Ferdinand Schauss 27 October 1832 In Berlin 20 October 1916 In Berlin Hansel Print

Ferdinand Schauss—often appearing in records as Ferdinand Schauß due to the German “ß” that becomes “ss” in English—was a German artist active in the second half of the 19th century and early 20th century. With birth and death both recorded in Berlin (27 October 1832 and 20 October 1916), Schauss belongs to a generation of artists who witnessed the maturation of printmaking as both an artistic and commercial medium in Germany. Among works attributed to him, collectors frequently encounter a “Hansel” or “Hänsel” print that references the enduring folk narrative of Hänsel und Gretel from the Brothers Grimm.

This guide is designed for antiques and art appraisal enthusiasts who want to identify, authenticate, and value a Ferdinand Schauss Hansel print. It will help you distinguish printing techniques, interpret signatures and publisher marks, assess condition, and understand current market dynamics.

Who was Ferdinand Schauss? Name variants, context, and collecting relevance

• Name variants: In German sources you may see Ferdinand Schauß; in English-language and international auction listings, the surname is commonly rendered Schauss. If you are searching catalogs or archives, use both forms.
• Dates and place: Born 27 October 1832 in Berlin; died 20 October 1916 in Berlin. This locates his career squarely within the period when lithography, chromolithography, etching, and photomechanical processes evolved rapidly and were widely disseminated.
• Artistic context: In 19th-century Germany, artist-illustrators often contributed to narrative imagery—religious scenes, genre subjects, and fairy tales. Even when an artist designed an image, it was common for a separate printer or publisher to handle production and distribution, especially for colored lithographs and portfolio plates. Therefore, a Schauss print may carry his name as artist, while crediting a different lithographer or publisher for execution.
• Collector relevance: Artist-designed prints tied to folk narratives like Hansel and Gretel have broad appeal because they bridge fine art, illustration, and cultural history. Authentic period impressions attract collectors of German art, 19th-century illustration, and fairy-tale iconography.

The “Hansel” print: subject, iconography, and typical formats

“Hansel” or “Hänsel” prints associated with Schauss generally draw on familiar moments from the Grimm tale:

• The siblings in the forest dropping breadcrumbs or pebbles.
• Approaching the witch’s gingerbread house.
• The capture by the witch.
• The escape, often symbolizing moral triumph.

What you might find in the market:

• Lithographs and chromolithographs: Color lithography surged in popularity in the late 19th century, making bright, affordable images widely available. A Hansel scene in vivid color is often a chromolithograph. Closer inspection can reveal dot-free, crayon-like textures characteristic of lithography.
• Etchings: Some Hansel images appear as etched line work, sometimes with light hand-coloring. Etchings display incised lines and, when printed from intaglio plates, typically leave a plate mark.
• Photomechanical reproductions: Later reproductions (e.g., collotypes or half-tone prints from early 20th century) mimic earlier prints but often have dot patterns and lack the tactile ink qualities of true lithography or intaglio.

Common formats:

• Single-sheet prints with generous margins (often trimmed by later framers).
• Portfolio plates with printed captions in German, such as “Hänsel” or “Hänsel und Gretel,” and credit lines naming artist, lithographer, and publisher.
• Smaller cabinet-format prints for albums, sometimes mounted on card with embossed borders or blindstamps.

Identifying technique and authentic period impressions

Correctly identifying the printing method is foundational to appraisal. Use the following criteria:

Lithograph/chromolithograph (planographic):

• Surface: Ink sits on the surface of the paper without relief or intaglio embossing.
• Under magnification: You will see granular, crayon-like tones rather than a regular dot pattern. Chromolithographs layer multiple stones for color; subtle misregistrations can be visible at color edges.
• Plate mark: None, because stone or plate is not incised and not printed under high intaglio pressure.
• Paper tone: Often off-white to cream; 19th-century examples may have a smooth wove paper. Watermarks may exist but are less standardized than in fine intaglio editions.

Etching/engraving (intaglio):

• Plate mark: A slight recessed rectangular impression around the image, caused by the plate edge under pressure.
• Line quality: Lines widen and deepen where the needle or burin worked; ink can sit in recessed lines, producing a subtle sheen and slightly raised feel.
• Paper: Often higher rag content; may show a distinct sizing and sometimes deckled edges if untrimmed.

