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Auction Description for Lempertz: Modern Art incl. The Rau collection for UNICEF
Viewing Notes:
Cologne: 17th May 10am to 5.30pm. 18th May 10am to 4pm. Closed for Pentecost. 21st - 23rd May 10am to 5.30pm. Berlin Poststraße 22 (Preview of selected works): 25th April - 4th May 11am to 5pm.
Sale Notes:
www.lempertz.com

Modern Art incl. The Rau collection for UNICEF

by Lempertz

Platinum House

262 lots with images

May 25, 2013

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

262 Lots
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EUGENE BOUDIN, Marine (Marine au grand ciel), 1860

Lot 650: EUGENE BOUDIN, Marine (Marine au grand ciel), 1860

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Description: Pastel on paper mounted on card 21.2/21.4 x 28.7 cm, framed under glass. Monogrammed with the blue stamp "E.B" (Lugt 828) lower right, dated in black crayon "- 1860 -" lower left. - In good condition. Lateral margins slightly rubbed due to framing.With a confirmation of authenticity by Manuel Schmit, Marrakech, dated 20 April 2013 (ref. no. B-P-7534/ E-13.03.28-1-V); the work will be included in the cat. rais. for the paper works by Eugène Boudin currently in preparation.ProvenanceGalerie Motte, Geneva, 2 Nov. 1971ExhibitionOsaka/Hiroshima/Kagoshima/Chiba/Shizuoka 1996 (Museum of Art/Museum of Art Hiroshima/City Museum of Art/Sogo Museum/Prefectural Museum of Art), Rétrospective Eugène Boudin, cat. no. 3, illus. 114; Bogotá/Medellin 1998 (Museo Nacional de Colombia/Suramericana de Seguros), Eugène Boudin: Antesala del impresionismoRau Collection for UNICEFEugène Boudin is seen as an important forerunner of Impressionism. He particularly influenced the young Claude Monet, whom he met in 1858 and who became his pupil. Boudin taught him to only paint outdoors and to always capture his first, unaltered impression of his subject.As an art critic, Charles Baudelaire was particularly enthusiastic about Boudin's work, especially his pastel studies. He became acquainted with the painter in 1859. On the occasion of Boudin's debut at the Parisian Salon, Baudelaire expressed his views in an extensive excursus about these small-format works:"S'ils avaient vu comme j'ai vu récemment, chez M. Boudin qui, soit dit en passant, a exposé un fort bon et fort sage tableau (Le Pardon de sainte Anne Palud), plusieurs centaines d'études au pastel improvisées en face de la mer et du ciel [...]. Ces étonnantes études, si rapidement et si fidèlement croquées d'après ce qu'il y a de plus inconstant, de plus insaisissable dans sa forme et dans sa couleur, d'après des vagues et des nuages [...]. A la fin, tous ces nuages aux formes fantastiques et lumineuses, ces ténèbres chaotiques, ces immensités vertes et roses, suspendues et ajoutées les unes aux autres, ces fournaises béantes, ces firmaments de satin noir ou violet, fripé, roulé ou déchiré, ces horizons en deuil ou ruisselants de métal fondu, toutes ces profondeurs, toutes ces splendeurs, me montèrent au cerveau comme une boisson capiteuse ou comme l'éloquence de l'opium." (Charles Baudelaire, Curiosités esthétiques et autres écrits sur l'art, présentation par Julien Cain, Paris 1968, pp. 110 f.)Boudin's depictions of the sky and of water are atmospheric snapshots that spontaneously capture the moment. The delicate cloud formations in our pastel, whose pictorial space is almost entirely occupied by the broad sky, wonderfully reveal the character of his painting. Before the eyes of the viewer, the captured moment comes to life: we find ourselves almost sensing the freshness of the sea air and hearing the sound of the sea.

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GEORGES LEMMEN, Autoportrait, 1890

Lot 651: GEORGES LEMMEN, Autoportrait, 1890

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Description: Oil on panel 46 x 37.4 cm, framed. Reverse with address label of the artist, inscribed by an unknown hand "Autoportrait G Lemmen 1890 46 cm x 37.5 cm". With the stamped inventory number "601" probably by Pierre Lemmen, the son of the artist. Reverse of frame with exhibition label from the Fondation de L'Hermitage, Lausanne. - In fine condition with fresh colours.ProvenanceEstate of the artist; Collection M. and Mme Samuel Josefowitz, Lausanne; Sotheby's London, 1 December 1971, lot 40 with illus.ExhibitionBrussels 1991 (Musée d'art moderne); Cologne/Lausanne 1997/98 (Wallraf-Richartz-Museum/Fondation de l'Hermitage), Pointillismus. Auf den Spuren von Georges Seurat, cat. no. 70 with colour illus.; Kochi/Tochigi/Kyoto/Tokyo 2002 (Museum of Art/Utsunomiya Museum of Art/The National Museum of Modern Art/Seiji Togo Memorial Yasuda Dasai Museum of Art), Georges Seurat et le néo-impressionnisme, 1885-1905, cat. no. 81, with illus. p. 183 LiteratureJean Sutter, Die Neoimpressionisten, Berlin 1970, p. 232, with colour illus. p. 181; Roger Cardon, Georges Lemmen (1865-1916), Monographie générale suivie du Catalogue raisonné de l'oeuvre gravé, Antwerp 1990, p. 138Rau Collection for UNICEFThis beautiful self-portrait shows the young, 25-year-old artist in a three-quarter view, with his head turned to the right. Lemmen was living in Brussels at the time, a city with a highly progressive art scene that attracted attention throughout Europe. He was a member of the avant-garde which comprised not only artists but also writers. In 1888 Lemmen became a member of the "Cercle des XX", an artists' association that vehemently opposed the academicism of the official salons, together with Henry Van de Velde and Auguste Rodin. This illustrious circle, which also included Fernand Khnopff and Théo van Rysselberghe, was a place where Lemmen integrated very quickly and for which he frequently published articles in the magazine called "L'Art Moderne".By means of the pointillist technique all heaviness is taken away from the depicted subject. Its light airiness and avoidance of lines and areas give this unconventional portrait a certain immaterial aura and immense sensitivity. Moreover, there is a mysterious shimmer over the painting which, despite its tension, comes across as intimate and harmonious. The portrait combines both sensitivity and a perfectly liberal approach to art. Although it is very close to its live model, it is precisely its painterly distance that adds an element of mystery to this work of art.

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MAXIME EMILE LOUIS MAUFRA, Les Goémons jaunes, 1891

Lot 652: MAXIME EMILE LOUIS MAUFRA, Les Goémons jaunes, 1891

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Description: Oil on canvas, relined, 60.5 x 73.5/74 cm, framed. Signed and dated 'Maxime Maufra 91.' with reddish-brown brush lower right. - The reverse of central stretcher bar with two paper labels, one with handwritten inscription "Maxime MAUFRA/ Les Goëmons jaunes" (i.e.: "The yellow Seaweed"), the other, fragmented, with typed information about the artist and the work in English.With a confirmation from Caroline Durand-Ruel Godfroy, dated 27 March 2013. The painting will be included in the catalogue raisonné of the work of Maxime Maufra currently in preparation.ProvenanceGalerie Durand-Ruel, Paris (1894); Galerie Durand-Ruel, New York (1895); R. Spaulding, New York (1899); Fifth Avenue Art Galleries, New York (1904); Arthur Tooth & Sons Ltd., London without year (label reverse); Sotheby's London Auction 29 March 1973, lot 132ExhibitionQuimper 1996 (Musée des Beaux-Arts), Maxime Maufra, cat. no. 13, illus. p. 53; Paris/Quimper/Naples 2003/2004 (Musée du Luxembourg/Musée des Beaux Arts/Castel Sant'Elmo), L'aventure de Pont-Aven et GauguinLiteratureJean-Jacques Lévêque, Les années de la Belle Époque 1890-1914, Paris 1991, pp. 230 and 720, with colour illus. 230Rau Collection for UNICEFMaxime Maufra, a self-taught painter, had started at an early age while at the same time continuing in a full-time commercial career. In 1890, however, he decided to dedicate his entire life to painting. He turned his back on his home town of Nantes and travelled to Brittany where he spent quite a while in Pont-Aven and where he met Paul Gauguin and Paul Sérusier. This is also the context of this painting which shows a rocky part of the Breton coast in the bright light of summer. Maufra did not depict a conventional, idyllic beach scene. Rather, he focused on the everyday motif of seaweed, washed onto the rough unspoiled coast in large quantities and getting caught among the rocks in the shallow water. What may have intrigued the painter so much about this subject was perhaps the contrast of colour and structure that could be observed between the orange-yellow seaweed and the lucid blue of the water. He captured the simple beauty of the scene in all its intense brightness and colours.In his use of pure, vibrant colours Maufra appears to have been inspired by the School of Pont-Aven, while at the same time remaining highly independent in his artistic expression. In 1892 he was the first artist to move into the famous studio in Paris called Bateau-Lavoir. As well as his Parisian cityscapes, Maufra continued to be well-known for his coastal paintings which he created on his repeated sojourns in Brittany and Normandy.

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EUGÈNE CARRIÈRE, Maternité (Tendresse),

Lot 653: EUGÈNE CARRIÈRE, Maternité (Tendresse),

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Description: Oil on canvas, relined, 61 x 50.2 cm, framed. Signed 'Eugène Carrière' [partly underlined] in dark brown lower right. - Very few small retouchings to the right lower edge.cf. Nora-Milin 354 ("Tendresse" 1890, second version, Museo Nacional de Bellas Artes Buenos Aires)We would like to thank Véronique Nora-Milin, Paris, for kind confirmatory information.ProvenanceAcquired Christie's London 1982ExhibitionLondon 1982 (Christie's London), Impressionist and Modern Paintings and Sculpture, Part II, 29 June 1982, lot 303 ("Maternité", provenance there: "Adolphe Stein, Paris") Literaturecf.: Gustave Geffroy, Le Salon du Champ de Mars, in: Revue d'aujourd'hui, no. 6, 15 May 1890, p. 323; Gustave Geffroy, La Vie artistique, 1re série, Paris 1892, p. 206; Frances Keyser, Eugène Carrière, in: The Studio, vol. 8, August 1896, p. 135 with illus.; Georges Denoinville, Eugène Carrière, in: Revue populaire des Beaux-Arts, no. 13, 1 April 1899, p. 196; Gustave Geffroy, L'Oeuvre d'Eugène Carrière, Paris 1902, p. 10 with illus. p. 2; Charles Morice, Eugène Carrière: l'homme et sa pensée, l'artiste et son oeuvre; essai de nomenclature des oeuvres principales, Paris 1906, p. 246; Gabriel Séailles, Eugène Carrière: essai de biographie psychologique, Paris 1911, no. 40; Anne-Marie Berryer, Eugène Carrière; sa vie, son oeuvre, sa philosophie, son enseignement; suivi du catalogue de ses peintures, mémoire de doctorat de l'université de Bruxelles, Liège 1935, no. 68; Edmond et Jules de Goncourt, Journal. Mémoires de la vie littéraire, vol. 3 (1887-1896), Paris 1989, p. 715 (information from the catalogue raisonné on 354)Rau Collection for UNICEFThe subjects of "Tendresse" or "Maternité" are leitmotifs in Eugène Carrière's oeuvre. On the one hand, the images were created in the immediate context of intimate family portraits; on the other hand, Carrière's art has also been subjected to a Symbolist interpretation - thoroughly specific to the epoch of the final years of the nineteenth century, which has been referred to as the "Fin de siècle". A depiction of the human condition itself was seen in Carrière's paintings or in the ostensible Non Finito of his friend Auguste Rodin: like a distant, ungraspable and existential murmur, like a schematic natural phenomenon that emerges and then disappears once more. The formal characteristics that were found to be similarly developed in the work of the painter and the sculptor motivated and supported this interpretation. The maternally protective gesture of the present example is touching in its concentration on depicting the enclosing of the child's fragile little head between the hands."In complete contrast to the genre-like, but cool 'Maternités' of Mary Cassatt, the colourfully cheerful versions by Auguste Renoir or even the idylls of the Swede Carl Larsson (whose origins, biography and choice of themes are, at first glance, very similar to those of Carrière), Carrière's 'Maternité' evokes the elementary and fundamental enigma of life, which, as it had already been interpreted by his contemporaries, could certainly also be pessimistic in tone. Gustave Geffroy thus wrote in 1892: 'Mais s'il fait rire les enfants et sourire les fillettes, l'artiste, supérieurement compréhensif, aggrave le visage des mères, aiguille leurs préoccupations vers la farouche inquiétude. Ce sont des lionnes attentives et soupçonneuses qui prévoient, qui redoutent, et qui grondent contre l'inconnu.'" (Anne Röver-Kann (ed.), Intimität der Gefühle, Eugène Carrière zum 100. Todestag, exhib. cat. Bremen 2006, p. 154; cf. also: Werner Hofmann, Bemerkungen zum Thema 'Maternité', ibid., pp. 112 ff.).

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HENRI EDMOND CROSS, Paysage au soleil couchant, 1892

Lot 654: HENRI EDMOND CROSS, Paysage au soleil couchant, 1892

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Description: Oil on thin panel 13.8 x 23.9 cm, framed. With reddish oval studio stamp "H.E.C." (Lugt 1305 a) lower left, the "H" barely legible in the left area due to varying pressure of the stamp. - On the reverse with various partially fragmented paper labels, i.a. from the Galerie Kleinmann & Cie as well as customs stamps, transport company labels and handwritten inscriptions; the frame with numerous labels. - With minor, scattered marginal retouchings, in good condition.Not recorded by CompinWith a confirmation of authenticity from Patrick Offenstadt, Paris, dated 17 April 2013 (no. 13.04.17/377); the work will be included in the catalogue raisonné of the works by Henri-Edmond Cross.ProvenanceVente Atelier Henri-Edmond Cross, Paris, Drouot, 28 October 1921, no. 64 ("Soleil couchant au bord de la mer"); Galerie Kleinmann & Cie, Paris without year, no. 514; Weinmüller, Munich, 5 Dec. 1963, no. 1433 (? receipt existing in the Collection Rau, no catalogue available); Christie's London, Auction 27 June 1972, lot 17 C (aside from catalogue)ExhibitionPossibly Prague May-June 1934 (Artistic Society), Katalog výstavy kolem Seurata: (Cousturier, Cross, Luce, Seurat, Signac), Alsova sin Umelecke besedy, Nr. 3 (printed Czech label on reverse of frame, typed, fragmented); Marseille 1994 (M.A.C.), Toiles solaires, paysages provencaux. Dix oeuvres de la collection du docteur Rau, p. 12/13 with colour illus.; Marseille/ Paris/ Lissabon 1995 (Hôtel de la Région Provence-Alpes-Côte d'Azur/ Musée du Luxembourg/ Fondation Arpad-Szenes-Vieira da Silva), Les Peintres de la couleur en Provence 1875-1920, without cat. no. ("Paysage au soleil couchant"); Cologne 1997/ Lausanne 1998 (Wallraf-Richartz-Museum/ Fondation de l'Hermitage), Pointillismus. Auf den Spuren von Georges Seurat/ Pointillisme - Sur les traces de Seurat, cat. no. 19 ('Landschaft mit untergehender Sonne'); Japan 2002: Kochi/ Tochigi/ Kyoto/ Tokyo (The Museum of Art/ Utsunomiya Museum of Art/ The National Museum of Modern Art/ Seiji Togo Memorial Yasuda Kasai Museum of Art), Georges Seurat et le Néo-Impressionnisme, 1885-1905LiteratureFrancois Bazzoli/ Bernard Muntaner, Les Provences de la Peinture 1850-1920, Marseille (without year), p. 99 with colour illus. ('Paysage à proximité de l'Estérel'); Denis Coutagne (ed. Réunion des musées nationaux), Peintres de la couleur en Provence 1875 - 1920, exhib. cat. Marseille/Paris 1995, p. 272 with colour illus.; Rainer Budde (ed.), Pointillismus: Auf den Spuren von Georges Seurat, exhib. cat. Cologne/Lausanne, Munich 1997, p. 248, cat. no. 19 with colour illus.; exhib. cat. Japan 2002 (Kochi/ Tochigi/ Kyoto/ Tokyo), Georges Seurat et le Néo-Impressionnisme 1885-1905 (authors Christophe Duvivier/ John G. Hutton/ Nobuyuki Senzoku/ Keiko Sakagami/ Joachim Pissarro/ Ronald Pickvanze/ Jane Block/ Serge Le Bailly), p. 92 with illus.; cf. in general: Isabelle Compin, H.E. Cross, Paris 1964, p. 31 ff., p. 115 ff. with illus.Rau Collection for UNICEFThe enchanting little seascape was created along the Côte d'Azur, and according to the supplementary information provided by Patrick Offenstadt, it may have been carried out in preparation for a larger composition that has since been lost or was never realised. He is in fact unaware of any other painting directly related to this work. This circumstance makes it a rare treasure from one of the most important periods in the artist's oeuvre.In 1891, the first of the now highly sought-after Divisionist works by Cross were created in the legendary Mediterranean light of Southern France, in Var, where Cross lived with his wife from that time onwards. He remained close friends with Paul Signac, Maxmilien Luce and Théo van Rysselberghe, colleagues who lived and painted in the immediate vicinity."Paysage au soleil couchant" adopts the neo-Impressionist palette, with its numerous nuanced shades of violet and mauve; together with the various blue tones, these stand in delicate contrast to the yellow and salmon tones of the horizon. The finely graded colour relationships, layered broadly or applied in dots on top of one another, provide the composition with its indeterminate transparency and its atmosphere of unreality: a dream of twilight, with the stillness of a sea before a wide horizon, directly after sunset. Both this poetry of colour and the asymmetry of the composition possess a great aesthetic charm. The elongated landscape format of the canvas underscores the topography of the coast, with the partially cropped dark pines in the foreground at left, as well as the linear silhouettes of distant islands and the two-dimensionality of the cloud formations. The pointillist technique is not rigorously applied here - as it is in Cross's larger-format seascapes (cf. "Pointe de la Galère" and "Les Iles d'Or", both 1891/92; Compin, op. cit., no. 30, p. 115, and no. 36, p. 125, each illus.). However, the entire planar composition appears concentrated and decorative in its formal simplification - regardless of its possibly preliminary character. It recalls the reception of Asian woodcuts among French modernists or the Japonism of the epoch. Furthermore, approximately 10 years later, no one less than Henri Matisse would become greatly interested in the art of Signac and Cross in Saint Tropez.

