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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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AUGUST GAUL, Orang-Utan, 1896

Lot 750: AUGUST GAUL, Orang-Utan, 1896

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Description: Bronze sculpture. Hight ca. 10.7 cm. Mounted on black marble base (2.8 x 6.8 x 6.8 cm). Signed 'A. Gaul' on the back of the high cast-with plinth as well as with foundry mark "H.NOACK BERLIN". - Dark brown patina. - Posthumous recent cast.Gabler 24 ProvenancePrivate collection, South GermanyExhibitionBerlin 2006/07 (Dr.-Thiede-Stiftung Berlin), Gaul - Esser - Haase - HeiligerLiteraturei.a. Arthur Schulz, Deutsche Skulpturen der Neuzeit, Berlin 1900, plate 9; Hans Rosenhagen, Bildwerke von August Gaul, Berlin 1905, p. 17 with illus.; Angelo Walther, Der Bildhauer August Gaul. Leben und Werk, phil. thesis (typescript), Leipzig 1961, no. 143; Angelo Walther, August Gaul, Leipzig 1973, illus. no. 87; Roland Dorn, Verzeichnis der bei Paul Cassirer nachweisbaren Arbeiten von August Gaul, in: Ursel Berger (ed.), Der Tierbildhauer August Gaul, exhib. cat. Georg-Kolbe-Museum, Berlin 1999, no. 30

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AUGUST GAUL, Zwei Böckchen, 1904

Lot 751: AUGUST GAUL, Zwei Böckchen, 1904

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Description: Bronze, 10 x 15.5 x 4.3 cm, mounted on a black marble base (2 x 13.5 x 5.7 cm). Signed 'A. GAUL' on top of cast-with plinth and with foundry mark "H.NOACK BERLIN" on side of plinth. - Dark brown patina. - Recent posthumous cast.Gabler 124 ProvenancePrivate collection, South GermanyLiteratureAngelo Walther, Der Bildhauer August Gaul. Leben und Werk, phil. thesis. (typescript), Leipzig 1961, no. 126; Roland Dorn, Verzeichnis der bei Paul Cassirer nachweisbaren Arbeiten von August Gaul, in: Ursel Berger (ed.), Der Tierbildhauer August Gaul, exhib. cat. Georg-Kolbe-Museum, Berlin 1999, no. 88

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AUGUST GAUL, Sitzender Biber, groß, 1917

Lot 752: AUGUST GAUL, Sitzender Biber, groß, 1917

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Description: Bronze sculpture approx. 39 x 49 x 27 cm. Signed 'A. GAUL' and with foundry mark "H. NOACK BERLIN" on the side of the cast-with base. - With golden brown patina. - Posthumous recent cast.Gabler 246-1 ProvenancePrivate collection, South Germany ExhibitionCopenhagen 1918, exhibition Der Deutsche Werkbund

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AUGUST GAUL, Katze, 1901

Lot 753: AUGUST GAUL, Katze, 1901

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Description: Bronze. Height approx. 14.5 cm. Mounted on black marble base (2.8 x 7 x 7 cm). Signed 'A. Gaul' and with foundry mark "H. NOACK BERLIN" on reverse of cast-with plinth. - Dark brown patina. - Recent posthumous cast.Gabler 71ProvenancePrivate collection, South GermanyExhibitioni.a. Berlin 1901 (Berliner Secession); Dresden 1904 (Große Kunstausstellung); Bremen 1906 (Internationale Kunstausstellung); Berlin 1919 (Galerie Cassirer), Sonderausstellung August Gaul; Duisburg 1958 (Städtisches Museum), Bildhauer-Zeichnungen des 20. Jahrhunderts; Berlin 1972 (Berlin Museum), August Gaul; Bremen 1974 (Kunsthandlung Wolfgang Werner), Tierplastiken von August Gaul, Gerhard Marcks, with illus.; Berlin/Hamburg/Hanau (Georg-Kolbe-Museum/Ernst Barlach Haus/Museen der Stadt Hanau), Der Tierbildhauer August Gaul, with illus.; Berlin 2006/07 (Dr.-Thiede-Stiftung Berlin), Gaul - Esser - Haase - HeiligerLiteraturei.a. Hans Rosenhagen, Bildwerke von August Gaul, Berlin 1905, p. 39 with illus.; Emil Waldmann, August Gaul, Berlin 1919, with illus.; Angelo Walther, Der Bildhauer August Gaul. Leben und Werk, phil. thesis (typescript), Leipzig 1961, no. 6; Angelo Walther, August Gaul, Leipzig 1973, illus. no. 6; Irmgard Wirth, August Gaul, in: Weltkunst 22, 1984, p. 3404-3407; Roland Dorn, Verzeichnis der bei Paul Cassirer nachweisbaren Arbeiten von August Gaul, in: Ursel Berger (ed.), Der Tierbildhauer August Gaul, exhib. cat. Georg-Kolbe-Museum, Berlin 1999, no. 24