Photomechanical reproductions:

• Dot pattern: Uniform halftone dots visible under a loupe.
• Flatness: Even, mechanical tone with little variation in ink saturation.
• No plate mark and no lithographic grain.

If your Hansel print is cataloged as “after Ferdinand Schauss,” it may be a reproduction of an original design rather than an original lithograph or etching by him. That does not eliminate collectible value, but it affects pricing and connoisseurship.

Signatures, inscriptions, and publisher marks: what to look for

Inscriptions on 19th-century German prints can appear in several forms:

• Printed artist credit: “F. Schauß,” “F. Schauss,” or “Ferd. Schauß” printed in the image or in the lower margin. This is a plate- or block-printed signature, not a hand signature.
• Hand signature: Pencil signatures became more common into the late 19th and early 20th century, but many commercial lithographs were not hand-signed by the artist. If present, a genuine pencil signature sits on top of the paper (not embedded like a printed line) and reflects pressure and graphite sheen.
• Publisher/lithographer imprint: Often along the bottom margin, e.g., “Verlag von … Berlin,” “Druck von …,” or “Lith. …” These credits help localize the print and estimate its date range.
• German-language titling: “Hänsel” or “Hänsel und Gretel” in Fraktur or Antiqua type can signal a German edition. English-language captions suggest export prints or later reproductions.
• Blindstamps: Some publishers used embossed stamps in a margin corner. These can aid authentication; compare typography and emblem style with known period examples.
• Edition statements: Less common for commercial chromolithographs; more typical for fine etchings. If a fraction (e.g., 12/100) appears, scrutinize whether it is consistent with period practice and whether the ink/graphite matches the signature.

Name spelling matters:

• The presence of “Schauß” versus “Schauss” alone does not authenticate or disqualify a print; dealers and publishers adapted spellings for different markets. Focus on the totality of evidence—technique, paper, typography, and provenance.

Condition and conservation: factors that drive value up or down

Condition is the largest driver of price for most 19th-century prints, particularly color works:

• Light staining/toning: Prolonged display can cause overall yellowing or mat burn—a dark line where an acidic mat contacted the sheet. This is common and reduces value.
• Foxing: Brown speckling from mold or iron contamination. Minimizable through conservation, but severe foxing or in-image spots reduce desirability.
• Fading: Aniline dyes and fugitive inks in chromolithographs can fade. Compare color intensity in protected margins (under old mats) to the exposed image.
• Abrasions and paper losses: Surface scuffs, tears, and nicks—especially in image areas—diminish value; skillful conservation repairs can stabilize but may remain visible.
• Trimming: Many 19th-century prints were trimmed to fit frames. Loss of full margins, captions, and imprints limits scholarly and market appeal.
• Stains and accretions: Water staining or adhesive residues from backings and tapes are common. Reversibility depends on the adhesive; consult a qualified paper conservator for treatment options.
• Mounting and backing: Wood-pulp boards and pressure-sensitive tapes accelerate deterioration. Conservation-grade mats and UV-filter glazing can stabilize condition going forward.

Documentation of conservation treatment is a plus when you resell.

Market insights, valuation, and comparables

Market value for a Ferdinand Schauss “Hansel” print depends on several converging factors:

• Technique hierarchy: Unique designs executed as original lithographs or etchings generally rank higher than photomechanical reproductions. Hand-coloring can enhance interest if period and skillful.
• Subject strength: Iconic Hansel and Gretel imagery tends to attract cross-category collectors, which can support stronger prices than generic genre scenes.
• Imprint and edition: A clear Berlin publisher’s imprint within Schauss’s lifetime, or an early German-language edition, typically brings more than later, export-oriented reproductions.
• Size and decorative appeal: Larger, well-composed chromolithographs with intact margins and rich color have strong decorative markets.
• Condition: Excellent, untrimmed examples can achieve multiples of prices realized for similar but browned, trimmed, or foxed impressions.

