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Description: Signed 'marquet' lower left as well as additionally signed and dedicated 'a mon amie Lavoisille marquet'.With a photo certificate by Guy Wildenstein, Paris, dated 2 February 2012. The work is registered under the reference no. 12.02.02/11562/816. It is to be included in the forthcoming catalogue raisonné by Jean-Claude Martinet.With the street lamp ("Le Réverbère"), Albert Marquet has made one of the most mundane objects imaginable the protagonist of the present painting. Slightly twisted, the lantern's mantle blown askew by the wind and marked by age, it stands like a memorial in the middle of the painting. The edge of the street is overgrown with grass and lacks a kerb, and the simple buildings visible behind it - some of them with broken-down fence posts - also display signs of age and decay. Enveloped in bright sunlight and with a cloudless blue sky above it, the view exudes a fair, summery-idle atmosphere. In this seemingly simple view, Marquet realises a balanced composition. The placement of the lantern post almost in the middle of the painting provides for a vertical division of the pictorial space. This split is further reinforced through the cast shadow of what is presumably an additional building, which darkens a part of the roadside only in the left half of the painting. Diagonal axes running along this area of shadow, the fences and the walls of the gardens and houses conjure up the pronounced spatial depth typical of Marquet's work. The small community of Arcueil, located to the south of Paris, has traditionally been a working-class residential area. Marquet created several views of the simple houses and lanes of this little town; with their warm tones and immersed in bright sunlight, these often display a virtually Mediterranean character.
Condition Report: In very good condition with fresh colours. Minor rubbing to margins due to frame and with few very unobtrusive retouchings along the margins and over an old nailing.View additional info and full condition report
Description: Signed 'E Vuillard' lower right.An extraordinary, sparkling application of green, yellow, orange and blue tones accounts for the intense effect and fascination of the present floral still life. In terms of colour and composition, the simple, red-brown clay vase and the unadorned tabletop provide an earthed basis, above which the abundant bouquet of geraniums, irises and larkspurs unfolds into a largely abstract cloud of colour articulated by passages of light and shadow. The palette contrasts warm, glowing tones with shadowy, cool ones and finds its counterpart in the background, which has been laid out in oscillating brushstrokes; the bouquet and the space surrounding it thus partly merge into a single unity. The diagonal lighting from the upper right and the draped curtain which is suggested in the background provide the work with an elegant, stage-like component.The list of the painting's illustrious previous owners thus also includes Ernest Coquelin (1848-1909) - known as "Coquelin cadet", a well-known actor from the Odéon and the Comédie Francaise - and Henry Bernstein (1876-1953), a notable playwright.The floral pieces that Éduard Vuillard created in this period often unite the still life with the interior. They usually depict settings that are flooded in light, incorporating their high-society surroundings as though by chance. The exquisite wallpapers, curtains and furniture hold their own against the natural beauty of the arranged blossoms, and they add up to distinguished elegant sceneries.
Condition Report: In fine condition with fresh colours. Minor marginal retouchings.View additional info
Description: Signed 'L. Valtat' lower left.With a certificate of authenticity by Caroline Valtat, the artist's granddaughter, dated 24 June 2010. The painting is registered under the no. H/100602.From 1898 to 1914, the centre of Louis Valtat's life lay in the south of France. He initially lived in the small fisherman's village of Apay and later in the seaside town of Anthéor, which is situated between St. Raphael and Cannes and where he owned a house. During the time he spent in southern France, Valtat was in frequent contact with the other artists living in the area, such as Paul Signac and Auguste Renoir. It was also the latter who introduced Valtat to the respected art dealer and publisher Ambroise Vollard (1866-1939). Vollard played a decisive role in the development of modern art at that time, and our painting comes from his own collection. His bold and clairvoyant approach, but also his sensitivity and dedication, have repeatedly been pointed out. Louis Valtat was under contract with the dealer from 1900 to 1912. Vollard was also the one who organised Valtat's first solo exhibition, shown in his Paris gallery in 1900. In 1905 Valtat's paintings were presented in the "Salon d' Automne". This was the legendary exhibition at which the journalist Louis Vauxcelles coined the term "Fauves". The main accent of our painting clearly lies in the colouristic treatment - in the radiant character of its colour. The contrast between the depiction of what the artist saw is particularly captivating: the quite naturalistic depiction of the house, which includes diverse effects of light and shadow, as well as the lush vegetation - which confronts the viewer with an abundance of pure colour values. The very personal depiction of a sensory perception and a positive attitude towards life, which is defined through the southern light, find a masterly expression here.
Condition Report: In fine condition with fresh colours. Partially with tiny losses of colour.View additional info
Description: Monogrammed "VR" in pencil lower left by an unknown hand.We would like to thank Ronald Feltkamp, Brussels, for his kind additional information dated 15 March 2014.Between 1917 and 1926, van Rysselberghe created a series of 17 works to decorate the Chateau du Pachy near to the Belgian town of Mariemont. This small palace was designed by Théo's brother, the architect Octave van Rysselberghe. Our piece is probably a study for the large format painting "La Pergola" (cf. Feltkamp P-025). According to Ronald Feltkamp, this work was commissioned by the influential industrialist and politician Léon Guinotte (1879-1950), and a portrait also exists showing three daughters of the Guinotte family's nine children. Léon Guinotte owned several coal mines in Mariemont and the surrounding area.At that time, the artist's source of inspiration was the private park "Mortola" on the French-Italian border. Van Rysselberghe lived not far from this park in the southern French town of Le Clair. Following the move here, his style developed from pure pointillism to a more moderate impressionism combining broad brushstrokes in varying directions with the small dots typical of neo-impressionism. Van Rysselberghe had a penchant for charming combinations of various shades of green and purple, which in this work are broken up by small dashes of vibrant red and bright orange. The artist has also deliberately left some patches window-like white, in order to let the painted scene appear flooded with light. Nature is depicted in such verdant opulence that one almost wonders whether the artist has depicted reality or an idealised image, providing it with an almost abstract character.
Condition Report: In good condition with fresh colours. With few professional retouchings in the right lower corner.View additional info
Description: Signed 'Vlaminck' in black lower left.With a certificate by Maïthé Vallès-Bled, Paris, dated 10 July 1997 (copy). The work is registered under the reference no. 5466. It will be included in the forthcoming catalogue raisonné of the paintings by Vlaminck by Maïthé Vallès-Bled and Godeliève de Vlaminck currently under preparation.Although Maurice de Vlaminck was initially particularly influenced by the Impressionists and was later among Fauvism's leading protagonists, he nonetheless soon developed a style of painting very much his own. The use of pure, unmixed colours - as was characteristic of the Fauves - quite quickly ceased to interest him and he began to darken his palette with more blackish-grey and earthy tones. Many of his landscapes are thus characterised by an extremely dramatic ambience. The present painting also possesses a charged atmosphere on account of the captivating contrast between the subdued tones and the luminous colours of the flowers. While the background displays almost abstract tendencies, emphasis has certainly been placed on the actual subject matter - a magnificent bouquet of flowers, whose accents of colour flare up intensely and animate the composition. Thus, alongside the reserved tonality, a decidedly emotional intensification of the mysterious general ambience occurs.
