Schöpfungsgeschichte II Kat 1914/2 Handdruck nach d. Originalholzstöcken bestätigt Maria Marc’ (lower margin) Acquired from Maria Marc, Ried, 1950 ill. –New York, The Museum of Modern Art, Inv. no. 265.53 Colour woodblock print in black, yellow and green. Japan paper. Inscribed in pencil: ‘F. Marc’ (l.r.) Katherine S. Dreier Bequest, 1953 –Stuttgart, Sammlung Etta und Otto Stangl, on loan to the Galerie der Stadt Stuttgart, Inv. no. SN 1307/1 Colour woodblock print in black, green and yellow ochre. Brownish paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.) Maria Marc, Ried; Etta and Otto Stangl, München and Davos –Stuttgart, Sammlung Etta und Otto Stangl, on loan to the Galerie der Stadt Stuttgart, Inv. no. SN 1307/2 Colour woodblock print in black, green and yellow ochre. Fairly stiff white Japan paper. Reverse: rectangular stamp: ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.) Maria Marc, Ried; Etta and Otto Stangl, München and Davos –Wien, Albertina, Inv. no. 1996 DL 16 Colour woodblock print in black, green and yellow. Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.); inscribed in pencil: ‘Schöpfungsgeschichte II’ (l.r.); collection stamp of Emanuel and Sofie Fohn: ‘EFS’, inscribed in pencil: ‘F 105’ (l.l.) Probably formerly Hamburger Kunsthalle, confiscated by the National Socialist authorities, 1937; Emanuel and Sophie Fohn; Kunsthaus Zürich, as owned by the Fohns, 1980; Österreichische Ludwigstiftung, 1996, since then on permanent loan to the Albertina –Rhineland, private collection Colour woodblock print in black, light green and yellow. Transparent Japan paper. Embossed stamp of the Heinrich Neuerburg Collection (l.l.). Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil (l.l.) and, beside this, inscribed in pencil by Maria Marc: ‘Schöpfungsgeschichte II’ Acquired by Heinrich Neuerburg, 1950s –New York, private collection, Serge Sabarsky Gallery Inc. Colour woodblock print in black, green and yellow. Japan paper. Inscribed in an unidentified hand: ‘Franz Marc Tierschicksale. Orig. Farbenholzschnitt’ (beneath the image). Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’

42/1

42/4

42/2

383

386

Prints

Lithographs and Woodcuts

Thin Japan paper. Inscribed in pencil, probably by Maria Marc: ‘18’ (l.l.) –Hamburg, Burkhard Tepper, 2010 Stiff yellow Japan paper. Inscribed in graphite by the artist: ‘1./Frz Marc’ (linked; l.l.)

44 Zwei Fabeltiere Two Fabulous Beasts 1914 Woodblock print, 10 ∑ 12 cm Inscribed in the block: ‘M’ (l.m.) U.l. section printed separately and sent as a postcard to Erich Heckel; see cat. no. 43a Schardt VII-1914-3 Lankheit no. 845

München and Davos –München, Staatliche Graphische Sammlung, Inv. no. 1951:268 D Fairly thick pale beige Japan paper. Inscribed in pencil by the artist: ‘6./Frz.Marc’ (l.l., at lower margin) Acquired from Maria Marc, Ried, 1952 –Halle, Sammlung Kracht, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil

Known impressions –Essen, Museum Folkwang, Inv. no. A 12/67 Printed in brown. Thin buff Japan paper. Inscribed in pencil, probably by Maria Marc: ‘16’ (l.l., beneath the image) Acquired from Galerie Dr. Klihm, München, 1967 ill.

–Köln, Lempertz, auction 750, November 1997, no. 1058 Yellow-tinted Japan paper with enclosed threads. Reverse inscribed by Rudolf Probst in pencil: ‘Rudolf Probst’ ‘Nachlass/Original-Abzug von Fz Marc, No. 20, bestätigt für Maria Marc’ Maria Marc, Ried; formerly Rudolf Probst, Mannheim

–Hannover, Sprengel Museum, Inv. no. I, 568 Japan paper. Inscribed in pencil: ‘19’ (l.l.) Joachim Probst, Mannheim; Dr Bernhard Sprengel, Hannover, 1955; Gift of Dr Bernhard Sprengel, 1969

–Köln, Lempertz, auction 822, June 2002, no. 304 Thin Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil

