Carl Otto Czeschka

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Koloman Moser : Portrait of Carl Otto Czeschka while drawing, 1909

Carl Otto Czeschka (born October 22, 1878 in Vienna , † July 30, 1960 in Hamburg ) was an Austrian graphic artist and painter . He is considered one of the most important designers of the Wiener Werkstätte .

Life

Czeschka was half Moravian and half Bohemian in origin . His father Wenzel Czeschka was a master carpenter and especially made small wooden gallantry goods; his mother, Mathilde Czeschka, née Hafner, worked as a seamstress and embroiderer . Carl Otto Czeschka grew up in the Fünfhaus district of Vienna under very poor conditions. He lived there on Zinckgasse and on Märzstrasse right next to his father's carpentry workshop. His enthusiasm for drawing and his talent were already evident in the three-year-old . He was particularly fascinated by horses. In February 1883, the only four-year-old had to experience how the coffin was carried out of the house with his dead mother. Since then, August Hafner, his maternal uncle, looked after the father's household. In 1885, Czeschka's father was able to move into an apartment on Beingasse at the corner of Märzstrasse (third floor) in Vienna, a step that greatly improved the young Czeschka's living conditions.

A scholarship enabled Czeschka to attend the Esterhazy grammar school. In 1890, after half a year, he completed an apprenticeship as a carpenter with his father. Since 1891 he prepared specifically to study art before and financed this by one of Koloman Moser mediated art teacher position on Castle Wartholz where Czeschka the children of Archduke Karl Ludwig taught. Czeschka's friendship with Kolo Moser, who was ten years older than him, dates back to this time. Czeschka also had a special affection for the "Baroness" Editha Mautner-Markhof, Kolo Moser's mother-in-law, who mostly stayed in her house on Semmering.

After studying with Christian Griepenkerl at the Academy of Fine Arts from 1894 to 1899, Czeschka ("COC") initially taught at the arts and crafts school as an assistant teacher. An intensive collaboration with Koloman Moser and Josef Hoffmann at the Wiener Werkstätte (WW) began on September 2nd, 1905 and was continued even after Czeschka was appointed to the Hamburg School of Applied Arts in 1907 . At the Vienna School of Applied Arts, Czeschka had to look after various classes as a teacher. His students, who later also worked for the Wiener Werkstätte, included a. a. Franz Karl Delavilla (1884–1967), Moriz Jung (1885–1915), Rudolf Kalvach (1883–1932), Friedrich Zeymer (1886–1940) and Oskar Kokoschka (1886–1980). In 1905 in the exemplary total work of art of WW, the Stoclet Palace in Brussels , Czeschka designed seven windows with allegorical representations for the music hall of the Palais; To this end, he designed two marble reliefs Archangel Michael and Allegorical Woman on the Crescent Moon for the hall of the palace.

In his formal language, Czeschka was closely related to Gustav Klimt , but Czeschka's imagery went in a more flat and abstract direction. His student Oskar Kokoschka repeatedly expressed his admiration for his teacher and also considered his own formal language to be essentially influenced by Czeschka.

Czeschka left a very extensive and varied work. Among other things, he designed drawings, graphics, fonts (e.g. the Czeschka Antiqua ), woodcuts , glass windows, book art, calendars, jewelery, postcards, signets (e.g. the little owl in 1922, the Justus Brinckmann Society's signet ), Fabrics, tapestries (especially the Arabian Nights ), furniture and theater equipment for Max Reinhardt . For the latter u. a. the set and costumes for Shakespeare's King Lear in the 1908 staging in the Deutsches Theater. The product advertising and shop design for the L.Wolff / HACIFA cigar company was in his hands. His books are also well known. The 1908 illustrations for The Nibelungs in Gerlach's Youth Library by the Gerlach und Wiedling publishing house are Czeschka's best-known work. According to Hans Ries, the small-format book is one of the top works in book illustration. Czeschka's Nibelungen illustrations were an important source of inspiration for the silent film Die Nibelungen by Fritz Lang and Thea von Harbou . The original illustrations in a valuable cassette made by the Wiener Werkstätte had been in private ownership since 1909, most recently from Carol Ferranti (1933–2016), a Jewish-American art collector. The Nibelungen illustrations were auctioned at Sotheby's in New York in June 2017.

A part of Czeschka's works are his designs for large glass windows. Their templates (cardboard boxes) have largely been preserved and are in the Museum of Art and Industry Hamburg . Of these large glass windows, the large five-part, seven-meter-high window in the entrance hall of today's Hamburg University of Fine Arts on Lerchenfeld is particularly noteworthy. To this end, Carl Otto Czeschka worked together with the Berlin glass painter Gottfried Heinersdorff in 1912 and 1913 ; this cooperation was abandoned because of the complexity of the artistic design of the clear glass windows. The text for the ornamental font was written by Professor Wilhelm Niemeyer , who was responsible for art history at Lerchenfeld at the time, in consultation with Czeschka. The window is considered to be one of the most beautiful Art Nouveau windows. Despite the great war damage to the building, it was saved by the timely expansion and later reinstallation (1970).

However, Czeschka's studio in the Lerchenfeld University was also destroyed. With the help of two courageous students from the Czeschka class, important objects from the studio and important works were recovered from the rubble. One of the students, the graphic artist Helmut Scaruppe, mentions this in his memoirs, Mein Inseltraum, about his childhood and youth in the Hitler Empire.

Also in the Gnadenkirche of St. Pauli-Nord (architect Fernando Lorenzen ) were colored windows by Czeschka ( The Creation and The Birth of Christ ), which were also destroyed in the war. In the 1940s the large colored round window The Phoenix in the cemetery chapel of Wismar was created .