Condition Report: Relined. Otherwise in very good condition with fresh colours. One tiny loss of colour in the lower right corner.View additional info
Description: Signed 'Leo Putz' lower right."I feel captivated by beautiful light, illuminations that keep changing, interacting with each other, intertwining into amazing combinations, a light that can only be captured at the last moment. I feel challenged by the colour that appears under precisely this fleeting light and which cannot be caught any better- especially when I have to master an entire complexity of such colours! These are colour tones that should harmonise like some beautiful melody... They unite in a chord where there must be no dissonance, in other words, one colour must not harm the other, by being too loud." (Leo Putz, quoted by Ruth Stein, Leo Putz, Vienna 1974, p. 39).Two elements are equally evident in this painting: firstly, the artist's great fascination and technical brilliance in the treatment of light, and secondly the sensitivity with which Putz depicts his models. The two young girls seem to be sitting in a very sunny room. The clear, bright sunlight is reflected on their skins - their faces, hands and arms - adding a fresh and impeccable shine. Yet what is far more profound is the impact of the light on the girls' clothes. Using broad, flowing brushstrokes, the artist has expertly captured the surface of the material which appears to dissolve completely under the impact of the light into a harmonious ensemble of subtle tones of white, grey and blue. Together with the colour areas of the very vaguely defined background, which also dissolves under the light, this serves to accentuate the clarity and plasticity of the models' faces. Two comparisons for the model of the girl to the right are to be found in the drawing "Bildnis eines Mädchens I" (Portrait of a Girl I; H. Putz 1857) and the painting "Bildnis eines Mädchens II" (H. Putz 1858), both from 1912.From 1900 to 1926 many of Leo Putz's works were published in the magazine "Jugend - Münchner Illustrierte Wochenschrift für Kunst und Leben" (Youth - Munich Illustrated Weekly Magazine for Art and Life). Founded in 1896, the magazine coined the German term for the style called "Jugendstil" (Art Nouveau, literally 'youth style'), but its impact went much further and it became a collection point for the many different art movements of that time. "Blonde and Brunette" served equally as a colour title page for the issue 28 of "Jugend" in 1913.
Condition Report: In good condition, colours fresh. Small colour loss in upper right corner.View additional info
Description: Signed and dated 'Slevogt 02' lower left, dedicated 'Herrn A. Wider z. frdl. Erinnerung' lower right.We would like to thank Bernhard Geil, Slevogthof Neukastel, for his confirmatory and additional information.Among the depictions of landscapes in Max Slevogt's oeuvre, motifs from his adopted homeland in the Palatinate are by far the most prevalent. This also applies to the present painting, created in the immediate vicinity of the estate of Neukastel - which was originally owned by the family of his wife and would later became the Slevogt estate after he purchased it. Following his marriage to Antonie Finkler, a friend of his youth, in 1898, Slevogt repeatedly explored the surrounding countryside, which was dominated by vineyards and forests, in order to pursue his newly discovered passion for plein-air painting. In our work, the viewer's gaze sweeps across the treetops of a dark-green pine forest towards three conical mountains of the Palatinate Forest in the distance. At the right, viewers can recognise Burg Scharfenberg, a castle which is also known as "Münz" and whose silhouette is surrounded by the warm yellow glow of the setting sun. Three vertical reddish-brown tree trunks to the right of the painting's middle axis form a sort of repoussoir motif and simultaneously point from the shadowy zone in the foreground into the softly illuminated distance. The "Sonnenuntergang" (Sunset) was created at a time when Slevogt had just completed his departure from Munich to Berlin in 1901 - something that meant much more than just a relocation for him. Slevogt had already been a member of the Berlin Secession since 1899 and, since that year, Bruno and Paul Cassirer had been regularly exhibiting his most recent works in their Berlin salon. "At the end of the nineties, those landscape pieces appear ... which, in their whole individual value, make it possible to anticipate Slevogt's characteristic Impressionism." (cited in: Berthold Roland, Max Slevogt. Pfälzische Landschaften, Munich 1991, p. 18).
Condition Report: Upper and lower edge with small colour losses due to the frame. Margins with small retouchings.View additional info
Description: Monogrammed and dated 'CR 12' lower right.The themes of the dance and movement are present in many of Rohlfs's paintings and graphic works from the years 1911 to 1916. Apart from the present work, he depicted exotic dancers and acrobats engaged in graceful-sensual movements in, for example, the oil or tempera paintings "Tanzende Faunin mit grünem Schleier" (Dancing female faun with a green veil; 1912; Vogt 521), "Tänzer" (Dancers; 1913; Vogt 537), "Akrobaten" (Acrobats, c. 1916; Vogt 577) as well as the woodcut "Zwei Tanzende" (Two dancers; c. 1913; Vogt Graphik 70). The artist's inspiration to do so is likely to have derived substantially from his patron Karl Ernst Osthaus's intense interest in theatre, dance and the circus. In his Folkwang-Museum, Osthaus organised avant-garde musical, theatrical and dance performances, and thus prepared a stage for - among others - Alexander Sakharoff, the star of Russian expressive dance, who had already been painted by Alexej von Jawlensky in a famous portrait from 1909.The "Tänzerin mit rotem Schal" (Female dancer with red shawl) is depicted in the close-up view characteristic of Rohlfs's work. Her body is cropped at the knees and inserted into the pictorial space in such a way that she seems to be using her raised hand to push herself away from the right edge of the painting. In spite of the lively and dark internal shading, the contour of the body is compact - it is delineated in the manner of a silhouette and forms a delightful contrast to the red shawl surrounding it as well as the brightly luminous background. The painting was once owned by Dr. Hermann Commerell, who was a friend and important patron of Christian Rohlfs and who, from 1910 to 1912, made it financially possible for the painter to work in a Munich studio and in the Upper Bavarian town of Polling (cf. chapter "Bei Dr. Commerell in Oberbayern", in: Walter Scheidig, Christian Rohlfs, Dresden 1965, p. 121-124).
Condition Report: With craqueleur. - Professionally restored.View additional info
Description: Label of the gallery "Der Sturm", Herwarth Walden, Berlin, on the frame backing inscribed (handwritten) with artist's name and title.We would like to thank Klara Drenker-Nagels for her kind additional and confirmatory information."The reverse glass painting 'Pferdeschwemme' (Horse Pond) depicts a group of naked people and horses, composed in a triangle, bathing in a river. On the horizon, industrial buildings and chimneys stretch along the opposite bank in a sort of a swaying round dance - metaphors of the modern industrial era typical for the Rhine valley region between Düsseldorf and Cologne at the beginning of the 20th century. [...] The rich intensity and high-contrast colouring as well as the crystalline structure of overstretched, curved shapes refer not only to the influences of avant-garde art trends. They are also reminiscent of the medieval glass painting from the Rhineland which, in the course of the return to the origins and traditions of art by young artists, was revalued at the beginning of the century. Carlo Mense was steered towards the medium of reverse glass painting by the artists of the 'Blauer Reiter' who had revived this folkloric painting technique with a long-standing tradition. The horseman and horse motifs, with their transcendent significance, also have their origin in the 'Blauer Reiter'. Around 1913/14, Mense repeatedly used them together with bathers and the river scenery of the Rhineland in order to symbolise an unspoilt world close to nature and an intense vital energy." (Klara Drenker-Nagels, in: Exhib. cat. Internationale Sprachen der Kunst, loc.cit., p. 165 f.)
Condition Report: Some minor losses of colour along the margins, resp. silverish colour change.View additional info
Description: Inscribed 'CR 19' in pencil lower right probably by an unknown hand and verso titled "Topf mit blauer Blume" in pencil by Helene Rohlfs.With a certificate of authenticity by the Christian Rohlfs Archive Hagen, dated 4 March 2014. The work was registered under the number CRA 94/14. We would like to thank Birgit Schulte, Christian Rohlfs Archive, Osthaus Museum Hagen, for kind additional information.The play of opaque and translucent colour in "Topf mit blauer Blume" (Pot with blue Flower) is characteristic of Christian Rohlf's familiar working method, of repeatedly washing and brushing various layers of paint over the surface of the work - the losses to small parts of the thinner corners of the hand-made paper are probably a result of this. The blue tones of the water tempera have been partially hightened by the pure blue pigment of the pastel chalk, and in the interaction with the black accents it provides the image with an unreal effect. In the piece, colour becomes an independent factor separate from the subject of the painting. In contrast to the artist's previous works, the species of plant depicted cannot be identified, which makes the piece appear all the more modern, almost oscillating within an associative space between the "Blue Flower" of the Romantics and the pure blue of Yves Klein.In 1919, the year in which the "Blaue Blume" was painted, the 70 year old artist met and married the significantly younger Helene Vogt.