–Kaiserslautern, Pfalzgalerie, Inv. no. 57/68 Ribbed kraft tissue paper. Inscribed in pencil by Maria Marc: ‘5’ (l., beneath the image) Acquired from Galerie Otto Stangl, München, 1957

–Düsseldorf, Andreas Sturies, auction 10, November 2003, no. 156 Thin Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ –München, Ketterer Kunst, auction 292, March 2005, no. 656 Japan paper

–Kochel am See, Franz Marc Museum, Franz Marc Stiftung, Zustiftung der Erbengemeinschaft Stangl, Inv. no. FM 184 Thin, transparent buff Japan paper. Inscribed in pencil by Maria Marc: ‘7’ (l., beneath the image) Maria Marc, Ried; formerly Etta and Otto Stangl,

–München, Ketterer Kunst, auction 371, October 2010, No. 262

2nd edition In Franz Marc. Sechzehn Farbige Handzeichnungen: Die Zweite Mappe im Verlag der Dichtung. v. Wolf Przygode, Gustav Kiepenheuer, Verlag, Potsdam, 1923 Die Reproduktion der sechzehn farbigen Zeichnungen erfolgte in reinem Lichtdruck durch die Reichsdruckerei Berlin In der Vorzugsausgabe (‘Ausgabe A’): Nummer I mit dem von Franz Marc auf Japanpapier gedruckten, signierten und numerierten Holzschnitt, in einer Mappe aus Lama-Maroquinleder mit Goldprägung Nummer II bis V mit dem von Franz Marc auf Japanpapier gedruckten Holzschnitt, in Kalbspergament-Mappen [Nr. I–V der Vorzugsausgabe enthielt damit keine posthumen Nachdrucke, sondern eigenhändig gedruckte Originalholzschnitte aus dem Nachlaß des Künstlers] Nummer I–50 mit dem Holzschnitt auf Japanpapier, gedruckt von Frau Maria Marc, in Halbleder-Mappen Die allgemeine Ausgabe (‘Ausgabe B’) von 450 Exemplaren, Nr. 51–500 in Halbleinen-Mappen, ohne den Holzschnitt von Franz Marc Alle Blätter tragen als Trockenstempel das von Lyonel Feiniger entworfene Signet des Verlags der Dichtung In Franz Marc: Sechzehn Farbige Handzeichnungen: Die Zweite Mappe im Verlag der Dichtung, ed. Wolf Przygode, Verlag der Dichtung, Gustav Kiepenheuer, Potsdam, 1923 Reproductions of the sixteen coloured drawings printed in pure half-tone by the Reichsdruckerei, Berlin Deluxe edition (Edition A): Number I with the woodcut hand-printed on Japan paper by Franz Marc and signed and numbered by him, in a portfolio of lama Morocco leather embossed in gold Numbers II to V with the woodcut hand-printed on Japan paper by Franz Marc, in portfolios of calf vellum [Nos. I to V in the de luxe edition were thus not posthumous impressions, but original woodcuts handprinted by the artist and deriving from his estate] Numbers 1 to 50 with the woodcut hand-printed on Japan paper by Frau Maria Marc, in half-leather portfolios Standard edition (Edition B) of 450 copies, nos. 51 to 500 in half-cloth portfolios, without the woodcut by Franz Marc All impressions are embossed with the publisher’s stamp, designed by Lyonel Feininger