Listed country house Sigmund Gildemeister in Hamburg-Osdorf

The merchant and art connoisseur Sigmund Gildemeister (1878–1954) from the Gildemeister family in Bremen commissioned Czeschka in the 1920s with the interior design of the library with the precious graphic collection for his new home in Hamburg-Osdorf / Hochkamp. This includes the wooden paneling, the colored stucco ceiling, the ceiling lighting and a large colored tapestry. The silver ceiling lamp, as well as the template (cardboard) for the tapestry A Thousand and One Nights with over 110 shades of color, is in the Museum of Art and Industry. The nine m² tapestry was temporarily exhibited in the parquet foyer of the new auditorium of the Hamburg State Opera , which opened in 1955 .

In the 1930s and until July 1943, Czeschka concentrated on teaching at the School of Applied Arts, which had been renamed the "Hanseatic College of Fine Arts" since 1933. This largely ensured his livelihood. In 1933, he resigned from the German Werkbund , which had been brought into line. But he immediately experienced that his colleagues Friedrich Adler , Alfred Ehrhardt , Fritz Schleifer and Willi Titze and the director Max Sauerlandt had to leave the school because of their attitude towards modern art. It was not until 1937 that he was forced to become a member of the NSDAP, otherwise he too would have had to leave school. He did not convey his view of the Nazis to the outside world, but stayed with his students, who also trusted him in critical situations and kept it. Two of these students helped him in the autumn and winter of 1943 to salvage as much as possible from the ruins of his studio in Lerchenfeld.As he had been since the 1920s, Czeschka received numerous orders from L. Wolff for cigar packaging and increasingly also for architectural shop design of the HACIFA branches u. a. in Hamburg, Berlin, Breslau, Dresden, Leipzig, Stuttgart and Essen. At the beginning of the 30s he also took on small graphic orders from the AlRoWa knitwear factory, the Bielefeld liqueur factory J. Bansi and the Hiestrich cigar factory. A larger order for two colored glass art windows came about in 1942 for the cemetery chapel of the historical cemetery in Wismar , designed by the Hamburg architect Konstanty Gutschow for a small and a large round window depicting a phoenix (mythology) . The finished design, which Czeschka had presented in his studio in Lerchenfeld the day before, was destroyed in the night of the bombing in July 1943. According to a new, simplified design, the large round window with the phoenix was only realized by Puhl & Wagner after the war .

Grave of CO Czeschka, Ohlsdorf cemetery

For the weekly newspaper Die Zeit , Czeschka designed the header that is still used today. From the first edition in February 1946 to No. 13/46 (in May 1946), a slightly different Hamburg coat of arms was deliberately used between the two words. After the intervention of the Hamburg Senate and the refusal of a subsequent approval of the use of the "national emblem", the Bremen coat of arms with the key and the golden crown was used instead - with the permission of the local mayor Wilhelm Kaisen . The lettering of this font, reminiscent of Albrecht Dürer's graphic, has lost none of its memorability.

Czeschka's pupils were the Viennese graphic artist Marie von Uchatius (1882–1958), Editha Mautner von Markhof (later Ditha Moser ) (1883–1969), Mileva Stoisavljevic (1886–1949), wife of Alfred Roller since 1906 , and in Hamburg During Czeschka's time the painter and craftsman Hilde Hamann (1898–1987), Wilhelm Bauche (1899–1959), Alexander Friedrich (1895–1968), Paul Helms (1911–1956), Erwin Krubeck (1893–1976), Hugo Meier-Thur (1881–1943), Otto Rodewald (1891–1960), Werner Rebhuhn (1922–2001), Willi Titze (1890–1979), Ignatz Wiemeler (1895–1952) and many others.

On July 30, 1960, Czeschka died in Hamburg and was buried there in the Ohlsdorf cemetery at Planquadrat V 10 (north of Chapel 1).

Major works

In her dissertation on the life and work of Carl Otto Czeschka (1992) Senta Siller describes that Czeschka's life and creativity can be read from seven works. These main works are:

  • The Kaiserkassette as a gift from the Skoda-Werke in Pilsen to Emperor Franz Joseph I of Austria (1905)
  • The necklace with fire opals as part of the Wiener Werkstätte (1909/1910)
  • The illustration of the book Nibelungen at Verlag Gerlach & Wiedling (1908)
  • The Lerchenfeld window in today's HFBK in Hamburg, architect Fritz Schumacher (1912/1913)
  • The great tapestry a thousand and one nights. for the house of Sigmund Gildemeister in Hamburg (1922–1926)
  • The lettering for the weekly newspaper Die Zeit (1946)
  • Product and shop design for the cigar company L. Wolff / HACIFA (1918–1956)

Other works (selection)

Carl Otto Czeschka is also known for his book layouts and calendar designs.

