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I've recently acquired a run of the Leipzig art revue Zeitschrift f�r Bildende Kunst from its founding in 1866 through to 1901. Especially in the 1890s, when the emphasis switches from interpretative etchings to original works, it provides a good overview of the German art of the day. There isn't the revolutionary zeal of a journal such as Pan, but that gives the more cutting edge art a more clearly defined context - we can see both where it came from and where it's headed. The four landscapes in this post were all published in Zeitschrift f�r Bildende Kunst, Neue Folge IX, 1898. They treat similar motifs in the same medium, but vary dramatically in feel. They work steadily through from a fairly conventional realism, to Impressionism, Post-Impressionism, and finally to Expressionism. I admire all four prints, but particularly like Else Ruest's conventional but tenderly-observed landscape and Walter Leistikow's darkly brooding inscape. The two could hardly be more di

The bookplate or ex libris has put bread and butter on many an artist�s table, and over the course of time has developed into a flourishing art form all of its own. I don�t pretend to know very much about the history and development of ex libris, but seem to have acquired some anyway. I think this little group of Austrian, Czech and German bookplates of the Jugendstil (Art Nouveau) period are particularly charming. They come from the Vienna art revue Die Graphischen K�nste , from the years 1911, 1912, and 1914. Maximilian Liebenwein (Austrian, 1869-1926) Ex libris Josef Kundrat Lithograph, 1910 Maximilian Liebenwein Ex libris Karl Stark Lithograph, 1910 Maximilian Liebenwein Ex libris der Verbindung von Wiener Kunstakademikern �Athenaia� Lithograph, 1910 Alfred Cossmann (Austrian, 1870-1951) Ex libris Arthur Graf Etching, c.1912 Alfred Cossman Ex libris Franz J. Kaiser Etching. c.1912 Alois Kolb (Austrian, 1875-1942) Ex libris Gertrud Kolb Etching, c.1914 Rudolf Junk (Austrian, 188