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LOUIS ANQUETIN, Autoportrait à la Pipe, 1892

Lot 655: LOUIS ANQUETIN, Autoportrait à la Pipe, 1892

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Description: Oil on canvas 65.2 x 49.3 cm, framed. Signed and dated 'Anquetin.92.' in black lower left. - On the reverse of the stretcher i.a. with printed label from the 1971 exhibition in the Grand Palais, Paris. - With few minor retouchings mainly in the marginal area; a fine linear canvas defect professionally repaired.With a confirmation of authenticity by Brame & Lorenceau, Paris, dated 22 April 2013; the painting is registered in the digital archive of the work of Louis Anquetin.ProvenanceMadame Richard (1897); Acquired Sotheby's London 1972ExhibitionParis, November 1892 (Galerie Le Barc de Boutteville), Exposition des Impressionistes et Symbolistes, no. 15; Paris, 18 March - 27 April 1893 (Société des Indépendants, 9e exposition), no. 39; Paris, May - June 1897 (Restaurant chez Cubat), no. 21; Paris April-May 1971 (Grand Palais, Société des artistes indépendants, 82e exposition annuelle), De Pont Aven aux Nabis, rétrospective, 1888-1903, Nr. 1 ("Autoportrait, 1892"); London 1972 (Sotheby & Co.), Impressionist and Modern Paintings and Sculpture, 30 Nov. 1972, lot 24 with illus. p. 30 ("Auto-portrait au Chapeau haut-de-forme et à la Pipe")Rau Collection for UNICEFLouis Anquetin had a close friendship with Henri Toulouse-Lautrec, Emile Bernard and Vincent van Gogh. During a fruitful phase of artistic experimentation in the late 1880s he initiated a style which came to be known as "Cloisonnisme", a term coined by art critics in 1888 to describe the works he exhibited. Shortly afterwards he gave himself the freedom to redefine himself stylistically and beyond any sensational "isms". In doing so, it apparently did not bother him much where the various avant-gardes were tending and whether he might become alienated from them. It was obvious that his self-image as an artist is never in any doubt, and this was clearly reflected in this rather mischievous self-portrait of 1892 in which Louis Anquetin - laughing, highly alert and challenging - seems to be looking directly in our faces, even today.His somewhat random and anarchic get-up is so much like that of an uninhibited Bohemian. His provocatively colourful, bright blue working shirt does not really go with his big grey top hat with which he has adorned his head. The cheerful rings of grey smoke from his little pipe - which seems rather old-fashioned to us now - however correspond beautifully with his hat. The pipe appears like the very natural attribute of a free man, just like the arrangement of dark fruit on his hat is clearly more than a purely decorative element, but rather a sign of rakishness and Bacchantism. His strikingly bulbous nose is slightly red. The broad pipe-embracing smile on his lips is that of an enthusiastic smoker who beams at us and indeed does so quite deliberately. His direct, slightly piercing look undoubtedly conveys the certainty that although this man takes nothing too seriously, he certainly must not be underestimated under any circumstances with his good humour and his wide-awake alertness. "L'apport de Louis Anquetin est considérable. Eminemment doué, prodigue et généreux, il a ouvert à l'expression plastique des champs insoupconnés, que lui-même n'exploitera pas, n'en saississant pas la portée, mais auxquels d'autres sauront donner leur pleine signification. Il occupe ainsi une place unique dans l'histoire du post-impressionnisme." (Frédéric Destremau, in his preface to: Anquetin, La Passion d'être Peintre, exhibition catalogue, Galerie Brame & Lorenceau, Paris 1991, p. 10).

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LÉON POURTAU, Les bords de la Saône dans la brume, 1893

Lot 656: LÉON POURTAU, Les bords de la Saône dans la brume, 1893

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Description: Oil on firm painter's board 46.5 x 70.4 cm, framed. Monogrammed and dated 'L P. 93' in blue lower right. - The edges slightly irregularly cut.ProvenanceEstate of the artist; Sotheby's London, Impressionist and Modern Paintings and Sculpture, 3 December 1971, lot 13 with colour illus.ExhibitionLondon 1995 (Royal Academy of Arts), From Manet to Gauguin. Masterpieces from Swiss Private Collections, no. 146 (label on reverse of frame, titled there "Paysage au bord de la Saône"); Tokyo/Nagoya 1995/1996 (The Sezon Museum of Art/Matsuzakaya Museum of Art), Impressionist and Post-Impressionist Masterpieces from Swiss Private Collections, cat. no. 48, p. 132, illus. 133; Cologne/Lausanne 1997/1998 (Wallraf-Richartz-Museum/Fondation de l'Hermitage), Pointillismus: Auf den Spuren von Georges Seurat / Pointillisme - sur les traces de Seurat (label on reverse of frame, titled there "Les bords de Saône"), cat. no. 115, p. 254, with full-page colour illus. 115; Kochi/Tochigi/Kyoto/Tokyo 2002 (Museum of Art/Utsunomiya Museum of Art/The National Museum of Modern Art/Seiji Togo Memorial Yasuda Dasai Museum of Art), Georges Seurat et le néo-impressionnisme, 1885-1905, cat. no. 100, illus. p. 209Rau Collection for UNICEFThe work shows the banks of the Saône enveloped in fog. This river's source is in the Vosges mountains near Vioménil, and it runs for 450 km before feeding into the Rhône at Lyon. The Saône is depicted as relatively wide, and it may thus be assumed that Pourtau painted it near its end. The artist was enrolled at the music conservatoire in Lyon and received first prize as clarinettist. Léon Pourtau was not only a passionate painter, but also - as in the case of his close friend Georges Seurat - a talented musician. From Seurat, whom he met and came to appreciate in Paris, he soon adopted the principles of pointillism. At the age of only 25, Pourtau died during a ship accident in the Atlantic Ocean. He had spent the last two years of his life in Philadelphia, where he had accepted a two-year position as a concert musician in the hopes of earning enough money to be able to subsequently devote himself exclusively to painting. Although Pourtau had been a promising talent, this dream was never fulfilled: the tragic accident occurred during his return voyage from the USA.The fog above the Saône immerses the riverscape in a mild, milky light. Initially the depicted objects largely corresponded to their local colour; however, they were covered over with a multitude of closely-spaced dots of paint in light violet, pink, orange, light blue, yellow and green. From a distance, these dots - which have been placed according to a playfully realised system - are perceived not in isolation, but bundled together. This effect of optical blending intensifies the emotional quality of the colours.

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HENRI EUGÈNE AUGUSTIN LE SIDANER, La Rue de l'Eglise, Villefranche-sur-Mer, 1928

Lot 657: HENRI EUGÈNE AUGUSTIN LE SIDANER, La Rue de l'Eglise, Villefranche-sur-Mer, 1928

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Description: Oil on canvas 61 x 50.3 cm, framed. Signed 'Le Sidaner' in black lower right. - Reverse of stretcher with old paper label, thereon typed inscription (faded): "Musée Galliéra/ Rétrospective/ Henri Le Sidaner".Farinaux-le-Sidaner 646 (with a photo of the previous condition)Confirmation of authenticity from Yann Farinaux-le-Sidaner, Paris, dated 18 April 2013 (Nr. LS 459); we would like to thank the author of the catalogue raisonné for kindly providing additional information. The painting will be reproduced in the forthcoming monograph "Le Sidaner - Paysages Intimes" by Yann Farinaux-Le-Sidaner, to be published in Autumn 2013.ProvenanceGalerie Georges Petit, Paris (acquired from the artist); acquired Christie's London 1995ExhibitionParis, April 1948 (Musée Galliéra), Le Sidaner, Rétrospective, no. 3 (specification of the author of the catalogue raisonné); London 1995 (Christie's), Impressionist and Modern Paintings, Watercolours and Sculpture (Part II), 27 June 1995, lot 260 with colour illus.Rau Collection for UNICEFAccording to a kind note from Yann Farinaux-Le-Sidaner the eponymous painting which is presented in the catalogue raisonné (no. 646) is identical with the present work. It was reworked by the artist - as he quite often did - and then signed at the lower right, in contrast to the first version, which was signed at the bottom left. A black and white photograph documenting the prior state of the painting was published in the catalogue raisonné. It came from the Galerie Georges Petit, where the artist was under contract during his lifetime. There are two smaller preparatory studies of the motif in oil (Farinaux-Le-Sidaner 1207, 24 x 16 cm, and 1209, 40.7 x 25.4 cm).Charming old towns and cities and, above all, churches, are typical motifs in Le Sidaner's work. The eighteenth-century Baroque church Saint Michel in Villefranche-sur-Mer is depicted from the perspective of someone approaching by foot from the direction of the sea. This place, which was in the middle of town, must have been an oasis of calm and stillness. Here it is depicted in the warm, atmospheric light of the setting sun. The close proximity of the church, an impressive building from a past epoch, alongside the old urban architectural substance provided Le Sidaner with the inspiration for his picture. This motif was not only prepared in two small oil studies; the painting "La Rue au clair de lune" of 1926 (Farinaux-Le-Sidaner 646) and the two pictures of "La Rue de l'église" of 1936 (Farinaux-Le-Sidaner 764 and 765) also show the church Saint Michel. The title "La Rue au clair de lune" proves that Le Sidaner painted this location at different times of the day. Characteristic for his work is not only the highly nuanced, dabbed application of paint, but also the violet shadows, which establish an inspired synthesis between Symbolism and Impressionism. The image seems to be a metaphor of the artist's positive subjective feelings regarding this idyllic place.

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JOAQUIN SOROLLA Y BASTIDA, Retrato de Enrique Recio y Gil, 1889

Lot 658: JOAQUIN SOROLLA Y BASTIDA, Retrato de Enrique Recio y Gil, 1889

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Description: Oil on canvas 61 x 50 cm, framed. Signed and dedicated 'A Ginebra J. Sorolla' in black paint centre right. - Minor superficial rubbing to upper edge and forehead, a few professional retouchings to the right of the head and forehead.We would like to thank Blanca Pons-Sorolla for kind additional information. The work is registered in her archive under the preliminary number BPS 3638.ProvenanceCollection Enrique Recio y Gil (Henrique Rechio Gili), Buenos Aires; collection of Enrique Recio y Gil's granddaughter; Collection Don Laureano Gili Bisbal, Santiago de Chile; Sotheby's London, Impressionist and Modern Paintings and Sculpture, 30 Nov. 1972, lot 120 with illus.ExhibitionSantiago de Chile 1917 (Museo de Bellas Artes), Salón de Retratos y Obras Selectas de Arte Extranjero, cat. no. 71Rau Collection for UNICEFThis expressive portrait shows the genre painter Enrique Recio y Gil, who was born in Madrid around 1860. He was a good friend of Sorolla, who was only a few years younger. According to Blanca Pons-Sorolla, the portrait was probably created in Rome circa 1889 where the two artists lived for a while. The provincial parliament of the city of Valencia had given Sorolla a grant, enabling him to study in Rome for some time. After his return to his home country, he settled in Madrid. From then onwards Sorolla exhibited his works at numerous exhibitions which gave him a suitable forum to present himself as a portrait artist.Set against a subtle grey background, the subject's well illuminated, delicately chiselled face and his hand resting casually on the chair stand out vividly. The slim upper body of this man who has an air of dignity about him yet is looking dreamily into the distance, makes him appear quite reserved, partly because the lower left-hand corner has been left unpainted. As a result, although the form of depiction seems traditional at first, the portrait contains an unconventional element. The focus is apparently not so much on perfect physical depiction, but on the creative idea and on a confident, liberal treatment, as shown in the artist's transgression from the purely representational. Sorolla subtly characterised his friend Enrique Recio y Gil in his sensitive and perhaps also melancholy nature. What makes this portrait so attractive is its combination of psychological intensity and dignified distance. Several white highlights on the flesh tones, the buttonhole flower and also some light areas on the shirt serve to illustrate a clear interest in the emphasis on light which was a characteristic feature of Impressionism. We do not currently know to whom the painting was dedicated.

