Max Beckmann (1884-1950), The Merry Ones (Die Vergnugten; Red Light District), drypoint, 1912, signed and numbered in pencil (25/30). Reference: Hofmaier 53 BB. Published by I.B. Neumann, Berlin. In very good condition, on Strathore Japan paper (with the Strathmore Japan watermark), with margins, 4 5/8 x 7, the sheet 9 3/4 x 12 3/8 inches, archival mounting (non attached mylar hinging between acid free mat board, window mat).

A fine clear impression of this rarely encounterd early drypoint, with substantial burr from the drypoint work.

There were three trial proofs, then an edition of 10 proofs on Japan and 30 on imitation Japan numbered and signed.

Die Vergnugten is one of Beckmann’s first drypoints; before 1912 Beckmann’s prints were all lithographs, but in that year he began making drypoints and virtually abandoned lithography until 1919. This is one of the very few prints made before World War I, presaging the “Faces” series of the post-War period. The subject matter for these prints is street life, a departure from his previous focus on Biblical themes.

$4750

Max Beckmann (1884-1950), The Artist (or Draughtsman) in Society (Der Zeichner in Gesellschaft), drypoint, 1922, signed in pencil and inscribed “probedruck” (trial proof), on cream wove paper. Reference: Hofmaier 230, second state (of 3). In good condition apart from the usual printer’s creases found in Beckmann proofs (one at the center, others on or near margins), minor soiling in margins from printing, with wide margins, 12 3/4 x 9 1/4, the sheet 19 x 11 3/4 inches, archival mounting.

A fine impression, with a light veil of plate tone; the drypoint burr quite vivid and effective.

Only a few trial proofs were made before this print was editioned (edition of 150). Hoffmaier notes only 1 in the first state and 2 in the second. In our second state impresssion a number of changes have yet to be made: nails are entered on the right hand of the artist and creases added to his left elbow; the center leg of the stool is darkened; a cuff is added to the pants of the man at the right and his shoe is shaded.

The artist drawing is Rudolf Grossman (1882-1941), a figure known for his adept draughtsmanship, and his habit of drawing wherever he found himself. The seated figure with glasses just to the right of Grossman is the Munich painter Rolf E. von Hoerschelmann (1885-1947).

Max Beckmann (1884-1950), Kinder am Fenster (Children at the Window), drypoint, 1922, signed and numbered (18/35) in pencil. Reference: Hofmaier 237, second state (of 2).

In excellent condition, on a cream wove paper, the full sheet with deckle edges, 12 1/2 x 8 3/4, the sheet 20 5/8 x 14 7/8 inches, archival matting.

A fine fresh impression of this relatively rare print, made in an edition of only 35. The effect of the drypoint burr is striking.

This penetrating portrait of two boys talking with each other in front of a window is seemingly fraught with meaning, yet it remains mysterious to this viewer. The boy at the right, kneeling on a chair, appears to hold the “cross” of the window; his comrade has his hands in his pockets. The buildings outside may be churches, or perhaps not, but neither boy is looking outside. What is clear is Beckmann’s classic composition: two figures focused and  framed - at a slight angle – within the curtained window.

$5750

A fine fresh impression, printed in black ink on cream laid paper.

The Gesichter portfolio was a collection of mostly unrelated prints which Beckmann made over the course of WWI, from 1914 to 1918, published in 1919.

The composition was basically complete in the first state; in the second state Beckmann added the flagpoles in the windows, and the sun (or moon) in the sky.

This scene is of the Darmstadter Landstrasse in the suburbs of Frankfort. Balloons were not infrequently seen at this time, and were of special significance to Beckmann; one appeared in a painting he made in 1908, and in a painting in reverse of this composition (now in the Museum Ludwig, Cologne) dated 1917.

Max Beckmann (1884-1950), The Barker (Self Portrait), drypoint, 1921, from Der Jahrmarkt. Reference: Hofmaier 191 IIB.b. From the edition of 125 on wove paper (there was also an edition of 75 on Japan). With the blindstamp of Mariees Gesellschaft, Munich. In very good condition, the full sheet, with deckle edges, 13 1/8 x 10 1/2, the sheet 20 3/4 x 15 inches, archival mounting.

A fine impression.

Only a few proofs were made of the first state; in the second state Beckmann strengthened some of the letters in the sign at the left but made no changes to the composition. Four proofs were made (this is Hofmaier’s IIA; then came the edition, IIB, in two sections, the 75 proofs on Japan, and the 125 on wove.

In this introductory plate to the 10 drypoint set Der Jahrmarkt (The Fair) Beckmann is shown next to the small advertising card (Beckmann’s Circus); he’s the crier, ringing the bell and announcing the fair to passersby.

Max Beckmann, Spring (Fruling) (also known as Street in Frankfort), etching and drypoint, 1918, signed lower right. Reference: Hofmaier 133IIb, from the edition of 60 on laid paper; another 40 were on Japan. Plate 13 of Gesichter (Faces), as published byR. Piper, Marees-Gesellschaft, and with their stamp bottom right hand corner. In very good condition, on an ivory  laid paper, the full sheet, 11 3/4 x 7 3/4, the sheet 14 1/2 x 11 3/4 inches. Printed by Franz Hanfstaengel, Munich, archival window matting.

A fine fresh impression.  This is an impression of the second state (of two); only one proof of the first state is known.

The portfolio Gesichter was a selection of prints done by Beckmann on a variety of subjects over the period of the War, 1914-18; the prints were not made with the portfolio or other compilation in view. But they all do seem to be autobiographical. Beckmann had volunteered as a medical orderly during the War, but after a nervous breakdown in 1915 was given leave.

Here, Beckmann and his wife lean out of their Frankfort apartment window to welcome Spring; the ending of the War may infuse the spirit of the print, but of course that is pure conjecture.