Condition Report: Very fresh colours. The upper corners and the lower right corner slightly torn at the pinholes, probably studio-related.View additional info
Description: Signed 'Otto Mueller' in blue crayon lower left, numbered "10" in pencil lower right.With a confirmation by Mario-Andreas v. Lüttichau and Tanja Pirsig-Marshall, Essen, dated 21 March 2014. The work will be included in the addendum of the catalogue raisonné under no. 836.Otto Mueller lived in Breslau (Wroclaw) from 1919 until his death, and was a professor at the art academy in this city. In the summer months he often travelled to Dalmatia, Hungary and Romania; however, it would seem irrelevant to topographically identify the landscapes he painted there. He did not choose to paint woodlands in order to illustrate nature, but rather to express his love for and humility in the face of it. This wish was motivated by the artist wanting to express his sensual experiences as directly as possible. A desire which often caused elements of his landscapes, such as trees and grasses, to be reduced almost to mere ornamental ciphers. Thanks to the economy of painterly means, images such as the present landscape are related to a lesser extent to the material world and can be understood on a more emotional and spiritual level. The artist's delightful angular outlines are reminiscent of his similarly jagged depictions of nudes. The rhythmic, diagonal treatment of the background and the harmonic palette of brown, green, blue and turquoise tones on a earth-coloured background are particularly beautiful. The simplicity of the composition, in which all elements form an aesthetic union, lend this woodland landscape a certain mystic power.
Condition Report: Fresh colours, the paper browned. The left margin with a small restored tear.View additional info
Description: Signed and dated '12'.We would like to thank Hans Geissler, Erich Heckel Stiftung, Hemmenhofen, for his kind information dated 9 April 2014.The work has been registered at the archive of the Erich Heckel Estate.According to information provided by Hans Geissler, this woodcut is an individual print made by hand, in which the colours are applied to the block individually and with a great wealth of nuance. Every single print is thus provided with the character of a unique work, because no impression is the same as any other.The well-known woodcut is an incunabulum of Expressionism - the Brücke artists had used the unwieldy medium of the woodcut as a point of orientation in the development of their painterly means, thus finding their way to their typically Expressionist style of painting."Weiße Pferde" (White Horses) was created in 1912, when Erich Heckel spent his summer on the islands of Hiddensee and Fehmarn. The scene clearly demonstrates the artist's mastery of spiritually grasping a motif that had captivated him and giving form to it in the greatest intensity possible with remarkably limited means.
Condition Report: Primarily the lower margin irregularly cut.View additional info
Description: Signed, dated and titled 'ErichHeckel 26/ - Mohn -' in the composition lower left.We would like to thank Hans Geissler and Renate Ebner, Erich Heckel Foundation Hemmenhofen, for their kind additional information. The work is registered at the archive of the Erich Heckel Estate.The present watercolour is a very fine example of Heckel's still lifes from the 1920s. The table with patterned tablecloth, the poppy stems extending outwards from the simple and rustic stoneware pot and the broadly decorated background are motivic components assigned equal value alongside one another and chromatically corresponding with one another beyond the limits of the actual objects. The picture plane is thus optimally filled in and is nonetheless consciously structured. The artist has inserted the head of his 1913 wooden sculpture "Frau" (Woman; Vogt 11, see also comparative illus.) in the foreground. It was created in the town of Osterholz and is now located in the Brücke-Museum Berlin. The dynamic background is made up of ornaments from the painted walls of his studio."The early still lifes of the Dresden period of the 'Brücke' still tend to be oriented towards traditional iconography; in Berlin, however, with the new visual idiom of a fundamentally transformed style, Heckel begins to isolate still lifes from out of the context of the studio, and their combinations of motifs are recruited primarily from the inventory of the 'primitivist' decoration of the workspace. Thus, the sculptures and pieces of furniture, which they themselves had carved, as well as the collected exotica of the studios - which they had gathered on account of their enthusiasm for non-European cultures and which is well-known to have also exerted a formative stylistic influence on the work of the 'Brücke' artists - were arranged into still lifes, often in interaction with depictions of the exoticist painting of the studio walls in the background. Heckel's still-life painting reached a first climax in the 1920s, following his return from the First World War. Floral still lifes now entered the artist's oeuvre as a preferred motif that was often arranged together with sculptures or figural wall paintings into compositions of symbolic character; after the shock of the turmoil of war, these works give voice to the new need for order and stability through their new and clear structure as well as their marked two-dimensionality and the parallel placement of the depicted objects. The dominance of the floral motif continued into the late period of the Hemmenhofen years. These were joined by images which, in the form of 'Remembered Still Lifes', became a retrospective 'mirror image of his artistic development'" (Hanna Strzoda, Die Stilleben Erich Heckels, in: Erich Heckel, Aufbruch und Tradition, Eine Retrospektive, exhib. cat. Schleswig/Berlin, Munich 2010, pp. 98 f.).
Condition Report: Left margin with a small, professionally closed tear. In fine condition.View additional info
Description: Scratched signature 'Baumeister' lower left.This early, purely abstract composition by Willi Baumeister belongs to a sequence of six formal variants which - under the title "Konstruktivistisch" (Constructivist) - were segmented out of a larger composition of the "Flächenkräfte" (Planar Forces) and isolated as independent works (cf. Beye/ F. Baumeister, 234-239; see also the illustration provided for comparison). In the present case, with regards to the original organisation of the picture plane, the new work created in this way was supplemented by two small fields of different sizes: a red and a black square.The highly important series of the "Flächenkräfte" and "Mauerbilder" (Wall Paintings) were created around 1920 and were the first to display substantial independence on the part of the artist. Also in the presented work smooth and raised, rough surfaces are juxtaposed with one another. Because the stripes, rectangles and triangle are arranged on the ground of the painting as parallel, individual shapes, the surface seems rigorously composed - with the placement of the elements being carefully balanced and simultaneously dynamic. The colours have been applied sparingly and evoke a certain purism."The problem of the series or, alternatively, the variation plays an integrative role in Baumeister's development from this point on. There is no painter who has been able to modify every one of his designs as diversely as him, unless we think of Monet's sequence of 'Hay Stacks', which had a wholly different intention, or of Pablo Picasso's application of different schemata to a theme by Velázquez, Delacroix or Manet. In Baumeister's case the deciding design, with its melody, rhythm and tonal character, remains untouched throughout the entire series - regardless of how many works belong to the series, whether three or eighteen - and the variations are related to the extending or shortening, the modification or the embellishment of the melody, to the modification of the rhythmic or the harmonic sequence and the individual forms. Aside from the early stages featuring the 'Badenden' [Bathers], the 'Mauerbider' are the first series and the geometrising planar paintings the second. ... In the harmonical paintings, Baumeister varies from the balance of coloured rectangular fields to the dynamism of variously weighted and variously sized shapes, and he thus draws close to the stereometric paintings of Lissitzky and Moholy-Nagy, without any awareness of doing so." (Will Grohmann, Willi Baumeister, Leben und Werk, Cologne 1963, p. 48).