44a Zwei Fabeltiere, 1914 Two Fabulous Beasts Woodblock print on postcard, 9 ∑ 14 cm. Postcard from Franz Marc, Benediktbeuern, to Erich Heckel, Osterholz, 24 July 1914 Verso inscribed: ‘Herrn Kunstmaler Erich Heckel/ Osterholz bei Langballig (Schleswig)’, postmarked ‘Benediktbeuern 24 Juli 1914’ Recto inscribed: ‘Lieber Heckel,/schade, daß Sie bis jetzt/ nichts bindendes sagen/können; mit Piper bin/ich noch nicht zum Schluß/gekommen. Er wird/wohl die ganze Sache über-/nehmen; erst sind Einzel-/ausgaben geplant, die/später als ganze Bibel/zusammengefaßt werden/können. Honorar soll/jeder das gleiche erhalten./Den Ausgleich zwischen den [continued on the verso:] Herstellungskosten der einzelnen Bücher soll der Verlag selber suchen. Was er bei einem Buch ev. zusetzt, muß er vom andren gewinnen. Dank für Ihre V. Ey[c]k-Karte, sie hat sich mit meiner Karte gekreuzt. Guten Sommer Ihnen beiden von uns. Ihr F. Marc.’ (Dear Heckel, It’s a pity you can’t commit yourself yet; I still haven’t reached an agreement with Piper. He’ll probably take on the whole thing; separate publications are planned which can later be combined to form a complete Bible. Everyone is to receive the same fee. The publisher himself must attempt to balance the production costs of the individual books. Anything he loses on one book he must make up on another. Thank you for your V. Ey[c]k card; it crossed with my card. We wish you both a good summer. Yours, F. Marc.) Location Hamburg, Altonaer Museum in Hamburg, Norddeutsches Landesmuseum, Inv. no. 1964/211 Provenance Acquired 1964 as part of some Erich Heckel files, 1964 Exhibitions Hamburg 1962, Bemalte Postkarten, no. 297, ill. p. 66 (‘Katze’) Reutlingen 1969, Gemalte Karten, no. 122, ill. (‘Katzenkopf’) Hamburg 1970, Kunst und Postkarte, no. 107, ill. Hamburg/Frankfurt am Main 1992, Die Künstlerpostkarte, no. 179, ill. Bremen 2000, Der Blaue Reiter, no. 33, col. ill.

44a

Literature Wietek 1977, Gemalte Künstlerpost, p. 92, ill. Not in Schardt Not in Lankheit ill.

44b Zwei Fabeltiere, 1914 Two Fabulous Beasts Woodblock print on postcard, 9 ∑ 14 cm. Postcard from Franz Marc, Benediktbeuern, to Alfred Kubin, Wernstein, 24 July 1914 Verso inscribed: ‘Herrn Kunstmaler/Alfred Kubin/in Wernstein a/Inn/Ob. Österreich’ Poststempel:Benediktbeuern 24. July 1914 ‘Lieber Kubin, schönen Dank für Brief u. Die 2 famosen Blättchen. Anfang August kommt Piper zurück, dann gehen die Verhandlungen weiter. Kokoschka hab ich geschrieben. Es ist edel von Ihnen, dass Sie nicht auf dem Anfang bestehen, zu dem Sie Ihr “Fleiss” wie

Sie sagen, berechtigen würde. Hammelmann sträubte sich wenigstens aus “Verlegerrücksichtigen” [sic] sehr [continued on the verso:] dagegen. Hauptsache ist mir jetzt, dass 1. das Ganze nicht verschleppt wird und würdig herauskommt und 2. dass das Honorar nicht zu schäbig ausfällt. Über meine Rehe kommt jetzt der Liebestaumel. Das Gaischen springt meterhoch vor Vergnügen. Herzl. von Haus zu Haus Ihr Fz. Marc‘ (‘Dear Kubin, Many thanks for your letter and the two splendid little works. Piper will be back at the beginning of August, and then negotiations will continue. I’ve written to Kokoschka. It’s noble of you not to insist on appearing at the start, especially since, as you say, your ‘hard work’ would entitle you to it. Hammelmann objected strongly, at least ‘out of consideration to the publisher’. My main concern now is that (1) the whole thing won’t be dragged out and is issued in a worthy form and (2) that the fee won’t turn out to be too mean. My deer are now overcome with the rapture of love. The little goat is jumping metres into the air for joy. Warm greetings from house to house, Yours, Fz. Marc’)

3rd edition Printed for Franz Marc. Holzschnitte, 1984 (see cat. no. 23) Exhibitions München 1963, no. 298 Bern 1967, no. 46 Düsseldorf, Wittrock, 1984 (2nd edition 1984, pp. 52–60, ill. 21) Hannover 1989/90, Der Blaue Reiter: Kandinsky, Marc und ihre Freunde, no. 39, ill. Halle 2005, no. 38, ill. p. 137 Literature Kat. Kaiserslautern 1986, no. 316, pp. 130 and 134 Hüneke 1990, no. 100, p. 104 (‘Schöpfungsgeschichte’) 44b recto

44b verso

387

390

Prints

Malbuch Painting Book

Exhibitions München 1963, no. 272 Bern 1967, no. 54 München 1980, no. 215, ill. p. 279

Literature Seiler 1956, ill. p. 2 Gollek 1988, no. 360, ill. p. 246

51 Ex-libris Paul Marc IV

52 Ex-libris Bernhard Koehler

1909

1911/12

Colour lithograph, 6.5 ∑ 15.2 cm Inscribed in the stone: ‘Fz.M.’ (l.l.)

