franz marc: the complete works: volume iii sketchbooks and prints

Franz MarcThe 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

PHILIP WILSON PUBLISHERSZwei Füchse (Two foxes), 1913, XXXI, p. 59

Franz MarcThe Complete WorksVolume IIISketchbooks and Printsby Annegret Hoberg and Isabelle Jansen

First published in 2011 by Philip Wilson Publishers, an imprint of I.B.Tauris & Co Ltd6 Salem RoadLondon W2 4BUwww.philip-wilson.co.uk

ISBN 978-0-85667-598-0

Distributed in the United States and Canadaexclusively by Palgrave Macmillan175 Fifth Avenue, New York NY 10010

© 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 HillierThe Old Chapel Graphic Designwww.theoldchapelivinghoe.com

Introductions translated by Christopher WynneCatalogue translated by Michael Foster

Printed in China by Everbest

Contents

Foreword 6

Introductions to the Sketchbooks 9Introduction to the Catalogue Raisonné of Sketchbook Leaves 11

The Sketchbooks of Franz Marc 15

Catalogue Raisonné of Sketchbook Leaves 23Sketchbooks 25

Appendix 300

Introductions to the Prints 309Introduction to the Catalogue Raisonné of Prints 310

The Woodcuts of Franz Marc 319

Catalogue Raisonné of Prints 325Lithographs and Woodcuts 326

Ex Libris 388

Malbuch Painting Book 391

Stencil Prints 395

Facsimiles 398

Print after Marc 399

Glossary 401

Concordances 402

Bibliography 406

Index of Sketchbooks Titles 415

Index of Prints Titles 429

Photographic Acknowledgements 430

76 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

Foreword 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 Beloubek-Hammer, 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-WittgensteinDirector, Franz Marc Foundation

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

326 Prints 327Lithographs and Woodcuts

1 Akt auf kariertem BettFemale Nude on Patterned Bed

1907

Colour lithograph, colours and dimensions unknown

Schardt VI-1907-1 (‘destroyed’)Lankheit no. 802

No impressions knownNot ill.

2 Zwei AkteTwo Female Nudes

1907

Lithograph, 19.1 ∑ 20.8 cmInscribed 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-1908-5Lankheit no. 810

Known impressions–Hamburg, Hamburger Kunsthalle, Kupferstichkabinett,

Inv. no. 1950/2Printed 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, 1952ill.

–Wien, Albertina, Inv. no. 1918/73Printed 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 collectionInscribed 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’

ExhibitionsMünchen 1912, Hans Goltz, Erste Gesamt-Ausstellung,

no. 175 (‘Akte sitzend’)München 1916, no. 13Wiesbaden 1917, no. 81 (‘Akte’)Hannover 1936, no. 136 (‘1908’)München 1963, no. 260Bern 1967, no. 13, ill.München 1980, no. 201, ill.

LiteratureTobien 1982, ill. p. 67Düchting 1991, ill. p. 23

3 Leda mit dem SchwanLeda and the Swan

1907

Lithograph (chalk lithograph), 28 ∑ 31.5 cmInscribed in the stone: ‘Fz. M.’ (u.r.)See the preliminary drawing in Sketchbook II, 1904/08,

pp. 6a, 7 (double page)


Only known impression–Stuttgart, Staatsgalerie, Graphische Sammlung, Inv. no.

A 49/708Stiff, pale beige paper. Reverse: round estate stamp

‘Nachlaß/FRANZ MARC/bestätigt:’ with authentication ‘Maria Marc’ in violet ink

Acquired from Galerie Valentien, Stuttgart, 1949ill.

ExhibitionsMünchen 1916, no. 13Bern 1967, no. 12, ill.

LiteratureBünemann, 1948/1952, p. 109, ill. 11

2

3

Lithographs and Woodcuts


4 Spielende KinderChildren Playing

1907

Lithograph (chalk lithograph), 20 ∑ 23.5 cmInscribed in the stone: ‘F Marc’ (u.r.)


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.)


ExhibitionsMünchen 1916, no. 13München 1963, no. 264Bern 1967, no. 17, ill.München 1980, no. 194, ill.

LiteratureTobien 1982, ill. p. 65

5 Schlafendes KindSleeping Child

c. 1908

Etching, 15.8 ∑ 12 cmDated on the basis of the drawings ‘Schlafendes Kind I’

and ‘Schlafendes Kind II’ of 1908 (Cat. raisonné Franz Marc, Vol. II, nos. 100, 101)

Not in SchardtLankheit no. 801

Unique impressionMünchen, Staatliche Graphische Sammlung, Inv. no.

1949:78 DBrownish 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.

ExhibitionsMünchen 1963, no. 257Bern 1967, no. 1, ill.München 1980, no. 212, ill.

6 Bretonische BettlerBreton Beggars

1907

Lithograph (chalk lithograph), 25 ∑ 29.5 cmInscribed in the stone: ‘Fz. M.’ (u.r.)


Known impressions–Darmstadt, Hessisches Landesmuseum, Graphische

Sammlung, Inv. no. GR 2501Off-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, GermanyPaper. Inscribed in pencil by the artist: ‘Frz Marc’ (linked;

l.l., beneath the image)Hauswedell & Nolte, Hamburg, auction 400, 2007,

no. 26 ExhibitionsMünchen 1912, Hans Goltz, Erste Gesamt-Ausstellung,

no. 177 (‘Bettler’)München 1916, no. 13?München 1963, no. 262Bern 1967, no. 16, ill.München 1980, no. 193, ill.

LiteratureTobien 1982, p. 66, ill.

4

5

6


9 BärenBears

1907

Lithograph (chalk lithograph), 19.5 ∑ 26.5 cmInscribed 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)


Known impressions–Dresden, Staatliche Kunstsammlungen,

Kupferstichkabinett, Inv. no. A 1917-187Paper tinted brown Acquired from Emil Hirsch, Munich, 1917

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

beneath the image)Acquired before 1945

–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

Marc’ in pencil (l.l. and l.r.)Acquired from the Munich Secession, 1915


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 1912/3Dark off-white paper Formerly Wallraf-Richartz-Museum, Köln, acquired from

P. Prött, 1911


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.


