BOOKPLATES
BOOKPLATES
THE WORLD OF EX-LIBRIS
A historical retrospective

4 EX-LIBRIS: A THEMATIC APPROACH
 
BOOKPLATES
4e
EX-EROTICIS
1894-1985

The theme of erotic bookplates has not been chosen pruriently, or without due consideration. Ex-libris are the result of a commission or at least of a contact between an artist and a person wishing to have a bookplate. It is essentially a private object, which a person pastes into his books, or which he exchanges with fellow collectors if he wishes to do so. Thus the subject of the bookplate is decided by the artist and the owner together; when it is an erotic subject, usually it is because the owner has in his library a small ‘inferno’ of erotic books, which he wishes to mark with a bookplate. As to collectors who commission erotic ex-libris for exchange, their motives are more nebulous. Perhaps the most justified reason lies in the nature of erotic art: it does not leave the observer indifferent, and perhaps more than any other art subject, it does not tolerate mediocrity. Unfortunately, today, one sees many mediocre ex-eroticis, which are no more than smutty pictures and not worthy of being collected. But there have been since the end of the last century, a number of such bookplates which are by talented artists and an honour to the genre.

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4e/1. ‘Henry-André’ (André Schultz, F, 1857-1932) BIBLIOTHèQUE éROTIQUE ECLIPSE, L, 92 x 70, 1894.

The well-known artist Henry-André, one of the founders of the French Ex-libris Society (see 3b/8), made about 180 bookplates and this one was for a library of erotic books entitled ‘Eclipse’. The humorous character of the mock-heraldic plate is delightful.
4e/2. Franz von Bayros (A, 1886-1924) H. ROSEN, P3, 90 x 80, c.1910. Viz. BPS Bayros #207.

Of Italian and Spanish origin, the Marquis von Bayros remains the undisputed master of Viennese Rococo style of the pre-1914 period. His substantial ex-libris opus (312 pieces registered) is in great part subtly erotic: von Bayros was indifferent to the conventions of his time, and when he was brought to court in Budapest for obscene publication, he won his case.

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4e/3. Fritz Mock (CH, 1867-1919) DR. JOSEF KLüBER, C3, 145 x 77, c.1910.

Mock was one of the most eminent artists of the group active in Basel at the turn of the century (see 3d/13 to 16). His work has a Jugendstil flavour, but is not heavily decorative. This ex-libris was made for the German collector Klüber, who had several ex-eroticis made to his name by important artists of the time.
4e/4. Martin Ernst Phillipp (D, 1887-1978) O. S. S., C3, 113 x 66, 1913.

When the substantial checklist of the ex-libris of the Dresden painter and engraver Phillipp was drawn up with great care by a member of the German Ex-libris Society a few years ago, this plate was not registered. This in no way indicates negligence of the researcher, but is a sign of the extraordinary rarity of this piece. It is signed by the author and dated in the top right hand corner, and the print is autographed. There is a pencilled ‘2’ in the lower right hand corner, and it is quite possible that it is one of only two or three proofs.

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4e/5. Kornel Revesz (H, 1885-1944) JULIO MOLINARO, C3, 153 x 109, c.1920.

When the catalogue of an ex-libris exhibition in Colombia was published in 1988, six illustrations of erotic ex-libris were deliberately omitted by the printer, who was severely reprimanded in the ensuing public scandal about censorship. This plate, however, escaped his notice!
4e/6. Karl Otto Speth (D, 1890-1924) KARL MARTIN ANDRES, C3, 112 x 93, 1921.

A fine etching by another major German artist of the ‘20s, who died very young. This piece was earlier in the Shulthes collection.

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4e/7. Fritz Gilsi (CH, 1878-1961) CARL HENNE, C3, 106 x 75, c. 1910.

The painter and engraver Gilsi of St. Gall made a substantial number of ex-libris, and they are highly appreciated by collectors. This is the only ex-eroticis which he made. At first glance, it just seems to be a Medusa head. The artist, however, was uneasy about this work for his reputation, as on the plate he signed an anagram of his name, ‘Silig’. But this print bears Gilsi’s characteristic signature.
4e/8. Guido Balsamo Stella (I, 1882-1941) JOSEPH MONTSALVATJE, C3, 120 x 103, 1917.

One of the most eminent Italian artists of his day active in the field of ex-libris, Stella was also a painter and active in applied arts. The spider-woman with her symbolic orchids is an example of his mastery at etching.

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4e/9. Ludwig Marks (H) OSCAR HILLINGER, C3, 139 x 96, c.1920.

Marks only engraved a few ex-libris, but this one cannot be dismissed, just for the unexpected look of absolute horror on the face of the Satyr when a naked woman reveals herself to him!
4e/10. Arnost Hofbauer (CZ, 1869-1944) IPSE, X3, 117 x 88, c.1910.

A fairy-tale type image from this artist, one of the several Czech masters of relief engraving in the early part of this century.

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