Max Klinger

Various etchings and aquatints

outside of the major portfolios,

trial proofs, 1878-1920

 

Max Klinger (1857-1920) 


"Die Sphinx" ["The Sphinx"]

1878

etching on wove paper

20,7 x 13,3 cm (plate), 46,2 x 35,2 cm (sheet)

signed and dated lower left in pencil: "Max Klinger. 1878"

inscribed below by the artist in pencil: "Erster Radierversuch" ["first attempt at etching"]

inscribed lower left by the artist in pencil: "Platte nach zehn Abzügen zerstört" ["plate destroyed after ten prints"]


Singer (catalogue raisonne) 251


Excellent, fine impression with sharp platemark, probably on the full sheet.


Condition: scattered foxing and discoloration, otherwise in untouched and original condition.


The old passe-partout (mat) is written on calligraphically with the text of the catalog raisonné in black pen.


Provenance: acquired by the previous owner's father in the Dresden art trade in the 1970s.



Discussion:


Hans Wolfgang Singer describes the sheet thus in his catalogue raisonné published in 1909: "The artist's first attempt at etching. It was not entirely successful; there are acid blemishes, especially on the left.  The print sold for 500 Marks at a Berlin auction as early as 1903. H.H. Meier, Jr. [the Bremen collector Hermann Henrich Meier, Jr. (1845-1905), who was in lively correspondence with Klinger], believed that the print alludes to the North Pole, the modern Sphinx." Singer at pgs. 101 and 275 (English translation).  Singer specifically mentions our impression, the impression having the inscription stating that the plate was destroyed after ten proofs.  Singer also notes that impressions are held by musuem collections in Bremen, Dresden, Copenhagen, and Leipzig (an inscription on the Leipzig impression states that the plate was destroyed after only five impressions).  When The Daulton Collection acquired the present impression in 2021, an example had not appeared on the market in 30 years.  Our impression may be the only impression remaining in private hands.

detail showing Klinger's signature, date, and inscriptions:

Max Klinger (1857-1920) 


"Der Künstler in der Dachstube" ["The Artist in the Attic"]


circa 1879


etching and aquatint on similijapan paper

trial proof

16 x 7 cm

signed lower right in pencil: "M. Klinger"


Singer (catalogue raisonne) 261


an excellent impression with a wide margin


condition: traces of old mounting on verso, otherwise perfect.


A rare print; Singer knew of only five impressions.


Singer believed that it was an early print, dating from Klinger's stay in Brussels in 1879.  According to Singer, the print depicts Norwegian artist Christian Krohg (1852-1925), although it has the air of a self-portrait.

Max Klinger (1857-1920) 


"Hexe und Fledermaus" ["Witch and Bat"]

1880

aquatint on rolled China paper

12 x 22,9 cm (plate), 31 x 43,5 cm (sheet)

trial proof

Singer (catalogue raisonne) 259


Exhibition History of this impression:


"Alfred Kubin: Confessions of a Tortured Soul," Leopold Museum, Vienna, April 16 - July 24, 2022

 

Max Klinger (1857-1920) 


Die Gurlitt-Ausstellungskarte: Fantasie und Kuenstlerkind - Fritz Gurlitt's Kunst- & Kunstgewerbeausstellung, Berlin 1881

[Card for the Gurlitt Exhibition: Imagination and the Child Artist; Fritz Gurlitt's Arts and Crafts Exhibition, Berlin, 1881]


1881


etching and aquatint in brown tones on rolled China

24,7 x 22,4 cm

numbered in pencil lower by Fritz Gurlitt: "No. 20"

inscribed and dated in pencil lower right by Fritz Gurlitt: "Berlin Oktb. 1881"


Singer (catalogue raisonne) 262 II (of III); probably one of the 25 preferential prints which were printed on "better paper" and which Fritz Gurlitt himself numbered in pencil below the depiction.


excellent impression on the full sheet


condition: faint signs of age and wear; otherwise, a fine copy.


