'O Ewigkeit - du Donnerwort'. 9 Lithographien zu der Cantate (II. Composition) des J. S. Bach von Oskar Kokoschka
Kokoschka, Oskar
Berlin. Verlag Fritz Gurlitt. 1916 / 1917
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The de luxe issue of Kokoschka's 'O Ewigkeit' with each of the lithographs on Van Gelder Zonen and signed by the artist in pencil at lower right; the series was issued in an unnumbered edition of approximately 25 copies.
Oskar Kokoschka's series of lithographs to illustrate Bach's Cantata 60 ('O Eternity, Thou World of Thunder') was inspired by his turbulent but fecund relationship with Alma Mahler (see below). The series, conceived as early as 1914 but not published until 1916 / 1917, appeared in a number of formats and editions and scholarship on the subject is confused. This de luxe edition consists of eleven signed lithographs (rather than the nine mentioned on the portfolio) on Hollande van Gelder Zonen and does include a leaf of text with 5 lines of verse. A standard edition was printed in 1917 in an edition of 100 copies with the first lithograph signed and the remainder initialled, and a second edition was printed in 1918 and issued in portfolio and bound issues.
This de luxe issue is of extreme rarity.
The list of plates are as follows:
Selbstbildnis (Brustbild mit Zeichenstift)
Drachen über eine Flamme
Der Wanderer im Gewitter
Das Weib führt den Mann
Die Flehende
Das letzte Lager
Furcht und Hoffnung (Der Mann tröstet das Weib
Mann und Weib auf der Sterbeweg
Der Adler ('Selig sind die Toten')
Der Mann erhebt seinen Kopf aus dem Grabe, auf dem das Weib sitzt
Pietà ('Es ist genug')
'Höhe nicht mehr exakt feststellbar, vermutlich 25 Expl.'. (Wingler / Welz, Oskar Kokoschka, Das druckgraphische Werk).
'Bach's cantata presents a dialogue between Fear and Hope. In these prints, Kokoschka casts himself in the role of Hope, while Mahler plays Fear. Guided by Fear, Hope sets down a road that leads to his death (although the cantata itself sounds a positive note of divine salvation). Throughout, Kokoschka cites earlier works and weaves in biographical allusions to his relationship with Mahler. The imagery in 'Drachen über einer Flamme' (Dragons over a flame) recalls his attempts to protect the pregnant Mahler from seeing frightening reptiles, while the final print reprises imagery from the poster for his earlier play 'Mörderer, Hoffnung der Frauen' (Murderer, hope of woman). In the penultimate print, Kokoschka depicts himself standing in a grave, an acknowledgement of guilt for the failed relationship. As he later stated, 'I am in the grave, slain by my own jealousy'.' (Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011 - MOMA catalogue).
[Wingler / Welz 58 - 68; The Artist & the Book 150 & From Manet to Hockney 45 (both second editions)].
Oskar Kokoschka's series of lithographs to illustrate Bach's Cantata 60 ('O Eternity, Thou World of Thunder') was inspired by his turbulent but fecund relationship with Alma Mahler (see below). The series, conceived as early as 1914 but not published until 1916 / 1917, appeared in a number of formats and editions and scholarship on the subject is confused. This de luxe edition consists of eleven signed lithographs (rather than the nine mentioned on the portfolio) on Hollande van Gelder Zonen and does include a leaf of text with 5 lines of verse. A standard edition was printed in 1917 in an edition of 100 copies with the first lithograph signed and the remainder initialled, and a second edition was printed in 1918 and issued in portfolio and bound issues.
This de luxe issue is of extreme rarity.
The list of plates are as follows:
Selbstbildnis (Brustbild mit Zeichenstift)
Drachen über eine Flamme
Der Wanderer im Gewitter
Das Weib führt den Mann
Die Flehende
Das letzte Lager
Furcht und Hoffnung (Der Mann tröstet das Weib
Mann und Weib auf der Sterbeweg
Der Adler ('Selig sind die Toten')
Der Mann erhebt seinen Kopf aus dem Grabe, auf dem das Weib sitzt
Pietà ('Es ist genug')
'Höhe nicht mehr exakt feststellbar, vermutlich 25 Expl.'. (Wingler / Welz, Oskar Kokoschka, Das druckgraphische Werk).
'Bach's cantata presents a dialogue between Fear and Hope. In these prints, Kokoschka casts himself in the role of Hope, while Mahler plays Fear. Guided by Fear, Hope sets down a road that leads to his death (although the cantata itself sounds a positive note of divine salvation). Throughout, Kokoschka cites earlier works and weaves in biographical allusions to his relationship with Mahler. The imagery in 'Drachen über einer Flamme' (Dragons over a flame) recalls his attempts to protect the pregnant Mahler from seeing frightening reptiles, while the final print reprises imagery from the poster for his earlier play 'Mörderer, Hoffnung der Frauen' (Murderer, hope of woman). In the penultimate print, Kokoschka depicts himself standing in a grave, an acknowledgement of guilt for the failed relationship. As he later stated, 'I am in the grave, slain by my own jealousy'.' (Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011 - MOMA catalogue).
[Wingler / Welz 58 - 68; The Artist & the Book 150 & From Manet to Hockney 45 (both second editions)].
[12 leaves]. Large folio. (685 x 525 mm). Leaf with dedicatory 5 line poem by Kokoschka (?) and eleven original lithographs by Kokoschka printed in black on uncut sheets of Hollande van Gelder Zonen (retaining deckle edges), each signed in pencil by the artist lower right. (Sheet size: 670 x 510 mm). Original publisher's parchment-backed grey paper board portfolio, printed title in black to upper board.
#46852