–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

Hamburger Kunsthalle, struck outSold by the Hamburger Kunsthalle, 1950; acquired from

August Laube, Buch- und Kunstantiquariat, Zürich, 1999

–Wien, Albertina, Inv. no. 1917/ 73Reverse: estate stamp inscribed ‘Maria Marc’Acquired from Maria Marc, Ried, 1920

–Wiesbaden, Museum Wiesbaden, Inv. no. L 18Brownish machine-made paper. Inscribed in pencil: ‘Frz

Marc’ (l.l., beneath the image). Reverse inscribed in pencil: ‘Bären’ (l.m.)

Acquired 1951ill.

–Private collection, SwitzerlandHeinrich Stinnes, Köln; Klipstein u. Kornfeld, Bern,

1950s

ExhibitionsMünchen 1910, no. 82München 1912, Hans Goltz, Erste Gesamt-Ausstellung,

no. 173 München 1916, no. 13Wiesbaden 1917, no. 82Bern 1967, no. 11München 1963, no. 265München 1980, no. 196, ill. Köln 1996, Die Expressionisten, no. 254

LiteratureCat. August Laube, Zürich, 1999 (sale catalogue), p. 22,

ill.

10 HirschpaarStag and Hind

1907

Lithograph (chalk lithograph), 22.5 ∑ 26.5 cmInscribed in the stone: ‘Fz. M.’ (u.r.)Maria Marc dates the print to October–December 1907 in

her typescript catalogueSee the preliminary pencil drawing ‘Hirschpaar’, App p. 320


Known impressions–Berlin, Staatliche Museen, Kupferstichkabinett,

Inv. no. 1185-1916Printed 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

–Bremen, Kunsthalle, Kupferstichkabinett, Inv. no. 17/33Printed in brown. Inscribed in pencil (in the artist’s

hand?): ‘Franz Marc’ (l.l.)Acquired 1917 as a donation by Paul Schmitz

–Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett, Inv. no. A-1929-540

Printed in brown on paper tinted brown Acquired from Prestel, auction 99, 1929ill.

–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


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.)


no. 176? (‘Hirsche’) München 1916, no. 13?München 1963, no. 266Bern 1967, no. 15, ill.München 1980, no. 198, ill.München, Galerie Thomas, 1993, Künstler des Blauen

Reiter, no. 27, ill.

LiteratureLankheit 1976, ill. 10Tobien 1982, col. ill. p. 57Hüneke 1990, no. 16, ill. p. 20

9

10


18 Schweine in der SonnePigs in the Sun

1908/09

Colour lithograph, four colours, 18 ∑ 27.8 cmAlthough 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


Known impressions–Cambridge, Massachusetts, Fogg Art Museum, Harvard

University, Inv. no. M13946Colour 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


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.

ExhibitionsMünchen 1963, no. 268 (under ‘1909’)Bern 1967, no. 22, ill.München 1980, no. 200, ill.

LiteratureMus. Cat. Cambridge 1967, fig. 12

19 Badende FrauenBathing 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 1909See 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


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)



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.)


ExhibitionsMünchen 1910, no. 80München 1916, no. 31München 1963, no. 263Bern 1967, no. 18, ill.München 1980, no. 202, ill.

LiteraturePese 1989, p. 92, ill. 39

18 19


20 Pferde in der Sonne Horses in the Sun

1908/09

Colour lithograph, three colours, 35.5 ∑ 28 cmInscribed 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)

1st editionThree colours

Schardt VI-1909-3 (‘Pferde im Walde’)Lankheit no. 822/1 (‘Pferde in der Schwemme’,

erroneously listed as ‘Not in Schardt’)

Known impressions–Frankfurt am Main, Städtische Galerie im Städelschen

Kunstinstitut, Graphische Sammlung, Inv. no. SG 843Colour 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

–Köln, Museum Ludwig, Inv. no. ML/ G 1912/ 1Formerly Wallraf-Richartz-Museum, Köln, acquired from

P. Prött, 1911

–Zürich, Kunsthandel August Laube, before 2001

2nd editionThree colours, retouched in opaque white or gouache

Not in SchardtLankheit no. 822/2 (‘Pferde in der Schwemme’)

Known impressions–Dresden, Staatliche Kunstsammlungen,

Kupferstichkabinett, Inv. no. A 1916-641Colour 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


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)


–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 machine-made 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


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


–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. 81München 1912, Hans Goltz, Erste Gesamt-Ausstellung,

no. 172München 1916, no. 30Wiesbaden 1917, no. 79 (‘Pferde im Walde’)Hannover 1936, no. 138Berlin, Galerie v. d. Heyde 1936, no. 61München 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. 271Berlin/Tübingen 1998/99, Der Blaue Reiter und seine

Künstler, no. 32, col. ill. p. 244Stuttgart 2000, no. 9, col. ill. 30 Milano 2003/04, Il Cavaliere Azzurro, no. 18, col. ill.

LiteratureLankheit 1976, p. 46, ill. 8 Tobien 1982, col. ill. p. 28

20 20


21 Spielende WieselPlaying 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.

304-1919Colour 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

pencil by Maria Marc: ‘Spielende Marder’Acquired 1919 from Emil Hirsch, München

–Essen, Museum Folkwang, Inv. no. A 788Colour 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; machine-made paper. Reverse inscribed in violet pencil by Maria Marc: ‘Nachlaß Franz Marc bestätigt Maria Marc’

Acquired from the Munich Secession, 1915


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)


–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 1912/4Colour lithograph in dark and light brown; paper Formerly Wallraf-Richartz-Museum Köln, acquired from

P. Prött, 1911


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.)


–Wiesbaden, Museum Wiesbaden, Inv. no. L 19Colour 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. 24Printed in light brown and beige; brownish paper.

Inscribed in pencil by the artist: ‘Frz Marc’ (linked;l.l.)


no. 178Wiesbaden 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.