Woodblock print 5 ∑ 5 cm (image), approx. 15.5 ∑ 10.7 cm (sheet)

Schardt IX-Exlibris-8 Lankheit no. 854

Schardt IX-Exlibris-11 Lankheit no. 863

–München, Staatliche Graphische Sammlung, Inv. no. 1951: 270 D Printed in olive green Acquired 1951 ill.

–München, Städtische Galerie im Lenbachhaus, Inv. no. G 16 284 Pale pink Japan paper with enclosed threads, 9.5 ∑ 9 cm (sheet). Inscribed: ‘Fz. Marc’ (l.l., beneath the image) Acquired from Gisela Macke, Bonn, 1981 ill.

Exhibitions München 1980, no. 213, ill. p. 279

–München, Staatliche Graphische Sammlung, Inv. no. 1951: 211 D Japan paper. Inscribed in pencil: ‘10’ (l.r.) Acquired 1951

Literature München 1963, no. 270 Bern 1967, no. 52

52a Ex-libris Bernhard Koehler, 1911/12 Woodblock print on coloured Japan paper, mounted on card 6.1 ∑ 6.1 cm (print), 14.2 ∑ 9.2 cm (card) Postcard sent from Sindelsdorf to Paul Klee, Munich, 6 February 1914 Verso inscribed: ‘Herrn Paul Klee/Kunstmaler/in München./32, Ainmillerstr. 32/R. II’ Postmarked ‘Sindelsdorf 7. 2. 1914’ Recto inscribed: ‘Lieber Klee, Dank für die famosen/italovirginias, – schmecken/fein. Was machen Sie beide nur/immer für Sachen! Ich freute mich/schon so, Sie wieder gesund zu wissen;/ich war ganz deprimiert gestern,/wieder Schlimmes zu hören. Recht gute/ Besserung Ihnen beiden Lieben./Obenstehend ein ex-libris, das ich für/Koehler geschnitten habe. Herzlich mit/allen Wünschen Ihr F. Marc’ (Dear Klee, Thank you for the fine Italo-Virginias – they taste excellent. What are you two doing? I was so happy to know that you’d been restored to health; then yesterday’s bad news made me sad again. Do both get well soon, you dear people. Above an ex-libris that I cut for Koehler. Warm regards and all good wishes, Yours, F. Marc)

53 Zoologischer Garten Mal- & Bilderbuch. Erster Teil: Wilde Tiere Zoological Garden Painting and Picture Book. Part One: Wild Animals 1908

53 back cover

Not in Schardt Not in Lankheit ill.

Book 10 pages plus front and back covers, 11 original lithographs, partly in colour, 30.6 ∑ 29 cm (sheet)

Location Private collection Depositum Zentrum Paul Klee, Bern

Front cover: ‘Zoologischer/Garten/Mal-&/Bilder-/Buch/ Erster Teil: Wilde Tiere’; inscribed in the stone: ‘Franz/ Marc’ (l.r.) Unnumbered pages: [1] Der Braune Bär (The Brown Bear); [2] Das Dromedar (The Dromedary); [3] Der Amerikanische Bison (The American Bison); [4] Der Leopard (The Leopard); [5] Der Afrikanische Elephant (The African Elephant); [6] Das Känguruh (The Kangaroo); [7] Das Zebra (The Zebra); [8] Das Indische Nashorn (The Indian Rhinoceros); [9] Der Makak (The Maraque); [10] Der Eisbär (The Polar Bear) Printed on back cover: ‘Originallithographie von Fr. Marc./Druck & Verlag H. Eigner G.m.b.H./München 31 Schellingstr. 40.’