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MAX SLEVOGT, Portrait der Tänzerin Sadayakko mit ihrem Ziehson Raikichi, 2 December 1901

Lot 659: MAX SLEVOGT, Portrait der Tänzerin Sadayakko mit ihrem Ziehson Raikichi, 2 December 1901

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Description: Oil on canvas 132.2 x 110.5 cm, framed. Signed 'Slevogt' in blue lower right. In upper right margin additionally inscribed and dated in two lines in Japanese by Sadayakko with black brush: "Meiji 34 nen 12 gatsu muika/ Nihon Kawakami Sadayakko" resp. translated: "Meiji 34 [= 1901], 12th month, 20th day/ Kawakami Sadayakko from Japan". - Within the left Japanese brush script a thin, barely discernible pencil sketch of the dancer in profile as a walking draped figure. - At few places with small professional retouchings.Imiela, annotation 15, 2., p. 373We would like to thank Peter Pantzer, Vienna (Prof. Dr. em., Institute for Japanology, University of Bonn), for kind assistance and scientific details as well as Bernhard Geil, Slevogthof Neukastel, for further advice. We thank Sigrun Paas, Mainz, for additional information.ProvenanceGift of the artist to Janos Plesch, Berlin; prof. Peter H. Plesch (J. Plesch's son); Christie's London, 1985 (acquired there)ExhibitionTravelling exhibition Japan 1999-2000: Tokyo/Miyazaki/Shimane/Yokohama/Ehime (Yasuda Kasai Museum of Art, Tokyo/ Miyazaki Prefectural Art Museum/ Shimane Art Museum,/ Sogo Museum of Art, Yokohama/ The Museum of Art, Ehime), Masterpieces from the Rau Collection: from Fra Angelico to Bonnard, cat. no. 80 with colour illus. ("Portrait of Sada Yakko and a Japanese Child", dated "1906"); travelling exhibition Europe 2000-2002: Paris/ Rotterdam 2000/2001 (Musée du Luxembourg/ Kunsthalle Rotterdam), From Fra Angelico to Bonnard, Masterpieces from the Rau Collection, cat. no. 80 with colour illus. (dated "1906"); Cologne/Munich 2001/2002 (Josef-Haubrich-Kunsthalle/ Haus der Kunst), Meisterwerke von Fra Angelico bis Bonnard. Fünf Jahrhunderte Malerei. Die Sammlung des Dr. Rau, cat. no. 80 with colour illus. (dated "1906"); Bergamo 2002 (Accademia Carrara), Collection Gustav Rau; travelling exhibition South and North America 2002-2006: Bogota 2002 (Casa de la Moneda, Biblioteca Luis Angel Arango), Collection Gustav Rau; Portland/ Dayton/ Nashville 2004/ 2005/ 2006 (Portland Art Museum/ The Dayton Art Institute/ Tennessee State Museum Nashville), Rau Collection; Mannheim 2011/2012 (Curt-Engelhorn-Foundation for the Reiss-Engelhorn-Museums), Ferne Gefährten. 150 Jahre deutsch-japanische Beziehungen, cat. no. 103LiteratureHans-Jürgen Imiela, Das Bildnis des Francisco d'Andrade als Don Giovanni und die Schauspieler-Rollenporträts, in: Max Slevogt, Eine Monographie, Karlsruhe 1968, pp. 69 ff., especially p. 78;Christie, Manson & Woods Ltd., London 3 Dec.1985, Impressionist and Modern paintings and sculpture, Part II, lot 152 with colour illus. p. 64 ("The Property of Professor Peter Plesch/ Max Slevogt, Sada Yakko and a Japanese Child"), here erranously dated ("20 December 1906"); Marc Restellini (ed.), Meisterwerke von Fra Angelico bis Bonnard. Fünf Jahrhunderte Malerei. Die Sammlung des Dr. Rau, exhib. cat. Wallraf-Richartz-Museum in the Josef-Haubrich-Kunsthalle Cologne/ Haus der Kunst, Munich, Geneva 2001, cat. no. 80, p. 198 with colour illus. p. 199 (erroneously dated "1906"); Peter Pantzer, Japanischer Theaterhimmel über Europas Bühnen, Kawakami Otojiro, Sadayakko und ihre Truppe auf Tournee durch Mittel- und Osteuropa 1901/1902, Munich 2005, with colour illus. after p. XI ("Sadayakko with her foster-son Raikichi in Berlin"), pp. LXV, LXXVIII, cf. illus. 2 and 5; Curt-Engelhorn-Stiftung/Reis-Engelhorn-Museen/Verband der Deutsch-Japanischen Gesellschaften (ed.), Ferne Gefährten. 150 Jahre deutsch-japanische Beziehungen, Begleitband zur Sonderausstellung, Regensburg 2011, no. 103 with illus., pp. 138/139Rau Collection for UNICEFAround 1900 it was Sadayakko (or "Sada Yacco", 1868-1932) and her husband Kawakami Otojiro's celebrated theatre company who introduced Japanese theatre to the Western world for the first time. It had been virtually unknown in Europe until then. People were absolutely fascinated by the aesthetic beauty of those amazingly colourful performances. A tour of the United States and France turned out to be quite sensational. Graceful Sadayakko had been dancing at the World Exposition in Paris in 1900, then giving guest performances in Berlin in November and December 1901. She was perceived as a highly unusual and enchanting actress - in both Berlin theatres, in the "Zentral-Theater" and in "Buntes Theater" (also known as "Überbrettl"), newly established by Ernst von Wolzogen. German newspaper articles even compared her stage acting to a work of fine art:"We are faced with a tableau coming alive and beginning to move, continuously changing into the shapes of thousand new images, each one as perfect as the other." ("Der Tag", Berlin, quoted in Peter Pantzer, op. cit., p. LXIV).Sadayakko's performances are well documented, and so are the two paintings of "Sada Yacco" by Max Slevogt who himself took the note, that he created them in "the winter of 01/ to 2" (Bernhard Geil, Slevogt Archives). Former, traditionally assumed dates of Sadayakk's portraits ("1906") can be regarded as erroneous.This painting is one of Slevogt's first masterpieces in Berlin after his move from Munich in November 1901. It is distinguished from the stage portrait of the Kohl-Weigand Collection (now: Saarland Museum, Saarbrücken, see comparative illus.), which is roughly about equal in size, by rendering Sadayakko's delicate movements. Unlike the other portrait, this painting has been further enriched, both formally and in it's narrative, by the presence of the child. Another major compositional element are the calligraphic brushstrokes, written by the Japanese dancer herself: they have been preserved like some precious foreign autograph, inscribed into Slevogt's picture as a graphic feature and on the same level as the pictorial composition itself. The painter even seems to have responded to it artistically by adding a dark vertical brushstroke to the dancer's brightly colourful kimono, balancing out imperceptibly the two sides of the painting's large format. The characteristics and the specific qualities of Slevogt's art had found an ideal counterpart in this Japanese theme: the negation of space and the blank backdrop, the non-corporeal character of the figure and the impulsive sketchiness of the depicted subject, the intensive colours and the abstract interplay of lines and brushstrokes - all these elements are aesthetic aspects of East Asian art. Nevertheless, they are fundamental features of Slevogt's own art, his "line" has positivly been described as an "element of meaning", touching the distinct idea of his approach to painting (Meinrad Maria Grewenig, Max Slevogts impressionistisches Bildkonzept, in: Max Slevogt, exhib. cat. Saarland Museum Saarbrücken, 1992, p. 133). As for the subject, there are direct links to other stage studies by Slevogt, painted during the same period as this portrait of Sadayakko - the theme of Mozart's Don Giovanni and Slevogt's realisation of "Das Champagnerlied" (1902, Staatsgalerie Stuttgart). The latter is a portrait of the singer Francisco d'Andrade in his role on stage, painted subsequently after "Sada Yacco"."Slevogt's art - its 'music' - is 'modern' [...] Despite all impressionist sensitivity for surface textures, it is full of contradictions - contradictions between figure and plane, the whole and its parts, between expressive, energetic lines and the colours that have been either disrupted or liberated in their streaming, and contradictions between the nervousness and tearing flow of time and the hovering quality of the moment." (Lorenz Dittmann, Max Slevogt: Farbe und Zeitgestalt, in: exhib. cat. Saarbrücken, op.cit., p. 125).

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LOVIS CORINTH, Porträt Charlotte Corinth in brauner Bluse, 1910

Lot 660: LOVIS CORINTH, Porträt Charlotte Corinth in brauner Bluse, 1910

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Description: Oil on canvas, relined, 105 x 85 cm, framed. Signed and dated 'LOVIS CORINTH 1910' upper right. On the reverse of the stretcher with remnants of two old labels, one with handwritten inscription "Corinth No 10295", the other with printed inscription "F.K.V." and handwritten number "975/4". - Fine condition with fresh colours. Few insignificant retouchings to the margins.Berend-Corinth 429 with illus. p. 543 ProvenanceCollection Dr. Rudolf Cohn, Königsberg; Karl & Faber, Munich, 100th Auction, Graphik, Handzeichnungen, Aquarelle und Gemälde des 15.-20. Jahrhunderts, 17 May 1966, lot 226ExhibitionKönigsberg 1924 (Kunstsammlung); Berlin 1926 (Nationalgalerie), Lovis Corinth. Ausstellung von Gemälden und Aquarellen zu seinem Gedächtnis, cat. no. 167; Dresden 1927 (Sächsischer Kunstverein, Brühlsche Terrasse), Lovis Corinth, Gedächtnisausstellung, cat. no. 56 LiteraturePaula Steiner (ed.), Lovis Corinth, dem Ostpreußen, Königsberg 1925, no. 22 with illus. p. 92, here titled 'Damenbildnis'Rau Collection for UNICEFLovis Corinth met Charlotte Berend in 1901, when the 21-year-old showed him her drawings for assessment. She was to become the first student at the painting school which had been opened by the artist in Klopstockstrasse in Berlin. Quite soon a love affair developed between the teacher and his student, and this is also reflected in Corinth's oeuvre: From 1902 Charlotte Berend featured in a variety of pictures - double portraits, nude paintings, Charlotte while painting, playing and joking and in other everyday situations, always in an atmosphere of cheerful intimacy. In 1903 Lovis and Charlotte got married, and a year later their son was born. Our portrait shows Charlotte at the age of 30, when she was a mother of two children. Despite her elegant clothes and rich golden jewellery, there is an unpretentious girlishness about her. With a lively, bemused expression on her face, a slight inclination of her head and her hand resting on her hip, she comes across to us as spontaneous and relaxed. Here, too, we can feel the painter's openness and loving intimacy which unites him with his favourite model.One particularly pleasant aesthetic appeal of the painting is the contrast between warm and cold colours. The bright blue fabric behind the figure is effectively different from the warm tones of gold on Charlotte's blouse and her jewellery. In particular these contrasts serve to highlight the bright, rosy flesh tone, underlining the youthful freshness that comes from the portrait subject.

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CARL MOLL, Speisezimmer I, 1915

Lot 661: CARL MOLL, Speisezimmer I, 1915

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Description: Oil on canvas 59.7 x 59.7 cm, framed. Monogrammed 'CM' lower right. Reverse of stretcher titled 'SPEISEZIMMER I a', exhibition labels from the Carnegie Institute Pittsburgh, there with handwritten artist's address, and the Residenzgalerie, Salzburg. - In good condition with fresh colours, the edges with old relining.ProvenanceWeinmüller, Munich, auction 102, 28 October 1966, lot 406, with colour illus. pl. 4; Dr. Hans Fetcherin, MunichExhibitionPittsburgh 1939 (Carnegie Institute), The 1939 International Exhibition of Paintings, cat. no. 272 with illus. pl. 112; Salzburg 1967 (Residenzgalerie), Österreichische Meisterwerke aus Privatbesitz - vom Biedermeier zum Expressionismus, cat. no. 63 with colour illus.Another painting with the same motif exists, "Interieur I (Mein Speisezimmer)" (Interior I, My Dining Room), dated to circa 1914, with painted figures in the background (cf. Carl Moll (1861-1945), exhib. cat. Österreichische Galerie Belvedere, Wechselausstellung der Österreichischen Galerie Belvedere, ed. by G. Tobias Natter and Gerbert Frodl, Salzburg 1998, cat. no. 55 with colour illus. and front cover illus.)Rau Collection for UNICEFThe dining room, that gave this painting its name, consists of two parts, separated by a wide-open sliding door. At the back of the room we can see windows with glazing bars letting in the sunlight which illuminates a lavishly laid table in the foreground. The elongated room, its elegant furnishings and the valuable tableware indicate that this is a prosperous middle-class household. The backlight is refracted in the cut wine and water glasses and in the slender vases, while a small number of paste-like brush strokes have lit up the white plates and the silver surfaces of the serviette rings and the cutlery. The festive character of the forthcoming meal is further emphasised by the lush arrangements of flowers and fruit.The aesthetic pleasure of a beautifully set table recurs frequently in Carl Moll's oeuvre and can be found in numerous variations. This popular motif allowed the painter to make good use of his technical skills in the treatment of details, as the reflections of the light on different textures and his foreshortening of perspective. At the same time, the painting illustrates his love of a beautiful still life, unspoiled and expressing a joyful expectation of a festive dinner party.Around 1900 Carl Moll created several other luxurious tables in his paintings "Festliche Tafel" (private collection) and "Vor dem Dinner" (Staatliche Kunstsammlungen Dresden, Gemäldegalerie Neuerer Meister). We can see endless rows of tableware unfolding as well as sumptuous flower decorations, illuminated in all their magnificence by wall lamps and chandeliers.Carl Moll was an important celebrity in the Viennese art scene around 1900. He was successful not only as a painter but also as an advocate of modern art, as a co-founder of the Viennese Secession and the Moderne Galerie (now Österreichische Galerie Belevedere) and as a gallery owner.

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AUGUST MACKE, Porträt Karl Keck. Rückseitig Ölskizze eines grabenden Bauers, 1907

Lot 662: AUGUST MACKE, Porträt Karl Keck. Rückseitig Ölskizze eines grabenden Bauers, 1907

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Description: Oil on painter's board with canvas texture and embossed stamp "Josef Schröder" 70.5 x 49.2 cm, framed. Signed and dated 'März 1907. Aug. Macke' in black chalk lower right. Verso with various pencil drawings, barely legible notes and an oil sketch of a farmer digging. - A long, narrow retouching to the upper part of the composition and to lower right, the upper corners slightly compressed.Heiderich 50; Vriesen 516 a, 516 b (In his addendum, Vriesen dates the painting to 1908)ProvenanceDr. Karl Keck, Kelkheim (1957); Karl u. Faber, Munich, Auction 133, 30 November 1972, lot 895, with full-page colour illus. pl. 6; Sotheby's Munich, 8 June 1988, Deutsche Kunst des 20. Jahrhunderts, lot 37; Lempertz, Cologne, Moderne Kunst, Auction 668, 15 June 1991, lot 413, with full-page colour illus. pl. 28Rau Collection for UNICEFThis half-length gentleman's portrait gives us an en face view of the subject's face, while the upper half of his body is set diagonally against a dynamically red yet flat background which, in turn, is extended into space by the presence of a smaller, swiftly applied green background. The facial features of the subject are rendered with precision, whereas his body remains astonishingly free and deliberately sketchy. The momentary nature of the portrait enhances the impression of a particular vitality. In the year when this portrait was painted, in 1907, August Macke also travelled to Paris where he very much warmed to the paintings of Impressionism. Later that year he studied under Lovis Corinth in Paris. This is of importance to the artist's clearly free approach to the portrait. By contrast, other portraits of his later years are far richer in details, showing models who had mainly been recruited from the artist's domestic family environment. For example, Macke frequently painted his wife Elisabeth in numerous variations. Regrettably, however, there are no records about Karl Keck who is depicted here. Like Macke's pencil drawings of Josef Hubert Cordier in his "Skizzenbuch I B" (Sketchbook I B) of 1907, the subject may well have been a guest at his mother's guest house. (See Heiderich, Skizzenbücher vol. I, pp. 190 f., 18 a). Yet as well as providing a biographical reference to the artist's life, "Karl Keck" is a skilful and important work from the early Impressionist phase of this Rhenish Expressionist.

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PHILIPP BAUKNECHT, Sonnenblumen, 1920-1925

Lot 663: PHILIPP BAUKNECHT, Sonnenblumen, 1920-1925

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Description: Oil on hessian 70 x 80 cm, framed. Signed 'PH. BAUKNECHT' lower right and titled on verso 'Sonnenblumen' (sunflowers) in large letters with black brush. - Spanned onto new stretcher.The work will be included in the catalogue of paintings by Philipp Bauknecht from Gioia Smid and Iris Wazzau, currently in preparationWe would like to thank Iris Wazzau, Davos, for additional informationProvenanceGalerie Kunsthandel Monet J.P. Smid, Amsterdam; Lempertz Auction 524, 27 April 1972, lot 35Rau Collection for UNICEFPresented as a close-up and placed at the edge of the composition, the sunflowers in this painting face the viewer in increasingly expressive complementary contrasts of purple/yellow and orange/blue. The fiery, flame-like shape of the vegetation is interlinked with the sky in this Swiss mountain world. In fact, the structures here are so much interwoven that, in this "all-over", the minute glimpse of the landscape in the bottom left-hand corner is almost unnoticeable.When Philipp Bauknecht attracted tuberculosis in 1910, he gave up his plan to work as a furniture and interior designer. In the same year he moved from Germany to Davos in Switzerland where he worked as a freelance painter and led a simple and reclusive life. Although, formally, he started off as an adherent of the Art Nouveau style and with subdued colours, his palette grew increasingly vibrant over the years. Like the artist group "Die Brücke" in Dresden, Bauknecht was influenced in his painterly approach by woodcuts. In fact, in 1920 Bauknecht made friends with Ernst Ludwig Kirchner who had also moved to Davos. Many artists and literati derived their special inspiration from the closeness of the mountain world where health and salvation seekers from all European countries mingled with local farmers. "Bauknecht knows the ecstatic rhythm, agitation and dream of colour. He gives it boldness, endows it with all the various stages of passion and sometimes even adds traces of apocalyptic vision. (...) He destroys nature and relieves it of all empirical reality [...]," says the writer Rudolf Utzinger as he comments on the painter's works (Gioa Smid (ed.), Philipp Bauknecht. Expressionist in Davos, Bussum 2002, p. 114). When Bauknecht died in 1933, his oeuvre vanished in an intellectual vacuum. His widow took the artist's unexhibited works with her when she returned to her homeland, the Netherlands, and it was not until the 1960s that Philipp Bauknecht's paintings attracted the interest of a large public again.