LiteratureTobien 1982, col. ill. p. 17Hüneke 1990, no. 24, ill. p. 28München 2005/06, p. 30, ill. 20

22 Zwei KatzenTwo 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


Known impressions–Berlin, Staatliche Museen, Kunstbibliothek,

Inv. no. 14005119Colour lithograph in yellow, pink, orange and black

–Hannover, Sprengel Museum, Inv. no. Gr. 1915, 336Colour lithograph in four coloursAcquired 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 imageColour lithograph in yellow, orange, pink and black; thin

buff cardKarl & Faber, München, auction, 1998; Gift of Dr

Wilhelm Winterstein, 1998

–Köln, Museum Ludwig, Inv. no. ML/G 1983/35Colour lithograph in four coloursGalerie Rudolf Probst, Mannheim; Günther and Carola

Peill Collection; donated by the Peills, 1983


Only the central section of the poster, with the image Colour lithograph in yellow, orange, red and black;

brownish machine-made paperAcquired from Maria Marc, Ried, 1952ill.

–München, Städtische Galerie im Lenbachhaus, Inv. no. G 13 370

Colour lithograph in yellow, orange, pink and black; beige machine-made paper

Acquiredfrom Karl & Faber, München, auction 92, 1964ill.

–Bern, Galerie Kornfeld, auction 229, 1 June 2002, no. 114

ExhibitionsMünchen 1910, cover ill.Hannover 1936, no. 139München 1963, no. 271Bern 1967, no. 24München 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. 249Milano 2003/04, Il Cavaliere Azzurro, no. 19, col. ill. München/Wien 2010/11, no. 198, col. ill. p. 255

LiteratureLankheit 1976, p. 50, col. ill. p. 3Lankheit 1978, ill. 6Tobien 1982, col. ill. p. 75März 1984, ill. p. 12Hüneke 1990, no. 52, col. ill. p. 56Gollek 1988, no. 359, ill. p. 247Partsch 1990, ill. p.19Zweite/Hoberg 1991, Der Blaue Reiter im Lenbachhaus,

ill. 40

21

22

22


23 Ruhende PferdeHorses Resting

1911/12

Colour woodblock print, three colours, 16.7 ∑ 22.8 cmHand-printed from the black block

Not in SchardtNot in Lankheit (listed as ‘3 prints from the black block’

in his handwritten notes)

Known impressions–Private collectionThin machine-made paper. Inscribed in pencil: ‘No 1’.

Reverse: authenticated in pencil by Maria as from the artist’s estate

Formerly Maria Marc



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 editionHand-printed in three coloursAdvertised 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-1912-1Lankheit 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 impressionsProof impressionKochel am See, Franz Marc Museum, Stiftung Etta and

Otto Stangl, Inv. no. St-282Colour 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, 1917ill.

–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

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


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.)


–Hannover, Sprengel Museum, Inv. no. I, 549Colour 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


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


–New York, The Museum of Modern Art, Inv. no. 416.40Colour 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. 1955.2198Japan paper. Reverse: authentication by Maria MarcSold to Auktionshaus Ketterer, München, 1966

–Wien, Albertina, Inv. no. 1913/252Colour woodblock print in black, cobalt blue and grass-

green. 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 12Colour 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, 1984Inscribed in pencil by the artist: ‘11 Fz. Marc 1912’

–Private collectionJapan paper; no inscriptionsPrivate collection, Karlsruhe, 1980s

–Bern, Gutekunst & Klipstein, auction, December 1949, no. 219

Thin Japan paper. Inscribed in pencil: ‘No 4’

–München, Galerie Thomas, 1999

23

23


–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, 2004Kunstkabinett 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


‘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 editionPrinted 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

Not in SchardtLankheit no. 825/2

3rd editionPrinted for Franz Marc. Holzschnitte, 1984Kassette 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, 1984Otto Stangl Nachlaßverwalter, München 1984Auf 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], 1984Box 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, 1984Printed by Gerhard Köhler, Baden-BadenIssued by Otto Stangl, estate administrator, Munich, 1984Thirty 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)

ExhibitionsMünchen 1912, Der Blaue Reiter, no. 148Berlin 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. 75Hannover 1936, no. 141Berlin, Galerie Nierendorf 1936, no. 78Amsterdam/Bruxelles 1955, no. 55, ill. 55 München 1963, no. 273Bern 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. 122Mannheim 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. 89München/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

LiteratureSchardt 1936, ill. p. 96Brooks 1951, p. 96 f., ill. 36Walden/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. 14Mus. 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. 67Mus. cat. Kochel 2008, col. ill. p. 72

24 FabeltierFabulous Beast

1912

Colour woodblock print, 7 colours, 14.5 ∑ 21.7 cm

1st editionHand-printed from the black block


Known impressions–Hannover, Sprengel Museum, Inv. no. Gr. 1956, 21Thin 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

2nd edition7 colours

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

Known impressions–Frankfurt am Main, Städtische Galerie im Städelschen

Kunstinstitut, Graphische Sammlung, Inv. no. SG 840Colour 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. 1950/14Colour 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



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’


23

24/2


Schardt II-1912-33 (‘overpainted woodcut, tempera’, ‘Coll. Koehler’)

Lankheit no. 444

–Ulm, Ulmer Museum, Inv. no. 1965.2472Colour 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 13Colour 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

–Hannover, Sprengel Museum, Inv. no. I, 559Printed 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

–New York, Achim Moeller Fine Arts, 1998Printed 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

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

ill.

Not in SchardtNot in Lankheit

ExhibitionsHannover 1936, no. 154Berlin, Galerie Nierendorf 1936, no. 76New York, Buchholz Gallery, 1945, Contemporary Prints,

no. 34 (‘colored by hand’)München 1963, no. 286München 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. 81München/Wien 2010/11, no. 199, col. ill. p. 257

LiteratureGollek 1988, no. 361, ill. p. 248Mus. cat. Kataloge des Ulmer Museums, VI 1983, no. 136,

ill.Hüneke 1990, no. 31, col. ill p. 35

3rd editionPrinted 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.


