Die Fürstin. Mit sechs Radierungen von Max Beckmann
Beckmann, Max. Edschmid, Kasimir
Weimar. Gustav Kiepenheuer. 1918
An excellent copy with the fragile silk binding remarkably well preserved.
From the edition limited to 500 numbered copies, with this one of 270 copies on Hollande in the silk binding.
'Beckmann's painting style is reflected in this early graphic work, in the compositional device of a crowded frontal plane, with the expressive power of the figures concentrated in the heads.' (The Artist & the Book: 1860 - 1960).
'Beckmann's illustrations describe both the emotional and erotic character of the narrative ... Much of his [Edschmied's] work was chaaracterised by broken-up sentences, a bumpy continuity and emotive use of visceral distortion with concise, abrupt and dynamic rhythms. Edschmied was ordered to stop writing by the Nazis in 1941.' (From Manet to Hockney).
[The Artist & the Book 20; From Manet to Hockney 44].
From the edition limited to 500 numbered copies, with this one of 270 copies on Hollande in the silk binding.
'Beckmann's painting style is reflected in this early graphic work, in the compositional device of a crowded frontal plane, with the expressive power of the figures concentrated in the heads.' (The Artist & the Book: 1860 - 1960).
'Beckmann's illustrations describe both the emotional and erotic character of the narrative ... Much of his [Edschmied's] work was chaaracterised by broken-up sentences, a bumpy continuity and emotive use of visceral distortion with concise, abrupt and dynamic rhythms. Edschmied was ordered to stop writing by the Nazis in 1941.' (From Manet to Hockney).
[The Artist & the Book 20; From Manet to Hockney 44].
pp. 81. Small folio. (324 x 240 mm). Title and Edschmid's text illustrated with 6 original etchings by Max Beckmann. Original publisher's cream silk by Else von Guaita, front board with decorative rule in black and central v ertical title within decor, title to spine in black, original patterned paper-covered board slipcase.
#48709