Condition Report: Overall fine original condition. Slightly stained on the surface. Minor frame-related losses of colour along the edges. The lower left corner with a superficial diagonal tear.View additional info and full condition report
Description: Signed 'Baumeister' lower right on the supporting cardboard.With a confirmation by Felicitas Baumeister, Archiv Baumeister, Stuttgart, dated 7 June 1994.The machine pictures have been part of Willi Baumeister's work since 1922. Thematically, it is not simply a question of the correlation between man and machine but also of levelling constructivistically arranged planar elements, a matter of fragile balance. Despite its partly curved and round shapes, the machine appears rather statuary. Upon close inspection, the delicate treatment of the individual planes as well as the partially applied fine dividing lines are quite delightful. In places, the stringent flatness is restricted by subtle zones of shadow. Adjacent to quiet pastel shades, a strong earthy brown generates an interesting yet harmonic area of tension. The picture belonged to the Belgian art critic, painter and graphic artist Michel Seuphor (1901-1999). Baumeister's orientation towards France had emerged early on. In the early 1920s, his paintings received considerable interest in the Parisian art scene. In 1925, Michel Seuphor moved to Paris where a lively friendship between him and Baumeister developed. In 1929, Seuphor was a co-founder of the "Cercle et Carré" group. Apart from Baumeister, artists such as Mondrian, Arp, Taeuber-Arp, Léger, Schwitters, Kandinsky and Le Corbusier also participated in the first exhibition organised by Seuphor. In 1931, this group progressed to the group of artists "Abstraction-Création". In 1974, our painting was presented in an exhibition showing this group of artists. Baumeister had repeatedly asked his esteemed friend Michel Seuphor for text contributions for exhibition catalogues (cf. Felicitas Baumeister/Ulrike Groos (Ed.), Willi Baumeister International. Band 4 der Schriften des Archiv Baumeister im Kunstmuseum Stuttgart, Stuttgart 2013, p. 32ff, p. 81 ff.).
Condition Report: Mounted to original supporting cardboard in three corners; the cardboard slightly creased. Overall good condition with fresh colours. In the upper right grey form an approximately 3 cm horizontal line, barely visible, presumably an underdrawing or a correction by Baumeister.View additional info and full condition report
Description: Scratched signature 'max ernst' lower left and titled 'LA MER' lower right."Around 1919, as the imagination was striving to master and subjugate the terrible monster that had been further strengthened by the war, Max Ernst resolved to bury the old Ratio - the cause of so much disorder and disaster - not under its own rubble, but under the free depiction of a world that had been liberated. ... The path from the man to his visions - by way of his ideas - is not a long one and it is not far from the nature of real things to the nature of imagined ones." (Paul Eluard, Über die Malerei hinaus; excerpted from: A l'intérieur de la vue, Paris 1948, in: exhib. cat. Max Ernst Gemälde und Graphik 1920 - 1950, Schloss Augustusburg, Brühl 1951, p. 69). André Breton's "Surrealist Manifesto" was published in Paris in 1924. At that time, in Montmartre, Max Ernst rented his first studio of his own, where he could finally work undisturbed. He spent the summer of 1925 in Brittany. Not only did he - stimulated by the grain of the wooden floor - invent the frottage technique there, he also created a relatively large number of images whose subject matter is, in a broad sense, the sea. Most of these works were done in oil on canvas, but wood and card were also sometimes used as supports. In our painting the artist has deliberately chosen to use a pane of glass, because this painting surface exhibits a particular brilliance and is also especially well-suited for the technique of hatching with a single-rowed marbling comb. The composition displays undulating bands of cobalt blue lines, which are heightened with white at some points and which rest on a black ground. These linear elements take the form of a diagonal cross; however, instead of simply intersecting in the middle, the individual lines can be differentiated into a front and a rear band. The horizontal stripe in white and light blue occupies a fifth of the image. Through the contrasting, light-filled presence of this strip of sky, the abysmal depth of the sea appears as though it were guarding a secret, connected both with the universe and with the complex realm of the sub- and unconscious. A diving down into the subconscious - into the sea - may bring about the extension of the mind's realm into the seemingly boundless. Here, with dream-like assurance - but nonetheless depersonalised - Max Ernst gives symbolic form to his notion of transcendence in the form of the poetically titled painting "La mer".
Condition Report: Professionally restored, several areas stabilized with wax, these somewhat brighter. No retouchings. One tiny loss of colour to upper left margin.View additional info and full condition report
Description: Monogrammed 'GK' (joined) on back of cast-with, irregularly formed plinth to left. On reverse upper edge of plinth with the foundry mark "H.NOACK/ BERLIN FRIEDENAU". One of only 2 known casts, the first one in the Georg Kolbe Museum in Berlin. According to documentation available in the Kolbe archive, this second cast was made for the Galerie Buchholz in Berlin in October 1936 and soon after exported by the gallery to its New York branch. For this purpose, according to information by Ursel Berger, the number "1" was applied to the plinth below the foundry mark; normally, Georg Kolbe's casts were not numbered; only for export reasons they received such stamped marks, which were not consecutive exemplar numbers.With an expertise by Ursel Berger, BerlinAccording to Ursel Berger, the dancer Renate Löwy (also: Levi) served as the artist's model for this bronze. From the very beginning, Kolbe's oeuvre is unmistakably dominated by the female nude. In the 1930s and 1940s the nude was invested with lifelike and fuller proportions in comparison to the delicate, girlish figures of his early work; a new, suggestively classical formal simplification can also be noted. Outward movements as well as inner agitation have become markedly more reserved: basic positions of the body predominate and the emotions have been calmed. In spite of the naturalism and vitality of the modelled surface of Georg Kolbe's figures, there is an unmistakable monumentalising tendency. His occupation with the standing female nude led the artist from the 1929/1930 "Frauenstatue" (Statue of a Woman; Berger 125) - created in memory of his wife Benjamine Kolbe, who had died in 1927 - to the 1933 "Jungmädchen (Junges Mädchen)" (Young Girl; Berger 151) and the 1937 "Amazone (Junge Frau)" (Amazon [Young Woman]; Berger 170). At 106 cm and 94 cm, the latter two sculptures are significantly larger than the so-called "Kleine Stehende" (Small Standing Figure) here. The figure of "Jungmädchen" has been created, though, according to Berger's latest research, after the same model as mentioned above."Kolbe's journey to Greece in 1931 may have facilitated his turning to the statuesque. In addition, younger sculptors like Gerhard Marcks, Ludwig Kasper and Hermann Blumenthal also preferred to occupy themselves with stately, standing figures at that time - these were, however, given a more abstract form in comparison to Kolbe's figures. In the mid thirties, Kolbe had overcome some awkward aspects of the period in his work around 1930. He created several figures which unite dignity and beauty within themselves. It is the female figures which make a particularly convincing impression and which were obviously more extensively reworked at the stage of the full-scale model than the repetitive male figures of athletes. All of them are connected with the 'Ring der Statuen' [Ring of Statues] project, which Kolbe had at one point conceived of as a 'Ring der Frauen' [Ring of Women]" (Ursel Berger, Georg Kolbe - Leben und Werk, Berlin 1990, p. 116). Kolbe had been occupied with this "Ring" project since 1933: it was connected with architectonic-sculptural designs for a planned Nietzsche monument in Weimar. The installation of a ring of statues of this kind, featuring four female and three male figures, was finally realised only after the Second World War, in Frankfurt's Rothschild-Park (Berger, op. cit., p. 117; cf. also Ursel Berger (ed.), Georg Kolbe, exhib. cat. Berlin/Bremen 1998, pp. 68 f. and 117 with illus.; see also our comparative illus.).In the present figure of the "Kleine Stehende", the calm pose is animated through the slight shifting of the hips and through the contrasting movements of the two halves of the body. The right leg is placed in front and the right arm brought forward slightly; the hand rests on the extended thigh. On the left side, the weight-bearing leg and the arm form a stable vertical, and the left hand is opened towards the back in a natural gesture. The present figure is depicted in a way that avoids classicistic smoothness and frontal symmetry, which are often perceived as hierarchic and severe in the case of comparable nudes from this period. However, athletic youthfulness and modern self-confidence are expressed in the upright pose and the regular features of the model.