The following impressions undoubtedly removed from copies of the deluxe and museum editions of the Blaue Reiter Almanac:

Basel, Öffentliche Kunstsammlung, KupferstichkabinettBerlin, Staatliche Museen, Kupferstichkabinett, Inv. no.

23-1968Emden, Kunsthalle München, Städtische Galerie im Lenbachhaus, Inv. no.

G 13 141New York, Serge Sabarsky Gallery Inc.

Exhibitions Berlin 1916, no. 53 (‘hand-painted in watercolour’)Wiesbaden 1917, no. 76Bern 1967, no. 35Bielefeld 1985/86, O meine Zeit!, ill. p. 123Berlin/Tübingen 1998/99, Der Blaue Reiter und seine

Künstler, p. 138, no. 49, col. ill. p. 261Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und

ihre Freunde, no. 20, col. ill.Dortmund 1996, Von der Brücke zum Blauen Reiter, ill.

p. 273Bremen 2000

LiteratureAlmanach Der Blaue Reiter, 1912, n. pag.Buchheim 1959, Der Blaue Reiter, ill. p. 53Dokumentarische Neuausgabe des Almanachs 1965, ill. p. 17Vogt 1977, Der Blaue Reiter, ill. 64Moeller 1987, Der Blaue Reiter, ill. 60Hüneke 1990, no. 31 p. 150, col. ill. p. 35Jentsch 1990, Illustrierte Bücher des Expressionismus,

1990, ill. p. 54Mus. Cat. Dortmund, Meisterwerke des Expressionismus

und der Klassischen Moderne, 1995, ill. p. 100Hoberg 2008, Almanach Der Blaue Reiter

4th editionPrinted for Franz Marc. Die Holzschnitte, 1984(see cat. no. 23)

LiteratureDüsseldorf, Wittrock, 1984 (4th edition 1984, pp. 52–60,

ill. 22)

24/2 24/3


25 VersöhnungReconciliation

1912

Woodblock print, 20.1 ∑ 26 cmInscribed 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 editionHand-printed

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-1912-4Lankheit no. 837/1 (‘15 copies on Japan paper’)

Known impressions–Amsterdam, Stedelijk Museum, Inv. no. A 6899Authenticated by Maria MarcCollection 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 HagenReverse: rectangular stamp ‘Handdruck vom

Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil

Acquired from Kunstkabinett Ketterer, Stuttgart, 1951


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.)


–Hannover, Sprengel Museum, Inv. no. I, 552Silver-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 1924/44Japan paper. Reverse: rectangular stamp ‘Handdruck vom


Acquired from Karl Nierendorf, 1924

–Los Angeles County Museum of Art, Department of Prints and Drawings, Inv. no. 55.78

Japan paperAnonymous Gift

–Probably formerly Mannheim, Kunsthalle, Inv. no. H 1917 [781] (‘Frau mit Hund’)

Confiscated by the National Socialist authorities, 1937


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


–München, Städtische Galerie im Lenbachhaus, Inv. no. GMS 709

Fairly stiff Japan paper. No inscriptions Donated by Gabriele Münter, 1957ill.

–Saarbrücken, Saarland Museum, Stiftung Saarländischer Kulturbesitz, Inv. no. NI 1563

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. 1920/158Japan 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 editionPrinted 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 SchardtLankheit no. 837/2ill.

3rd editionPrinted for Franz Marc. Holzschnitte, 1984 (see. cat.

no. 23)

ExhibitionsHannover 1936, no. 144Berlin, Galerie Nierendorf 1936, no. 69München 1963, no. 276Bern 1967, no. 28, ill.Berlin 1980, Zeichen des Glaubens, ill. p. 105München 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. 299Budapest/München 2001, Mattis-Teutsch und der Blaue

Reiter, no. BR 37, ill.München/Wien 2010/11, no. 203, col. ill. p. 261

LiteratureHartlaub 1919, Kunst und Religion, ill. 40Hartlaub 1947, Graphik des Expressionismus, ill. 29Brooks 1951, p. 99ff., ill. 39Tobien 1982, ill. p. 76Gollek 1988, no. 364, ill. p. 249Pese 1989, ill. 89, p. 173 (Sturm impression)Rosenthal 1989, ill. 13Stuttgart 2000, ill. 113

25/2

25/1


29 Die HirtinShepherdess

1912

Woodblock print, 22.2 ∑ 7.3 cmInscribed in the block: ‘M’ (u.l.)


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-1912-8Lankheit no. 828/1 (‘10 copies on Japan paper?’)

Known impressions–Basel, Öffentliche Kunstsammlung,

Kupferstichkabinett, Inv. no. 1930.85Inscribed in pencil by the artist: ‘F. Marc N.9.’ (l.l.)Acquired 1930 from Stössinger, Berlin

–Bremen, Kunsthalle, Kupferstichkabinett, Inv. no. 55/335Japan 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

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, Landes-kunstmuseum 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


Reverse inscribed in pencil by Maria Marc: ‘Woodblock print vom Originalholzstock bestätigt Maria Marc’ (l.l.)


–Hannover, Sprengel Museum, Inv. no. I, 556Inscribed 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. 1954-150Grey 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


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



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. 1948-76-229Beige 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


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 collectionReverse: round estate stampMaria 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. 218Thin 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


Künste, edited and published by Herwarth Walden, Berlin, vol. III, January 1913, nos. 144/145, p. 253


3rd editionPrinted for Franz Marc. Holzschnitte, 1984 (see cat.

no. 23)

ExhibitionsTokyo 1914, Hibiya Art Museum, No. 53, 2/10 Berlin 1916, no. 42Wiesbaden 1917, no. 73

Hannover 1936, no. 146Berlin, Galerie Nierendorf 1936, no. 70München 1946, Moderne Graphik, no. 74Amsterdam/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. 54München/Wien 2010/11, no. 204, col. ill. p. 262

LiteratureWingler 1954, Der Blaue Reiter, ill., no no.Buchheim 1959, Der Blaue Reiter, ill. p. 132Tobien 1982, ill. p. 20Gollek 1988, no. 366, ill. p. 250Mus. cat. Los Angeles 1989, German Expressionist Prints

and Drawings, Davis 1824, ill. (Sturm impression)Mus. Cat. Darmstadt 1993/94, no. 56, col. ill.