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ALBERT MARQUET, Le Lac de Tunis (La Goulette/Port de la Goulette), 1926

Lot 664: ALBERT MARQUET, Le Lac de Tunis (La Goulette/Port de la Goulette), 1926

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Description: Oil on canvas 46.3 x 61.2 cm, framed. Signed 'marquet' lower left. - In good condition. Minimal retouching, mostly to the edges.Martinet/Wildenstein I-702, with colour illus. p. 503 (here erroneously with the dimensions 60.6 x 81.2 cm)We would like to thank Claude Jacir, Wildenstein Institute, Paris, for kind informationProvenanceAcquired directly from the artist in 1926 by Galerie Druet, Paris; Jean Laroche, Paris 1926; Galerie Druet, Paris 1926; G. Olson, Stockholm 1928; Carl Matthiesen, Stockholm 1928; Dr. Oscar Stern, Stockholm 1936; Galerie Europe, Brussels 1956; O'Hana Gallery, London c. 1959 (label on reverse of stretcher, there inscribed "Collection Druet and Laroche", titled "Port de la Goulette" and dated 1925); auction Galerie Motte, Geneva, Théâtre de la Cour Saint-Pierre, 7 May 1960, no. 136; Crane Kalman Gallery, London (label on reverse of stretcher, titled "Port de la Goulette" and dated 1925); Miss. R. Weightman, London (since 21 Sept. 1960); Sotheby's London, Impressionist and Modern Paintings, Drawing and Sculpture, Part II, 28 June 1995, lot 276 with colour illus.ExhibitionParis 1956 (Galerie Europe), 50 Ans de Peinture Moderne, no. 35 (label on reverse of stretcher, there titled "La Goulette")Rau Collection for UNICEFAlbert Marquet encountered North Africa for the first time in 1908 when he went on a short holiday to Tangier and Dakar with his friend Henri Matisse. For the next few decades Marquet would regularly travel to the North African coast. In countless paintings he captured the colours and lights of those idyllic coastal landscapes, gardens and small harbour towns, as well as a number of more ordinary places such as the industrial ports of Bejaia and Algiers.In 1926 Marquet travelled to Tunisia where, from February to May, he rented a house in La Goulette with a view of the harbour of Tunis. The small village of La Goulette is situated on the man-made promontory separating the lagoon of the Lac de Tunis from the open sea, the Gulf of Tunis. The position of his house enabled the artist to paint the sea and also the lagoon at any time of the day, in any lighting conditions with different amounts of boat traffic. Marquet learned to appreciate the special light of this area when he stayed in Tunisia for the first time in 1923, working in Sidi Bou Said and Carthage. Now, in 1926, he created some 45 paintings within a few months, showing the Gulf of Tunis, the Lac de Tunis, the canal with its many ships and the little town of La Goulette.This depiction of the lagoon shows the landscape in a cool, subdued light. The hazy clouds have left very little of the blue sky. The entire lower half of the painting is occupied by the calm surface of the water with its gentle ripples and in shades of light grey and light purple. The near side of the lagoon is not visible, and the image conveys the impression that we are looking at the coastline directly from the water surface. Behind the buildings on the distant shore we can see the blueish grey silhouettes of those characteristic mountains which feature as landmarks in so many of Marquet's paintings during this period.A very similar view from a slightly different angle produces this backdrop in the bright misty light, so that we can see the sharply defined mountains reflected on the smooth surface of the water (cf. "Reflets sur le lac", Martinet/Wildenstein I-701).

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ALBERT MARQUET, Une baie sur la Méditerranée, 1924

Lot 665: ALBERT MARQUET, Une baie sur la Méditerranée, 1924

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Description: Oil on card 21.9 x 27 cm, framed. Signed 'marquet' lower right. Reverse of board with barely legible stamps. - In good condition. Very few tiny retouchings.Not recorded by Martinet/Wildenstein The painting is to be included in the forthcoming catalogue raisonné by Jean-Claude Martinet of the Wildenstein Institute, where it is recorded under no. 95.05.04/4205/2491. We would like to thank Claude Jacir, Wildenstein Institute, Paris, for kind informationProvenanceChristie's London, Impressionist and Modern Paintings, Watercolours and Sculpture (Part II), 27 June 1995, lot 265 with colour illus.Rau Collection for UNICEFAlbert Marquet was an artist who travelled continuously throughout his life and who discovered his motifs while living and working across Europe, North Africa and Russia. We do not know where along the Mediterranean coast the bay of the present painting is to be located; however, in its meditative tranquillity, this small-format work demonstrates the typical characteristics of Marquet's oeuvre. As a landscape painter, he had a particular affinity for scenes along the water: harbours, beaches and coastlines were among his preferred motifs. His works are characterised by a muted, reserved tonality, and the scope of the depicted view is generally defined with a broad prospect in mind. Marquet devoted particular attention to the glimmering nuances of colour and the reflected light in the water and the clouds.

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LÉONARD TSUGUHARU FOUJITA, Autoportrait au chat, 1926

Lot 666: LÉONARD TSUGUHARU FOUJITA, Autoportrait au chat, 1926

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Description: Peinture à l'essence on Japanese silk 35 x 24.5 cm, framed under glass. Signed and dated 'Foujita 1926' in ink brush upper right, additionally inscribed 'Tsuguharu Mike Paris' in Japanese characters and signed and dated in Japanese and Arabic with brush in black on former frame card (included), inscribed "GG 834" with stencil. - The upper and lower margins of silk left unpainted, width approx. 4 mm. Verso edges mounted to card support covered with Japan paper.Buisson vol. 2, 26.107 B 26.107 P, with colour illus. p. 78ProvenanceSotheby's London, Impressionist and Modern Paintings and Sculpture - Part II, 29 March 1973, lot 174, with full-page illus.Rau Collection for UNICEFTsuguharu Foujita, who changed neither his hairstyle, the cut of his beard nor the shape of his glasses during the entire time he lived in Paris, depicts himself in his self-portrait in the relaxed, slightly melancholy pose of a thinker, with his right hand raised to his chin. The scrutiny of the stern, somewhat veiled gaze is directed not only towards himself, but also towards the viewer. The cat provides an irritating amusing element in the clear tectonic structure of the formal self-portrait. As though wishing to be included in the depiction - and despite the resistance offered by its owner's raised shoulder - it has affectionately taken possession of his neck. Depictions of animals, particularly cats, were among Foujita's preferred subjects. The painter was fascinated by their elegantly playful movements, their tender devotion coupled with distanced reserve. Foujita treated his cat Mickie (Miké), who is also mentioned by name in the signature, entirely like a member of the family. For example, he took it for walks in the parks of Paris, and because the cat liked music so much, he played records for it on his gramophone (see Buisson, vol. II, pp. 44 ff.). In this combination, as the portrait of a couple, the self-portrait thus to some extent reflects the non-conformist, witty personality of the Japanese painter. Born into a wealthy Tokyo family, Foujita completed a traditional education at the academy of art before he set off for a brief tour of Europe. While in London, he is said to have worked as a designer and tailor at the famous Selfridges department store - his excesses at the sewing machine also later resulted in a style of dress that was more than eccentric. In 1915, the artist settled in Paris at Montparnasse. There he was received with open arms by the crowd of residentiary international artists - as well as the accompanying painters' models. From then on, Foujita understood how to masterfully link together Eastern and Western traditions of painting and aesthetics; here for example, the painting materials, such as the extremely fine, Japanese brush and the silk used as the support for the painting, are combined with a translucent technique based on drained European oil colours. Foujita apparently considered this portrait with his cat Mickie so successful that, in the years that followed, he created variations on it in different forms and techniques.

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LÉONARD TSUGUHARU FOUJITA, May, ou La Chienne noire allaitant, 1939

Lot 667: LÉONARD TSUGUHARU FOUJITA, May, ou La Chienne noire allaitant, 1939

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Description: Oil on fine canvas 45.7 x 53.5 cm, framed. Signed, dated, titled and inscribed 'Tsuguharu Foujita "May" 1939 LES Eyzies' in Japanese and Arabic lower right. - A small retouching to outermost right margin at signature level.Buisson vol. 2, 39.37ProvenanceAcquired directly from the artist by the previous owner; Sotheby's London, Impressionist and Modern Paintings and Sculpture, Part II, 5 December 1984, lot 197ExhibitionOsaka/Tokyo/Nagoya 1968 (Grand Magasin Daimaru/Galerie Nichido/Grand Magasin Matsuzakaya), Foujita à Paris; Tokyo/Osaka/Kyoto/Hiroshima/Fukuoka/Paris 1986/1987 (Odakyu Grande Galerie/Galerie d'Art Daimaru/Galerie d'Art Daimaru/Musée Préfectoral d'Art de Hiroshima/Musée Préfectoral d'Art de Fukuoka/Musée de Montmatre), Léonard Foujita. Exposition pour le centenaire de Foujita, cat. no. 68 with colour illus.Rau Collection for UNICEFTsuguharu Foujita was a great animal lover, as witnessed by his countless works on paper and paintings of cats. However, he rather rarely painted dogs. When we compare his works, we almost get the impression that Foujita was interested in the very nature of cats, whereas dogs were apparently more of interest to him for their outer appearance. In 1922 he painted a large-format picture entitled "Chiens savants ou Carneval des chiens", depicting three Dalmatians, a Pekingese, a spitz, two mongrels and two poodles - nine in all - partly clad with vests and head covers and lined up around an arena as if performing in a circus (see Buisson, vol. 2, 22.12, colour illus. in: Sylvie Buisson, Foujita et ses amis du Montparnasse, Paris 2010, pp. 74/75). His attribution of human features to animals reminds us of Fontaine's Fables, illustrated by Grandville, which must have been known to Foujita.The writer and art critic André Salmon paid tribute to the artist's interest in 1928. "Foujita triomphe dans la peinture des animaux; les animaux lui ont gagné le coeur des hommes: à mesure que notre siècle devient plus méchant, son amour des bêtes s'accroît. (Est-ce un signe de décadence ou un espoir à l'horizon?) Nous vivons sous le signe du chat et du chien, en art comme en politique." (quoted from Buisson, vol. 2, p. 44)The dog shown here is an excessively trimmed female poodle called "May" whom Foujita "portrayed" with her litter of puppies and without any auxiliary human figures. The main focus is on her suspicious glances as she supervises the peaceful food intake of her touchingly wobbly newly-borns. Foujita further specifies that he painted this picture in the small town of Les Eyzies de Tayac in the Dordogne, in the south of France, where Foujita and his wife Kimiyo and other friends had withdrawn briefly from Paris in 1939 and where such an elegant dog was a very rare occurrence.

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HENRI LEBASQUE, Jeune femme en robe blanche (Nono), 1923

Lot 668: HENRI LEBASQUE, Jeune femme en robe blanche (Nono), 1923

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Description: Oil on canvas 50.1 x 61.1 cm, framed. Signed 'Lebasque' in black paint lower right. - In fine condition with fresh colours. The edges of the canvas minimally rubbed in the upper right and lower corners. With few professional retouchings.Bazetoux 1342We would like to thank Denise Bazetoux for kind additional information dated 26 March 2013.ProvenanceStudio of the artist. Vente Robert 12 Dec. 1983 (Sale of part of the estate from the studio of the artist); private collection, Paris; Montgomery Gallery San Francisco (1986). Christie's London, Impressionist and Modern Paintings and Sculpture, 30 June 1987, lot 141 with colour illus.ExhibitionParis 1952 (Musée Galliéra), Exposition rétrospective H. Lebasque, cat. no. 62 (without illus.) (according to Denise Bazetoux, a painting listed here, "femme en robe blanche 1923", probably corresponds to our painting); San Francisco 1986 (Montgomery Gallery), Exposition H. Lebasque, no. 37LiteratureBanner, Lisa/ Fairbanks, Peter, Henri Lebasque 1865-1937, San Francisco 1986, no. 37. illus. 61 Rau Collection for UNICEFHenri Lebasque was influenced by Pissarro in the early years of his career and then later by the pointillists Luce and Signac; he is known primarily for his harmonious landscapes and also for scenes featuring members of his family. After moving to the Côte d'Azur in 1908, his style of painting changed significantly. This work depicts Hélène, the artist's second daughter, who was born in 1900 and was lovingly known as "Nono". She often accompanied her father when he travelled and repeatedly served as his model until her marriage in 1924. In 1923, the year that the work was probably painted, Lebasque was living in Pradet. It was the light and the landscape of the Mediterranean coast that inspired the artist. Accordingly, the picture's tonality is likewise charming, mild and sensitive. Although the model's face is not depicted, the scene seems intimate and familial.The same composition can be found in the work "Jeune femme en blanc assise dans un fauteuil", also dated 1923 (cf. Bazetoux 1343). It is from the Galerie Georges Petit, where Lebasque had his first large solo exhibition in 1907 and where he was under exclusive contract from 1918 onwards.

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MARIE LAURENCIN, Trois jeunes filles aux petits chiens, 1940

Lot 669: MARIE LAURENCIN, Trois jeunes filles aux petits chiens, 1940

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Description: Oil on canvas 38 x 46 cm, framed under glass. Signed 'Marie Laurencin' in pen upper right. - Very good condition with fresh colours; minor frame-related rubbing to upper margin and to upper right corner; tiny pinholes in the corners.Marchesseau vol. 2, 1633ProvenanceFormerly Collection Silvano Lodi, TicinoExhibitionTokyo/ Miyazaki/ Shimane/ Yokohama/ Ehime 1999/ 2000 (Yasuda Kasai Museum of Art/ Miyazaki Prefectural Art Museum/ Shimane Art Museum/ Sogo Museum of Art, The Sankei Shimbun/ The Museum of Art, Ehime), Rau Collection, cat. no. 105, p. 264 f. with colour illus., p. 314 f. with illus.; Collection Rau, cat. no. 105, p. 264 with colour illus., p. 265 with illus., p. 314 f.; Paris/Roterdam 2000/ 2001 (Musée du Luxembourg/ Kunsthal Rotterdam) (with label on reverse), From Fra Angelico to Bonnard, Masterpieces from the Rau Collection, cat. no. 105, p. 258 f. with colour illus.; Cologne/ Munich 2001/ 2002 (Wallraf-Richartz-Museum in der Josef-Haubrich-Kunsthalle/ Haus der Kunst), Meisterwerke von Fra Angelico bis Bonnard. Fünf Jahrhunderte Malerei. Die Sammlung des Dr. Rau, cat. p. 256, no. 105 with colour illus., Bergamo 2002 (Accademia Carrara), Collection Rau, cat. no. 105, p. 258 f. with colour illus.; Portland/ Dayton/ Nashville 2004/ 2005/ 2006 (Portland Art Museum) (with label on reverse)/ The Dayton Art Institute/ Tennessee State Museum), Collection Rau; Lissabon 2006 (Museu Nacional de Arte Antiga), Grandes Mestres da Pintura: de Fra Angelico a Bonnard. Coleccao Rau, cat. p. 232 with colour illus. no. 94; Bogota 2006 (Casa de la Moneda), Collection Rau, cat. no. 105, p. 258 f. with colour illus.Rau Collection for UNICEFMarie Laurencin's works always appear delicate, youthful and cheerful. They are less rigorous than many of Picasso's, whom Laurencin met in 1907 when she started to move in his circles. The three young ladies shown here have a dance-like gracefulness about them - an association that is hardly surprising as, from 1924 onwards, Marie Laurencin repeatedly designed costumes and stage sceneries for a variety of ballet companies. Her palette is dominated by delicate pastels in numerous nuances: light blue, pink, lightened green and light grey as well as a vibrant lemon yellow. The transitions between the colours, which the artist deliberately thinned down with turpentine, are not gradual but executed in areas. Red and black highlights, on the other hand, were used quite sparingly for the puckered lips, cherry-like eyes, a dog's ear and the silhouette of a calf. Guillaume Apollinaire, who was Marie Laurencin's friend and, for a while, her lover, wrote about her: "Since that time there has always been this feminine arabesque behind the careful execution of her pictures, a feature which she knew how to preserve and keep intact. She was different from someone like Picasso who, by sublimating the still unknown quality of an object, endeavoured to get everything out of it that might be associated with an aesthetic emotion. Marie Laurencin, however, whose art was born out of the painting techniques of Henri Matisse and Picasso, was above all concerned to express the painterly newness of objects and figures. (...) In this way she followed nature, studied it diligently but carefully excluded everything that was neither young nor graceful." (See Guillaume Apollinaire, Marie Laurencin, in: Die Maler des Kubismus, 1913, quoted in exhib. cat. Düsseldorf 1957/1958 (Kunstverein für die Rheinlande und Westfalen), Marie Laurencin, n. p.).