This etching, "Fantasie und Kuenstlerkind," was originally a rejected plate for Klinger's Opus I, Radierte Skizzen

Max Klinger (1857-1920) 


"Blick aus dem Atelierfenster" ["View from the Studio Window"]

1890

drypoint etching and copperplate engraving on laid paper with watermark "Doppelköpfiger Adler"

20,8 x 31,5 cm (plate), 25 x 37,6 cm (sheet)

trial proof

signed in pencil lower right: "M Klinger"

Singer (catalogue raisonne) 270


outstanding print, dark in tone, highlighted in places, with a wide margin around the platemark


Condition: a slight crease in the lower right corner; minimal tears on the upper edge; paper slightly darkened; otherwise fine copy.


Provenance:


Eberhard Wolfram Grieb (1947-1990), Reutlingen, stamped on recto (not in Lugt)

Karl & Faber, auction 181, 28./29. May 1991, lot 321;
Private ownership, Munich

Karl & Faber, auction 181, May 28-19, 1991, lot 321


Private Collection, Munich


Discussion:


Hans Singer only knew three copies, but, according to the Klinger collector C. Schirren, another edition of 30 copies were printed. 

Eberhard Wolfram Grieb (1947-1990), Reutlingen, stamped on recto (not in Lugt);

Karl & Faber, auction 181, 28./29. May 1991, lot 321;
Private ownership, Munich.
Karl & Faber, auction 181, 28./29. May 1991, lot 321;
Private ownership, Munich

Eberhard Wolfram Grieb (1947-1990), Reutlingen, stamped on recto (not in Lugt);

Karl & Faber, auction 181, 28./29. May 1991, lot 321;
Private ownership, Munich.

 

Max Klinger (1857-1920) 


"Weiblicher Akt in Schabkunst" ["Female Nude in Mezzotint"]

circa 1891

etching and mezzotint on firm wove paper

28,7 x 16,5 cm (plate); 37,0 x 27,8 cm (sheet)

proof impression

signed in pencil lower right: "Max Klinger"

The Daulton Collection



Singer 271 II (of III)


Condition: slight foxing; traces of adhesive tape verso.


Max Klinger (1857-1920) 


"Weiblicher Kopf in Schabkunst" ["Female head in mezzotint"]

1893

etching and mezzotint on firm wove paper

17.7 x 13 cm (plate); 32.4 x 23.7 cm (sheet)

trial proof 

monogrammed and dated in pencil lower right: "M.K. 11. Mai 93"

Heinrich Stinnes collector's stamp (Lugt 4436) in purple ink, lower left corner of sheet

The Daulton Collection


Singer 272 II (of II)


Excellent, strong impression from the completed plate with a wide margin


Condition: paper slightly darkened and slightly stained in places, otherwise in good condition.



Provenance:


Dr. Heinrich Stinnes (1867-1932), Cologne, who was the greatest German print collector of his day


Ketterer Kunst, Munich, auction 137, May 29, 1989, lot 272


Private Collection, Munich






Max Klinger (1857-1920) 


Secession (Umschlagtitel) [Secession (book cover title)]

1893

etching, engraving, aquatint, and mezzotint with white heightening

plate 29,7 x 25 cm, sheet 47 x 31,5

trial proof of second state, a unique impression with white heightening

in pencil lower right, monogrammed and dated "18.7.93"

inscribed in pencil lower right: "2.Z.3.Dr." [2nd State, 3rd impression]

The Daulton Collection



Provenance:


Heinrich Stinnes (1867-1932), Cologne, who was the greatest German print collector of his day



catalogue raisonne: Singer 286 II (our impression appears to be an unrecorded unique impression with white heightening)

Max Klinger (1857-1920) 


Secession (Umschlagtitel) [Secession (book cover title)]

1893

etching, engraving, aquatint, and mezzotint

plate 29,8 x 25,1 cm

trial proof of fourth state

lower right monogrammed in pencil

verso with collector's stamp of Heinrich Stinnes

The Daulton Collection



Provenance:


Heinrich Stinnes (1867-1932), Cologne, who was the greatest German print collector of his day



catalogue raisonne: Singer 286 IV

Max Klinger (1857-1920) 


Felix Koenigs on his Death Bed

[Felix Koenigs auf dem Totenbett]


1901


mezzotint, with engraving

plate 35.5 x 33 cm

trial proof of fourth state (second impression)

signed and dated in pencil lower right: "M. Klinger  19. 3. 1901"

inscribed in pencil lower left: "4 Z. 2. Dr" [state 4, impression 2]

The Daulton Collection


catalogue raisonne: Singer 278 IV (of V), the finalized print before letters; Singer knew of only two impressions of this state.