Price range expectations:

• Reproductive or later photomechanical prints: generally modest, with pricing driven by decorative interest and condition.
• Period chromolithographs with clear Schauss attribution and strong color: mid-market for 19th-century prints, rising with size, subject, and publisher significance.
• Fine etchings with hand signatures (if documented): potentially higher, though scarcity, diagnostic evidence, and provenance are decisive.

Because individual markets and attributions vary, obtain multiple opinions for higher-value candidates. Comparing typography, paper, and tint to contemporaneous German prints helps contextualize an example.

Authentication and due diligence: building confidence in your attribution

• Technique verification: Use a 10x loupe to distinguish lithographic grain from halftone dots and to look for plate marks on intaglio prints.
• Paper assessment: Check for watermarks when backlit. European watermarks can date a sheet broadly and sometimes indicate quality mills. Note: absence of a watermark is not unusual.
• Typography and language: Period German captions and imprints in Fraktur or historic Antiqua fonts can help place a print. Modern fonts and English-only captions may signal later reproductions.
• Comparative research: Search by “Ferdinand Schauß,” “Ferdinand Schauss,” and “Hänsel”/“Hansel.” Compare signature styles and publisher lines across multiple examples.
• Provenance: Invoices, exhibition labels, dealer annotations, or gallery stamps add weight. Record framing dates or inscriptions on backing papers before reframing.
• Expert input: For high-stakes valuations, consult a specialist in 19th-century German prints or a paper conservator to confirm technique and condition.

Practical checklist: evaluating a Ferdinand Schauss “Hansel” print

• Identify the printing method:
  • Plate mark present (intaglio) or absent (lithograph/photomechanical)?
  • Loupe check: lithographic grain vs halftone dots.
• Document inscriptions:
  • Artist credit (“F. Schauß,” “F. Schauss,” “Ferd. Schauß”) and where it appears.
  • Publisher/lithographer imprint and language (German vs English).
  • Hand signature or numbering in pencil? Verify authenticity.
• Assess paper and margins:
  • Full margins with caption and imprint intact?
  • Watermarks present when backlit?
  • Evidence of trimming or laid down to a board?
• Grade condition:
  • Toning, mat burn, or foxing?
  • Fading versus protected color in margins?
  • Tears, losses, or abrasions in the image field?
• Confirm subject and composition:
  • Which Hansel scene is depicted?
  • Are compositional details consistent with period examples?
• Gather provenance:
  • Keep photos of recto/verso, inscriptions, and frame/posterior labels.
  • Note any prior sales, dealer notes, or conservation reports.
• Estimate value:
  • Compare with similar period German prints by subject, technique, and size.
  • Adjust for condition, margins, and clarity of imprint/signature.

FAQ

Q: Is “Schauss” the same artist as “Schauß”?
A: Yes. “Schauß” is the German spelling; “ß” is commonly transliterated to “ss,” producing “Schauss.” Use both spellings when conducting research.

Q: How can I tell if my Hansel print is an original lithograph or a later reproduction?
A: Inspect under a loupe. Lithographs show crayon-like grain without a regular halftone dot pattern and lack a plate mark. Photomechanical reproductions display uniform dots. Also examine paper quality, publisher imprints, and typography.

Q: Do Ferdinand Schauss prints typically have hand signatures?
A: Many 19th-century chromolithographs carry printed signatures or artist credits rather than hand signatures. A true pencil signature, if present, should sit atop the paper fibers and may come with other hand notations. Always assess whether the hand signature aligns with period practice and provenance.

Q: My print is trimmed to the image with no margins. Does that ruin its value?
A: Trimmed prints remain collectible, especially if color and surface are strong, but trimming usually reduces value compared to examples with full margins, captions, and imprints intact. Condition and decorative appeal still matter.

Q: What conservation steps are safe for 19th-century prints?
A: Use conservation-grade, acid-free mats and UV-filter glazing; avoid direct sunlight and high humidity. For cleaning, deacidification, or repair, consult a professional paper conservator—DIY methods risk permanent damage.

By focusing on technique, inscriptions, condition, and provenance—and by acknowledging the German/English spelling variants of the artist’s name—you can build a confident appraisal of a Ferdinand Schauss “Hansel” print and understand its place in the broader market for 19th-century German prints.