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MARINO MARINI, Portrait of Paola, 1935

Lot 670: MARINO MARINI, Portrait of Paola, 1935

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Description: Plaster, approx. 23 x 14 x 19 cm. Mounted on a multi-piece wooden base (approx. 19.3 x 29.7 x 29.2 cm). Unsigned.Marini Sculptures 112a According to the catalogue entry by Sotheby's New York, 10 May 1995, Mercedes Marini has kindly confirmed the authenticity of this work ProvenanceSotheby's New York, Impressionist and Modern Paintings, Drawings, and Sculpture, Part II, 10 May 1995, lot 504 with colour illus.LiteratureCf. Patrick Waldberg/ G. di San Lazzaro, Marino Marini. Leben und Werk, Paris/Milano 1970, p. 325, no. 57 with illus. of the stone versionRau Collection for UNICEFMarino Marini's portrait sculptures have a presence about them that bespeaks profound individualism and also a timeless validity - a phenomenon which the artist himself explains as follows when disclosing his artistic process: "When you stand before a shape or a profile, then the outer appearance is the first aspect that catches your attention - round, elongated etc. These are very important aspects which you need to discover and at the same time need to memorize. Next, I gradually sink into the person's mind. The most difficult thing is to imagine this physiognomy within the context of mankind and to explore how it appears in the eyes of others who have different personalities. Once this has been done, that's it. The truth I have found must remain alive within me until I have completed my work - the portrait. As regards the vitality of expression and the execution of genuine, characteristic lines, it is important that the results should satisfy me in full. When this task has been fulfilled and the subject has been transferred into the realm of the dead who stay alive, that is the moment I hand my work over to the public." (Quoted from: Patrick Waldberg/ G. di San Lazzaro, Marino Marini. Leben und Werk, Paris/Milan 1970, p. 66). This portrait of a little girl with her serious, almost classical presence illustrates these characteristics very clearly: the specific personality of little Paola is tangible, yet the sculpture can also be seen as the general and permanent depiction of a child as such.

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RAOUL DUFY, Le funiculaire à L'Estaque, 1908

Lot 671: RAOUL DUFY, Le funiculaire à L'Estaque, 1908

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Description: Oil on fine canvas 38 x 46.2 cm, framed. Signed "Raoul Dufy" in black within composition to lower right. - Verso with traces of old paper labels on frame. - Outer edges of the canvas with old relining. Minimal, pinpoint-sized losses of colour in places.Lafaille 366ProvenanceFormerly Gimpel Fils Gallery, London; Galerie Michael Haas, Berlin (acquired 1979, with confirmation), since then in North German private possessionExhibitionGeneva 1960 (Galerie Motte), Auction Oct. 1960, no. 234 with illus.; London 1964 (Christie, Manson & Woods), Important Impressionist and Modern Drawings, Paintings and Sculpture, 27 Nov. 1964, no. 84 with illus.; London 1970 (Sotheby & Co), Impressionist and Modern Paintings and Sculpture, 1 July 1970, no. 34 with illus. ("L'Estaque" with provenance Bernheim-Jeune, Paris, Gimpel Fils, London and the exhib. ref. "London, Gimpel Fils, Autour du Cubisme, 1957, no. 6"); Cologne 1982 (Kunsthalle Köln), Kubismus. Künstler, Themen, Werke, 1907-1920, cat. no. 35 ("Die Seilbahn" (The cable car)) with illus. p. 188 Literaturecf. Andreas Franzke, Die Landschaft im Kubismus, in: exhib. cat. Kubismus, Künstler, Themen, Werke, 1907-1920, Cologne 1982, p. 93 ff.Raoul Dufy, who was really a French Fauvist of the first hour, changed his artistic vocabulary of form after 1907. The year 1908, when he stayed at L'Estaque in the south of France, holds the key to the emergence of the Cubist landscape in the history of art. This is where a number of highly unusual landscapes were created under the influence of the re-interpreted art of Cézanne. The new development was initiated above all by Georges Braque and Pablo Picasso. The colour range of these painters seems reduced to almost monochrome shades, the colours are devoid of any emotive values. The major emphasis is on construction, while figurative forms are rendered in an abstract, cubic manner and the paint is applied in rhythmic patterns. The two painters Georges Braque and Raoul Dufy worked side by side while they were in L'Estaque in 1908. In the autumn of the same year, when Braque was exhibiting his new works at Kahnweiler's gallery in Paris, the critic Vauxcelles expressed himself rather negatively about him: "Braque méprise la forme, réduit tout, sites, figures et maisons, à des schémas géométriques, à des cubes." (Quoted in Exhibition Catalogue, Georges Braque, Kunsthaus Zürich 1953, p. 12)."Interesting are the landscapes which Dufy painted in 1908, when he spent the summer with Braque in the south of France. Despite a large number of compositional correspondences, which are highly detailed and concern the colours in particular, Dufy's views put a far greater emphasis on a wide, planar development and are less three-dimensional. Both are, as it were, directly in touch with their subject-matter. Picasso's view is rigorous and absolute, and the impressions he receives in the open air are transformed by him into an abstract concentrate of that view." (Andreas Franzke, op. cit., p. 99).In this painting, however, Dufy does not entirely abandon the visual stimuli that come from colour contrasts and brightness values. Another characteristic aspect of his work can be found in certain graphic elements such as the use of black lines, sometimes fine and sometimes forceful, which accompany the structures and contours of his planes. The horizontal arches of a viaduct have simply been inscribed into the composition, and the lines of the track for a cable car - which gave rise to the name of this composition - tilts in a slight curvature towards the viewer between various vegetative forms: these inscriptions emphasise the relatively planar character of the composition and less the three-dimensional scale of piling abstract shapes (compare by contrast Georges Braque, "Le viaduc à l'Estaque" and "La terrasse à l'Estaque", Massimo Carrà, L'opera completa di Braque, Milan 1971, nos. 23 and 31).

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PAUL GAUGUIN UND PACO DURRIO, Pot à tête grotesque

Lot 672: PAUL GAUGUIN UND PACO DURRIO, Pot à tête grotesque "Oviri", 1895/c.1918

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Description: Earthenware jug in form of a grotesque head, glazed green. Height 20.5 cm. With the embossed stamp of Paco Durrio on underside. Posthumous exemplar after an original model by Paul Gauguin. Unique piece. - In very good condition. With a minimal bump at bottom edge.The embossed stamp weakly imprinted.ProvenanceFormerly collection Alain Cical, Mazange; Private collection, ParisLiteraturecf. Christopher Gray, Sculpture and Ceramics of Paul Gauguin, New York 1980, p. 248 (here illus. of a ceramic exemplar, executed in 1895 by Ernest Chaplet)At a young age Paco Durrio moved to Paris where he became acquainted with Paul Gauguin, for whom he held great respect. In Paris, he later took over the moulds and models of the major ceramist Ernst Chaplet, with whom Gauguin had worked since 1886. The 'Pot à tête grotesque' was probably created in very small numbers (two or more copies) in 1895 by Chaplet for Gauguin after his return from Tahiti to Paris in November 1894. Based on this model, Paco Durrio created an original earthenware with individual glaze circa 1918. 'Oviri', due to its great power of suggestion, is a masterpiece of the pottery works by Gauguin. The title appears several times in his oeuvre. 'Oviri' in Tahitian means 'wild' and is also the name of a goddess of death. The work probably refers to a typical aspect of the South Sea culture, the fetish skull. Although 'Oviri' is a goddess, the face has masculine features and is said to be a self-reference to Gauguin himself. The gesture of the thumb placed in the side of the mouth is interpreted as a reference to the artist's frustration about his failure in Paris.

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EMIL NOLDE, Mädchen mit Amaryllis, 1930/1935

Lot 673: EMIL NOLDE, Mädchen mit Amaryllis, 1930/1935

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Description: Watercolour on Japan paper, backed by fine Japan 46.2 x 34.2 cm, framed under glass. - Fractures resp. tears in the paper to left and upper margin and in the lower left area, there also with minor retouchings.With a photo-certificate from Martin Urban, Ada and Emil Nolde Foundation, Seebüll, dated 28 November 1989. The work is registered in the Nolde Foundation SeebüllAt first glance, the watercolour here may suggest a mysterious South Seas fantasy uniting a tropical abundance of flowers with a small portrait of a girl of exotic origins, set in front of a dramatically darkened background. However, at second glance, the work reveals its identity as a still life. The figure of the girl, who initially appears entirely alive, proves to be an Egyptian statuette from Nolde's collection of exotic figures and masks - as can be recognised by means of the lower arms crossed rigidly in front of her chest and the red stripes hinted at in her drapery. The abundant sea of flowers is formed by single orange-red amaryllis blossoms on their solid stems. In a concentrated and narrowly chosen view, the painter combines the intense colours of his beloved flowers with decorative-art objects from around the world.For Nolde, exotic still lifes with figures developed into a genre of its own. In numerous paintings and watercolours created from 1911 until the 1930s, Nolde explored the possibilities of this theme and arranged artefacts of highly diverse origin with flowers, vases and tapestries into fantastic combinations. The motifs were not taken solely from his own collection. He also gathered countless sources of inspiration both in Berlin's ethnological museum, where he drew objects from various cultures, and in the course of his well-known voyage to the South Seas in 1913-14, which permitted him to submerge himself within the tropical world of Papua New Guinea. All of these still lifes are characterised by the unusual vitality and expressive power that Nolde was able to breathe into his figures, dolls and masks.Recently, in 2012, the exhibition "Emil Nolde: Puppen, Masken und Idole" at the Ernst Barlach Haus in Hamburg, was devoted to drawing attention to these exotic still lifes with figures.

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EMIL NOLDE, Profil einer Frau mit schwarzen Haaren, 1931

Lot 674: EMIL NOLDE, Profil einer Frau mit schwarzen Haaren, 1931

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Description: Watercolour on fibrous Japan paper 18.3 x 13.2/13.4 cm. Signed 'Nolde.' in pencil lower right and dated '1931' lower left on the underlying page. Small red collector's stamp "HS" from Dr. Heinrich Stinnes (Lugt 1376 d) in left corner of the watercolour. Original supplement to the numbered special edition of: Emil Nolde, Das eigene Leben, Leipzig 1931. Mounted between the list of illustrations and the preface by the artist. Copy 14 of the edition, with the annotation "Heinrich Stinnes/ Lengfeld/ 11.III.932." and the addition "100.-" handwritten by the collector in German script on the first page. - The hardcover book with blue half leather binding and blue linen 22.7 x 18 cm, the spine with gilt embossing "EMIL NOLDE". - The watercolour slightly irregularly cut and mounted to the backing at the corners, light creases. The spine of book with minimal traces of use, overall in good condition.With a photo-certificate by Manfred Reuther, Seebüll, dated 19 April 2013; the work will be registered in the Nolde Foundation Seebüll.ProvenanceFormerly Collection Dr. Heinrich StinnesProf. Manfred Reuther of the Seebüll Foundation added the following information to this volume of the artist's autobiography: "This special edition of the first volume of Nolde's autobiography 'Das eigene Leben' with the pasted watercolour was originally published by Nolde himself and then by a publishing company, the Rembrandt Verlag in Berlin, in identical form later in the same year. We know of nine copies, each with a watercolour pasted into it, one of them numbered '36'. We also have a copy of the special edition in Seebüll, although without watercolour, numbered '46'." Nolde had dedicated his memoirs to his wife Ada, and we would like to quote a passage where the author describes his historic stay in Paris as well as his close look at art and art history in this volume:"The year 1900 brought an infinite number of people to the World Exposition. There was a lot of commotion on the boulevards and in the exhibition halls. Dull, dark gongs resounded from the Moroccan booths. I often visited the various art departments. There were several particularly beautiful small paintings by Daumier, and I was also interested in Rodin, because some of his sculptures are so powerful, while others are quite sweet, with gently fluttering movements. [...] At the Louvre I stood before Botticelli's frescoes, Titian's paintings, Ruben's large decorations, Giorgione's beautiful 'Rural Concerts' and the lovely 'Mona Lisa'. I especially enjoyed going to one particular Goya painting and also to Rembrandt's small, wonderful Emmaus painting. [...] As I stood there, I would compare the old paintings with the people who were looking at them, and so the shapes and lines of those natural people appeared rather crinkly and fussy next to the old paintings. I had long been instinctively aware of the great distance between those two worlds, nature and art. But in my lonely hours I would still sit there, investigating things, searching and asking questions. The grand masters of the centuries all have grand lines and shapes in their sculptures and deep, full, rich colours in their paintings, yet they have found these not by imitating nature but through free, self-exalting inventions. [...] Art - does art lead to happiness? - Let's just mention one thing: Greek art has given mankind an infinite amount of happiness for several thousands of years. Compared with this, the happiness of piled-up wealth disappeared very quickly, like dust, and world kingdoms, too, have passed away, leaving no more than a bit of history." (Quoted by: Emil Nolde, Das eigene Leben, Die Zeit der Jugend 1867-1902, third extended edition, Cologne 1967, pp. 200, 201, 202)

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ALBIN EGGER-LIENZ, Der Sämann, 1914

Lot 675: ALBIN EGGER-LIENZ, Der Sämann, 1914

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Description: Tempera (casein) on canvas 240 x 170 cm, framed. Signed 'A. EGGER-LIENZ' lower left. - Partly with minor linear rubbings.Not recorded by Hammer; Kirschl M 322 ProvenanceAcquired by the previous owner from Galerie Thannhauser, Munich, (1921), since then in family possession ExhibitionLondon 2011 (Sotheby's), European Paintings of the 19th Century, 22 Nov. 2011, cat. no. 6 with colour illus. LiteratureWilfried Kirschl, Albin Egger-Lienz, Das Gesamtwerk, vol. 1, Wien/München 1996, p. 198 - 202 with colour illus.The painting "Der Sämann" (The Sower) is a later repetition of a motif from a monumental triptych entitled "Erde" (Earth) (Kirschl M319), created in 1912. In this forerunner of the painting, the sower is shown on the left, while the centre is occupied by a massive scene of the Ötztal Valley, and a reaper is depicted on the right. The two side panels - the sower and the reaper - had initially been painted by Egger-Lienz in oil on canvas in 1912. Having partially destroyed one painting and overpainted the other, he then decided to repaint the entire triptych, using casein technique. He was hopeful that these new colours would substantially enhance the overall impact. Egger-Lienz, who was still living in Weimar in 1912, had found the model for his painting in Patriasdorf near Lienz. On 21 July 1912 he wrote: "Sowing is more monumental than reaping and therefore more substantial, bigger and richer; this is why big action needs to add a stimulus and growth to form again, but in such a way that the idea turns entirely into form; otherwise, the chap will become a literary figure, as if fabricated by thought painters." (Egger-Lienz to Kunz, Lienz, 21 July 1912, quoted in: Wilfried Kirschl, Albin Egger-Lienz, Das Gesamtwerk, vol. 1, Vienna/Munich 1996, p. 198).The motif of the sower is repeated in another monumental work (dated 1913, now owned by the Staatsgalerie in Stuttgart) (Kirschl M321). Egger-Lienz lived in Bolzano since September 1913. Twelve of his students, whom he had previously taught in Weimar, set up an independent school of art in neighbouring Klausen, under his leadership. The painting shown here, which Kirschl dated as pre-1914, is highly expressive due to its simplified vocabulary of form and its monumentality. It shows that the artist had a sustained interest in describing the harsh, primaeval everyday life of the peasantry. His focus was on the clearly isolated figure of the sower, shown here as strong, determined, extremely healthy and yet very true to life. Although the colours are more discreet, the earthy tones of the painting underline the sower's weighty, dignified charisma. In this way the sower becomes a de-individualised and timeless symbol of life. Egger-Lienz continued to vary his motifs from everyday peasant life several times until the mid-1920s. What was behind the monumental format was his desire to combine pictorial art and architecture.

