Rudolf Jettmar (1869–1939)
“Acoustics. — Electricity.” (aka “Acoustique. — Électricité.”; “Akustik. — Klektricität.”), 1896, original colour lithograph diptych, published in Vienna by Gerlach & Schenk (fl.1895-1901) as plate 100 to Martin Gerlach's (1846–1918) “Allegorien Neue Folge. Original Entwürfe von den namhaften modernen Künstlern, mit erläuterndem Text.” (Allegories New Series. Original designs by well-known modern artists, with explanatory text.)
Interestingly, 1stDibs showcase Gustav Klimt’s lithograph, “Tragedy” (plate 66), from the same publication executed “the year before he [Klimt] formed the Vienna Secession” of which Rudolf Jettmar was a member: https://www.1stdibs.com/art/prints-works-on-paper/figurative-prints-works-on-paper/gustav-klimt-gerlachs-allegorien-plate-66-tragedy-lithograph-gustav-klimt/id-a_1464343/.
I understand that the allegorical scenes portrayed in the two images address the process that modern life takes for granted: the reproduction of sound using electricity as a medium of transmission. My apologies if I am wrong about this as I am relying on my reading about “Electroacoustic” in Wikipedia: https://fr.wikipedia.org/wiki/%C3%89lectroacoustique (Antonio Fischetti 2001, “Initiation to Acoustics”, Paris, Belin, p. 288). Note that the upper scene shows the ringing of a bell that I read as symbolically connoting sound, whereas the lower scene possibly introduces the symbolism of electricity by the portrayed bolt of lightning. I am mindful in proposing this explanation that Alexander Graham Bell had invented the telephone only a decade before the execution of this print and the repercussions of the idea that sound could be transmitted by electricity must have been an extraordinary development at the time.
Colour diptych lithograph on wove paper with full margins (as published) and backed with a support sheet.
Size: (sheet) 44.3 x 35.1 cm; (image borderline of each image) 15 x 21.5 cm.
Inscribed on plate with the artist’s name (“RUDOLF JETTMAR”) within the image borderline of each image: lower right on the upper image; lower left on the lower image.
Lettered on plate above the upper image borderline: (left) “Allégories.”; (centre) “GERLACH’S ALLEGORIEN.”; (right) “Allegories.”
Lettered on plate below the lower image borderline: (left) “Acoustique. — Electricité./ Gesetzlich geschützt. Déposé. Registered.”; (centre) “Akustik. — Klektricität./ No.100.”; (right) “Acoustics. — Electricity./ Verlag von Gerlach & Schenk in Wien.”
Condition: strong and near faultless impression(s) with rich colour and generously wide margins, laid onto a support of archival (millennium quality) washi paper. The sheet has a restored tear in the margin at right and otherwise the sheet is in a superb condition for its age with no holes, losses, abrasions, significant stains or foxing.
I am selling this large and extraordinarily interesting colour diptych lithograph by one of the major printmakers of the Vienna Succession movement, for the total cost of AU$338 (currently US$257.04/EUR209.82/GBP190.11 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.
If you are interested in purchasing this very rare diptych lithograph showcasing the new science discovered only a decade earlier of how to transmit sound by electricity, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
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