Felix Koenigs (1846-1900), a friend of Max Klinger, was a German banker and noted art collector in Berlin.  In 1900, he went to visit the Exposition Universelle in Paris with Adolf Brütt and Klinger, but suddenly became ill and died there.

Max Klinger (1857-1920) 


"Sehnsucht" ["Longing"]

1909

etching and aquatint

49,8 x 33,5 cm 

The Daulton Collection


catalogue raisonne: Beyer 396

Max Klinger (1857-1920) 


"Bildnis des Kunsthändlers Louis Meder" ["Portrait of Art Dealer Louis Meder"]

1912

etching on fine wove paper

23,1 x 17,7 cm 

trial proof of first state

signed in pencil lower right: "M. Klinger"

inscribed in pencil lower right: "1.Z.1.Dr." [1st State, 1st impression]

dated in pencil lower left: "13. Aug 12"


catalogue raisonne: Beyer 410 I


Excellent, toned impression with a narrow margin. 


Condition: faint diagonal crease lower left; lower right corner very slightly bumped; otherwise in very nice condition.


"In 1877, the brothers Albert and Louis Meder took over the Berlin art dealership founded in 1860 by Hermann Amsler and Theodor Ruthardt (Amsler & Ruthardt). In the affiliated publishing house, Max Klinger dominated; in their auction department, they auctioned off important collections (such as the August Dorgerloh Collection and the Dr. David Friedrich Weber, Hamburg, Collection) with numerous works by Klinger."   B


Max Klinger (1857-1920) 


"Bildnis des Kunsthändlers Louis Meder" ["Portrait of Art Dealer Louis Meder"]

1912

etching on etching paper [Kupferdruckpapier]

23 x 18 cm (plate); 42,5 x 30,5 cm (sheet)

trial proof of third state

signed and dated in pencil lower right: "M. Klinger. 28.11.12"

inscribed in pencil lower left: "3.Z.1.Dr." [3rd State, 1st impression]

Heinrich Stinnes collector's stamp (Lugt 1376a) in red-orange ink, lower left corner of sheet



Provenance:


Heinrich Stinnes (1867-1932), Cologne, who was the greatest German print collector of his day


Otto Dix (1891-1969), Dresden, the famous artist



catalogue raisonne: Beyer 410 (1912) (our impression seems to be an unrecorded intermediate state between Beyer 410 II and Beyer 410 III)



"The art dealer Louis Meder (1848-1924) was one of Klinger's closest friends and owned a vineyard right next to Klinger's property in Großjena. He was the owner of the renowned Berlin art dealer Amsler & Ruthardt, which did a great job in publishing and selling Klinger graphics. In 1912, Klinger created [this] etched portrait of Meder as thanks."  Museen in Naumburg (English translation Jack Daulton]

Max Klinger (1857-1920) 


"Bildnis Geheimrat Professor Doctor Lamprecht" ["Portrait of Professor (Karl) Lamprecht"]

1915

etching and aquatint on Japan

plate/image 16,2 x 11,2 cm (6 3/8 x 4 3/8 in.)

trial proof of third state

signed and dated in pencil lower right: "M. Klinger. 14. Sept. 15"

inscribed in pencil lower left: "3.Z.17.Dr." [3rd State, 17th impression]

The Daulton Collection


catalogue raisonne Beyer 423 III (of V) (completed, but before letters)


condition: minor foxing in the margins; otherwise very good


Kar Lamprecht (1856-1915) was a German cultural historian on the faculty of the University of Leipzig.


This etching served as the title picture for "Karl Lamprecht, ein Gedenkblatt von Wilhelm Wundt und Max Klinger" ["Karl Lamprecht, a Commemorative by Wilhelm Wundt and Max Klinger"] (Leipzig, 1915).


Klinger also created a portrait of Prof. Lamprecht in bronze, a casting of which is in the collection of the Albertinum, Dresden.

Contact:
Jack Daulton
The Jack Daulton Collection
Los Altos Hills, California
info@symbolismus.com

All works in The Daulton Collection are generally available for exhibition loan, free of charge and, in appropriate cases, with shipping costs covered by the collection. High-resolution digital photographs are generally available, free of charge in most cases (e.g., exhibition catalogues, academic publications, non-profit uses, and the like).