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MAX LIEBERMANN, Waldarbeiter - Studie zu dem Wandbild

Lot 676: MAX LIEBERMANN, Waldarbeiter - Studie zu dem Wandbild "Winter" für das Rathaus von Altona, 1898

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Description: Oil on panel 63.3 x 48.7 cm, framed. Signed and dated 'M. Liebermann 98' lower right. - With minor retouchings in places to conceal early shrinkage cracks. With frame-related losses of colour in a few places along the edges.Eberle 1898/22 (here erroneously "oil on card")ProvenanceBoris Schwartz, Berlin (probably acquired in Berlin in the 1930s); Patricia Schwartz, New York (1968); Christie's London 31 March 1987, lot 83a; private possession, SwitzerlandAccording to Eberle, this composition is a study that was created in connection with the designs for the wall paintings of the Altona town hall and of Klink Castle, near Waren in Mecklenburg. In 1898, Liebermann had taken part in a competition for the decoration of the walls of Altona's new town hall. However, his designs were not carried out (cf. Eberle 1898/29). For Klink Castle, on the other hand, the artist created a cycle of large-format paintings featuring the four seasons (cf. Eberle 1898/34), commissioned by the industrialist and landowner Arthur Schnitzler. The motif of the three woodsmen working on a log laying on the ground is also to be found in the cycle's depiction of winter. "It is significant that Liebermann had to carry out fresh studies for a winter painting. Up to that time, his repertoire had only contained scenes from the less cold seasons" (Matthias Eberle, Max Liebermann 1847 - 1935, Werkverzeichnis der Gemälde und Ölstudien, vol. I (Munich, 1995), p. 495). After Soviet troops were billeted in Klink Castle in 1945, nothing remained of Liebermann's wall paintings. They are recorded only in documents and historical photographs.

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MAX LIEBERMANN, Blumenstauden am Gärtnerhäuschen nach Osten, 1928

Lot 677: MAX LIEBERMANN, Blumenstauden am Gärtnerhäuschen nach Osten, 1928

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Description: Oil on canvas 54.5 x 75.7 cm, framed. Signed 'M Liebermann' in black lower right. - In fine original condition. Eberle 1928/10 (with annotation "lost")With a confirmation by Matthias Eberle, Berlin, dated 12 December 2012ProvenanceGalerie Abels, Cologne (1930); formerly collection Konsul Bomke, DortmundExhibitionCologne May 1930 (Galerie Abels), sales catalogue with illus. (according to catalogue raisonné)Literaturecf. Anna Teut, Max Liebermann, Blütenpracht im Staudengarten, in: Max Liebermann, Gartenparadies am Wannsee, Munich 1997, p. 57 ff.Eberle based his dating of the present painting on a similar chalk drawing which Liebermann dated 1928 and which "records the blossoming bushes in an almost identical fashion" (Matthias Eberle, Max Liebermann: Werkverzeichnis der Gemälde und Ölstudien, vol. II, 1900-1935, p. 1191).The garden motif from Liebermann's Wannsee villa that is depicted here is among the classic views of his front garden. Here, we can observe a specific pictorial detail, one that the artist clearly favoured: Liebermann interweaves the more strictly architectonic prospects of the garden with an imaginary viewer's roaming lines of sight in a manner that is both natural and refined - expanding the space and opening up the eye.The path coming from the street actually forms an absolutely straight line to the entrance of the Wannsee villa and divides the garden into symmetrical halves. In the composition of the painting, this path is seen at an angle. The darker destination of the house is picturesquely shifted into the right half of the canvas, while the gaze of the viewer is directed to the left, to the blossoming bushes next to the so-called garden cottage - as though the viewer were a visitor walking up this sunny garden path. Here, we now quickly lose ourselves in the expansive summer bloom that Liebermann repeatedly depicted in countless variations of plantings. The thickly applied, brushed textures model the growth of the vegetation in an almost three-dimensional form - the artist carefully counters them with the articulation of his own pictorial geometry.In this way, in spite of the close-up view and the agitation of the individual forms, the painting takes on an unshakeable stability in which light and colour are able to develop freely. Here the atmosphere of the moment remains suggestive and deeply human; we seem to sense the pleasure with which Liebermann repeatedly took on the task of depicting his cherished home. The Wannsee garden, with its various prospects, became a central theme in his late work.

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EMIL NOLDE, Schwertlilien, Dahlien und Mohn auf dunkelblauem Grund, 1920s

Lot 678: EMIL NOLDE, Schwertlilien, Dahlien und Mohn auf dunkelblauem Grund, 1920s

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Description: Watercolour on firm Japan paper 34 x 45/45.2 cm, framed under glass. Signed 'Nolde' in black pen and ink lower right. - 3 margins somewhat irregularly cut.With a photo-certificate from Manfred Reuther, Ada and Emil Nolde Foundation, Seebüll, dated 19 April 2013The work is registered in the Nolde Foundation, SeebüllProvenanceDr. Hedwig Jochmus, Ludwigshafen; private possessionEmil Nolde became particularly famous for his floral watercolours - flowers which he painted in his gardens on Utenwarf and later in Seebüll in large numbers, capturing them in great splendour, untiringly and in numerous variations, mostly in watercolour. This painting, "Schwertlilien, Dahlien und Mohnblüten" (Irises, Dahlias and Poppies), is full of radiance as its bright flowers shine forth against a royal blue background. Our attention is drawn, in particular, to the strongly colourful buds, whereas the stems and leaves play a more subordinate role. As Martin Urban once noted, Nolde rarely used opaque paints, and "the radiance comes from the unpainted areas of white on the paper. [...] Nolde uses only Japan paper. He leaves a large amount of freedom to the flow of the colours, applying the paint gently yet densely, saturating the paper so much that we sometimes do not know which is the front and which is the reverse. [...] There are times when the flowers are directly integrated into the environment in the background, or when we can see white flowers emerging from a deep blue background." (Martin Urban, Emil Nolde. Blumen und Tiere, Cologne 1972, p. 38, see also illus. 3 "Weiße Blüten" - White Flowers). It is therefore all the more amazing that the petals of the white dahlias in this painting do not emerge from the white of the paper, but that the white should have been developed so naturally and delicately from the subtly shimmering shades of grey and yellow. In fact, we almost feel that the subject and the depiction are one. A similar composition was owned by the Nolde Foundation until 1967 (see cat. London 1968 Marlborough Fine Art, Recent Acquisitions, cat. no. 37 with colour illus.).

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GEORG SCHRIMPF, Oberbayerische Landschaft, 1932

Lot 679: GEORG SCHRIMPF, Oberbayerische Landschaft, 1932

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Description: Oil on canvas 45 x 70.3 cm, framed. Signed and dated 'G. Schrimpf 32' with black brush lower right. - Reverse of stretcher inscribed "H. Schrimpf" in pencil. - The painting was professionally cleaned with a minute loss of colour to middleground professionally retouched. The unvarnished painting slightly faded within frame opening and minimallly browned in outer edges of canvas.Not recorded by Hofmann/PrägerWith a photo-certificate from Christmut Präger, Heidelberg, dated 12 April 2013The work will be registered in the new edition of the catalogue raisonné under no. 1932/12ProvenanceAcquired in Berlin in the 1930s, since then in private possession, North Rhine-WestphaliaSchrimpf quite often painted the landscape around his native city Munich - surely also because of a feeling of attachment to his homeland. However, in the 1930s, landscapes were also a subject that gave many artists the chance to continue working without having to fear political reprisals. Like others, Schrimpf, who had shown his work as early as 1916 at Herwarth Walden's gallery "Der Sturm" and was represented by an exceptional number of works in the mid-1920s at the Mannheim exhibition "Neue Sachlichkeit" ("New Objectivity"), was only narrowly able to escape persecution by the Nazi regime. A "New Romanticism" in art was the subject of numerous exhibitions during the late twenties and early thirties. In the "Oberbayerische Landschaft" ("Upper Bavarian landscape") here, Schrimpf gives expression to this new sense of romanticism - which is suggestive of the works of old masters - but nonetheless remains commited to the coolness of the "New Objectivity". Long banks of clouds are softly lit in the last fading glow of the evening; two trees function as repoussoirs, providing viewers with a means to enter into the expansive pictorial space. The landscape possesses an extraordinary, indeed supernatural depth: Even the roof shingles and the tips of the fir trees on the most distant hills are depicted in a level of detail that could hardly be found in reality. This invests the landscape, in its descriptive idyll, with a surreally unsettling aspect.Today, paintings from the very limited oeuvre that this artist created in his short life are only rarely available on the market.

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CARL GROSSBERG, Köln, Häuser am Rhein, 1935

Lot 680: CARL GROSSBERG, Köln, Häuser am Rhein, 1935

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Description: Oil on panel 50.2 x 62 cm, framed. Signed and dated 'C. Grossberg. 1935.' lower left. - Edges slightly rubbed due to framing. Very few minor retouchings.ProvenanceEstate of the artist; received as a gift directly from Eva Grossberg, the artist's daughter, private possession, South GermanyExhibitionDarmstadt/ Wuppertal/ Leverkusen 1976 (Hessisches Landesmuseum/ Von der Heydt-Museum/ Städtisches Museum Leverkusen, Schloß Morsbroich), Carl Grossberg. Gemälde, Aquarelle, Zeichnungen und Druckgrafik, 1914-1940, cat. no. 31; Wuppertal/ Tübingen/ Kiel 1994/95 (Von der Heydt-Museum/ Kunsthalle Tübingen/ Kunsthalle zu Kiel), Carl Grossberg. Retrospektive zum 100. Geburtstag, cat. no. 41 with colour illus. 56; London 2007 (Gallery Daniella Luxembourg), Lonely Prophets, German Art from 1910 to 1930 (verso with exhibition label)Carl Grossberg is among the outstanding German painters of the New Objectivity. Prior to his serving as an officer in the First World War, Grossberg initially studied architecture in Aachen and Darmstadt. In 1919 he changed to painting and studied with Walther Klemm at the Weimar academy of art and with Lyonel Feininger at the Bauhaus. Grossberg became known through his depictions of industrial facilities in the style of the New Objectivity; their technical features are executed in very rich detail and with an immaculate smooth painting technique. Equally clear, cool and devoid of people are the views of German and Dutch cities, which Grossberg painted from the 1920s onwards.Our painting consists of a brightly lit, narrow detail of a row of houses in Cologne's old town, which is located along the Rhine; the work is provided with a rhythmic articulation by means of the various muntin windows set off by darkened interiors. Only in a few places do opened window wings, curtains and simplified depictions of staffage figures suggest that these still, scenery-like buildings actually represent a real topography occupied by people.

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CHRISTIAN ROHLFS, Gelbe Tulpen II, 1926

Lot 681: CHRISTIAN ROHLFS, Gelbe Tulpen II, 1926

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Description: Water tempera on watercolour laid paper with watermark "J W ZANDERS 1923" 50.4 x 69.9 cm, framed under glass. Monogrammed and dated 'CR 26' lower right. Verso titled "5. Gelbe Tulpen II" (yellow tulips), probably by Helene Rohlfs. - In fine condition with fresh colours. Sheet edges with some tiny defects.Not recorded by VogtWith an expertise from the Christian Rohlfs Archive, Hagen, dated 25 March 2013. The work will be included in the archive under no. CRA 73/13.ProvenancePrivate collection, RhinelandChristian Rohlfs has chosen to crop this depiction of a still life of tulips in an unusual way. The modest bouquet fills the entire pictorial space of this large sheet in landscape format, even extending beyond its lateral edges. The composition is decentred. The view of the observer is drawn along the radiating arches of the stems and hanging leaves, away from the centre of the composition and towards the periphery of the sheet, where the tulip flowers in full bloom droop heavily. The still life thus lacks the character of an arrangement. It takes the form of a seemingly unstaged, direct excerpt from reality and depicts the flowers in their natural, already somewhat wilted, beauty. The background has been textured in tones of blue and brown, but remains indistinct, in order to allow the luminosity of the flowers, which Rohlfs has executed in broad, glazed brush strokes, to be fully appreciated."With the abundance of works on paper that Rohlfs, regardless of his age, executed with ever-increasing creative power, the number of paintings slowly diminished. It is apparent that painting in tempera on canvas did not offer him that immaterial intensity of colour, that radiance, that he envisaged as a means to realise his visions of an existence delighting to the eyes. [...] In their vivacious colourfulness, it is particularly the works of the twenties that strike us as simultaneously vibrant and stern. They are seen as a close-up, and in spite of their richness of feeling, they display a palpable reserve in their emotionality ..." (Paul Vogt, Christian Rohlfs: 1849-1938; Aquarelle, Wassertemperablätter, Zeichnungen, Recklinghausen 1988, p. 66).

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ALEXEJ VON JAWLENSKY, Meditation. Mai 1935 N. 25, 1935

Lot 682: ALEXEJ VON JAWLENSKY, Meditation. Mai 1935 N. 25, 1935

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Description: Oil on embossed paper 19 x 12.6 cm laid down on card 32.5 x 24.8 cm, framed under glass. Monogrammed 'A.J.' lower left, dated '35' lower right. - Recto signed and inscribed 'V 1935' 'N 25' in the lower corners of the card, possibly by the artist himself, verso signed and inscribed "A. Jawlensky 1935 Mai N 25 J. V N. 25". - With pinholes in the corners and an unobtrusive rubbing at the right margin. Few professional retouchings along outer margins.M. Jawlensky/ Pieroni-Jawlensky/ Jawlensky Bianconi 1642 with colour illus. p. 133With a photo-certificate from Maria Jawlensky, Locarno, dated 11 May 1987ProvenanceArtist's studio; Galka Scheyer, Hollywood/California (1935; no.2 on list of paintings, dated 4 August 1935, sent to Galka Scheyer, USA); Compulsory Auction, Los Angeles 1954, lot 9, no. 79; Landau Galleries, Orrel P. Reed, Jr., Los Angeles; Collection Philip Casady, Beverly Hills; Sotheby's New York, 7 October 1987, lot 83; Sotheby's Munich, Deutsche Kunst des 20. Jahrhunderts, 26 October 1988, lot 65; private collection, SwitzerlandJawlensky had begun his fifth series of paintings in 1934: the small-format heads referred to as "Meditations". Many of these works, which were created in 1935 and 1936, appear very sombre because of their pronounced vertical brushstrokes and also their dark tonalities, which almost recall church windows. The striking axial lines of the face, as a symbol of a reductive depiction of saints' heads, are characteristic for the series of "Meditations". This change is surely to be explained by Jawlensky's suffering from a painful arthritis. Although this placed substantial constraints on the artist physically, the "Meditations" are full of a mysterious magic, spiritual maturity and a deep resonance. In a certain sense, Jawlensky himself considered them to be the completion of his entire painterly oeuvre.