A little-known set of books by Czeschka on the cover of the Scientific Folk Books for School and Home
The golden bellflower wreath by Czeschka on the books of the Hamburg library
  • Festschrift. Imperial and Royal Court and State Printing House , Vienna 1904. [2]
  • Johann Peter Hebel : Stories and Schwänke. Gerlach's youth library / publishing house Gerlach & Wiedling, Vienna and Leipzig 1905.
  • Calendar. Imperial and Royal Court and State Printing House, Vienna 1905.
  • Zodiac Calendar. Imperial and Royal Court and State Printing House, Vienna 1906.
  • Theater and Cabaret Fledermaus, 1st and 2nd program booklet. Vienna 1907.
  • Calendar for the year 1908. Wiener Werkstätte , Vienna 1908.
  • The Nibelungs - retold to the German people by Franz Keim . Gerlach's youth library / Gerlach & Wiedling publishing house, Vienna and Leipzig 1908; New prints - 1920–1924, reprints by Parkland-Verlag (around 1970) and Insel-Verlag (1972)
  • Miguel de Cervantes : Don Quixote . Complete German edition and use of the anonymous transmission from 1837. Insel-Verlag, Leipzig 1908.
  • Albert Helms: Chaos. Alfred Janssen publishing house, Hamburg 1909.
  • Timm Kröger : Nine short stories. Alfred Janssen publishing house, Hamburg 1909.
  • Tear-off calendar for the year 1910 for the North German Insurance Company in Hamburg.
  • Charles Darwin : A Journey Around the World. Edited by Fritz Gansberg in the series Scientific Folk Books for School and Home. Alfred Janssen publishing house, Hamburg 1910.
  • The beginnings of aviation from reports by contemporaries. Edited by Fritz Gansberg in the series Scientific Folk Books for School and Home. Alfred Janssen publishing house, Hamburg 1910
  • The selection. Poems by Gustav Falke . Alfred Janssen publishing house, Hamburg 1910.
  • Gustav Falke : Puss in Boots. Alfred Janssen publishing house, Hamburg 1910.
  • Wall calendar for the year 1911. Julius Sittenfeld Hofbuchdruckerei, Berlin.
  • Emil Frithjof Kullberg: The Pilgrim. Novel. Alfred Janssen publishing house, Hamburg and Berlin 1911.
  • Longing rises restlessly. A selection from the works of Gustav Falke. Alfred Janssen publishing house, Hamburg / Berlin 1911.
  • Arthur Sakheim : masks. Hamburg actor portraits. Alfred Janssen publishing house, Hamburg 1911.
  • Tear-off calendar for the year 1912 for the North German insurance company in Hamburg.
  • Fred A. Cook : My conquest of the North Pole. Alfred Janssen publishing house, Hamburg and Berlin 1912.
  • Albrecht Wirth : Men, Peoples and Times. Alfred Janssen Verlag, Hamburg 1912.
  • ETA Hoffmann : Life views of the cat Murr. Published in the series Hamburgische Hausbibliothek. Alfred Janssen publishing house, Hamburg 1912.
  • Dance and devotion. Poems by Gustav Falke . Alfred Janssen publishing house, Hamburg / Berlin 1912.
  • Rudolf Sansoni: Parzival. Novel. Alfred Janssen publishing house, Hamburg 1912.
  • Hermann Krieger: The Hahnekamp family and their friend Schnurrig. The happy story of a liberation. Alfred Jansen publishing house, Hamburg and Berlin 1912.
  • Rudolf von Koschützki: source of strength, considerations of a contemporary. Verlag Alfred Janssen Verlag, Hamburg 1912.
  • Hanns Prehn von Dewitz: Marie Antoinette Queen of France. Alfred Janssen publishing house, Hamburg 1913.
  • Wilhelm Lamszus : The human slaughterhouse . Pictures of the coming war. Alfred Janssen publishing house, Hamburg / Berlin 1913.
  • Kristian Krohg : Albertine. Novel. Alfred Janssen publishing house, Hamburg 1913.
  • Heinrich Dräger : Memoirs. Published in the Hamburg House Library. Alfred Janssen publishing house, 1914
  • Alfred Lichtwark : Hamburg essays. Published in the Hamburg House Library. Alfred Janssen publishing house, 1917
  • Plato : Phaedo . Hamburger Press / Druckerei-Gesellschaft Hartung & Co. mbH, 1920.
  • William Shakespeare : Hamlet , Prince of Denmark, Act 3, Scene 1. Reprint. 1927.
  • Adolph Wittmaack : Ocean, a novel between yesterday and today. Helingsche Publishing House, Leipzig 1935.