Condition Report: Even, fine bronze patina with greenish-olive-coloured tinge.View additional info
Description: Signed 'Nolde.' lower left.We would like to thank Manfred Reuther of the Ada und Emil Nolde Foundation Seebüll, for his confirmatory information; the work is registered in the Nolde-Foundation Seebüll."Freude" (Joy) is the title that Emil Nolde himself used to refer to the present sheet when it changed hands; it was purchased directly from the artist in the spring of 1955. According to the information of the Nolde archive, Nolde very likely reworked in terms of colour an early motive at a later time. It depicts two dancing young girls who have pressed themselves tightly against one another and approach directly towards us on the tips of their toes, their supple limbs outstretched. Their loose arms are raised towards one another and form a high arch above their bowed heads. Their dancing, synchronised stride is very light. A reflective blue shadow in front of the figures suggests an evocatively shimmering space. There is no further description; the composition is concentrated on the casually brushed figural motif in front of the horizontally grouped colour fields. In this context, the watercolour technique permits not only the superimposing and layering of highly diverse nuances of colour and their flowing contours, but also a differentiation in terms of the density of the colour. The almost unreal yellow-green of the foreground is thus of a light-flooded transparency, while the firmament in the upper half of the image is represented by a deep, opaque blue - velvety and dark, but nonetheless also magically luminous. A spontaneous barefoot dance on a beach in the night, where we seem to feel the damp, cool air! The unity in the movement and the friendly and open faces give expression to what the dance naively symbolises here: Joy.In his figural motifs Nolde often presented scenes containing pairs of people, in order to characterise human relationships and emotions as well as contrasts. "Although Nolde became known, even popular, as a painter of nature and landscape, he himself attributed the highest significance to the figural image - above all, the freely invented figure" (Brigitte Reinhardt, Emil Nolde - Die Frau im Porträt, in: exh. cat. Emil Nolde, Blickkontakte, Frühe Porträts, Ulm/Amersfoort 2005, p. 62). In formal terms, the directness of expression is very often provided through the simple frontal depiction of the motifs. The dance in the form of expressive dance is also an Expressionist theme that runs through all of Nolde's oeuvre. However, in the present work, it is not a wild and visionary exaltation that is depicted, but the cheerful exuberance of youth. The watercolour sheet has a transitory aspect: it is the tender expression of the heartfelt intimacy of a shared emotional sensation. Viewers may feel themselves directly drawn into this calmer and more intimate magic of the composition.
Condition Report: Verso mounted on card backing at corners; including the older original card backing with coloured studio traces. In fine condition.View additional info and full condition report
Description: Signed 'Nolde' lower right.With a photo-certificate by Manfred Reuther, Stiftung Ada and Emil Nolde, Seebüll, dated 11 December 2009. The work is registered in the Nolde Foundation.From an early stage, the flower pictures play an important part in Emil Nolde's art. As early as 1908, he writes to Gustav Schiefler: "Yet again, I mostly painted the little flower gardens. I like them so much, those bright and joyfull glowing colours. Those are such quiet, pleasant hours, walking and sitting between the fragrant and blossoming flowers on a peaceful summer day. I would love my paintings to give some of that beauty. I myself do feel this in the presence of the paintings. The first pleasant happiness..." (cited after: Martin Urban, Emil Nolde. Blumen und Tiere - Aquarelle und Zeichnungen, Cologne 1980, p. 7). The sentiments portrayed in these lines, the love of flowers and their glowing colourfulness remain decisive for his artistic oeuvre. Not the plant itself or its botanical details are of interest to the artist - it is the vividly coloured blossoms alone which he captures in their vibrancy and richness with his expert mastery of watercolour technique. The present watercolour brings the fragrant wide range of colours of a summer flower garden to mind. Yellow, violet and orange-red blossoms are grouped around a light, pale blue background in informal harmony. As is often the case with Nolde's floral watercolours, the free forms in their full blossoming richness stand in an effective contrast to the delicate lines of the stalks. The close up view and what appears to be a genuine composition seem to be taken directly from nature and give the still life its characteristic and vibrant charm.
Condition Report: Fresh colours with minor, unobstrusive foxing. The work has been professionally cleaned.View additional info
Description: Signed 'M Liebermann' in blackish brown lower right. On the reverse of stretcher with the label of Galerie Paul Cassirer, filled out in handwriting, No. "18945", titled "Weisse und rote Blumen" as well as with a printed exhibition label of the "XV. Esposizione Internazionale d'Arte della Citta di Venezia" from 1926, no. "1117".With an expertise by Matthias Eberle, Berlin, dated 12 December 2012The artist originally entrusted the Galerie Cassirer with the sale of the 1925 painting "Rote und weiße Blumen nach Südosten" (Red and White Flowers towards the South-East), which has been offered for sale and published again here for the first time since. It remained in the gallery following the artist's death on 6 February 1935. With the help of documents preserved in the Cassirer archive in Zurich, it can be shown that Martha Liebermann - the widow of the artist and inheritor of the work - had the painting turned over to the Hamburg art dealer Anna Dodeck - who had maintained a business relationship with Cassirer - on 29 August of the same year. In the years that followed, in any case before 1945, and presumably by mediation of this art dealer, the painting made its way into the collection of the North German private collector whose heirs are now offering it for sale. In autumn 2013, Kunsthaus Lempertz, on behalf of the consignor, was able to achieve a settlement with the Liebermann estate in accordance with the Washington Principles.In his most recent expert opinion, Matthias Eberle writes: "Until now, I had known the painting only from a small b/w reproduction in a catalogue of the Nassauischer Kunstverein from the year 1930, where its dimensions were not listed and its owner was not named. Its dating to '1924' was based on comparisons and assumptions. Through the deciphering of the label glued to the reverse side by the Kunsthandlung Cassirer, some questions have been resolved. The dimensions correspond to those of many other paintings of the garden. Because the Kunsthandlung Cassirer took the painting into its care in early autumn 1925, it may be supposed that it was created in Wannsee in the summer of that year. It is of a remarkable freshness. At the same time, it is a very good work from the late period of the almost 80-year-old artist."The detail selected for the painting captures - as is the case with so many other works of those years - the summer shrubs in the front garden of the Wannsee villa. The elongated flower beds form a border along the garden path, which is scarcely recognisable and only briefly enters into the image here. The painter has placed the focus entirely on the blossoming stems and the form they take - with their irregular growth and the shifting light in the midst of the richly differentiated bushes and foliage. In the vividly depicted series of repeated individual vegetable forms, areas of deep shadow and the sketchy plant poles subtly articulate the perspective. The enchanting motif takes shape in the light-filled, mixed colours and the painterly structure of the brushstrokes. In this context it may be appropriate to once again recall to mind that, among French artists, Liebermann particularly cherished the works of Edgar Degas and Edouard Manet. The artist's collection included not only Manet's famous "Bunch of Asparagus" - painted in 1880 and now in Cologne's Wallraf-Richartz-Museum - but also, among other works, two garden views with a purely vegetational motif: the whereabouts of Manet's 1881 larger-format "Coin de jardin - Panneau décoratif" are currently unknown and a second, smaller garden painting became the property of the family of Dr. Walter Riezler, the brother of Martha Liebermann's son-in-law. Sensitive to the nuances in the depiction of what appear to be the most unremarkable pictorial subjects and also seem as though they had been discovered more or less by chance, Liebermann reported as early as 1897 to the collector Max Linde regarding a freshly purchased work by Manet, the "Portrait of Madame Manet at Bellevue" (1880; now in the Metropolitan Museum of Art, New York): "By the way, the fact that I recently bought my 4th Manet will prove to you better than words how much I adore this master. A lady or, more accurately (?), a straw hat in the greenery" (cited in: exhib. cat. Verlorene Schätze, Die Kunstsammlung von Max Liebermann, Liebermann-Villa am Wannsee, Berlin 2013, p. 173, cf. cat. no. 113 with colour illus.; see also cat. nos. 119 and 120, pp. 176/177, each with b/w illus.).