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AUGUST GAUL, Modell junger Schwan, 1919

Lot 754: AUGUST GAUL, Modell junger Schwan, 1919

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Description: Bronze. Height approx. 30.7 cm. Signed 'A. GAUL' on top of cast-with plinth and with foundry mark "H.NOACK BERLIN" on reverse of plinth. - Dark brown patina. - Recent posthumous cast.Gabler 272 ProvenancePrivate collection, South GermanyLiteratureRoland Dorn, Verzeichnis der bei Paul Cassirer nachweisbaren Arbeiten von August Gaul, in: Ursel Berger (ed.), Der Tierbildhauer August Gaul, exhib. cat. Georg-Kolbe-Museum, Berlin 1999, no. 94

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CARL GROSSBERG, Berlin hinter dem Dom, 1926

Lot 755: CARL GROSSBERG, Berlin hinter dem Dom, 1926

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Description: Watercolour and pen and India ink on laid paper 37.7 x 47.7 cm. Signed and dated 'CARL GROSSBERG 1926' lower left, within the illustration again inscribed 'BERLIN 1926 CGROSSBERG'. Verso with stamp, there with handwritten estate number "A017". - Verso upper corners firmly mounted on mat, the illustration with slight pressure marks and rubbings in margins due to inner edges of mat. Minimally browned.ProvenanceEstate of the artist; received as a gift directly from Eva Grossberg, the artist's daughter, private possession, South Germany

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CARL GROSSBERG, Rotes Holzmodell (Weise & Monski, Halle), 1936

Lot 756: CARL GROSSBERG, Rotes Holzmodell (Weise & Monski, Halle), 1936

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Description: Watercolour, gouache and red ink on laid paper 49.5 x 40.2 cm. Signed and dated 'Carl Grossberg 1936' lower right. Verso with a stamp, there with handwritten estate number "A112". - Verso upper corners firmly mounted on mat, the illustration with slight pressure marks and rubbings in margins due to inner edges of mat.ProvenanceEstate of the artist; received as a gift directly from Eva Grossberg, the artist's daughter, private possession, South GermanyExhibitionWuppertal/ Tübingen/ Kiel 1994/95 (Von der Heydt-Museum/ Kunsthalle Tübingen/ Kunsthalle zu Kiel), Carl Grossberg. Retrospektive zum 100. Geburtstag, cat. no. 87 with colour illus. 87

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CARL GROSSBERG, Hannover, Am Hauptbahnhof, 1936

Lot 757: CARL GROSSBERG, Hannover, Am Hauptbahnhof, 1936

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Description: Watercolour and pen and India ink on laid paper 49.5 x 40.1 cm. Signed and dated 'Carl Grossberg 1936.' lower left. Verso with a stamp, there with handwritten estate number "A064". - Verso upper corners firmly mounted on mat, the illustration with slight pressure marks and rubbings in margins due to inner edges of mat.ProvenanceEstate of the artist; received as a gift directly from Eva Grossberg, the artist's daughter, private possession, South GermanyExhibitionWuppertal/ Tübingen/ Kiel 1994/95 (Von der Heydt-Museum/ Kunsthalle Tübingen/ Kunsthalle zu Kiel), Carl Grossberg. Retrospektive zum 100. Geburtstag, cat. no. 85 with colour illus. 77

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RICHARD GUINO, Profil de Pierre-Auguste Renoir, 1913-1918