Tabular CV

  • 1878: October 22nd, born in Vienna
  • 1889/90: frequent visits to the library in the Austrian Museum for Art and Industry in Vienna .
  • 1891–1894: In preparation for studying art at the Academy, evening drawing lessons at the teaching and research institute for photography and reproduction processes founded in 1888
  • 1894/99: Studied at the Vienna Academy (with Christian Griepenkerl )
  • 1896/97: Participation in the illustration competition of the Gerlach & Schenk publishing house for the book "Radlerei!" of the Viennese cycling club 'Künstlerhaus'.
  • 1897: To cure a lung disease, stay at the Wörthersee and visits from Passau to the Galician Kolomea (Ukraine)
  • 1898–1900: Czeschka made nine plates on the following topics for the volume "Allegorien Neue Zusammenarbeit" published by Gerlach & Schenk with a total of 120 sheets: Plate 78 and 85: Hunting, Plate 83: The Seasons, Plate 93: Science, Plate 96: Astronomy, creation, lies, plate 98: poetry, plate 106: dance and wine, plate 114: vignettes, plate 116: strength, thirst, love
  • 1899: Free activity. Commissioned work for the Gerlach & Wiedling publishing house in Vienna; Trip to Nuremberg and Rothenburg oT
  • 1899/1900: In view of the three hundredth anniversary of 1902, commissioned together with the painter colleague Hermann Ulrich to renovate the frescoes and the painting of the patronage church of Emperor Joseph in Radmer in Styria
  • 1900: Member of the Secession , Association of Austrian Visual Artists and participation in the 8th Secession exhibition.
  • 1902: 30 sheets for a portfolio Die Quelle (edited by Martin Gerlach ); All kinds of thoughts in vignette form by CO Czeschka
  • 1902: Employment as assistant teacher for drawing lessons at the applied arts school (today: Die Angewandte ) of the Austrian Museum for Art and Industry (today: MAK ), later taking over a painting and drawing class; Gold medal at the 1st International Decorative Arts Exhibition in Turin
  • 1902: Participation in the 13th exhibition of the Secession
  • 1902: Participation in the 1st International Decorative Arts Exhibition in Turin
  • 1902: Participation in the "Jungbund" exhibition in the Künstlerhaus
  • 1903/1904: Together with Rudolf von Larisch and Koloman Moser, the large commemorative publication of Die KK Hof- und Staatsdruckerei 1804–1904 is created. [3] Czeschka supplies the woodcuts with representations of the work in the printing shop.
  • 1904: Oskar Kokoschka becomes Czeschka's pupil after Koloman Moser has rejected his work.
  • 1904: Participation in the 20th exhibition of the Secession
  • 1904: Poster for the millennium of the city of Mödling in Lower Austria
  • 1905: Czeschka (COC) joins the Wiener Werkstätte (founded in 1903 by Josef Hoffmann , Koloman Moser and Fritz Waerndorfer ) - remarkable designs for jewelry, cutlery, ceramics, postcards, calendars, playing cards, fabric samples, toys, book covers, utensils and interior details
  • 1905: Design of the book for young people Stories and Schwänke by Johann Peter Hebel for the Gerlach & Wiedling publishing house
  • 1905: Berlin: WW Special Show - Hohenzollern Kunstgewerbehaus
  • 1905: Vienna: "Modern Book Binding", WW
  • 1906: Vienna: "The laid table", WW
  • 1906: Kaiserkassette - gift from the Skoda-Werke in Pilsen to Emperor Franz Joseph I.
  • 1906: joint trip with Gustav Klimt , Fritz Waerndorfer and Josef Hoffmann to London and Brussels
  • 1906: London: "Austrian Modernism" during the Imperial Austrian Exhibition from June to October 1906 on the London exhibition grounds in Earls Court .
  • 1906: Game tables for the Hochreith hunting lodge by Karl Wittgenstein (together with Josef Hoffmann)
  • 1906: Czeschka applies for the position of art teacher in Leipzig and Hamburg.
  • 1907: Drafts of the stage sets, costumes and the rest of the equipment for Shakespeare's King Lear , staged by Max Reinhardt at the Deutsches Theater in Berlin - premiere on September 16, 1908.
  • 1907: Drafts for stage sets for Die Nibelungen by Friedrich Hebbel at the Raimund Theater in Vienna ( not realized by the theater director at the time, Sigmund Lautenburg [4] - but became the basis for the book Die Nibelungen published by Gerlach & Wiedling)
  • 1907: Appointment on October 1st to the Hamburg School of Applied Arts (at that time still at the Museum für Kunst und Gewerbe Hamburg ) and takes over the specialist class for flat art and graphics as well as the artistic direction of the bookbinding workshop
  • 1907: Design of books by Miguel de Cervantes
  • 1907: Drafts of scenes and costumes for the Fledermaus cabaret, specifically for the play "Masks" by Peter Altenberg . The draft sheets were shown in room 20 at the Kunstschau Wien in 1908 .
  • 1908: Completion of silver ceremonial display, in addition to other exhibits of Czeschka [5] in Vienna on the Art Show 1908 issued and there by Karl Wittgenstein was bought [6] . It has been in the Dallas Museum of Art since 2014 .
  • 1908: Vienna: Participation in the "Kunstschau Wien"
  • 1908: Hamburg: Exhibition of the Hamburg School of Applied Arts
  • 1908: Execution of the illustrations for the youth book Die Nibelungen for the publishing house Gerlach & Wiedling (later reprints by Parkland-Verlag and Insel-Verlag as well as retelling by Ulrike Draesner with Czeschka's illustrations)
  • 1908: Carl Otto Czeschka becomes a Hamburg citizen ( naturalization )
  • 1909: Meeting the world traveler Julius Konietzko and beginning of a private ethnological collection - especially from Africa