Condition Report: In very fine condition; the corners of the canvas partly with old minor losses of colour; small loss of colour in the left part to one of the white flowers.View additional info and full condition report
Description: Signed 'H. Purrmann' lower left.Purrmann's intense occupation with still lifes of flowers and fruits during the time he spent in Florence was also further pursued in Montagnola, where he moved in 1944. With the exception of multiple journeys to Italy and Greece, he remained in Switzerland until his death in 1966. The elements of this still life - the striking, blue-and-yellow faience vase decorated with ears of wheat, the stone relief fragment, the striped wallpaper and the mirror - are present in numerous still lifes created by Purrmann from the 1930s to the 1950s, such as "Stillleben mit Rosen" (Still Life with Roses; 1942; Lenz/Billeter 1942/19), the "Kamelien in Fayencevase" (Camelias in Faience Vase; 1949; Lenz/Billeter 1949/21) or the "Stillleben mit Relief vor Spiegel" (Still Life with Relief in Front of a Mirror; 1957; Lenz/Billeter 1957/38). However, in scarcely any of these comparable still lifes did the artist achieve a composition as balanced and refined as that of the present work. The arrangement exudes a distinct lightness and is nonetheless a coherent whole. In the centre of the painting, the network of the lines of its main elements weave themselves into a dense ornamentation, which is framed in a generous and calming manner by the reddish blue fields of the wallpaper and tabletop. Reflections are the defining theme that provides this still life with its particular vibrancy: the wall mirror pushed slightly to the right from the middle axis of the painting duplicates the blossoming twigs in its reflection and presents the complex forms of their leaves to particular advantage in front of the - also reflected - black and yellow surface of a wall. The mirror thus provides the twigs, which are actually quite slender, with a loose and abundant fullness. Viewers are scarcely able to distinguish anymore between what is the plant and what is only its mirror image. Vase and relief are provided with a special lightness and accent through the second reflection on the tabletop, where their reflected images appear in bluish, trapezoidal forms. In 1954 Purrmann undertook a repetition of this composition in the series "Anemonenstillleben mit antikem Relief" (Anemone Still Life with Antique Relief; Lenz/Billeter 1954/08-1954/12); however, this displays a more conventional and dense pictorial concept.
Condition Report: In fine condition with fresh colours. In few places with tiny losses of colour; in parts with marginal frame-related surface rubbing.View additional info and full condition report
Description: Signed 'marquet' lower right.With a photo-certificate by Guy Wildenstein, Paris, dated 23 May 2013. The work is registered under the reference no. 95.06.20/4304/2153. It will be included in the catalogue raisonné by Jean-Claude Martinet currently under preparation.Albert Marquet became known primarily through the light-filled views of North African landscapes that he painted during his frequent stays there. In addition, he also undertook extended journeys to Northern and Eastern Europe, Romania and Russia. In 1936 he spent a substantial period of time in Switzerland, and he visited Davos and Geneva in the winter of that year; stops in Montreux and Lausanne followed in early 1937. The present painting shows a view of a wintery Davos immersed in diffuse light. From a markedly elevated standpoint, the viewer's gaze glides across the plain, cubic houses towards the silhouette of the soaring church tower. Its slender spire becomes lost in the dark blanket of clouds that looms above the town. The cityscape - held entirely in tones of beige, brown and red, which are veiled with grey - is provided with its optical rhythm through the brightly shining surfaces of the snow-covered, flat roofs. The painter adeptly guides the viewer's gaze along these and into the distance, where the horizon is entirely swallowed up by the white-and-bluish haze.In this winter view, Albert Marquet once again proves himself a master in transposing atmospheric conditions on to the canvas. The scenery comes to life: the hazy character of the light and the cold, winter air become directly intelligible to the viewer.
Condition Report: Margins and partly in the image with few inconspicuous retouchings. Otherwise in good condition, colours still fresh.View additional info
Description: Signed 'H Purrmann' lower right.In the present painting Hans Purrmann depicts the seemingly untroubled pleasures of a visit to the beach at the Adriatic bathing resort of Fano in a vibrant colourfulness. Additional views of the beach and the harbour of Fano were also created during his stay there in the summer of 1940 - these include the smaller "Küstenlandschaft bei Fano" (Coastal Landscape at Fano; Lenz/Billeter 1940/08), which features an almost identical vantage point that has only been shifted slightly to the left. From an elevated position, viewers can overlook the entire bay; their gaze follows the curved coastline into the depicted depth until it reaches the soaring steep coast far off in the background. Under a radiantly blue sky, sailboats drift across the peaceful surface of the water with their sails set. The wide, sandy beach is empty except for the hulls of a few boats that have been hauled up on to the shore. The handful of people out for a walk are concentrated in the area around the little bridge in the foreground. Everything emanates the idle lethargy of a hot summer day at the seaside. However, with our knowledge of contemporary developments in the course of the war, this idyllic scenery takes on an ambivalent atmosphere. A considerable tolerance still existed in Fascist Italy at that time - regarding his stay at Fano, Purrmann wrote to his friend, the painter Heinrich Brüne, that "... it is not particularly interesting here, but the only part of the seaside that is not all too much a war zone and where one can gain permission to paint (which was also granted to me)!" (cited in: Christian Lenz/Felix Billeter, Hans Purrmann: Die Gemälde I 1895-1934, Munich 2004, p. 85) The painter, who had turned 60 by that time, defied the disturbing political events and utilised the opportunities available to him to realise his beloved Mediterranean light in its full intensity and abundance of colour.
Condition Report: In fine condition with fresh colours.Tiny loss of colour in the railing area lower left.View additional info
Description: With the artist's mark on the base at right as well as with the foundry mark "H. NOACK BERLIN" on the back of the base at left. One of more than 4 casts; posthumous cast.Gerhard Marcks's "Schwimmerin II" (Swimmer II) is based on a portrait of his daughter Brigitte, who was born in 1916. In 1952 the artist turned once again to the sculpture from 1938 - which shows Brigitte in life-size and with toned, well-developed muscles - and made slight changes to the hairstyle. His second daughter, Ute, who was born in 1921, served as model in this case. The important sculpture "Schwimmerin II" - which is represented by casts in Berlin's Neue Nationalgalerie and in Krefeld's Kaiser-Wilhelm-Museum, among other places - illustrates Marcks's reception of classical and archaic antiquity, transposed into the idiom of his own individual 'hand'. Within this personal portrait, the sculpture depicts a universal, timeless image of the contemplative concentration that precedes every athletic activity."In the constants of standing, sitting, crouching, lying down, he tracked down the accord between the outward and the inward motion, examined the interaction and harmony of a given canon of forms, explored the rhythm of the course of a line, volume and axis. Particularly in the case of the female nude, he was ultimately interested in only one thing: beauty." (Martina Rudloff, Venus Urania hat keinen Namen, in: Gerhard Marcks-Stiftung 1993, op. cit., p. 101).
Condition Report: With fine dark brown patina. A few dot-shaped rubbings to front right thigh.View additional info
Description: Signed 'H Purrmann' lower right.After having had to endure his first disparagements from the Nazis since the beginning of the 1930s, Hans Purrmann was surprisingly elected head of the German artist's foundation in Florence, the Villa Romana, in 1935. During the eight years that he held this honorary post, Purrmann maintained ties not only with numerous German artists, but also with the heads of other German institutions.In Italy Purrmann took advantage of the opportunity to be able to work more freely during these years. His preferred motifs during the years spent in Florence were light-filled views of the landscape in the neighbouring countryside as well as still lifes of flowers and fruits, which were carried out in subtle tonalities. In usually simple and generously spaced arrangements, he created combinations of local fruits and plants in baskets and rustic ceramic vessels. These works were carried out with paint applied in a translucent manner, and they depict the surrounding space primarily in dark, reserved tones that permit the finely nuanced tonality of the fruits, leaves and blossoms to develop their luminosity. In their simple beauty, these still lifes testify to the artist's fascination with the abundance of the Mediterranean vegetation all around him.
