Max Friedrich Rabes (1868–1944) was a German painter known for Orientalist scenes and a range of genre works. Among his oeuvre is a painting. Wassmann als Holzapfel in Viel Lärm um Nichts – a portrait of the Berlin actor Hans Wassmann in character as “Holzapfel” from Shakespeare’s Much Ado About Nothing. 

Although Max is best remembered as an Orientalist painter, he rejected that label during his lifetime and wanted all of his works to be equally recognized.

Hans Wassmann as Holzapfel (Dogberry) in Viel Lärm um nichts (Berlin stage photo, ca.1912) In German productions of Much Ado About Nothing (German: Viel Lärm um nichts), the constable Dogberry is often renamed Holzapfel. Actor Hans Wassmann (1873–1932) was a noted German stage performer. He was praised for playing comic “stupid” characters – fitting the bumbling constable Holzapfel. In fact, archival records show Wassmann played Holzapfel in a Berlin premiere (23 February 1912) of Viel Lärm um nichtstheatergeschichte.org. Contemporary postcards confirm this (photographer H. Böhm, publisher Leiser)theatergeschichte.org. The included image (a period publicity photo) is one such example of Wassmann as Holzapfel, illustrating the very role Max Rabes portrayed in his print.

Original Chromolithograph | circa 1858-1860 | 39 x 26 inches

About John James Audubon
America’s most revered artist-naturalist, John James Audubon (1785—1851), is renowned for his extraordinary undertaking to visually record the birds and mammals of North America. His publications The Birds of America & The Viviparous Quadrupeds of North America are icons of 19th-century art and capture the nascent stages of American natural history.

David Teniers II

 (baptized December 15, 1610, Antwerp—died April 25, 1690, Brussels), also known as David Teniers the Younger, was a highly prolific and versatile Flemish Baroque painter. Born into a family of artists, he was the son and pupil of David Teniers the Elder. He joined the Guild of St. Luke in Antwerp in 1633.

Artistic Innovation and Influence:

  • Master of Genre Painting: Teniers is arguably best known for perfecting and popularizing the “peasant genre” and “tavern scenes.” His detailed and often humorous depictions of everyday life provided a unique window into 17th-century Flemish society.

  • “Gallery Pictures”: He innovated the “gallery picture” genre, creating paintings that depicted Archduke Leopold Wilhelm’s art collection. These works are valuable historical documents of art collecting and curation.

  • The Theatrum Pictorium: In 1660, Teniers published the Theatrum Pictorium, the first illustrated catalogue of paintings ever produced. This groundbreaking work documented the Archduke’s collection and was a monumental achievement in art history and documentation. He made small copies of the paintings to assist the engravers who produced the illustrations for this catalogue.

The Enigmatic Artist Behind “The Bracelet”: Unraveling the Mystery of Jean hardy (J. Henricy)

In the shadowy corners of the art world, where creativity meets intrigue, few names spark as much curiosity as J. Henricy. Was this an artist hiding behind a clever disguise, or simply a misunderstood figure lost to time? As we unveil The Bracelet, a stunning hand-colored etching dated 1925 and signed “J. Henricy,” we dive into a tale of artistic identity that’s as captivating as the artwork itself. This piece, produced by the EJS Manufacturing Company, isn’t just a collector’s gem—it’s a doorway into a mystery that has puzzled art lovers for decades.

A Name in Question: Who Was J. Henricy?

At first glance, J. Henricy seems tethered to John Henry Henrici, an American artist born in 1863 and celebrated for his realist oil paintings. Henrici’s canvases—think Street Urchins or Shoe Shine Boy—brought urban life to vivid reality, earning him a solid reputation with over 50 auction records. But here’s where the plot thickens: the works signed “J. Henricy,” like the 1925 etchings we’re exploring, don’t fit Henrici’s mold. These aren’t gritty oil paintings of city streets—they’re elegant, hand-colored prints steeped in the glamorous Art Deco style of the Roaring Twenties.

Enter Jean Hardy, a name whispered in auction houses and online listings as a possible mastermind behind the J. Henricy signature. Could Hardy have used this pseudonym to dabble in a different artistic realm? The evidence is tantalizing. Auction records, like a 2017 listing for Jazz Girl signed “J Henricy” but credited to Hardy, suggest a connection. Even eBay sellers have chimed in, proposing that J. Henricy might not exist at all—that these etchings are Hardy’s handiwork, masked by a clever alias.

The Clue in the Art: Style and Substance

What sets this mystery ablaze is the stark contrast between Henrici’s known works and the J. Henricy etchings. Henrici painted with oil, capturing the raw pulse of urban America. The J. Henricy pieces, however, dance to a different tune—drypoint etchings, hand-colored with the bold lines and vibrant flair of Art Deco. This isn’t just a shift in medium; it’s a leap in artistic identity. Add to that the scarcity of records for a standalone “J. Henricy,” and the pseudonym theory gains traction. The names “J. Henricy” and “Jean Hardy” even echo each other phonetically—a coincidence, or a deliberate hint?

“The Bracelet”: A Masterpiece of Mystery

Now, let’s turn to the star of our story: The Bracelet. Dated 1925 and bearing the J. Henricy signature, this hand-colored drypoint etching is a quintessential Art Deco treasure. Produced by EJS Mfg Co., it dazzles with its sleek lines and vibrant hues, evoking the elegance of an era defined by jazz and glamour. But its beauty is only half the tale. As we offer this piece for sale, we’re not just selling art—we’re selling a question mark. Is this a creation of Jean Hardy, veiled by a pseudonym? Or does it tie back to Henrici in some unexpected way? Owning The Bracelet means holding a piece of this unsolved puzzle in your hands.

The Art of Disguise: Pseudonyms in the 1920s

This isn’t a standalone riddle. In the early 20th century, pseudonyms were an artist’s secret weapon. For commercial works like etchings, a new name could target fresh audiences or let creators experiment without risking their established fame. Picture an artist like Hardy, perhaps, stepping away from his usual canvas to craft prints for a booming market, all under the J. Henricy banner. It’s a practice as old as art itself, and it frames our mystery in a deliciously historical light.

Why “The Bracelet” Matters

The Bracelet isn’t just a pretty picture—it’s a portal to a bygone era and an artistic enigma that refuses to be solved. Whether J. Henricy was Henrici, Hardy, or someone else entirely, this piece captures the allure of the unknown. For collectors, it’s a rare chance to own not just art, but a story—a conversation starter that blends beauty with intrigue. As you consider adding it to your collection, imagine the thrill of displaying a work that might just bear the hidden signature of Jean Hardy, an artist whose shadow still dances across the canvas of history.

In the end, The Bracelet is a testament to art’s power to mystify and mesmerize. It’s a 1925 snapshot of creativity, wrapped in a question that keeps us guessing. So, who was J. Henricy? With this etching in hand, you’re one step closer to the answer—or perhaps to embracing the mystery itself.

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