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KARL HOFER, Vase mit Zinnien, 1933

Lot 683: KARL HOFER, Vase mit Zinnien, 1933

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Description: Oil on canvas 65.5 x 54.5 cm, framed. Signed 'CH.' (ligated) in reddish brown lower right. - In fine condition with fresh colours; professionally cleaned. In some places with minimal craqueleur.Wohlert 1054ProvenanceKunstsalon Abels, Cologne (labels on reverse of stretcher)Hofer repeatedly took up and varied his favourite themes. A decidedly rigorous tectonic structure is common to all of his works. It was only after 1930 that the genre of the still life with flowers began to appear more frequently in his oeuvre. In these works, he particularly liked to depict composite flowers, such as zinnias and dahlias.Hofer was a professor at Berlin's College of Art; in 1933 he became one of the first German artists to be stripped of their teaching positions. He was also banned from exhibiting and painting, whereby - like many other artists - he ignored the latter. Nonetheless, the new, threatening situation forced him to change motifs.Under these circumstances and in the context of Hofer's often almost mono-tonal palette, the colours of this abundant still life with flowers seem intense and luminous. The motif has also been captured on canvas in an almost impressionist manner, despite the brownish-violet background. Here Hofer has deliberately avoided the harshness and dryness typical of his work and instead emphasised harmonious red and violet tones and also bright colours, which have not been obscured through the addition of any white. In this painting, we find the frugality and rigidity that are so characteristic of Hofer's work only in the expertly painted but, to a certain extent, angular drapery of the tablecloth. With this cloth, he has established a luminous counterpoint to the dark background. The still life seems to reflect Hofer's yearning for an intact and peaceful world.

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WILLI BAUMEISTER, Konstruktivistisch (6), 1920

Lot 684: WILLI BAUMEISTER, Konstruktivistisch (6), 1920

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Description: Oil, plaster and sand on board 18 x 24.7 cm, framed. Scratched signature 'W. Baumeister' lower right. - In fine condition.Beye/Baumeister 239ProvenanceDr. Alfred Gunzenhauser, Berlin; Graphisches Kabinett Kunsthandel Wolfgang Werner KG, Bremen; private possessionExhibitionBremen 1973 (Graphisches Kabinett Kunsthandlung Wolfgang Werner KG), Willi Baumeister, cat. no. 6 with illus. LiteratureWill Grohmann, Willi Baumeister - Leben und Werk, Köln 1963, p. 40 and cat. rais. 127 with illus. ("Konstruktivistisch VI"); Peter Chametzky, Autonomy and Authority in German Twentieth-Century Art - The Art and the Career of Willi Baumeister (1889-1955), phil. thesis, New York 1991 (typescript), vol. 1, p. 192, vol. 2, p. 543, illus. 56The new formal trends in the work of Willi Baumeister after the First World War are reflected, among other compositions, in a purely abstract group entitled "Flächenkräfte" (Planar Forces), executed in 1920/1921. Beyond the "Figur", the most important non-figural compositions in this context include, for instance, "Flächenkräfte" (Planar Forces, Beye/Baumeister 230), "Flächenbalance" (Planar Balance, Beye/Baumeister 233) and "Figur mit schwarzem Feld" (Figure with Black Field, Beye/Baumeister 242). Interestingly, even these early works by Baumeister always contain a black field - an upright rectangle which dominates as a central visual focus."These are paintings of extreme simplicity and rigour, with abstraction taken to extremes. However, similar to Mondrian's art, this abstraction is not void. The distribution of space, the colours and the rhythm express the painter's idea of how the world is held together in its innermost essence. [...] When Baumeister expresses himself, he refers not to Mondrian but to Cézanne (projected depth), Cubism (parts growing together to form a plane) and Post-Cubism (organisation of planes within a plane). This, at least, is how he summarises his ideas in an essay on the plane, written in 1923 and published in 'Baugilde' in 1925. In the same context he also mentions his 'Mauerbilder' (Wall Paintings), which he relates to the new functional architecture." (Will Grohmann in: op. cit., 1963, p. 40).This is also the direct context in which we must see a sequence of six formal variations, documented under the heading "Kontruktivistisch" (Constructivist, Beye/Baumeister 234-239). All of them have been taken out of a larger composition of Planar Forces (see Beye/Baumeister 234 p. 105, with illus. below) and have been formally isolated by Baumeister as independent compositions signed by the artist. In this case, we have a planar fragment from the top right-hand part of the original composition. The triangle with its purple tip meets the vertical incision of the original central black plane. The geometric shape and a small number of colourful elements have been supplemented by relief-like planes with rough plaster added to them. On a smaller scale, we can see a literal re-balancing of the original formal proportions. Purely abstract works from this early phase in Willi Baumeister's oeuvre are extremely rare today.

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WASSILY KANDINSKY, Entwurf zu

Lot 685: WASSILY KANDINSKY, Entwurf zu "Leicht zusammen", 1933

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Description: Watercolour, pen drawing and collage on chamois-coloured paper, perforated lower edge, with blind stamp "KORMORAN" 14.7 x 32.1 cm, firmly laid down on card 26 x 43.5 cm, framed under glass. Stamped monogram 'K' lower left as well as on verso of the mat with a glued on piece of paper (probably taken from the original frame), thereon inscribed, titled and dated 'Entwurf zu No 593 "Leicht zusammen", 1933' ("Design for no. 593 "Lightly together", 1933") in pencil by the artist. - The colours fresh. The centre with an inconspicuous, vertical pencil line and a light crease.Endicott Barnett 1122 We would like to thank Vivian Endicott Barnett, New York, for kind information, dated 12 April 2013.ProvenanceNina Kandinsky, Paris; Galerie Karl Flinker, Paris (not in the 1977 Kandinsky exhib.); Champin, Lombrail & Gautier, Enghien-Les-Bains 19 Nov. 1988, lot 47, with colour illus.; Christie's London, Modern Art, 22 June 2006, lot 468 with colour illus.; Galerie Hopkins-Custot, Paris (label on reverse of frame); private possession, SwitzerlandThe present sheet is a study for the oil painting "Leicht zusammen" ("Lightly together"; Endicott Barnett 1123), which is about twice as large as the study and was also created in May 1933. The watercolour was owned by Kandinsky's wife, Nina, until the Paris gallerist Karl Flinker purchased it from her. However, in the summer of 1977, it was not shown at Flinker's exhibition of 82 of Kandinsky's works on paper from the years 1902 to 1944.Due to their very similar composition, there is a direct connection between the oil painting and the watercolour. The oil painting was also in Nina Kandinsky's possession in Paris until she gave it to Adrien Maeght in 1954; it subsequently passed from his hands into the collection of Heinz Berggruen. The Munich gallerist Otto Stangl exhibited it in the summer of 1962 at an exhibition of works by Kandinsky from the years 1918 to 1933.In 1933, the year our watercolour was created, the Kandinskys settled in Paris, where they lived until 1944. Because Paris was then still considered "the" art capital of the world, Kandinsky - who had already enjoyed international success at that time - was hoping for rapid sales. This hope was soon disappointed, primarily because most of his collectors lived in Germany. Nonetheless, the time that the couple spent in Paris can be seen as the richest phase in his work, and this can also be explained on the basis of his love for this buoyant city. "Leicht zusammen" or, in French, "Légèrement ensemble" - as the title already indicates - is, on account of the depicted figures as well as the bright colours, a cheerful work of great freshness, which makes use of a highly varied formal vocabulary.

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WASSILY KANDINSKY, Zwei Spiralen, 1932

Lot 686: WASSILY KANDINSKY, Zwei Spiralen, 1932

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Description: Watercolour on Japan paper 47.2 x 33.5 cm, fully laid on card 40.8 x 24.8 cm, framed under glass. Monogrammed and dated 'K / 32' in pen and red ink lower left. - The Japan paper lightly browned. A brownish stain on the lower margin and light folds due to technique and material. The watercolour minimally faded. Kandinsky's handlist "i 1932, 453, 2 Spirale"; Endicott Barnett 1064 with colour illus. p. 260ProvenanceNina Kandinsky; Will Grohmann, Dresden (1950); private possession, DresdenExhibitionBasel 1945 (Kunsthalle Basel), Gedächtnisausstellung Wassily Kandinsky, no. 57 (without illus.); Stuttgart 1968 (Württembergischer Kunstverein), 50 Jahre Bauhaus, no. 132 (without illus.); Düsseldorf 1992 (Kunstsammlung Nordrhein-Westfalen) Kandinsky Kleine Freuden: Aquarelle und Zeichnungen, exhib. cat. no. 139 with colour illus.Nina Kandinsky gave the present watercolour to the major art critic Will Grohmann in July 1950. The work passed from his hands to the possession of the present owner. In 1922, the Kandinskys moved to Weimar, where he had accepted an appointment as professor at the Bauhaus. Kandinsky and Grohmann first met in 1921, although Grohmann already knew Kandinsky's work from various exhibitions in Dresden, including those at the Galerie Ernst Arnold. Grohmann and his wife lived in Dresden. His close contact with the Bauhaus also led to an active and very friendly dialogue as well as an intense cooperation. Whenever possible, Grohmann did what he could to help Kandinsky, who was 21 years older than him; he wrote about him, in "Cicerone", for example, included him in exhibitions and negotiated with various museums regarding their purchasing policies. In 1930, Grohmann prepared a volume on Kandinsky at the Parisian publishing house Cahiers d'Art. The friendship between the Grohmanns and Nina Kandinsky continued after the Kandinskys moved to Paris and also following Vassily Kandinsky's death in 1944. In 1958, Grohmann wrote the first extensive monograph about the artist. His collection seems to have included a total of 24 works by Kandinsky (cf. Konstanze Rudert, ed., Im Netzwerk der Moderne. Will Grohmann, Munich 2012, pp. 182-91).

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WASSILY KANDINSKY, Zeichnung zu

Lot 687: WASSILY KANDINSKY, Zeichnung zu "Accent rond", 1942

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Description: India ink drawing on ivory-coloured paper 20.5 x 26.6 cm, mounted on card 30.5 x 36.5 cm, framed under glass. Dated '1.2.42.' in black India ink lower left. - The paper evenly browned. Otherwise in very fine condition. Verso with a dedication by Nina Kandinsky: "Für sehr [sic] lieben und verehrten/ Herrn Prof. Dr. Emilio Albisetti/ Nina Kandinsky/ Kandinsky/ Dessin de 1942/ pour le tableau N688-1942/ "Accent rond"/ N9" ("For very [sic] dear and esteemed/ Prof. Dr. Emilio Albisetti/ Nina Kandinsky/ Kandinsky/ Dessin de 1942/ pour le tableau N688-1942/ "Accent rond"/ N9").Endicott Barnett 1176. List of drawings 1942, 9ProvenanceGift from Nina Kandinsky to Emilio Albisetti, Bern, 1960s; since then private possession, Switzerland Literature Pierre Volboudt, Die Zeichnungen Wassily Kandinskys, Cologne 1974, no. 98 n. pag. with illus. drawing for "Accent rond" 1942The drawing shown here was used by Kandinsky as a study for his painting "Accent rond" which, according to his own hand list (IV, no. 688), should be dated February/March 1942, although the inscription on the painting itself says 1.1.1942 (see Roethel and Benjamin, no. 1126). Seeing, however, that the actual painting was dated a month later (February/March 1942), it is more likely that our drawing, too, was produced at the later time. In all, two drawings with the same title are known which both served as studies for the painting.Most of Kandinsky's drawings are untitled. Quite often titles were added to a drawing at a later stage, by his wife Nina Kandinsky, especially in cases where - as in this instance - is a direct reference to a painting. Paintings created between 1934 and 1944 typically bear French titles. In 1934, after the final closure of the Bauhaus in Dessau, Kandinsky moved to Neuilly-sur-Seine near Paris. This is where he created his last big painting on canvas - "Tensions délicates" - in July 1942. From this time forth, as canvas was no longer available, he only produced small-format paintings and works on paper.Kandinsky's drawings prove that he was not only a highly gifted painter but that he also had outstanding drawing skills. Despite its similarity to the composition of the painting, his drawing for "Accent rond" seems perfectly self-contained and not at all like a simple draft. One characteristic feature is the special nature of open space, which is never more than implicit - space which either integrates emptiness or is consciously used as in-between or free space. Its purpose is to spread or condense elements within the scene, while at the same time presenting a balanced ratio of powers in the face of some tangible central tension. The composition - two shapes arranged in a semicircle, antithetically confronting each other in a virtual field of force - shows not only a certain rivalry but also an increase in energy. Yet the delicate sensitivity and precision of the lines remains clearly visible. The confrontation of two halves and thus the synthesis of two conflicting and divided forces is a frequent occurrence in Kandinsky's later works in Paris. Yet the basic elements of the drawing - dots, lines and planes - follow a very precise syntax which is typical of Kandinsky.

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PABLO PICASSO, Minotaure caressant une Dormeuse, sheet 93 from: La Suite Vollard, 1933

Lot 688: PABLO PICASSO, Minotaure caressant une Dormeuse, sheet 93 from: La Suite Vollard, 1933

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Description: Etching on handmade Vergé de Montval laid paper with watermark "Vollard" 29.8 x 36.8 cm (34 x 44.5 cm). Signed. Sheet 93 from the series of 100 motifs. Édition Vollard, Paris 1939. One of 260 proofs on the smaller paper. - In fine condition, very slightly browned in uttermost upper margin. - Fine impression with strong burr.Geiser/Baer 369 B.d.; Bloch 201ProvenanceAcquired by the previous owner in Swiss art trade (1980); since then private collection, South GermanyIn 1933 the Parisian art dealer Ambroise Vollard suggested to Pablo Picasso that he should work on a series of etchings. This led to 100 different classical motifs in Picasso's Suite Vollard, from 1933 to 1937, when the artist focused on subjects such as "Sculptor and Model" and "Minotaur". Only very few museums have complete suites, one of them being the British Museum in London. The motif of this sheet, printed with great care and strong burr, was taken from the ancient Greek legends that surrounded Theseus. The two characters in this scene are Ariadne, the daughter of Minos and granddaughter of Zeus, and her half-brother Minotaur who had been the result of an amorous adventure between her mother and a bull. Minotaur, half man and half bull, had been banned by his stepfather to live in a labyrinth, but he can been seen here stroking the cheek of sleeping Ariadne. The scene, which is ambiguous between loving playfulness and erotic lust, was not without a certain biographical poignancy. A close look at Ariadne's well-proportioned facial features and the shape of her head reveals a certain similarity with Picasso's lover at the time, Marie-Thérèse Walter. In this depiction of Minotaur Picasso may have been thinking of himself. It was a well-known fact that this virile artist enjoyed watching bullfights and that he also identified with the strength ascribed to a bull (see comparative illus.). Quite apart from these biographical and literary influences, the voyeurist theme of the "discovery" of vulnerable sleeping women has been an artistic topos from antiquity to the present day. Picasso used the same motif in sheets no. 5 and 27 in his Suite Vollard: "Homme dévoilant une femme" and "Faune dévoilant une dormeuse" (see Geiser/Baer 203, 609; Bloch 138, 230).