29/1 29/2

29/1


30 Schlafende HirtinSleeping Shepherdess

1912

Woodblock print, 19.9 ∑ 24 cmInscribed in the block: ‘M’ (u.r.)


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-1912-6Lankheit no. 829/1 (‘10 impressions on Japan paper?’)

Known impressions–Berlin, Staatliche Museen, Kupferstichkabinett, Inv. no.

AM 56-1958Thin 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 MuseumConfiscated 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 4879Reverse: rectangular stamp ‘Handdruck vom


Acquired from Auktionshaus Klipstein, Bern, October 1951

–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.);

inscribed in pencil by Maria Marc: ‘Schlafende Hirtin’ (l.m.)

Acquired from W. Buller, Duisburg, 1947

–Essen, Museum Folkwang, Inv. no. A 67/57Off-white paper. Reverse: rectangular stamp ‘Handdruck

vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ (l.l.)

Acquired from Galerie Theo Hill, Köln, 1957

–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


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, 554Japan 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. 1961-185Grey 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

–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


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



Thin Japan paper. Reverse: rectangular stamp ‘Handdruck vom Originalholzstock bestätigt’ with

authentication ‘Maria Marc’ in pencil (l.l.); inscribed by Maria Marc: ‘Schlafende Hirtin’ (l.m.)

Acquired from Gisela Macke, Bonn, 1981

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

Yellowish Japan paper

–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 1927/1951Japan 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. 1917/71Japan 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 collectionReverse: rectangular stamp ‘Handdruck vom

Originalholzstock bestätigt’ with authentication ‘Maria Marc’ in pencil; ‘Schlafende Hirtin’



Künste, edited and published by Herwarth Walden, Berlin, vol. IV, May 1913, nos. 160/161, p. 25


3rd editionPrinted 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


4th editionPrinted for Franz Marc. Holzschnitte, 1984 (see cat.

no. 23)

ExhibitionsTokyo, March 1914, Hibiya Art Museum, no. 38, 9/10 Berlin 1916, no. 45 Wiesbaden 1917, no. 67München 1918, Hans Goltz, Der expressionistische

Holzschnitt, no. 142München 1926, Graphisches Kabinett, ill. p. 79 Hannover 1936, no. 145Berlin, Galerie Nierendorf 1936, no. 75Amsterdam/Bruxelles 1955, no. 59, ill. 59 München 1963, no. 278Bern 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. 198Bern 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. 267Budapest/München 2001, Mattis-Teutsch und der Blaue

Reiter, no. BR 28, ill.München/Wien 2010/11, no. 205, col. ill. p. 262

LiteratureWestheim 1921, Das Holzschnittbuch, ill. p. 176Hartlaub 1947, Graphik des Expressionismus, ill. 30

Brooks 1951, p. 97F, ill. 38Walden/Schreyer 1954, Der Sturm, ill. p. 102Buchheim 1959, Der Blaue Reiter, ill. p. 160Jähner 1972, ill. p. 30Vogt 1977, Der Blaue Reiter, ill. 45Tobien 1982, ill. p. 19März 1984, ill. next to no. 16Moeller, 1987, Der Blaue Reiter, ill. 62Gollek 1988, no. 367, ill. p. 250Mus. cat. Los Angeles 1989, German Expressionist Prints

and Drawings, Davis 1827, ill. (Sturm impression)Rosenthal 1989, ill. 12Partsch 1990, col. ill. p. 53Rosenthal 1992, ill. 12

30/2

30/1


33a WildpferdchenPostcard sent from Sindelsdorf to Lily Klee-Stumpf,

Munich, 14 March 1913Postmarked ‘Sindelsdorf 15. 3. 1913’ 14.1 ∑ 9.1 cmVerso inscribed by Maria Marc: ‘Frau/Lily Klee-Stumpf/

München/Ainmillerstr. 32/Grths.’Recto inscribed by Maria Marc: ‘14.III.13 Meine liebe

Frau Klee – mit Freude hören wir, dass es Ihnen nun besser geht – und hoffentlich übersteht auch der Bubi die schlechten Tage bald. Wenn es Ihnen wirklich angenehm sein sollte, käme ich gerne am Mittwoch nachmittag ½ 5 zum Klavierspielen. Aber nur wenn es Ihnen nicht zu viel ist. Ich bitte Sie herzlich, mir ganz offen zu schreiben – ich möchte Sie nicht quälen u. ermüden. Ich wäre Ihnen auch dankbar, wenn Sie mir auf jeden [continued on the verso:] Fall antworten würden, weil ich an Frl. Piekler schreiben muß und mich bei ihr ankündigen möchte. Es wäre mir lieb, wenn Sie mir gleich Antwort schrieben, damit auch Frl. P. die Ankündigung zeitig genug erhält. Und nochmals, bitte schreiben Sie mir ganz offen. Und nun weiter recht gute Besserung u. herzliche Grüße Ihnen allen von uns beiden! Ihre Maria Marc’

(14.III.13 My dear Mrs Klee – we’re delighted to hear that you’re feeling better – and we hope your lad will soon get over the bad days. If you really don’t mind, I’d like to come by on Wednesday afternoon at 4.30 to play the piano. But only if it isn’t too much for you. I beg you, tell me quite frankly – I wouldn’t want to get on your nerves & tire you. I’d also be grateful if you’d let me know either way, because I must write to Miss Piekler and let her know I’m coming. I’d be glad if you could write straight away, so that I can tell Miss P. in good time. Once again, do be quite frank. And now best wishes for a quick recovery and warmest greetings to you all from both of us! Yours, Maria Marc)

LocationLeicester City Museum

Exhibitions Berlin/München/Saarbrücken 1991, Expressionistische

Grüße, no. 125, ill. p. 160

Not in SchardtNot in Lankheitill.

