Gert Gagelmann

I went searching through my image collection and there it was, Voilá! The finished work closely matching the sketch, and virtually confirming Gagelmann as the artist of all those unsigned erotic watercolors! As is seen above, the final version is modified a bit, but those hips!!!! are a perfect match.

Recently other erotic sketches attributed to Gagelmann are appearing on art auction sites. If authentic, these drawings suggest he continued creating art in this genre throughout his career. Hopefully more confirmed examples of his erotic sketches and completed works will come to light!

Gert Gagelmann was a graduate of the Reimann School for Arts and Crafts (Die Reimann-Schule in Berlin und London 1902-1943). Which was a Jewish company for international art and design training until its destruction by the Hitler regime.

As explained in the English newspaper clipping above, the school was forced to close and move to London. This quote from the US Holocaust Museum, gives further explanation:

“Joseph Goebbels was the Nazis’ leading propagandist.  After the Nazi takeover of power in 1933, he also headed the ministry of culture and led the campaign to drive Jews out of journalism, cinema and the performing arts.

The erotic works of Gert Gagelmann have long been wrongly attributed and plagiarized under the name of ‘Julie Delcourt.’ I recently discovered the “Camille” website, offering compelling proofs of Herr Gagelmann as the artist creating the well-known, erotic and enema-themed watercolors.

The links to Camille’s pages are given here;  https://www.camillemm.com/julie-delcourt-rumeur-curiosa/  https://www.camillemm.com/delcourt-gaglemann/ They offer comparisons of Gagelmann’s style and techniques with examples from the erotic watercolor series, with his known examples from the WWII German postcard series, “Frauen Schaffen fur Euch,” (Women Working for You). 

I was following a similar approach in my own research before the COVID pandemic. I used examples of Herr Gagelmann’s magazine illustrations obtained through the assistance of the ‘Staatsbibliothek zu Berlin’ (Berlin City Library). Another main source, used with permission, was from Herr Martin Korsitzke’s artdeco-boulevard.de (Art Deco Boulevard). His examples were from the 1930s editions of “Modenschau” magazine. Herr Korsitzke also suggested I check with the Polish National Library as a source for “Przegląd Mody,” the Polish editions of “Fashion Show” magazine.

These known and signed illustrations were compared to erotic/enema-themed art. In many examples where Gagelmann uses similar props in his compositions. One of the key “tells” pointed out by the “Pillowbook Girl” on her site, was Gagelmann’s use of white bracelets. These often worn singularly, or in pairs by the women and girls portrayed in the erotic art, the post card series, in one example on a Modenschau cover.    

“Enamels” by Gert Gagelmann

[I believe this article on page 105 of die Deutsche Elite, 1925, shows Herr Gagelmann was fine writer in addition to his artistic talents.  I hope I've adequately conveyed his eloquence in this translation.]

When one of those mystical Egyptian kings prepared a princely gift, he donated a magnificent vessel made of gold and enamel as his most valuable gift. The magic of this delicious smelting works was so strong that even queens chose the enamel for their favorite jewelry.

It’s remarkable how long it took for this singular technique to migrate to Western Europe. It took thousands of years to find its way. Only the masters of German goldsmithing in the 16th century discovered the infinite charm of enamel and created their most beautiful structures from the new material.

With a slight shiver of silent delight, I see the old enamel picture that I once found in a corner of the St. Stephen's Church in Vienna. It was a portrait of a holy woman. Rich, deep colors wrapped fervently with tender, lighter tones and piled up to glittering reflections that broke softly in the light of the church windows. The eyes of the saintly woman rested as if they were so special. That deep, gentle pair of eyes, who’s innermost being seemed to be embedded in the gold. That wan, barely flushed face, all pale opal framed with the brilliant abundance of her gold hair.

Nothing tangible, nothing realistic in the picture. All lines formed the language of a strict, almost somewhat stiff style. I stepped back from the picture, self-conscious. Later I came to understand the expression of the glass picture, which had received its strange hues through the melting of differently colored glasses.