  • 1909: Beginning of the collaboration with the Alfred Janssen publishing house for the illustration of individual books, as well as for the design of the two book series Scientific Folk Books for School and House (edited by Fritz Gansberg ) and the Hamburg House Library (edited by a commission that included Alfred Lichtwark and Gustav Schiefler belonged to).
  • 1909: appointed professor
  • 1909/1910: During a stay of Czeschka in Vienna and on Semmering in August 1909, Koloman Moser and Czeschka paint or draw each other
  • 1910: Theater equipment for performances by the Lessing Society in Hamburg
  • 1910: Prague: Viennese drawings, participation in the German House
  • 1910: Drafts of allegorical silver work for the fireplace room in Palais Stoclet , Brussels
  • 1910: Hamburg: Teacher and student work, arts and crafts school
  • 1910/12: Book design and illustrations of several books by Gustav Falke , who later became Richard Luksch's father-in-law
  • 1911: 8 posters for the 1911 wallpaper exhibition in Hamburg / Ballindamm
  • 1911: Comprehensive solo exhibition in the Museum of Art and Industry in Hamburg
  • 1911: First drafts for two colored tripthyches The Creation and The Birth of Christ in the two lateral apses of the Gnadenkirche Hamburg-St.Pauli-Nord - (architect Fernando Lorenzen 1859–1917). Due to the war, inauguration on February 2nd, 1919. (In 1943 the church was bombed and badly destroyed, the windows were broken.)
  • 1912: High point of Czeschka's design work for the Wiener Werkstätte
  • Vienna: Spring exhibition of Austrian arts and crafts combined with an exhibition by the kk Kunstgewerbeschule
  • 1912: Beginning of a large ethnological collection after he met the explorer Julius Konietzko in 1909 .
  • 1912/13: Designs of decorations and furnishings for the Palais Stoclet in Brussels , a. a. also art glass windows
  • 1912–1919: mediated by Karl Ernst Osthaus design work for the Vordamm stoneware factory in Velten
  • 1912/13: Design for the almost seven meter high window Beauty as a message for the staircase hall in Fritz Schumacher's new building for the Hamburg School of Applied Arts (Lerchenfeld). Text by Wilhelm Niemeyer
Window in the staircase of the former arts and crafts school
  • 1913: Ghent: Participation in the World's Fair
  • 1914: Czeschka receives the Royal Saxon State Prize for his work in the "Austrian House" at the BUGRA (International Exhibition for Book Trade and Graphics) in Leipzig
  • 1914: The Czeschka-Vienna and Czeschka-Antiqua fonts are published by Genzsch & Heyse Hamburg
  • 1914: At the Werkbund exhibition in Cologne , the Lerchenfeld decorative window Beauty is shown as a message as the main exhibit in the Hamburg exhibitor's "Hamburger Halle" arts and crafts hall.
  • 1914: Hagen: Participation in the traveling exhibition "Advertising Art"
  • 1915: Unfinished project for wall decorations and colored art glazing in the Hamburger Kunsthalle .
  • 1915: Hagen: Participation in an exhibition at the Deutsches Museum
Size Hall of the Chamber of Crafts with 12 of the 15 Czeschka windows "The Crafts"
  • 1915: 15 three-part glass art windows Die Handwerke for the Great Hall in the new building of the Hamburg Chamber of Commerce.
  • 1915/16: For the Bahlsen biscuit factory in Hanover , Czeschka designed 30 waffle decorations and biscuit decorations, as well as six field postcards and field post envelopes
  • 1918: Start of decades of work (until 1956) for the L. Wolff cigar factory: banderoles, packaging, posters, advertising graphics and shop fittings (HACIFA = Hamburger Cigar Factory)
  • 1918: Premiere of Shakespeare's King Lear on May 7th under the direction of Carl Heine at the Volksbühne Berlin (Theater am Bülowplatz - Dir. Max Reinhardt ) with stage design and costumes based on designs by Czeschka, after King Lear in 1908/1909 in total 34 performances and from 1914 to 1916 in a new production 27 times at the Deutsches Theater in the production of Reinhardt.
  • 1919: Costumes and curtains for the nativity scene of the Hamburg Lessing Society
  • 1920/21: Design for seals and dean's chains of the University of Hamburg (executed by silversmith O. Stüber)
  • 1920: Creation of an emergency money note worth 50 pfennigs on behalf of the city of Hamburg
  • 1921: Max Tepp: The song of my hardship and my sweetness. Set in the Czeschka Antiqua. Printed in 500 copies for the publisher Adolf Saal in Lauenburg / Elbe in December 1921
  • 1922: Signet of the Justus Brinckmann Gesellschaft Hamburg in the form of an owl (symbol for wisdom) designed on behalf of museum director Max Sauerlandt and also the signet for the Hamburg tie manufacturer LACO, which was woven into the until the company was dissolved (around 2015) Inner lining of the silk ties
  • 1922: The Übersee-Woche Hamburg 1922 takes place from August 12 to 22 . One of several exhibitions took place in the Kunstgewerbeschule am Lerchenfeld, in which over 200 suppliers from all over the country took part. The organization of this German arts and crafts export exhibition was largely carried out by Carl Otto Czeschka. Shortly beforehand, on June 27, 1922, the renowned Übersee-Club was founded. In addition, there were several events organized by the Hamburg Fashion Association as part of the Überseewoche, for which a comprehensive guide through the Hamburg fashion show in 1922 , with texts and drawings, was published by Czeschka.
  • 1922/26: Interior design in Sigmund Gildemeister's country house - graphics room and design of the tapestry A Thousand and One Nights (executed by Martha Heller-Czeschka) - in 1972 the box came as a gift from Czeschka's widow to the Museum of Art and Industry. The tapestry is still owned by the client.