Condition Report: The surface with age-related patina, partially with slightly altered tones.View additional info
Description: Signed with the artist's initials and dated '46' lower right.Accompanied by a confirmation by Rainer Beck, Coswig, dated 12 October 2011. The painting will be included in the catalogue raisonné of paintings by Otto Dix currently under preparation. It is registered in the Otto-Dix-Archive, Vaduz, under the no. 1946/39, we would like to thank Rainer Pfefferkorn for his information.Ever since the artist's arrival in Hemmenhofen in 1936, the landscapes around lake Constance provided Otto Dix with a rich source of inspiration. The present work shows a view of the lake and the Swiss town of Steckborn, as seen from the Höri peninsula. Otto Dix had already painted this view from a slightly different perspective in 1944 (cf. Löffler 1944/18).The artist also stopped painting in the glazing manner of the old masters in 1944, and instead began to work using a light alla prima technique which he maintained until the end of his career. His colour palette also changed dramatically in contrast to his earlier phase, in which darker, warmer hues predominated. Otto Dix developed this new, more liberated style in the years following the war and it led him to unprecedented artistic productivity. In the present work he almost entirely relinquishes realistic colouration in favour of pale pastels mixed with a great deal of white. The ploughed field, the shimmering surface of the lake under the bright sunlight and the scattering of clouds in the otherwise clear blue sky all appear to absorb and enhance the colours of the blooming trees. These are shining in shades of light rose, turquoise and blue which almost appear to glow and light up their surroundings. The image conveys an exaggerated and unreal vision of spring, deriving from the artist's passion for experimentation at this time.View additional info
Description: Signed 'max ernst' on the back of the cast-with plinth and numbered as well as with the foundry mark "A. VALSUANI CIRE PERDUE". Exemplar 0/18. The bronze was cast in different-coloured editions of 20 copies each (numbered 00/18 and 0/18 - 18/18), 8 "épreuve d'artiste" and some "épreuve d'essai", with green, yellowish-brown and black patina.We would like to thank Jürgen Pech, Brühl, for kind confirmatory information.One important characteristic of Max Ernst's sculptural works is their distinctive, additive construction out of assembled individual elements. Their conception in terms of a single point of view - or occasionally two points of view, as well - is also a typical distinguishing feature to be found in many of his works and one that stands in contrast to a fully sculptural composition - in the sense of a work intended to be viewed from all sides. Alberto Giacometti's plate or disc sculptures, which he exhibited in June 1929 in an exhibition at the Parisian gallery Jeanne Bucher and which inspired a great resonance among their public, may be considered the model for this specific compositional form. Shortly afterwards, Max Ernst became personally acquainted with Giacometti after André Masson had introduced the two; both artists were also connected through the art dealer Pierre Loeb, who - following Ernst, Miró and de Chirico - also placed Giacometti under contract. The two artists subsequently stayed and worked together in Switzerland's Maloja in the summer of 1934."Janus" is an extraordinary example of these plate sculptures, which Max Ernst had continued to develop. The work was created in 1974, as one of the artist's last sculptures. The journalist and photographer Edward Quinn, a long-standing acquaintance who paid the artist a visit in his studio, had the opportunity to record the creative process of the realisation of "Janus" in a number of photographs (see also our comparative illus.). In keeping with its title, "Janus", the sculpture features two viewing angles facing in opposite directions. The vertical rectangular plate is crowned on each side by differently formed heads. The artist used plaster casts made from toy moulds for the other elements of the design, such as the shells, turtle and frog. He placed the turtle and the frog casts at the lower end of the front and back sides of the plate, but with the legs of the former and the feet of the latter removed. Stylised in this way, they still remain identifiable as animals, but here they take on the form of male genitals. The shell form can be found a total of three times: on the front side, arranged in a pair on the upper part of the plate, it forms a reference to a woman's breasts, and on the rear side, a shell directly under the head assumes the significance of a beard or lavish necklace. Masculine and feminine, animal form and human form, everyday found object elevated within the surreal-artistic context: in this sculptural work, Ernst once again plays with forms and their potential interpretations and reinterpretations in a fascinatingly varied way. "The originally neutral toy becomes a masculine function; the conventional relationship between form and content is broken apart and re-presented in a manner full of wit. ... The change in objects' meaning as the result of a heightened visual capacity and as the basis of artistic inspiration had been described in detail by Max Ernst in regard to his Cologne Dada period. While the reproduced world of a catalogue of teaching aids had served him as a source of material at the beginning of his voyage of discovery, in the course of over 50 years his repertoire had expanded to also include three-dimensional objects from nature and everyday life - on the one hand, in order to provide himself with interpretable structures and textures for his frottages and grattages, but also, on the other hand, in order to produce his sculptural work out of individual, additively assembled found objects, volumetric bodies, devices or utilitarian objects." (Jürgen Pech, Max Ernst, Das plastische Werk, Cologne 2005, pp. 208 f.).
Condition Report: With vivid yellowish-brown patina. In fine condition.View additional info
Description: Signed 'Francis Picabia' lower right.With an undated photo-confirmation by Olga PicabiaThe drawing offered for sale here seems to be related to the 1934 painting "Deux têtes" (Musée du Petit Palais, Geneva; cf. Zdenek Felix (ed.), exhib. cat. Francis Picabia, Das Spätwerk 1933-1953, Hamburg/Rotterdam 1997, p. 37 with colour illus.). It is not only the directness of the erotic motif that is provocative, but also the abstracted, virtually "Apollonian" style of the heads and their idiosyncratic contour, with which Picabia in turn breaks with and defamiliarises the classical canon."As an exponent of the avant-garde, well-known Dadaist and professional 'enfant terrible' of the Paris art scene in the '20s, his unpredictable recourses to realism and his permanent switching of styles were a slap in the face of contemporary critics. His manifest break with modernism in the '30s seemed even more drastic - a gamble with which Picabia purchased his artistic freedom, but simultaneously entered on to a hazardous path. From then on, he no longer - if he had, in fact, ever done so - followed the guiding concept of modernism, according to which progress continued to exist only as formal innovation; instead, he sought to expand the repertoire of his art to encompass new content and contexts." (Zdenek Felix/Chris Dercon, op. cit., p. 7).
Condition Report: Age-related browning within mat opening with narrow light-stain; a few thin areas in the paper; a small wedge-shaped tear within the composition professionally restored.View additional info and full condition report
Description: The work is registered in the Archives Robert and Nicolas Descharnes, Azay-le-Rideau (d 3570).The present reworked photo collage by Dalí combines techniques that were developed by the Dadaists and carried on by the Surrealists. Pop artists also made use of them. This creative, playful act leads to a hybrid photo montage in which it is no longer possible to distinguish between reality and image, illusion and phantasm. Dalí used the technique in particular to create unsettling double images. Individual motifs and depicted objects are literally multiplied, mirrored, cut apart and recombined, in order to in turn be reproduced and charged with meanings on the next level. The acts of defamiliarisation create new contexts. It is not only the subconscious and human fantasy which are set free. Viewers are immersed in and can literally "lose" themselves within the imagined images and parallel worlds - modern times!This collage initiates one of these Dalíesque voyages of discovery. It interweaves photos and details of two famous paintings by Dalí: "Marché d'esclaves avec apparition du buste invisible de Voltaire" (1940) and "Le torero hallucinogène" (circa 1968-1970). In this way it unites central and important elements in the iconography of the Spanish artist. Through découpage, collage and modifications to the colours, the poetry of syntax and semantics is rekindled in the sketch: the contour of the dreaming melancholic as a torero, located on the right, is juxtaposed on the left with the skull of the aged Voltaire, which is based on the famous portrait bust by Houdon. Both are mirrored in powerful contrast before the sheerly unending accumulation of "woman" as such: the "Venus de Milo".
Condition Report: The photo fragments verso glued irregularly on top of others to the card, partly becoming slightly detached from the card at the corners; the right central half of the motif attached with yellowed adhesive tape to the margins. Minor studio traces.View additional info and full condition report
Description: Signed and dated 'Ackermann 49' lower left and on verso additionally signed and dated 'M.Ackermann 1949'.
