Berlin: Galerie Flechtheim, 1921. Original artwork. Loose leaf. 1/50. Folio (14 3/8 x 113/8"). Mordern umber cloth portfolio with umber cloth loop and pointed bamboo fastener housing an original Galerie Flechtheim portfolio, three quarter cloth over green boards with Molzahn motif in lithography and text in brown on boards, three text pages and six signed and numbered Johannes Molzahn etchings, two in color. And original sixth issue of volume ten "Der Sturm" with Molzahn woodcut on cover, two interior full page b/w woodcuts and one full page color lithograph in issue, matted behind plastic foil and fastened to inside front cover of umber cloth portfolio.
Zeit-Taster (Time-Sensor) presents a small collection of "utopian-phantastic" machines and gadgets: Plan of Mechanics and Strength of Materials; Industrial Monuments; Atom-Vaporizer, the New Power Base; Construction of a Milky Way Elevator; Little Altitude Locomotive; and For James Watt, the Inventor of the Steam Engine (First leaf). An introduction of Johannes Molzahn by Wilhelm Uhde on leaves two and three with specifications of the portfolio, signed by both.
No. 1 of fifty portfolios, with facsimile copies of the title page, table of content page and colophon, including signatures by Uhde and Johannes Molzahn. The Molzahn etchings are printed on heavy Chamois van Geldern paper (12 3/4 x 9 3/4") with plates measuring ca. 3 1/2 - 7 1/2 x 4 3/4 - 5 1/2") and all signed and numbered below image. Portfolio XII of the Galerie Flechtheim Portfolios. (Cat. Regensburg 1974, No. 88)
Uhde describes a Molzahn visit at his home, Burg Lauenstein, encountering a more and more depressed Molzahn as the visit goes on. So much so that Uhde came up with a plausible pretense so Molzahn could excuse himself and leave, which he did, promising to come back but never did. Molzahn is a revolutionary figure in Uhde's book, a revolutionary who hates tradition, denies that what has been to make demands in today's world and expect validation. His feelings are not linked to the past. He live in the present. There is nothing artistic in Molzahn's art, Uhde continues, nothing that aims at taste, indulgence, contemplation or calm. There is only space, movement and pace. Wheels roll, spirals turn, machines work infinitely with speed that doesn't experience any resistance from the air. Will is everywhere... At the beginning of Molzahn's picture is not a sound, a tone or harmony but an idea. This is where he is different from Schwitters, who is all about sensual beauty... What distinguishes Molzahn from others is that he is passionate and authentic. And: he chose the right medium. The painterly slowly grows into his defiance and the chill of his conceptual desire... (Derived from Uhde's text).
Original portfolio with light wear along edges, previous owner's name inked to top left corner of cover, string-ties partially frayed. Very light sunning along edges of preliminary pages. Small light water stain in margins of van Geldern paper, etchings in fine condition.
Der Sturm, published by Herwarth Walden. Volume X, Issue VI. With original Molzahn woodcut on cover. Matted issue with plexiglass protection mounted to inside cover of portfolio and fastened with wooden stab. Contains "Das Manifest des absoluten Expressionismus (Manifesto for the Absolute Expressionism)" by Johannes Molzahn, on the occasion of the October 1919 exhibition. This was Molzahn's only contribution to Der Sturm. With an introductory contribution by Walden, an essay "Die neue Kunst (The New Art)" by Lothar Schreyer and a poem by Wilhelm Schlichtkrull. Contains three original woodcuts, including cover, and one color lithograph. All woodcuts printed from the original block. The last three pages are reserved for publisher's advertisements and announcements. Text in German. With very light staining of last two leaves, some offsetting to opposing page of color lithograph and light creasing of lithograph itself. Lightly age-toned, else in fine condition. Very good to fine condition. Item #48210