  • 1924: Hamburg: Participation in the exhibition at the Staatliche Kunstgewerbeschule zu Hamburg
  • 1926: Preparatory work for a silverware from the Hamburg Chamber of Commerce
  • 1926/28: silver chandelier for the Villa Gildemeister (drifting work by Otto Stüber with cut crystal glass facets - since 1962 in the Museum für Kunst und Gewerbe)
  • 1926–55: In Germany, a total of 60 HACIFA shops are set up in a prime city location with a uniform design.
  • 1926: Vienna: Participation in the International Exhibition of Modern Artistic Writing, Austria. Museum for Art and Industry (today: MAK)
  • 1927: Leipzig: Participation in the exhibition "European Applied Arts" in the Grassi Museum
  • 1927: Berlin: Deutscher Werkbund, Charlottenburg Academy building
  • 1927: Drafts for the Hamburg Senate's Great Hansa Prize and the Hamburg Student Union's Challenge Prize
  • 1927: The Czeschka Olympia I and II publications are published by Genzsch & Heyse Hamburg
  • 1928: At the instigation of Czeschka, the Kunstgewerbeschule receives an offset transfer printing press, a high-speed letterpress press and usable fonts for hand typesetting in order to constantly adapt its teaching to the needs of professional life. On the occasion of the 50th birthday of Czeschka, the Bund Deutscher Nutzgraphiker dedicates a long article in its magazine: Nutzgraphik International Advertising Art - Official organ of the Bund Deutscher Nutzgraphiker (No. 11, pp. 2–16; text by Fred Hendriok )
Czeschka's graphic with the Hamburg coat of arms for the ZEIT logo
British national coat of arms
The (today's) header of "The Times" with British national coat of arms
The headline of the ZEIT - up to No. 18/1946 - with the Hamburg coat of arms
The later header of the ZEIT - used from no. 19/1946 - with the Bremen coat of arms
  • 1931: Main catalog list of the products of L. Wolff Zigarrenfabriken Hamburg 15 (approx. 200 pages with large-format photos of the cigar boxes designed by Czeschka) - numerous orders from L. Wolff including shop fittings for HACIFA until the 1950s Years
  • 1942/43: Design for the glass window The Phoenix in the cemetery chapel in Wismar . The newly completed cardboard box burned in Czeschka's studio on July 25, 1943 when the arts and crafts school were bombed. New design and realization after 1945.
  • July 1943: Bombing of the Hamburg State Art School (Lerchenfeld) and thus destruction of numerous works in Czeschka's studio (the windows were saved by the timely expansion and were only found in boxes in the basement of Lerchenfeld in 1970). Czeschka's large art glass windows were also destroyed during the war. The crafts in the trade building of the Chamber of Crafts and in the Gnadenkirche
  • September 1943: Early retirement
  • from 1945: Re-equipping of HACIFA stores and shops that were destroyed in the war a. in Hamburg, Kaiserslautern, Bielefeld, Flensburg and Essen as well as revision of the templates for the equipment
  • 1946: Draft of the title of the weekly newspaper Die Zeit , first in two different versions with the Hamburg coat of arms, then after the subsequent approval of the Hamburg Senate (and the permission of the Bremen Mayor Kaisens) with the Bremen key between the Hamburg lions of the Great Hamburger State coat of arms unchanged until today. Following on from the “big sister” The Times with the British coat of arms between the two words, the coat of arms was also placed between the two words in the weekly newspaper Die Zeit, founded by Gerd Bucerius . The individual letters have a soul, i. i.e. they have a white line inside.
  • 1951: First reunion with Oskar Kokoschka after 43 years (most recently 1956)
  • 1952–1953: Signet and interior design as well as car lettering for the Hamburg gentlemen's outfitter "Staben" on Rathausmarkt
  • 1953: The tapestry A Thousand and One Nights is shown in the MKG exhibition tapestries from 6 centuries (July 21 to October 11) .
  • 1958: On the occasion of his 80th birthday on October 22nd, the shop windows of all around 80 HACIFA shops inside and outside Hamburg are decorated with works by Czeschka, which he had designed for L. Wolff for decades. The dedication read: The designer of these rooms and the creator of exemplary cigar packs
  • 1960: Czeschka died in Hamburg at the age of 82 and was buried in the Ohlsdorf cemetery .
  • 1966: Darmstadt: "Vienna around 1900"
  • 1966: Vienna: "Vienna around 1900"
  • 1970: Exhibition of the designs and cardboard boxes for glass windows and tapestries on the occasion of the reconstruction of the staircase of the University of Fine Arts (Lerchenfeld) including the reinstallation of the five ribbon windows found. Beauty as a message
  • 1974 Hamburg: "European Textiles", MKG
  • 1974/75: Handover of a substantial part of the artistic estate, his library and parts of his home furnishings to the Museum für Kunst und Gewerbe Hamburg
  • 1975: The Museum of Ethnology receives 600 objects and numerous books from Czeschka's private ethnological collection .
  • 1975: Exhibition at the Kunstverein Hamburg (February 20– April 27) with early freehand drawings 1900–1914 in connection with an exhibition by his famous student Oskar Kokoschka
  • 1977: Darmstadt: Art Nouveau exhibition
  • 1978: Extensive commemorative exhibition for the 100th birthday in the BAT-Haus in Hamburg by INTERVERSA (September 14th - October 27th)
  • 1980: Exhibition Německá Secese (Art Nouveau in Germany) in the Waldstein Palace in Prague (September 16 – November 2)
  • 2011: Exhibition in the Hamburg Chamber of Commerce in the series Art in the Chamber of Commerce (August 18 to October 7): Carl Otto Czeschka - A Viennese artist and the Hamburg economy