Exhibition Berlin/München/Saarbrücken 1991, Expressionistische Grüsse, no. 140, col. ill. p. 175 Kochel/Halle/Bern 2010/11, Marc, Klee, p. 239, col. ill p. 43

One copy: München, Staatliche Graphische Sammlung, Inv. no. 1952: 224 B Acquired from Maria Marc, 1952 ill. See also Catalogue raisonné Franz Marc, Vol. II, no. 372 Schardt IX-Kinderbilderbuch-1 (‘Nach Lithographien gedruckt’ [printed after lithographs]) Lankheit no. 889 (‘Szenen mit exotischen Tieren, 1908, Verschiedene Techniken und Maße ... Nur wenige Vorarbeiten erhalten, siehe die Blätter Nr. 315 und 316 sowie die Lithographien Nr. 820 und 821’) In the prints section of his 1970 catalogue raisonné Lankheit included the following impressions of two original black-and-white lithographs for the Malbuch: 52

52a recto

52a verso

53 front cover

Känguruhs (Kangaroos; for [6] Das Känguruh) –Darmstadt, Hessisches Landesmuseum, Inv. no. GR 2492 Image 13.5 ∑ 25 cm, sheet ca. 22 ∑ 31.5 cm, inscribed beneath the image in pencil by Maria Marc: ‘Nachlass Franz Marc, bestätigt Maria Marc’ Acquired 1955 from the art market ill. –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1915-318 Image 13.5 ∑ 24.8 cm, sheet 23.8 ∑ 30.8 cm, inscribed l.l. in pencil by an unidentified hand: ‘F. Marc’ Acquired 1915 Schardt VI-1909-1 (‘Andruck für Bilderbuch’ [proof for picture book]) Lankheit no. 821 ‘Spielende Affen’ (Playing Monkeys; for [9] Der Makak) –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1915-314 Image 12.8 ∑ 19.8 cm, sheet 17.2 ∑ 25.9 cm, inscribed l.l. in pencil by an unidentified hand: ‘Frz. Marc’ Acquired 1915 from Emil Hirsch, München ill. Schardt VI-1909-2 (‘Andruck für ein Bilderbuch’ [proof for a picture book]) Lankheit no. 820 Five additional, previously unrecorded black-and-white lithographs exist in one verified impression each in the Dresden Kupferstichkabinett:

Front cover ‘Zoologischer Garten’ (Zoological Garden) –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1915-313 Image 26.5 ∑ 24.2 cm, sheet 45.1 ∑ 36.5 cm, inscribed l.l. in pencil by an unidentified hand: ‘Frz. Marc’ [1] ‘Drei Bären’ (Three Bears) –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1915-317 Image 13.5 ∑ 22 cm, sheet 16.9 ∑ 26.3 cm, inscribed l.l. in pencil by an unidentified hand: ‘Frz. Marc’ [4] ‘Drei Leoparden’ (Three Leopards) –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1915-316, recto Image 11.2 ∑ 24.3 cm, sheet 18.5 ∑ 27.7 cm, inscribed l.l. in pencil by an unidentified hand: ‘Frz. Marc’ [5] ‘Zwei Elefanten’ (Two Elephants) –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1915-316, verso Image 11.2 ∑ 24.3 cm, sheet 18.5 ∑ 27.7 cm, inscribed l.l. in pencil by an unidentified hand: ‘Frz. Marc’ [8] ‘Zwei Nashörner’ (Two Rhinoceroses) –Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett, Inv. no. A 1915-315 Image 11 ∑ 24.7 cm, sheet 19.3 ∑ 29.6 cm, inscribed l.l. in pencil by an unidentified hand: ‘Frz. Marc’ All acquired 1915 from Emil Hirsch, München Not in Schardt Not in Lankheit

391

392

Prints

Malbuch Painting Book

53 [1]

53 [2]

53 [5]

53 [6]

53 [3]

53 [4]

53 [7]

393

394

Prints

Stencil Prints

54 Zwei Pferde Two Horses 1912 Letterpress print, stencil-coloured 14.5 ∑ 21 cm (image), 21 ∑ 28.3 cm (sheet) Bound into the first printing of the standard edition of the Blaue Reiter Almanac (1912, 1,200 copies, bound in boards and cloth) between pp. 32 and 33, protected by a leaf of tissue paper bearing the printed caption ‘PFERDE nach Aquarell von F. Marc’ See watercolour and gouache sketch in Sketchbook XXV, unpaginated (Lankheit no. 597) Not in Schardt Not in Lankheit (see Lankheit no. 419)

54a Zwei Pferde Two Horses 1911/12

53 [8]

53 [9]

Gouache over letterpress print 14.1 ∑ 20.8 cm (image), 17.5 ∑ 22 cm (sheet, creased) Inscribed in ink by the artist: ‘Richtige Vorlage.’ (u.l.) Model for the illustration in the first printing of the standard edition of the Blaue Reiter Almanac, 1912

