Day and Dream, Max Beckmann
Max Beckmann
Day and Dream
DE
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This work consists of multiple parts

Max Beckmann

Day and Dream, 1946


Mappe
417 x 317 x 10 mm
Titelei (Vergé, ganzer Bogen)
398 x 604 mm
Lithografie (Blatt)
401 x 300 mm
Physical Description
13 (of 15) chalk lithographs on firm calendered wove paper, in sheet of laid paper folded in the middle (printed with title, content, and colophon), in textile portfolio with title print
Inventory Number
67993A-N
Object Number
67993A-N D
Acquisition
Acquired in 2019 as a bequest from Ulrike Crespo from the Karl Ströher Collection
Status
See Parts

Texts

About the Acquisition

The Städel Museum has the photographer, psychotherapist, philanthropist, and long-time Frankfurt resident Ulrike Crespo (1950–2019) to thank for more than ninety works ranging from classical modernism to American pop art. The paintings, drawings, and prints by Wassily Kandinsky, Otto Dix, Oskar Schlemmer, Max Ernst, Jean Dubuffet, Cy Twombly, and others originally belonged to the holdings of her grandfather, the Darmstadt-based industrialist Karl Ströher (1890–1977), who amassed an extensive art collection after World War II.

Work Data

Basic Information

Title
Day and Dream (Original Title)
Artist
Publisher
Part
Self-Portrait
Weather-Vane
Tango
Crawling Woman
I don't want to eat my Soup
Dancing Couple
King and Demagogue
The Buck
Dream of War
Morning
Circus
Magic Mirror
Christ and Pilate
Serial Number / Edition
56 / 90 (+ 10 a.p.)
Period Produced
Object Type
Physical Description
13 (of 15) chalk lithographs on firm calendered wove paper, in sheet of laid paper folded in the middle (printed with title, content, and colophon), in textile portfolio with title print
Material
Technique
Geographic Reference
Label at the Time of Manufacture
Auf dem Rücken und auf dem Vorderdeckel der Mappe auf dem Titelschild betitelt und bezeichnet (schwarz gedruckt): DAY AND DREAM XV LITHOGRAPHS MAX BECKMANN
Auf dem mittig gefalteten Bogen, dem die Lithografien einliegen, mit Titel, Inhalt und Kolophon versehen (schwarz gedruckt): DAY & DREAM / XV LITHOGRAPHS BY / MAX BECKMANN / NEW YORK CURT VALENTIN / 1964; DAY AND DREAM / XV LITHOGRAPHS BY / MAX BECKMANN / Self Portrait I / Weather-vane II / Sleeping Athlete III / Tango IV / Crawling Woman V / I don't want to eat my Soup VI / Dancing Couple VII / King and Demagogue VIII / The Buck IX / Dream of War X / Morning XI / Circus XII / Magic Mirror XIII / The Fall of Man XIV / Christ and Pilate XV; DAY AND DREAM, 15 original lithographs / by Max Beckmann were executed in the / spring of 1946 for Curt Valentin of New / York, and pulled by hand in an edition of 100 proofs. Each lithograph is numbered / and signed by the artist / THIS COPY BEARS THE NUMBER / 56
Die Lithografien je signiert unten rechts (mit Bleistift): Beckmann; römisch nummeriert unten mittig analog zum Inhaltsverzeichnis; je nummeriert unten links: 56/90
Captions Added Later
Auf dem Vorderdeckel der Mappe innen bezeichnet unten rechts (mit Bleistift): R. 650
Watermark
  • Nicht vorhanden
Work Catalogues
  • Hofmaier 357-371 B b
  • Gallwitz 289-303

Property and Acquisition

Institution
Departement
Collection
Creditline
Städel Museum, Frankfurt am Main
Picture Copyright
Public Domain
Acquisition
Acquired in 2019 as a bequest from Ulrike Crespo from the Karl Ströher Collection

Work Content

Motifs and References

Genre

Iconclass

Primary
Secondary
  • 49L1 letters, alphabet, script
  • 49M51 book-cover, binding

Research and Discussion

Provenance

Object History
...
Karl Ströher (1890-1977), Darmstadt
Nachlass Karl Ströher, 1977
an seine Enkelin Ulrike Crespo (1950-2019), Frankfurt am Main
Vermächtnis an das Städelsche Kunstinstitut, Frankfurt am Main, 2019.

Information

Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:

  • the type of acquisition and/or the way the object changed hands
  • the owner's name and place of residence
  • the date on which it changed hands

The successive ownership records are separated from each other by a semicolon.

Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.

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Last update

11.09.2023