THERE ARE PLACES SO STILL - PART ONE (Signed)

Large oblong folio, bound in brown skivertex, and has 14 pages. Gilt titles on the front board and to the spine, also has some light scratch marks on the front board.

The work comprises 4 original signed and numbered lithographs, one lithographically reproduced watercolour and text comprising one poem and two stories (in English and German). The graphics were printed with the help of and in the respective studios of Bruce Attwood and Fred Schimmel.

A note from the author/artist states that this is the first part of five volumes limited to 200 copies each, to be published at twelve monthly intervals. The other four volumes were ever published.

The artist certainly did subsequently publish several other much smaller scale "Artists Books". This book is number 90 of 200 copies signed by the artist and printed on fine quality art paper. Overall, the book is in very good condition and internally absolutely clean and fine. A most attractive large book/portfolio.

The words: “There are places so still”, from one of Ulrich Schwanecke’s books, epitomizes his fascination with and love for the desert, which was to become the main theme of his painting life. Not only were these apparently desolate areas filled with visual treasures, but the setting for spiritual experience.

Ulrich Schwanecke (1939 – 2006) was born in Halberstadt, Germany and came to South Africa in 1952 as a mining recruit.  A prolific artist, Schwanecke painted continuously, even whilst studying and later during full-time employment.  His first exhibition in Johannesburg was held in 1963 and his first solo exhibition followed in Germany in 1973. His works are included in many public and private collections.

During his initial training, Schwanecke painted in oils as well as watercolour, but soon favoured the spontaneous and direct qualities of the latter medium. To express his experiences of dry and spacious landscape scenes, he developed unique methods of handling watercolour. He managed to convey the extreme dryness of the desert by employing a medium based on water – on fluidity, spontaneity, and translucence.

Schwanecke has described his own technique as a marriage between control and happy abandon. In the words of Frieda Harmsen, “he attempts to evoke a sense of desolation, but not despair. His desert scenes – dry and lifeless – are lonely, but serene.” This is in essence, an expression of Ulrich Schwanecke’s positive outlook on life, and his playful enjoyment of the creative process.