33b WildpferdchenPostcard sent from Sindelsdorf to Bernhard Koehler,

Berlin, 15 March 1913Woodcut coloured with tempera, 6 ∑ 8 cm (part of a

postcard; Lankheit 1970 states that the written part, which has been separated, is in the same private collection)

Postmarked ‘Sindelsdorf 16. März 1913’Verso inscribed: ‘Herrn/Bernh. Koehler/Berlin S. 42./

Brandenburgstr. 34’Recto inscribed: ‘Lieber Herr Köhler, ich weiß

eigentlich nicht, ob ich mich/freuen soll über Ihre Sinnesänderung/betreff des Kauffes [?] oder klagen – ich sah’s/schon in meinem Schlafzimmer hängen./Aber die Wahrheit zu sagen freue ich mich,/dass er in der Galerie bleibt. Meine Seele/hängt sehr an dem Bild, – man mag darüber/sagen was man will. Schicken Sie es doch/in den “Sturm” als Ihren Besitz, es kommt dann/mit allen anderen Bildern nach Schluß zu [continuation on the reverse] Ihnen zurück. Ich zeige es/ganz gern einmal. Sie/könnten ja mit Walden/telefonieren, ob er viel übrigen/Platz hat./Was soll das mit den Fu-/turisten in Rom sein? Ich/weiß von nichts; in unserem/Käseblatt steht natürlich/nichts; ich bin neugierig./Gratulier zum überstandenem/Lebensgefahr, eine unge-/mütliche Sache./Herzl. Grüße für Sie und/Ihre Familie von uns/Ihr F. Marc’

(Dear Mr Köhler, I’m not at all sure whether I should be glad about your change of mind regarding the purchase [?] or complain about it – I already imagined it hanging in my bedroom. But to tell the truth I’m glad that it will be staying in the gallery. My soul is very attached to the painting – whatever one may say about that. Send it to the ‘Sturm’ as your property, then at the end it will be returned to you with all the other paintings. I’d like very much to exhibit it. You might telephone Walden and ask if he has much space left. What’s this about the Futurists in Rome? I know nothing; there’s nothing about it in our local rag of course; I’m very curious. My congratulations on surviving the threat to your life – an unpleasant business. Warmest greetings from us to you and your family. Yours, F. Marc)

LocationWhereabouts unknown

ProvenancePrivate collection, Gauting

Exhibitions München 1963, ex cat.

Not in SchardtLankheit no. 720 (no ill.)ill.

33c WildpferdchenPostcard to August Macke, postmarked 20 March 191314.1 ∑ 9.1 cmRecto inscribed: ‘Lieber August, die Koehler-affaire/

ist schon geklärt; Thannh.[auser] schiebt es auf/ein Versehen seiner Buchführung u. hält/sich an Tausch; dank für Nachricht./Wegen Delaunay schrieb Neuer-/Kunstsalon (Dietzel) Königinstr. 44;/er wird es schon nehmen, auch schnell,/wenn man es dringend macht. Sonst/ev. auch Goltz. Ich kann mich jetzt auf keine/Korrespondenz darüber einlassen, da wir/uns eben reisefertig machen nach Meran,/wo unser Vater ziemlich schwer krank [continued on verso:] im Sanatorium ist; die Eltern wollen uns sehen und laden uns ein. Adresse: Meran, Villa Maja (bis ca. 27.III.). Deine Kollektion Herbst nimmt jeder in München; ich empfehl Dir am meisten Dietzel. (Schmidt ist ja weg, geht nach Mannheim zu Wichert). Aber schreib jetzt und nicht erst im Herbst. – Schade, daß wir Euch hier nicht sehen, aber wir begreifen Lisbeth sehr wohl. Bei uns ist auch Musik-hausse. 2 mal 4, Fz. M.’

(Dear August, the Koehler business has been resolved; Thannh[auser]. has attributed it to an error in his book-keeping and is adhering to the exchange; thanks for telling me. Neuer-Kunstsalon (Dietzel) Königinstr. 44 has written about the Delaunay; he’ll take it, quickly too, if it’s made urgent. Otherwise Goltz might possibly. I can’t enter into further correspondence about it now because we’re getting ready for a trip to Meran, where our father is rather seriously ill in the sanatorium; the parents want to see us and have invited us to stay with them. The address: Meran, Villa Maja (until about 27.III.). Everyone in Munich would take your autumn collection; I recommend Dietzel most highly. (Schmidt has gone: he’s moved to Wichert in Mannheim). But write now and don’t wait until the autumn. – It’s a 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.)

LocationWhereabouts unknown

LiteratureBriefwechsel Macke-Marc 1964, p. 155, ill. p. 154 [verso text

reprinted here from this publication]


33d WildpferdchenPostcard sent from Sindelsdorf to Vasili Kandinsky,

Munich, June 191314.1 ∑ 9.1 cmInscribed beneath the print: ‘Wildpferdchen’ (l.l.) and

‘Privatdruck Franz Marc’ (l.r.)Verso inscribed: ‘Herrn/Wass. Kandinsky/Kunstmaler/

in München./36 Ainmillerstr. 36/Rgb’; Sindelsdorf postmark, date illegible [June 1913]

‘L. K, ich vergaß gestern näheres über den Ihrem Brief beigelegten Brief einer Frau M. Copeck und den 2 Büchern zu fragen, die sie Ihnen schicken will, – haben Sie sie schon? Ich bin neugierig. Hat die Dame etwas mit dem Maler Copeck zu thun? Ich kenne Reproduktionen nach Bildern von ihm, ganz fein, aber nicht bedeutend. Herzlich Ihr F. M.’

(D[ear] K, I forgot yesterday to ask you about the letter from a Mrs M. Copeck enclosed with your letter and the 2 books she wants to send you – do you have them already? I’m very curious. Is the lady connected with the painter Copeck? I’ve seen reproductions of paintings by him – most refined, but not important. Warm regards. Yours, F. M.)

Donated by Gabriele Münter, 1957

LocationMünchen, Städtische Galerie im Lenbachhaus,

Inv. no. GMS 717Acquired 1957 as a donation from Gabriele Münter

ExhibitionsMünchen 1980, no. 219, ill.