Condition Report: In very good condition.View additional info
Description: Signed and dated 'Ackermann 68' lower right.With a photo-certificate from the Max-Ackermann-Archive, Bietigheim-Bissingen, dated 15. April 2014. The work is registered with the Estate Max Ackermann (ACK-Nr. 6402).
Condition Report: In fine original condition with fresh colours.View additional info
Description: Signed 'Adler' upper right.
Condition Report: With slight craqueleur, professionally restored.View additional info
Description: Signed 'Arp' lower left.We would like to thank Astrid von Asten, Arp Museum Rolandseck, and also Maike Steinkamp, Hans Arp and Sophie Taeuber-Arp Foudation Remagen-Rolandswerth for their additional information dated 25 March and 2 April 2014.The basic design of this sketch is the same as the 1960 engraving "Composition" (cf. Arntz 416, - here probably shown upside down).
Condition Report: Overall good condition. The outer margins minimally browned, somewhat less in the upper corner. The oval slightly damaged by the pen in one spot.View additional info and full condition report
Description: Signed 'Arp' lower left.We would like to thank Astrid von Asten, Arp Museum Rolandseck, and also Maike Steinkamp, Hans Arp and Sophie Taeuber-Arp Foudation Remagen-Rolandswerth for their additional information dated 25 March and 2 April 2014.
Condition Report: Overall good condition. The outer margins slightly browned, a little less in the upper corner.View additional info
Description: Signed and dated 'Bargheer 44' lower right. Verso additionally dated and titled '21.10.44', 'Der Krieg 2' (The War 2).
Condition Report: The paper slightly browned and with a vertical fold in center. Few superficial linear traces of rubbing.View additional info
Description: Signed and dated 'Bargheer 56' in pencil lower right and verso titled 'Stadt am Morgen' (City in the Morning).
Condition Report: The colours minimally faded. In places with very small pale brown stains at the right margin.View additional info
Description: Signed and dated 'Bargheer 59' lower right as well as dedicated "per Aniello, 24.7.59" lower left. Verso titled 'GIARDINO MEDITERRANEO'.
Condition Report: The paper minimally browned, the colours partly slightly faded, otherwise fresh.View additional info
Description: Signed and dated 'Bargheer. 65.' lower right.
Condition Report: Slightly browned, margins partly with small stains.View additional info
Description: Signed and dated 'Bargheer. 61' lower right. Verso signed, dated, titled and inscribed within the depiction.
Condition Report: The colours minimally faded. Verso in places with little brownish spots.View additional info
Description: Signed and dated lower right 'Bargheer. 73', titled 'Oase 2' on reverse.
Condition Report: Somewhat browned, otherwise in good condition.View additional info
Description: Signed 'Bargheer' and dated, barely legible '73' lower right.
Condition Report: In good condition. Mounted on mat at reverse of sheet corners.View additional info
Description: Signed 'JoBrenneis' lower right.With a photo-certificate by Christine Kustermann-Baumstark, Wiesbaden, dated 17 Februar 2014. The work will be included in part 2 of the catalogue raisonné currently under preparation.
Condition Report: Surface soiling and with few inconspicuous retouchings. The left upper corner bumped.View additional info
Description: Signed and dated 'A.Bauchant 1924' lower right.With an expertise by Francoise Bauchant, Le Boulay, dated 10 April 2014The motif of this painting was probably inspired by George Sand's "La mare au diable", a famous and popular novel written in 1846. A young shepherdess from Berry, wearing the traditional headdress of this region, is depicted on the right; the young man to the left, a wealthy young farmer, is proposing to her.
Condition Report: In good condition. The margins partly minimally rubbed.View additional info
Description: Each signed.Printed by Dr. C. Wolf & Sohn, Munich; published by Verlag R. Piper & Co, Munich 1921. Separate suite from the deluxe edition of 100 copies on this paper. Each mounted in mat. Without the numbered original linen portfolio, loosely laid in a white card portfolio 60.4 x 45.4 x 3 cm.
Condition Report: The sheets each stamped in black with the square stylised collection stamp ("S") in the lower right corner. - The Japan paper slightly creased in places due to material and technique. Partly with light spots in the outer margins.View additional info and full condition report
Description: Signed and dated 'Beckmann August 47 Amsterdam' lower right as well as dedicated: 'Souvenir St. Louis für "Kurt" 29. III. 48'.We would like to thank Stephan von Wiese and Mayen Beckmann, Cologne, for additional information and oral confirmation after presentation of the original on 22 January 2014.On 29 August 1947, Beckmann migrated from his exile in Amsterdam to New York where he arrived on 17 September 1947. He was welcomed by his friend, the art dealer Curt Valentin (1902-1954). From 1933 until his emigration to New York in January 1937, Curt Valentin had ran the Galerie Buchholz in Berlin. In 1938, he organised a solo exhibition for Beckmann in his newly opened New York "Buchholz Gallery/ Curt Valentin" which was subsequently shown in six American cities. Valentin repeatedly supported the artist financially and in addition to that enabled his entry into the USA. Beckmann received a teaching assignment in painting at the University of St. Louis for several months. This is where the subsequent backdating and dedication of the drawing took place. Despite the sketchy execution of the portrait, the fast ductus gives rise to a very succinct and individual image of his cherished dealer.The oil painting "Bildnis Curt Valentin und Hanns Swarzenski" dated 1946, which is located in the Museum of Fine Arts in Boston, also bears the dedication "FÜR KURT VALENTIN V. BECKMANN A 46". Beckmann gave it to the art dealer in December 1946 in gratitude for his endless support (cf. Schütt (ed.), Beckmann & Amerika, exhib. cat. Städel Museum, Frankfurt 2011/2012, p. 86, 87 with colour illus.). The comparison with a further very similar drawing dated 1946 suggests that our sheet also originated during the summer of 1946, serving as a preliminary study for the said Boston oil painting (cf. Max Beckmann, Portrait Curt Valentin, July 1946, graphite on laid paper, 29 x 21 cm, Los Angeles County Museum of Art, registry no. AC 1997.65.1). This would mean that the artist only erroneously backdated our sheet subsequently in St. Louis - a fact that isn't unusual in Beckmann's works. The high-quality drawing comes from the estate of Sue Van de Bovenkamp. Born in 1928, The New Yorker and her husband Armand G. Erpf, financier and consultant to the American presidents, were keen supporters of the New York art and museum scene.
Condition Report: Overall good condition. With two small gaps to the perforated left margin. Verso lower left inscribed "1843 C" in pencil (probably Valentin's inventory number).View additional info and full condition report
Description: Signed.Published by Verlag Karl Lang, Darmstadt 1920. One of 40 proofs on this paper.
Condition Report: Browned in mat opening with several fox marks. The upper right corner with a tiny blank spot.View additional info
Description: Signed and dated '20.3.63 K Jules Bissier' lower left and verso dated and inscribed "10.8.62 I00 I0".
Condition Report: In very good condition. The margins slightly irregularly trimmed by the artist and frayed out.View additional info
Description: Signed and numbered.Edition differs from the one mentioned by Vallier and Mourlot. Proof 19/99.
Condition Report: The lower corners with light traces of folds.View additional info
Description: Signed and numbered.Sheet 4 from "Si je mourais là-bas" by Guillaume Apollinaire, printed by Féquet et Baudier, Paris, published by Louis Broder, Paris 1962. Proof 56/70 from the separate edition which was published aside from the book edition.
Condition Report: Margins partly light-stained, browned in mat opening. Few small fox marks.View additional info
Description: Signed and numbered.Printed by Mourlot, Paris, published by Maeght, Paris 1957. Proof 33/75.
Condition Report: Slightly unevenly browned in mat opening. Margins with small isolated handling creases.View additional info