Beschreibung:

PAN]. MEIER-GRAEFE, Julius, and BIERBAUM, Otto J., editors. Pan , volumes 1-21 complete. Berlin: Genossenschaft Pan, 1895-9.
PAN]. MEIER-GRAEFE, Julius, and BIERBAUM, Otto J., editors. Pan , volumes 1-21 complete. Berlin: Genossenschaft Pan, 1895-9. 21 volumes, 4 o (370 x 285 mm). 234 etchings, aquatints and lithographs, some printed in color. Titles, lists of plates, and other illustrations, color intials, vignettes and tail-pieces on wove paper, with decorative protective tissue. (Some intermittent light spotting or staining.) ORIGINAL PRINTED PAPER WRAPPERS with decorative designs by Franz von Stuck (covers to 1895 volume 4 detached, approximately 6 spines defective, a few short tears). A RARE COMPLETE SET OF THE 21 PARTS. The name "Pan" was derived from the Greek god of the wild, shepherds and flocks, rustic music, and nature. Usually depicted with horns, ears and legs of a goat on the body of a man, his likeness lends itself to the logo for this publishing venture. Derived from Greek, the prefix "Pan-" means "all" -- fitting for this publication. Pan regularly highlighted graphic arts and literature with a pan-European focus, featuring artists and writers of Belgian, Dutch, English, French, German, and Swedish descent. Literary contributers included Nietzsche (excerpt of Also sprach Zarathustra in volume one, 1895), Mallarmé, Ibsen and Verlaine. A few notable prints include: HENRI DE TOULOUSE-LAUTREC Mademoiselle Marcelle Lender (1895, volume 3, facing page 197); Aubrey Beardsley, Isolde (1899, volume 4, facing page 261); Otto Eckmann Night Herons (1896, volume 3, facing page 223); Artur Illies, Setting Moon (1896, volume 4, facing page 281); Henri Van de Velde, Poster for "Tropon" (1898, volume 1, facing page 63); and Wilhelm Volz Salomé (1896, volume 3, facing page 185); and others by Will Bradley, Käthe Kollwitz Max Liebermann William Morris William Nicholson Joseph Pennell Auguste Rodin Felicien Rops, Georges Seurat Paul Signac and Anders Zorn "In the final analysis, Pan's greatest contribution was its passionate and unswerving commitment to absolute ideals of beauty and truth in a cultural climate of decadence on the one hand, and complacent mediocrity on the other Pan stands as a testament to the vision of its 'sublime ones' -- its creators, founders, editors, and contributors. To open the volumes of this litarary and artistic time capsule is to unlock the forgotten treasures of a Pandora's box, the richness of which has only now begun to reveal itself in the all-embracing noonday light of postmodernism" (Victoria Martino, in "Pan: A Graphic Arts Time Capsule, Europe 1895-1900," exhibition catalog for Landau Traveling Exhibitions, curated by Robert Flynn Johnson). (21)