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SALVADOR DALI Y DOMENECH, Bras de Dali, 1965

Lot 689: SALVADOR DALI Y DOMENECH, Bras de Dali, 1965

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Description: A pair of bronze sculptures partially gilded and partially with green patina. Each mounted on a black Belgian marble base (15 x 49 x 49 cm). Height each approx. 85 cm. Each with individually insertable blossom-like calyx. Each signed 'Dalí', numbered '3/6' and with foundry mark "FONDERIA ART BONVICINI SOMMACAMPAGNA" (barely legible) on outside of the calyx. One of 6 casts from a total edition of 9 pairs (3 EA).With a photo-certificate by Robert Descharnes, Paris, dated 19 November 1990. The work is registered in the archive under no. 0-128/770ProvenanceCollection Mafalda Davis; private collection, South GermanyLiteratureRobert et Nicolas Descharnes, Dalí. Le dur et le mou,Sculptures et objets, Paris 2003, no. 217 with colour illus.The pair of bronzes offered here exemplify the Surrealist principle of merging disparate things to create a new object with an entirely different meaning. Dalí's left hand has been cast up to his elbow in bronze in two variations; three additional hands extend out of it, each of them caressing female genitals, which are joined by a restlessly fluttering, calyx-shaped form. The sculptures may be situated in various ways and can be used as a candelabrum by placing candles in the forms at the top. In this way, the fiery glow can breathe organic life into the gilded erotic sculpture, thus "igniting" passion and giving expression to an "amour feu".In the 1960s, Dalí developed similar surreal assemblages made up of flower- and fossil-like forms into dishes and cutlery. The pair of candelabra is from the famous collection of Mafalda Davis, Dalí's well acquainted confidante, who inspired him to create a series of jewellery designs in the early 1960s.

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HENRI MATISSE, Femme assise, 1947

Lot 690: HENRI MATISSE, Femme assise, 1947

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Description: Pencil on fine wove paper with watermark "ARCHES" 52.7 x 40.7 cm, framed under glass. Signed and dated 'H Matisse 47' in pencil lower right. - Lightly browned with light-stain and two small backed tears to lower and left edge. Studio traces to the right sheet edge.With a photo-confirmation from Wanda de Guébriant, dated 30 October 2009. The work is recorded in the archive of the artist under no. M 144.ProvenancePrivate collection, Stockholm, since 1950The motif of a woman reading, playing music or lost in thought and surrounded by a rich interior can be encountered frequently in the oeuvre of Henri Matisse. The studio situation with its characteristic furnishings, large windows and a wide view of the lush southern vegetation outside, are motivic fixtures which continually recur in the artist's works after his move to Vence in 1943.What is so characteristic of Henri Matisse's works is a disparate presence of highly diverse items, structures and picture planes, on the one hand, and the harmonious togetherness of these elements within a single surface, on the other. The persons, objects, textures and patterns and also the interior and the exterior views are woven together into an ornamental tapestry. Whereas the artist's Fauvist works are dominated by colour and its inherent value, his later interiors of the 1940s display a greater dominance of lines.This is also in evidence in the painting, displayed at the Hiroshima Museum of Art, for which our drawing apparently served as a preliminary sketch: "Jeune fille en vert dans un intérieur rouge" from 1947 (see comparative illus.) is a painting that picks up the composition of our "femme assise" in an extract, moved slightly further to the right. The flow of the lines in the drawing are clearly also present in the painting. Yet the elements of density and ornamentation are far more prominent in the drawing. The seated female figure merges with her environment. Set within her ornamental interior surroundings, she becomes an equal, constituent part of it. Another variation of this motif, with an even greater concentration on the dominant flow of lines, can be found in the colour aquatint "Marie-José en robe jaune" (Duthuit-Matisse 817), created by Matisse in 1950 after the above-mentioned painting.

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EWALD MATARÉ, Chinesisches Pferd / Tänzelndes Pferd, 1943

Lot 691: EWALD MATARÉ, Chinesisches Pferd / Tänzelndes Pferd, 1943

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Description: Bronze, on cast-with oval plinth. Height 20.8 cm. Signed with stamp mark 'MATARÉ' on lower side of belly. - One of 14 known casts, 4 of them estate casts. Lifetime cast. - Dark brown, matt patina. Circular oxidation mark on the neck and in areas on the inner legs and at the top of the tail.ProvenancePrivate collection, North Rhine-WestphaliaExhibitioni.a.: Trier 1966 (Städt. Museum), Mataré, cat. no. 13; Düsseldorf 1967 (Städt. Kunsthalle), Ewald Mataré. Pastiken, Kunsthandwerk, Handzeichnungen [...], cat. no. 46; Sittard 1969 (Kritzraedthuis), Ewald Mataré, cat. no. 21; Aachen 1973 (Suermondt-Museum), Ewald Mataré, without no.; Kleve 2010 (Kurhaus Kleve), Ewald Mataré. Plastik, Eine rheinische Privatsammlung, cat. no. 23 with full-page colour illus., pp. 70 f., 139 LiteratureHanns Theodor Flemming, Ewald Mataré, Munich 1955, p. 27, pl. 23 with full-page illus. (wood); exhib. cat. Mataré und seine Schüler. Beuys, Haese, Heerich, Meistermann. Hanover/Nijmegen/Krefeld, no. 29, illus. p.46; exhib. cat. Ewald Mataré. Kaiserslautern/Heilbronn, no. 31; exhib. cat. Aus den Trümmern. Bonn/Düsseldorf/Bochum 1985, Nr. P 35 Chinesisches Pferd / Tänzelndes Pferd 1943Mataré "takes only the essential from the model of nature, because he wants to render the essence of things visible. He finds the solution in the 'sign', which summarises all of the variations of the individual in the exemplary form of an archetype" (Eduard Trier, Ewald Mataré, Recklinghausen 1958, p. 12).The prancing "Chinese" horse is one of the sculptor's best-known works. It unites essential characteristics of his art in an exemplary fashion: the abstraction of the figure into an idea of its underlying form, the aesthetic of a wonderfully articulated surface and the almost ornamental beauty of line and balance of form. The gracefulness and ease of movement are underscored by the elegant form's contours, which can almost be described as calligraphic; they are entirely controlled und securely centred around a single point, as though revolving around themselves. This concentration provides the bronze with its inimitably charismatic aura. According to Sabine M. Schilling, the "Tänzelndes Pferd" (Prancing Horse) was created in 1943, during one of Mataré's stays at the Cistercian Abbey Eberbach, near Eltville in Rheingau. During the war years this abbey provided a refuge that Mataré repeatedly sought out during the summer months, beginning in 1940. The original of the cast version is a sculpture in cedar, which was intentionally damaged before the end of the war, but could later be restored by a pupil of the artist (cf. Schilling 241, with illustration, pp. 96/97).

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MAURICE DE VLAMINCK, Cour de ferme,

Lot 692: MAURICE DE VLAMINCK, Cour de ferme,

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Description: Oil on canvas 60.3 x 73.3 cm, framed. Signed 'Vlaminck' lower left. - With craqueleur in some places. With some inconspicuous retouchings and small frame-related losses of colour along the edges.ProvenancePrivate possession, SwitzerlandWith a photo-certificate from the Wildenstein Institute, Paris, dated 27 March 1998. The work will be included in the catalogue raisonné currently in preparation by Maïthé Vallès-Bled und Godelieve de Vlaminck under the reference no. 98.03.27/5882,5733."Sometimes a storm came up, and the wind toppled my easel over, carried off the painting and tore it apart. I went home, wet through to the skin, with the slack, thickly painted and sticky canvas. In the winter, of course, everything was different. The icy cold made my fingers stiff; even the oil froze in the tubes and made the paint almost unusable. Somebody has said: 'Vlaminck's painting is that of a poacher', and of all the judgements about me and my work, this may have been the one that pleased me the most." (Maurice de Vlaminck, Rückblick in letzter Stunde, Menschen und Zeiten, St. Gallen 1965, p. 73 (from the French original edition "Portraits avant décès", Paris 1943)).

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GERHARD MARCKS, Fortuna, 1952

Lot 693: GERHARD MARCKS, Fortuna, 1952

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Description: Bronze, height 151 cm. Artist's signum to top of pedestal. Edition number 'III' and foundry mark "GUSS BARTH RINTELN" on reverse of side edge of pedestal. One of 4 casts in total. - Even dark brown patina.Werktagebuch Gips/Bronze (works diary plaster/bronze) 378; Rudloff 579We would like to thank the Richard Barth foundry, Rinteln, for kind informationExhibitionNew York 1967 (Leonard Hutton Galleries), A Comprehensive Exhibition of Bronze Sculpture by Gerhard Marcks, cat. no. 12 with full-page illus. p. 10 (other copy); Pawlowsk/Bremen/Halle a.d. Saale 1993 (Palastanlage Pawlowsk/Gerhard-Marcks-Haus/Staatliche Galerie Moritzburg), Gerhard Marcks und die Antike, with full-page illus. n. pag.; Jena 2004 (Stadtmuseum), Gerhard Marcks. Zwischen Bauhaus und Dornburger Atelier, cat. no. I/30 with full-page illus. p. 77According to Rudloff, the figure originates in Gerhard Marcks' model studies from 1949. Marcks adopts the arrangement of the robe of the "Prophet" from the Lubeck figural frieze (cf. Rudloff 513), another variant of this draped figure is "Eos II" from 1964 (cf. Rudloff 833).Gerhard Marcks undertook his first study tour to Greece in 1928, many more tours were to follow in the 1950s and 1960s. The impressions he gathered, particularly at various sites of antiquity, were to provide him with essential artistic stimuli for many years to come. Again and again the artist focused on themes of Greek mythology, not merely in his sculptures, but also in his drawings and in his printed works.In this life-size Fortuna the braided bun may be the only element to remind us of the elaborate hairstyles of the robed figures of antiquity. Otherwise, there is no specific quality to mark her off as the goddess of fortune and destiny. Instead, she comes across as a serious, thoughtful, inward-looking woman whose introspective gaze and upright posture give her an air of meditative peace and dignity. Her cloak, drawn tightly around her body, with the exception of her half-bared breasts, conceals the shape of her body and gives her the self-contained quality of a statue."After the war, in the early 1950s, 'Fortuna' was a symbol of new hope. Yet this fortune is questionable. In Gerhard Marck's understanding of antiquity Greece was a 'model for Europe'. He saw it as symbolising humane values and human life as opposed to an industrialised and technology-focused world which had lost its sense of human dimensions and proportions." (Gerhard Marcks und die Antike, exhib. cat., Pavlovsk/ Bremen/Halle an der Saale 1993, p. 53).

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JANKEL ADLER, Composition, 1947

Lot 694: JANKEL ADLER, Composition, 1947

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Description: Oil on canvas 40.7 x 51 cm, framed. Reverse signed, dated and inscribed 'Jankel Adler Composition 1947' in brown-red brush. - The pastose surface layer with craqueleur and a small, inconspicuous colour outbreak to the right.ProvenanceFrom the artist's estate, LondonExhibitionWuppertal 1955 (Städtisches Museum Wuppertal, Kunst- und Museumsverein), Jankel Adler 1895-1949, no. 23 without illus. ('Komposition II. 1947')(verso with paper label on the stretcher); Düsseldorf 2002/2003 (Galerie Remmert & Barth), Welln Zajten kimen - lichtige, Jankel Adler, Gemälde und Arbeiten auf Papier, cat. no. 36 with colour illus. p. 89 (upside down)

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JANKEL ADLER, Stilleben mit jüdischen Ritualgegenständen, 1930s

Lot 695: JANKEL ADLER, Stilleben mit jüdischen Ritualgegenständen, 1930s

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Description: Oil with sand and plaster admixture, partiallly scratched and scraped, on panel 73 x 59.5 cm framed. Signed 'Adler' lower right. - Firmly mounted behind a wooden mat, probably by the artist. (63 x 50 cm mat opening). - The reverse with label "Ernest Brown & Philips, Ltd The Leicester Galleries Leicester Square, London" and partially torn off exhibition label from "Brighton Art Gallery & Museum", thereon with typed exhibition title "The Wilfrid Evill Memorial Exhibition 1965", the painting title "Vessels for the Sabbath", the artist "Jankel Adler" and owner "Miss H. Frost". - With two small retouchings in right picture margin.ProvenanceCollection Wilfrid Ariel Evill / Honor Frost, London (label on reverse); private collection, IsraelExhibitionBrighton 1965 (Brighton Art Gallery and Museum), The Wilfrid Evill Memorial Exhibition (label on reverse) A still life from 1930 is similar in its depiction of objects from Jewish rites, albeit in landscape format; the number of vessels is however greater, including the use of the large seven-branched candelabrum, which are positioned towards the viewer, close to the edge of the image (see cat. no. 57, in: exhib. cat. Jankel Adler, Düsseldorf/Tel Aviv/Lodz 1985). Our work, probably from the same period, focuses on a collection of objects on a relatively small wooden table, resulting in a compact composition and visual statement. Depicted on the table is a besamim box, from which spices and fragrances are spread, and a Scroll of Esther - not a Torah scroll, which erroneously led to the title "Vessels for the Sabbath". The Book of Esther is read during Purim, which due to the wearing of costumes and masks is often referred to as the 'Jewish Carnival'.The work comes from the prominent collection of the London solicitor Wilfrid Ariel Evill that was started in the 1920s and featured mainly British 20th century art. This important collection was exhibited in a comprehensive exhibition after his death in Brighton in 1965 and was inherited by his ward, Honor Frost, a well-known pioneer of marine archaeology. We would like to thank Constanze Baumgart, Cologne, and Hermann Simon, Berlin, for kind information regarding backgrounds of religious studies.

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WOBBE ALKEMA, Gerichte beweging. Met trapeziumvorm. Met cirkels. Met zwiepende lijn, 1931

Lot 696: WOBBE ALKEMA, Gerichte beweging. Met trapeziumvorm. Met cirkels. Met zwiepende lijn, 1931

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Description: 4 etchings, printed with tone in brown-black (2) resp. in blue-green (2) on wove paper with water mark 'ARCHES FRANCE' 25 x 22 cm ( plate dimensions 10.3 x 10 cm, 10.5 x 10 cm (2) resp. 14.8 x 14.8 cm), framed individually under glass. Each signed, dated '31', numbered '18/10' and inscribed "eigen druck (2)" resp. "2e staat" resp. "proefdruck". - Browned primarily on verso, 2 etchings with moisture staining in lower margin.ProvenanceGalerie Kenda Bar-Gera, Cologne; Private CollectionExhibitionAmsterdam/Den Haag 1978/1979 (Stedelijk Museum/Gemeentemuseum), Het vroege werk van Wobbe Alkema 1918-1931, cat. nos. G 42 - G 46, each with illus.

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CARL BARTH, Blaue Nacht im Gebirge, 1959

Lot 697: CARL BARTH, Blaue Nacht im Gebirge, 1959

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Description: Oil on rough canvas 100 x 80 cm, framed. Signed 'BARTH' lower left and additionally signed and titled on reverse on upper stretcher bar 'CARL BARTH "BLAUE NACHT IM GEBIRGE"', canvas inscribed with work number '0.206 B.' in black brush.

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ROBIN CHRISTIAN ANDERSEN, Stilleben mit Muschel,

Lot 698: ROBIN CHRISTIAN ANDERSEN, Stilleben mit Muschel,

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Description: Oil on card 43 x 59 cm, framed. Monogrammed 'R.C.A.' in black lower right. - The reverse with an abstract composition. - The edges minimally bumped, with reinforcing card mounted to margins on the reverse.ProvenanceArt trade Josef Mitmannsgruber, St. Pölten (with a confirmation dated 10 June 2006); acquired there from one of Andersen's former students, private possession, Switzerland

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RUDOLF ALEXANDER AGRICOLA, Hemdenmatz I, 1957

Lot 699: RUDOLF ALEXANDER AGRICOLA, Hemdenmatz I, 1957

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Description: Bronze. Height 34.5 cm. On cast-with plinth (1.3 x 6.5 x 9.3 cm). Monogrammed 'A' (in a circle) back left of plinth. Probably one of very few exemplars (the catalogue raisonné from 1971 lists only one exemplar belonging to the artist himself). - Inscribed "Inv No. 9." in black underside of figure. - Even, dark brown patina, some lighter areas and with reddish tinge. Guenther 132ProvenanceFormerly collection Rudolf A. AgricolaLiteratureKnut Guenther (ed.), R.A. Agricola, Darmstadt, 1971, no. 132 with illus. 61Agricola was, for a few months, a student of Gerhard Marcks at the Burg Giebichenstein Halle and was recommended by Marcks himself to Richard Scheibe in Frankfurt. In the 1950s a formal influence of Gerhard Marcks is noticeable in his art.

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