literature

  • Utility graphics - Monthly for the promotion of artistic advertising - Ed. Prof. HK Frenzel, Berlin - 1st year 1924 - issue No. 2 - special issue tobacco and liqueur. P. 3–21: Cigar equipment from L. Wolff, Hamburg - Artistic director: Prof. CO Czeschka, Hamburg - Text by Adolph Wittmaack with several colored images
  • Nutzgraphik International Advertising Art - Official organ of the Federation of German Commercial Graphics - Ed. Prof. HK Frenzel, Berlin - 5th year. 1928 No. 11 November pp. 2–16: Prof. CO Czeschka - text by Fred Hendriok with several illustrations
  • Erwin Krubeck: COCzeschka in memory . In: Eberhard Hölscher (Hrsg.): Commercial graphics - monthly magazine for the promotion of artistic advertising . Volume 31, 1960, No. 10, p. 56
  • Museum für Kunst und Gewerbe together with the Justus Brinckmann Gesellschaft and the Hamburg University of Fine Arts: Leporello on the occasion of the exhibition at the Hamburg University of Fine Arts (October 30, 1970 - January 18, 1971) - 10 years after the death of Carl Otto Czeschka and on the occasion of the renovation of the staircase at the HfBK.
  • Gertrud Pott: The reflection of secessionism in the Austrian theater . Published by the Institute for Theater Studies at the University of Vienna. Verlag Wilhelm Braumüller, Vienna / Stuttgart, 1975
  • Yearbook of the Hamburg art collections. Volume 20, Hamburg 1975.
  • Museum of Applied Arts in Prague (ed.): Německá Secese. Umeni a umelecke remoslo kolem roku 1900 ze sbirek muzei Spolkove republiky Německá / Art Nouveau in Germany. Arts and crafts around 1900 from museums in the Federal Republic of Germany. Národní Gallery, Prague 1980 (Report in the yearbook of the Museum of Arts and Crafts. Volume 1, 1982, p. 255)
  • Werner J. Schweiger: The young Kokoschka - life and work 1904–1914 , Edition Christian Brandstätter, Vienna-Munich, series of the Oskar Kokoschka documentation Pöchlarn, Volume 1, 1983
  • Bettina Berendes: Carl Otto Czeschka - Beauty as a message. The stained glass window of the Hamburg School of Applied Arts. Ed. And edit. by Astrid Nielsen. Ludwig, Kiel 2002, ISBN 3-933598-52-4
  • Christian Brandstätter : Design by the Wiener Werkstätte. 1903-1932. Architecture, furniture, commercial graphics, postcards, posters, book art, glass, ceramics, metal, fashion, fabrics, accessories, jewelry. Brandstätter, Vienna 2003, ISBN 3-85498-124-4
  • Giovanni Fanelli: Carl Otto Czeschka: dalla secessione viennese all'art deco. Cantini, Firenze 1990
  • Christian M. Nebehay: CO Czeschka, 1878-1960. Drawings (= catalog. XXXV). Vienna 1980
  • Peter Noever , Etienne Davignon, Paul Dujardin, Anne Mommens (eds.): Yearning for Beauty. The Wiener Werkstätte and the Stoclet House. Hatje Cantz, Ostfildern-Ruit 2006, ISBN 978-3-7757-1778-6 (book for the exhibition in the Palais des Beaux-Arts, Brussels 2006)
  • Michael Pabst: Viennese graphics around 1900. Schreiber, Munich 1984, ISBN 3-88960-001-8
  • Peter-Hubertus Pieler: The publisher Alfred Janssen and the reform movement. "The new time moves with us". Bautz, Herzberg 1994, ISBN 3-88309-047-6
  • Helmut Scaruppe: My island dream . Childhood and youth in the Hitler Reich. Schopfheim 2003, ISBN 3-8330-0732-X
  • Senta Siller: Carl Otto Czeschka 1878–1960. Life and work. Dissertation. Berlin 1992 (in it COC - On the history of design in the 20th century (PDF; 2.6 MB) ).
  • This: 3 articles in the DFKG newsletter 3/1997, 4/1997 and 1/1998 about Carl Otto Czeschka - life and work
  • Heinz Spielmann : For his 100th birthday on October 22, 1978, Interversa is showing Carl Otto Czeschka, aspects of his life's work. BAT House, Hamburg, September 14th – 27th October 1978. Interversa, Hamburg 1978
  • Heinz Spielmann (arr.): The Art Nouveau Collection. Volume 1: Artists A – F. Museum for Arts and Crafts, Hamburg 1979, ISBN 3-923859-63-5
  • Anita Kern, Bernadette Reinhold, Patrick Werkner (eds.): Graphic design from Viennese modernism to today. From Kolo Moser to Stefan Sagmeister. From the collection of the University of Applied Arts Vienna . Springer Verlag Vienna 2010 (pp. 15, 20, 66–67, 72, 76–78)
  • Heinz Spielmann, Hella Häussler: Carl Otto Czeschka. 1878-1960. A Viennese artist and the Hamburg economy. Exhibition from August 18 to October 7, 2011. Hamburg Chamber of Commerce, Hamburg 2011
  • Kevin W. Tucker, Elisabeth Schmuttermeier, Fran Baas: The Wittgenstein-Vitrine - Modern Opulence in Vienna , New Haven and London, 2016
  • Ulrike Draesner : Nibelungen : The Infestation with the illustrations by Carl Otto Czeschka, Reclam-Verlag 2016, ISBN 978-3-15-011005-8
  • Heinz Spielmann : Carl Otto Czeschka. A Viennese artist in Hamburg. With unpublished letters and articles by Hella Häussler and Rüdiger Joppien. HWS series: Artists in Hamburg (Ed. By Ekkehard Nümann) Vol. 1, Wallstein-Verlag 2019, ISBN 978-3-8353-3434-2 [7]