LiteratureBriefwechsel Kandinsky-Marc, 1983, no. 176, p. 227Gollek 1988, no. 369, ill. p. 251


33a

33b recto 33b verso

33c

33d recto 33d verso


40 Geburt der PferdeBirth of the Horses

1913

Colour woodblock print, four colours, 21.5 ∑ 14.5 cmInscribed 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-1913-5Lankheit no. 840

Known impressionsProof impressionKochel 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)


ill.

–Basel, Kunstmuseum, Inv. no. 1930. 83Japan 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


–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


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.)


–Hannover, Sprengel Museum, Inv. no. I, 565Colour 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’)



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.)



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, 1967See 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 626/1915Colour 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


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. 1963.2423Colour 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 editionPrinted for Franz Marc. Holzschnitte, 1984 (see cat.

no. 23)

ExhibitionsBerlin 1916, no. 48 (‘hand-coloured in watercolour’)Wiesbaden 1917, no. 71Hannover 1936, no. 158Amsterdam/Bruxelles 1955, no. 63München 1963, no. 291Bern 1967, no. 41, ill.New York 1975/76, no. 77 Berkeley/Fort Worth, 1979/80, no. 42, ill. p. 99Berlin 1980, Zeichen des Glaubens, ill. p. 105München 1980, cat. no. 233, ill.Düsseldorf, Wittrock, 1984 (2nd edition 1984, pp. 52–60,

ill. 16)Bielefeld 1985/86, O meine Zeit!, ill. p. 124Hannover 1989, Der Blaue Reiter: Kandinsky, Marc und

ihre Freunde, no. 35, col. ill.Los Angeles 1993/94, Expressionist Utopias, ill. 10München/Münster 1993/94, Sammlung Etta und Otto

Stangl, no. 62 p. 127, col. ill. (proof impression) Münster 1994, no. 140, col. ill. p. 303Köln 1996, Die Expressionisten, no. 264, ill. 223Davos/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. 153Milano 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

LiteratureModerne Graphik der Sammlung Stinnes 1938, no. 725 Lankheit 1950, ill. p. 34Brooks 1951, pp. 101f., ill. 41Meißner 1980, ill. 21Mus. cat. Ulm, 1983, Graphische Sammlung I, no. 138,

col. ill.Gollek 1988, no. 372, ill. p. 253

Mus. cat. Kochel 1989, ill. p. 39Mus. cat. Los Angeles 1989, German Expressionist Prints

and Drawings, Davis no. 1834, col. ill.Pese 1989, ill. 95, p. 180Rosenthal 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. 40

40


42 Schöpfungsgeschichte IIThe Creation II

1914

Woodblock print 23.7 ∑ 20 cmInscribed 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 editionHand-printed from the black block


Known impressions–Duisburg, Stiftung Wilhelm Lehmbruck Museum,

Inv. no. 680/1957Yellowish 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


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


2nd editionThree colours, printed from three blocks

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

Known impressionsProof impressionPrivate collectionPrinted 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


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.)


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

–Mülheim an der Ruhr, Kunstmuseum in der Alten Post, Inv. no. 217

Colour woodblock print in black, green and yellowAcquired from Galerie H. Trojanski, Düsseldorf, 1955


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)


–New York, The Museum of Modern Art, Inv. no. 265.53Colour 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.)


–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.)


–Wien, Albertina, Inv. no. 1996 DL 16Colour 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 collectionColour 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


44 Zwei FabeltiereTwo Fabulous Beasts

1914

Woodblock print, 10 ∑ 12 cmInscribed 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-1914-3Lankheit no. 845

Known impressions–Essen, Museum Folkwang, Inv. no. A 12/67Printed 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, 1967ill.

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

Hannover, 1955; Gift of Dr Bernhard Sprengel, 1969

–Kaiserslautern, Pfalzgalerie, Inv. no. 57/68Ribbed kraft tissue paper. Inscribed in pencil by Maria

Marc: ‘5’ (l., beneath the image)Acquired from Galerie Otto Stangl, München, 1957

–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 and Davos


Fairly thick pale beige Japan paper. Inscribed in pencil by the artist: ‘6./Frz.Marc’ (l.l., at lower margin)


–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

–Köln, Lempertz, auction 750, November 1997, no. 1058Yellow-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’


–Köln, Lempertz, auction 822, June 2002, no. 304Thin Japan paper. Reverse: rectangular stamp ‘Handdruck

vom Originalholzstock bestätigt:’ with authentication ‘Maria Marc’ in pencil

–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

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

Thin Japan paper. Inscribed in pencil, probably by Maria Marc: ‘18’ (l.l.)

–Hamburg, Burkhard Tepper, 2010Stiff yellow Japan paper. Inscribed in graphite by the

artist: ‘1./Frz Marc’ (linked; l.l.)

2nd editionIn 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 hand-printed 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

3rd editionPrinted for Franz Marc. Holzschnitte, 1984 (see cat. no. 23)

ExhibitionsMünchen 1963, no. 298

Bern 1967, no. 46Düsseldorf, 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

LiteratureKat. Kaiserslautern 1986, no. 316, pp. 130 and 134 Hüneke 1990, no. 100, p. 104 (‘Schöpfungsgeschichte’)

44a Zwei Fabeltiere, 1914Two Fabulous BeastsWoodblock 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.)

LocationHamburg, Altonaer Museum in Hamburg,

Norddeutsches Landesmuseum, Inv. no. 1964/211

ProvenanceAcquired 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.

LiteratureWietek 1977, Gemalte Künstlerpost, p. 92, ill.


44b Zwei Fabeltiere, 1914Two Fabulous BeastsWoodblock 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’)

44

44a

44b recto 44b verso

390 Prints 391Malbuch Painting Book

51 Ex-libris Paul Marc IV

1909

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

Schardt IX-Exlibris-8Lankheit no. 854


Printed in olive green Acquired 1951ill.

ExhibitionsMünchen 1980, no. 213, ill. p. 279

LiteratureMünchen 1963, no. 270Bern 1967, no. 52

52 Ex-libris Bernhard Koehler

1911/12

Woodblock print5 ∑ 5 cm (image), approx. 15.5 ∑ 10.7 cm (sheet)

Schardt IX-Exlibris-11Lankheit no. 863


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.