Location Franz Marc-Museum, Kochel, FM 264 Gift of Dr Wilhelm Winterstein, 1998 Provenance Given to Reinhard Piper by Franz Marc, 1911/12 Reinhard Piper, Archiv, München Christie’s, London, October 1997, no. 160, col. ill. p. 197 Exhibitions Köln 1947, Galerie Rusche, Der Blaue Reiter, no. 28? (‘Springende Pferde, Aquarell, 1912’) München 1949, Der Blaue Reiter, no. 256a, p. 40 (‘Springende Pferde 1912’, ‘Aquarell für den Vierfarbenholzschnitt im Blauen-Reiter-Almanach’) Stuttgart 2000, no. 53, col. ill. 86 Kochel/Halle/Bern 2010/11, Marc, Klee, p. 240, col. ill. p. 89 (‘Holzschnitt in Gouache koloriert’) Literature Buchheim 1959, Der Blaue Reiter, col. ill. p. 51 Mus. cat. Kochel 2003, p. 46, col. ill., cover Mus. cat. Kochel 2008, p. 292, col. ill. p. 78 (‘Holzschnitt in Gouache koloriert’) Not in Schardt Lankheit no. 419

53 [9] 54a

53 [10]

395

396

Prints

Stencil Prints

55 Zwei Pferde Two Horses 1912/1914 Paper bearing Römerturm watermark ‘ANTIQUE’ Bound into the deluxe edition (1912, 50 copies) and the second printing of the standard edition (1914, 1,000 copies) of the Blaue Reiter Almanac between pp. 32 and 33, protected by a leaf of tissue paper bearing the printed caption ‘PFERDE nach Aquarell von F. Marc’ See watercolour and gouache sketch in Sketchbook XXV, unpaginated. See also no. 54. The print reverses the image in the sketchbook

In February 1912 Marc wrote to Kandinsky: ‘Beiliegend das Blatt für die Luxusausgabe, zum selbstkoloriren [sic]. Ich hab keine große Lust, es noch in Holz zu schneiden, oder ist es partout nötig? Dann schicken Sie es mir wieder. Bruckmann soll es klischiren und teils auf beigelegtem Japan, teils auf schönem, leichten Kolorierpapier probeweise abziehen. Ich denke, es wird dann geklebt im Buch’ (Herewith the page for the deluxe edition, to be coloured separately. I don’t particularly want to cut it in wood, or is that really necessary? If so, send it back to me. Bruckmann should make a plate from it and take some sample impressions, partly on the enclosed Japan paper, partly on good paper for colouring. I assume it will be pasted into the book). See Lankheit 1983, Briefwechsel Kandinsky–Marc, p. 138 Not in Schardt Not in Lankheit (see Lankheit nos. 420, 421)

55a Zwei Pferde Two Horses 1911/12 Ink and watercolour over letterpress print, 14.3 ∑ 21 cm Model for the illustration in the deluxe edition (1912) and the second printing of the standard edition (1914) of the Blaue Reiter Almanac Location Hamburg, Hamburger Kunsthalle, Kupferstichkabinett, Inv. no. 1953-60 Acquired from Dr E. Doebbcke, Berlin, 1953 Exhibitions Hamburg 1955, Neue Erwerbungen, p. 35, no. 462, ill. p. 45 Stockholm 1955, Tyska Teckningar, no. 225, ill. 92 Bern 1986/87, Der Blaue Reiter, no. 115, ill. p. 102 Berlin/Essen/Tübingen 1989/90, no. 78, col. ill. Stuttgart 2000, no. 55, col. ill. 88 Literature ‘Erwerbungen für die Graphische Sammlung in den Jahren 1951–1959’, Jahrbuch der Hamburger Kunstsammlungen, 5, 1960, p. 132 Lankheit 1978, ill. 15 Pese 1989, ill. 63, p. 145

55a

Not in Schardt Lankheit no. 420 (‘Mischtechnik’, with no mention of the letterpress print)