Web links

Commons : Carl Otto Czeschka  - collection of images, videos and audio files

Footnotes

  1. ↑ COC's father (August 26, 1845– April 28, 1915) was born in Inzensdorf am Wiener Berge (now Vienna), but spoke both Bohemian and German. He died as a result of calcification of the artery and, like his wife Mathilde in 1883, was buried in the Baumgartner cemetery. The grave has not been preserved.
  2. ↑ COC's mother (February 22, 1853– February 5, 1883) was born in Gumpendorf (today Vienna) as the daughter of Ignaz Hafner, a weaver journeyman who was born in Moravia in 1810. She died of pulmonary tuberculosis at the age of almost 30 and was buried in the Baumgartner Friedhof.
  3. ↑ born Baron Sunstenau von Schützenthal
  4. ↑ Address: "Semmering 74" near the Wolfsbergkogel - today "Haus Adelmann".
  5. ^ Contract with WW - Senta Siller : Carl Otto Czeschka - Leben und Werk , dissertation 1992, page 28
  6. ↑ Werner J. Schweiger: "The young Kokoschka - life and work 1904–1914", Edition Christian Brandstätter, Vienna-Munich, series of the Oskar Kokoschka documentation Pöchlarn, Volume 1, 1983
  7. ↑ According to Angela Völker, the fabrics of the Wiener Werkstätte 1910–1912, Czeschka designed the fabrics with the names "Bavaria", "Apple", "Skylark", "Heron", "Hare", "Domestic dog", "Pike", "Autumn" , "Piper", "Rabbit", "Po-Ho", "Forest Idyll" and "Water Organ".
  8. ^ Siegfried Jacobsohn "Max Reinhardt" in the 1910 edition with four illustrations of this production
  9. ↑ Bokband Die Nibelungen Sök i Röhsska museets samlingar, accessed on July 12, 2018.
  10. ↑ Hans Ries: Illustration and Illustrators of Children's and Young People's Books in German-speaking Countries 1871–1914, Verlag H. Th. Wenner, 1992
  11. ↑ Friedrich C. Heller: The colorful world. Handbook for artistically illustrated children's books in Vienna 1890–1938. Brandstätter, Vienna 2008, ISBN 978-3-85033-092-3 , p. 187 f.
  12. ↑ To differentiate between the editions of 1908 and 1920/24 see under separate footnote
  13. ↑ Tilman Spreckelsen: Kriemhild is a girl and a night ghost at the same time. In: FAZ.net . April 3, 2017, accessed October 13, 2018 .
  14. ↑ http://files.shareholder.com/downloads/BID/4799033018x0x946216/C012DCD7-B8AB-4E4D-9D48-46BE5D829104/June_2017_Important_Design_Sales.pdf
  15. ↑ Helmut Scaruppe: My island dream . Childhood and youth in the Hitler Reich. Schopfheim 2003, ISBN 3-8330-0732-X
  16. ↑ Cemetery directory of the Hanseatic City of Wismar (PDF, 5.5 MB)
  17. ^ Co -owner of the J. Matthias Gildemeister company, which was based in Hamburg in the trade in saltpeter and sugar from South America
  18. ↑ which he joined in 1914
  19. ↑ Helmut Scaruppe: "Mein Inseltraum", self-published in 2003, pp. 88 f and 108
  20. ↑ Belongs to L. Wolff
  21. ↑ a b Our coat of arms . In: The time . No. 19/1946
  22. ↑ cf. http://www.mik.nrw.de/themen-lösungen/verfassungs-recht/hoheitszeichen/landeswappen.html
  23. ↑ http://www.unless-women.eu/biography-details/items/moser.html
  24. ↑ To differentiate between the editions of 1908 and 1920/24 see under separate footnote
  25. ↑ To differentiate between the editions - see Friedrich C. Heller "Die Bunte Welt", Vienna 2008: Only the first edition of 1908 of the booklet "Die Nibelungen" shows the blue and white endpaper. The later editions of 1920 and 1924 show the "mouse beetle" or the "gnome head" in beige as an attachment. The reprint of Parkland-Verlag uses the blue and white endpaper from the 1st edition, but the text from the 1920 edition was used, which can be seen on page 66 by a small text deviation. This deviation can also be found in the 1972 edition as an island paperback.
  26. ↑ Senta Siller, Dissertation, 1992, p. 23
  27. ↑ The nineteen-year-old Czeschka managed to get the two drawings "Jugendlust" p. 60 and "Kilometerfresser" p. 79 included in the first edition. However, after 20 progressive members left the cooperative of the Künstlerhaus on May 26, 1897, on the day of the Radfahrblumen-Corso, Gerlach & Schenk published a slightly reduced edition of the book. Instead of "42 art panels", the new edition only contains "40 art panels". The "Association of Austrian Artists ( Vienna Secession )" was founded on April 3, 1897 under the chairmanship of Gustav Klimt - and Czeschka also belonged here. The seven drawings presented by Czeschka are now in the collection of the Vienna Museum
  28. ↑ http://archive.org/stream/mitteilungenser3vol1kkze#page/n17/mode/2up - page 21
  29. ↑ Senta Siller: Diss., P. 24
  30. ↑ http://eisenerz-hieflau-radmer.graz-seckau.at/ueber-uns/kirchen-des-pfarrverbandes/pfarrkirche-radmer
  31. ↑ http://eisenerz-hieflau-radmer.graz-seckau.at/panorama/radmer_pfarre/radmer_pfarre.htm -> interior view
  32. ↑ see also a detailed article by Karl v. Bentele "Die Kirche in der Radmer" in (Austrian) Allgemeine Bauzeitung 1905, pages 35 to 39 and plates 11-14
  33. ↑ Werner J. Schweiger: "The young Kokoschka - life and work 1904–1914", Edition Christian Brandstätter, Vienna-Munich, series of the Oskar Kokoschka documentation Pöchlarn, Volume 1, 1983
  34. ↑ Neues Wiener Tagblatt, Nov. 12, 1902, page 7
  35. ↑ Lt. Pilsener Tagblatt: Handover on Jan. 29, 1906 - http://diepresse.com/home/innenpolitik/weltbisgestern/336569/Die-Welt-bis-gestern_Schmiergeld-anno-dazumal
  36. ^ Art auctions im Kinsky: Josef Hoffmann and Carl Otto Czeschka: Game table for the Hochreith hunting lodge by Karl Wittgenstein ( Memento from January 31, 2013 in the web archive archive.today )
  37. ^ S. Jacobsohn "Max Reinhardt" in the 1910 edition on p. 168 and in the 1921 edition on p. 144
  38. ^ M. Buhrs, B. Lesák, Th. Trabisch: Fledermaus Kaberett 1907 to 1913. The total work of art of the Wiener Werkstätte. 1907. Austrian Theater Museum, p. 175 (images)
  39. ↑ Peter Altenberg: Märchen des Lebens , p. 197 ff
  40. ^ Provisional catalog of the Kunstschau Wien 1908, p. 41
  41. ↑ https://digi.ub.uni-heidelberg.de/diglit/dkd1908_1909/0090/image?sid=bc2161924302c4eca7a5dcd2eb3ce07a
  42. ↑ Czeschka's silver showcase from 1908, the "Wittgenstein-Vitrine"
  43. ↑ To differentiate between the editions of 1908 and 1920/24 see under separate footnote
  44. ^ Nibelungen : The Infestation with the illustrations by Carl Otto Czeschka, Reclam-Verlag 2016, ISBN 978-3-15-011005-8
  45. ↑ Senta Siller, Diss. Cat. No. 270 and 298
  46. ↑ The drafts for this were exhibited in the Kunstgewerbeschule from April 11 to 15, 1914 (announced in "Hamburger Nachrichten" and "Neue Hamburger Zeitung" on March 11, 1914)
  47. ↑ After the destruction in 1943, twelve of the 15 windows were reconstructed based on Czeschka's original work drawings between 2012 and 2016, financed by donations. Until 2020 it was not possible to win the interest of the Chamber of Crafts in the continuation of the window reconstruction. This status can be seen on the panorama photo: The reconstruction of the Czeschka windows No. 2, 3 and 11 is still missing.
  48. ^ Heinz Spielmann : Carl Otto Czeschka. A Viennese artist in Hamburg. With unpublished letters and articles by Hella Häussler and Rüdiger Joppien. HWS series: Artists in Hamburg (Ed. By Ekkehard Nümann) Vol. 1, Wallstein-Verlag 2019, ISBN 978-3-8353-3434-2 in the new HWS series: http://www.hws.org/ maezaene / the-artist-series / the-bands /
  49. ↑ Review by Bernhard Denscher, Vienna: [1]
  50. ↑ DNB 961524944/34
  51. ↑ Volksbühne Berlin: Season Chronicle 1914 to 1919 ( Memento of the original from May 20, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.volksbuehne-berlin.de
  52. ↑ K. Boeser and R. Vatková: "Max Reinhardt in Berlin", Berlin 1984
  53. ↑ http://www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=de&reserve-mode=active&content-id=1236066402408&aktuelles_id=1252940394462
  54. ↑ http://www.degruyter.com/view/product/212237?rskey=YBB03T&result=1
  55. ↑ http://www.dma.org/art/exhibitions/modern-opulence-vienna-wittgenstein-vitrine
  56. ↑ http://www.hws.org/maezaene/die-kuenstlerreihe/die-baende/
  57. ↑ http://hauspublikationen.mak.at/viewer/image/1368237525364_0001/16/LOG_0010/
personal data
SURNAME Czeschka, Carl Otto
ALTERNATIVE NAMES Czeschka, CO; COC
BRIEF DESCRIPTION Austrian-German graphic artist and painter
DATE OF BIRTH October 22, 1878
PLACE OF BIRTH Vienna
DATE OF DEATH July 30, 1960
Place of death Hamburg