Graphisches Kabinett I.B. Neumann (1915–1925)

Collecting and Exhibiting Network(ing)

Kurfürstendamm 232, Berlin-Charlottenburg
Building destroyed in the Second World War
Since 1971: New building (department stores)

“He [I. B. Neumann] would usually sit at mine for hours, often until 2 or 3 in the morning, studying my prints intensively and always picking the most beautiful ones. He would always take them with him right away and sold them practically immediately.”

Erich Heckel in conversation with the art dealer Roman Norbert Ketterer, 1958

Erich Heckel, *Elf Holzschnitte 1912-1919 Erich Heckel bei I.B. Neumann*, 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, cover page of the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B. Neumann"*, 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, contents of the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B. Neumann",* Verlag I.B.Neumann, 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Stralsund*, 1912, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann",* Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Geschwister*, 1913, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann"*, Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Kniende am Stein*, 1913, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann"*, Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Hockende*, 913, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann"*, Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Schneetreiben*, 1914, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann"*, Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Zwei Verwundete*, 1914, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann",* Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Mann in der Ebene*, 1917, from the portfolio "Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann", Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Jüngling*, 1917, from the portfolio "*Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann",* Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Mädchen am Meer*, 1918, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann*", Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *Frauen am Strand*, 1919, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann"*, Verlag I.B. Neumann, Berlin 1921, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Erich Heckel, *A.N.*, 1919, from the portfolio *"Elf Holzschnitte 1912-1919 Erich Heckel bei I.B.Neumann"*, Verlag I.B. Neumann, Berlin 19, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

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In 1910, at the age of just 22, the trained bookseller Israel Ber Neumann opened his first book store and gallery in Charlottenburg. He specialised in works on paper, and thanks to his excellent intuition the modestly furnished “Graphisches Kabinett” quickly developed into one of the most important addresses for Expressionist and Dadaist art in Berlin. Over time, Neumann opened other branches in Germany, and he started working as the publisher of various magazines.

Karl Schmidt-Rottluff, outside title of the portfolio "Schmidt-Rottluff. 10 Holzschnitte", 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, contents of the portfolio *"Schmidt-Rottluff. 10 Holzschnitte"*, 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Mutter*, 1916, from the portfolio "Schmidt-Rottluff. 10 Holzschnitte", Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Drei am Tisch*, 1914, from the portfolio "Schmidt-Rottluff. 10 Holzschnitte", Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Die Sonne*, 1914, from the portfolio *"Schmidt-Rottluff. 10 Holzschnitte"*, Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Bei den Netzen*, 1914, from the portfolio "*Schmidt-Rottluff. 10 Holzschnitte",* Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Trauernde am Strand*, 1914, from the portfolio "*Schmidt-Rottluff. 10 Holzschnitte",* Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Mädchen vorm Spiegel*, 1914, from the portfolio *"Schmidt-Rottluff. 10 Holzschnitte",* Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Katzen*, 1915, from the portfolio "*Schmidt-Rottluff. 10 Holzschnitte*", Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Die heiligen drei Könige*, 1917, from the portfolio "*Schmidt-Rottluff. 10 Holzschnitte*", Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Mädchen aus Kowno*, 1918, from the portfolio "*Schmidt-Rottluff. 10 Holzschnitte*", Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

Karl Schmidt-Rottluff, *Melancholie*, 1914, from the portfolio "*Schmidt-Rottluff. 10 Holzschnitte*", Verlag Graphisches Kabinett I.B. Neumann, Berlin 1919, Brücke-Museum, © VG Bild-Kunst, Bonn 2023

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In 1912, the gallerist contacted the Brücke group of artists. He was enthusiastic about their woodcuts and wanted to exhibit their works as well as publish them in print portfolios under his name. For the Brücke members, Neumann’s involvement led to the professionalisation of their print distribution. Instead of simply reprinting motifs as needed, which had been the case in the past, they started appearing in limited editions from then on. Erich Heckel recalls how this provided him with his first stable source of income.

In 1923, Neumann moved to New York, where he contributed significantly to the spread of German Expressionism in the USA. His Berlin address was taken over by the Rhineland gallerist Karl Nierendorf, who also promoted the Brücke artists.

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