55b Zwei Pferde Two Horses 1911/12 Gouache over letterpress print 14.3 ∑ 21 cm (image), 23 ∑ 29.7 cm (sheet) Inscribed in pencil by Maria Marc: ‘Kat. 1912/3’ (l.l.); inscribed in pencil: ‘2 Pferde (bemalter Buchdruck)’ (l.r.) Reverse: estate stamp of Galerie Stangl, Munich, estate no. 404 Model for the illustration in the deluxe edition (1912) and the second printing of the standard edition (1914) of the Blaue Reiter Almanac Location Private collection Provenance Maria Marc, Ried Galerie Otto Stangl, München, Marc estate no. 404 Fritz Jahns, Switzerland, 1981 Villa Grisebach, Berlin, auction 10, November 1989, no. 28, col. ill. Galerie Thomas, München, 1990 Exhibitions München 1962, Galerie Stangl, Vor 50 Jahren, no. 54 Bremen 1970, no. 24 Vaduz 1971, no. 54, p. 14, ill. XVII New York 1969, Hutton Gallery Belgrade 1976, Der Blaue Reiter, no. 75 p. 87, ill. p. 90 Berlin 1977/78, Pels-Leusden, Marc – Macke, no. 33, col. ill. p. 21 München 1980, no. 122, col. ill. p. 220 Berlin/Essen/Tübingen 1989/90, no. 77A, p. 284, col. ill. München 1990, Galerie Thomas, 25 Jahre danach, no. 57, col. ill. München 1993, Galerie Thomas, Künstler des Blauen Reiter, no. 29, col. ill.

55b

Literature Hüneke 1990, no. 45, col. ill. p. 49 Rosenthal 1989, col. ill. 24 (location given erroneously as ‘Städtische Galerie im Lenbachhaus, Munich, Estate’) Schardt II-1912-3 Lankheit no. 421

55c Zwei Pferde Two Horses 1911/12 Tempera and gouache over letterpress print 14.3 ∑ 20.9 cm Model for the illustration in the deluxe edition (1912) and the second printing of the standard edition (1914) of the Blaue Reiter Almanac Inscribed in ink by the artist: ‘Solche und weiße Punkte können weiß stehen bleiben. Sonst darf sich aber kein/ Weiß zeigen; wo Farbe an Farbe stößt, können sich lieber die Farben etwas/decken. – bitte um Sendung von Probeblatt.’ (beneath the image), ‘Fz Marc’ (l.r.) and ‘1 Blau/2 Dunkelgrün/3 Hellgrün/4 Gelbrot/5 Dunkelrot/6 Blaßrot/7 grau/8 gelb.’ (r., next to the image) Location Private collection Karl Faber, München, auction 165, June 1984, no. 1060; acquired from Galerie Ludorff, Düsseldorf, 1985

55c

Exhibitions Berlin/Essen/Tübingen 1989/90, no. 77, col. ill. Berlin/Tübingen, 1998/99, Der Blaue Reiter und seine Künstler, no. 45, col. ill. p. 257 Stuttgart 2000, no. 54, col. ill. 87

München 2005, no. 173, col. ill. p. 237 Not in Lankheit Not in Schardt

397

398

Prints

Print after Marc

Facsimiles

Print after Marc

56 Hund Dog 1912/13 Print after a facsimile of the watercolour ‘Fabeltier (Aufheulender Hund)’, 13 ∑ 16.5 cm, formerly in Sketchbook XXVIII, 1912/13, p. 11. The reproduction in Die Aktion, III, 1913, cols. 595/6, is incorrectly captioned ‘Holzschnitte’ (woodcuts). Not in Schardt Lankheit no. 847

58 Komposition mit zwei Rehen Composition with Two Deer Woodblock print, 13 ∑ 10.3 cm Inscribed in the block: ‘M’ (l.r.) Print after the coloured brush and ink drawing ‘Komposition mit zwei Rehen (Rehe)’, 1912, Sketchbook XXV, p. 26 (image reversed). Cutter unknown Literature Andreas Sturies Moderne Kunst & Auktionen, Düsseldorf, Nov. 2002, no. 141 Not in Schardt Not in Lankheit

57 Spielende Katzen Playing Cats 1912/13 Reproduced in Der Sturm. Halbmonatsschrift für Kultur und die Künste, vol. V, April 1914, no. 1, cover, as ‘Franz Marc: Katzen/Zeichnung’ Lithographic facsimile of the tempera painting ‘Spielende Katzen’, 1912/13, 39.5 ∑ 45.7 cm (Cat. raisonné Franz Marc, Vol. 2, no. 226) One copy in: Schloßmuseum Gotha, Inv. no. KK Gotha S-3,25 Not in Schardt Not in Lankheit

399