Japan paper. Inscribed in pencil: ‘10’ (l.r.)Acquired 1951

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

LiteratureSeiler 1956, ill. p. 2Gollek 1988, no. 360, ill. p. 246

52a Ex-libris Bernhard Koehler, 1911/12Woodblock print on coloured Japan paper, mounted

on card6.1 ∑ 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/italo-

virginias, – 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)


LocationPrivate collectionDepositum Zentrum Paul Klee, Bern

ExhibitionBerlin/München/Saarbrücken 1991, Expressionistische

Grüsse, no. 140, col. ill. p. 175Kochel/Halle/Bern 2010/11, Marc, Klee, p. 239, col. ill

p. 43

53 Zoologischer GartenMal- & Bilderbuch. Erster Teil: Wilde Tiere

Zoological GardenPainting and Picture Book. Part One: Wild

Animals

1908

Book10 pages plus front and back covers, 11 original

lithographs, partly in colour, 30.6 ∑ 29 cm (sheet)

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.’

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:

Känguruhs (Kangaroos; for [6] Das Känguruh)–Darmstadt, Hessisches Landesmuseum, Inv. no. GR

2492Image 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 marketill.

–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 1915-314Image 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, Münchenill.

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 1915-313Image 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 1915-317Image 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, rectoImage 11.2 ∑ 24.3 cm, sheet 18.5 ∑ 27.7 cm, inscribed l.l.


[5] ‘Zwei Elefanten’ (Two Elephants)–Dresden, Staatliche Kunstsammlungen,

Kupferstichkabinett, Inv. no. A 1915-316, versoImage 11.2 ∑ 24.3 cm, sheet 18.5 ∑ 27.7 cm, inscribed l.l.


[8] ‘Zwei Nashörner’ (Two Rhinoceroses) –Dresden, Staatliche Kunstsammlungen,

Kupferstichkabinett, Inv. no. A 1915-315Image 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


Malbuch Painting Book

51

52 52a recto 52a verso

53 back cover

53 front cover

392 Prints 393Malbuch Painting Book

53 [1] 53 [2]

53 [3] 53 [4]

53 [5] 53 [6]

53 [6]

53 [7]

394 Prints 395Stencil Prints

Stencil Prints

54 Zwei PferdeTwo 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 SchardtNot in Lankheit (see Lankheit no. 419)

54a Zwei PferdeTwo Horses

1911/12

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

LocationFranz Marc-Museum, Kochel, FM 264Gift of Dr Wilhelm Winterstein, 1998

ProvenanceGiven to Reinhard Piper by Franz Marc, 1911/12 Reinhard Piper, Archiv, MünchenChristie’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’)

LiteratureBuchheim 1959, Der Blaue Reiter,col. ill. p. 51Mus. cat. Kochel 2003, p. 46, col. ill., coverMus. cat. Kochel 2008, p. 292, col. ill. p. 78 (‘Holzschnitt

in Gouache koloriert’)


53 [8] 53 [9]

53 [9]

53 [10]

54

54a

396 Prints 397Stencil Prints

55 Zwei PferdeTwo 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 SchardtNot in Lankheit (see Lankheit nos. 420, 421)

55a Zwei PferdeTwo Horses

1911/12

Ink and watercolour over letterpress print, 14.3 ∑ 21 cmModel for the illustration in the deluxe edition (1912) and

the second printing of the standard edition (1914) of the Blaue Reiter Almanac

LocationHamburg, Hamburger Kunsthalle, Kupferstichkabinett,

Inv. no. 1953-60Acquiredfrom Dr E. Doebbcke, Berlin, 1953

Exhibitions Hamburg 1955, Neue Erwerbungen, p. 35, no. 462, ill. p. 45Stockholm 1955, Tyska Teckningar, no. 225, ill. 92Bern 1986/87, Der Blaue Reiter, no. 115, ill. p. 102Berlin/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. 15Pese 1989, ill. 63, p. 145

Not in SchardtLankheit no. 420 (‘Mischtechnik’, with no mention of the

letterpress print)

55b Zwei PferdeTwo 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

LocationPrivate collection

ProvenanceMaria Marc, Ried Galerie Otto Stangl, München, Marc estate no. 404Fritz Jahns, Switzerland, 1981 Villa Grisebach, Berlin, auction 10, November 1989,

no. 28, col. ill. Galerie Thomas, München, 1990

ExhibitionsMünchen 1962, Galerie Stangl, Vor 50 Jahren, no. 54 Bremen 1970, no. 24Vaduz 1971, no. 54, p. 14, ill. XVIINew York 1969, Hutton Gallery Belgrade 1976, Der Blaue Reiter, no. 75 p. 87, ill. p. 90Berlin 1977/78, Pels-Leusden, Marc – Macke, no. 33, col.

ill. p. 21München 1980, no. 122, col. ill. p. 220Berlin/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.

LiteratureHüneke 1990, no. 45, col. ill. p. 49 Rosenthal 1989, col. ill. 24 (location given erroneously as

‘Städtische Galerie im Lenbachhaus, Munich, Estate’)

Schardt II-1912-3Lankheit no. 421

55c Zwei PferdeTwo Horses

1911/12

Tempera and gouache over letterpress print14.3 ∑ 20.9 cmModel 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)

LocationPrivate collection Karl Faber, München, auction 165, June 1984, no. 1060;

acquired from Galerie Ludorff, Düsseldorf, 1985

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 LankheitNot in Schardt

55b

55c

55

55a

398 Prints 399Print after Marc

Facsimiles

56 HundDog

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).


57 Spielende KatzenPlaying 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


Print after Marc

58 Komposition mit zwei RehenComposition with Two Deer

Woodblock print, 13 ∑ 10.3 cmInscribed 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

LiteratureAndreas Sturies Moderne Kunst & Auktionen,

Düsseldorf, Nov. 2002, no. 141


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57

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franz marc: the complete works: volume iii sketchbooks and prints

Documents