Lot 758: RICHARD GUINO, Profil de Pierre-Auguste Renoir, 1913-1918

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Description: Bronze relief. Height 31.8 cm. Width 27.2 cm. Mounted on dark marble base (4.5 x 30.5 x 6.7 cm). Signed 'GUINO' lower right. Inscribed "RENOIR" at the front of the cast-with plinth. Unnumbered exemplar of an unknown edition. - Very good condition. With vivid reddish-brown patina. ProvenanceGalerie Robiony, Nice (1979)With a certificate from Michel Guino, Paris, dated 16 April 2013The work will be included in the catalogue raisonné of the works by Richard Guino currently in preparationRau Collection for UNICEFRichard Guino, born in Girona, Catalonia, worked from 1910 to 1913 in Paris as both a pupil and assistant of Aristide Maillol. Through Maillol he came into contact with the renowned art dealer Ambroise Vollard and also Auguste Renoir. From 1913 to 1918, due to Renoir suffering from arthritis, Guino executed Renoir's scuplture designs in his studios in Essoyes and Cagnes-sur-Mer. Although Guino's own sculptural works are of high quality it is believed that his relationship with Renoir, of whom he produced not only a bust, but also a drawing and a lithograph, was less beneficial for his career (cf. Saur, Allgemeines Künstlerlexikon, vol. 65, Munich/Leipzig, 2009, p. 362).

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FERDINAND HODLER, Selbstbildnis lächelnd, 1916

Lot 759: FERDINAND HODLER, Selbstbildnis lächelnd, 1916

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Description: Brown brush and India ink over pencil on ivory-coloured wove paper with watermark "P.M.FABBRIANO" 44.2 x 58.2 cm, framed under glass. Stamped signature "Ferd. Hodler" (not recorded by Lugt) lower right and the embossed stamp "SUCCESSION FERD. HODLER" with the no. "48" inscribed therein in pencil lower left. - Professionally smoothed folds from formerly folded wide margins surrounding the composition.ProvenanceKornfeld und Klipstein, Bern, Auction 147, 20 June 1973, lot 337 ExhibitionChristie's London, Impressionist and Modern Watercolours and Drawings, Auction 30 June 1981, lot 161 with illus. p. 52Literaturecf. Künstlerlexikon der Schweiz XX. Jahrhundert, Frauenfeld 1958-1961, p. 450, no. 10; cf. Oskar Bätschmann/Monika Brunner/Bernadette Walter, Ferdinand Hodler, Catalogue raisonné der Gemälde, vol. 2, die Bildnisse, p. 306 ff.Rau Collection for UNICEFIn his confirmation for Christie's, dated 29 April 1981, Hans A. Lüthy from the Schweizerisches Institut für Kunstwissenschaft (Swiss Institute for Art Research) related this drawing to the study "Selbstbildnis-Studie III für die Lithographie von 1916" (quoted from Christie's, op.cit., p. 52; Künstlerlexikon der Schweiz, op.cit., p. 450). Hodler created the lithograph of his self-portrait in order to satisfy an increased collector's demand. It was included in the April and May 1916 issue for subscribers of the Geneva art magazine "Pages d'Art" (cat. rais., op.cit. p. 306, illus. 3).Compared to the paintings created in 1916, especially the two self-portraits in the Kunstmuseum Bern and the Aargauer Kunsthaus, Aarau, are somewhat similar (see cat. rais., op.cit. 974, 975).

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HEINRICH HOERLE, Frauenkopf (Trude Alex?), 1932

Lot 760: HEINRICH HOERLE, Frauenkopf (Trude Alex?), 1932

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Description: Lithograph on ivory-coloured paper 34.5 x 23.7 cm (45.8 x 32.5 cm), framed under glass. Inscribed in the wide lower margin with information on the artist data and year of origin in ballpoint pen by an unknown hand. - A closed tear in the wide upper margin, minimally browned beneath mat.Backes IV 43ExhibitionFrechen 1970/1971 (Kunstverein), Hoerle und sein Kreis, cat. no. 188 with illus. (our proof)

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ERICH HECKEL, Krummer Kanal, 1915

Lot 761: ERICH HECKEL, Krummer Kanal, 1915

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Description: Woodcut on firm slightly textured paper 36.3 x 27 cm (59 x 47/47.4 cm). Signed, titled and inscribed 'In Ostende 1915 geschnitten und handgedruckt'. - Mat opening browned and light-stained. Margins slightly stained and with handling creases lower right. Lower margin with backed tear.Dube H 288, 1st stateProvenanceMuseum Folkwang, Essen (with crossed out collection stamp on reverse); Galerie Ferdinand Möller, Berlin (with gallery stamp and handwritten note "erworben lt. Vertrag 1940" on reverse)

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ERICH HECKEL, Vase mit Leinkraut, 1934

Lot 762: ERICH HECKEL, Vase mit Leinkraut, 1934

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Description: Watercolour and pen and ink drawing in blue and black on laid paper with watermark "MBM (FRANCE)" 62.6 x 48 cm, framed under glass. Signed, dated and titled 'Leinkraut Heckel 34' in pencil lower right. - Lightly browned, verso with remains of crepe tape. Pinholes in the upper corners.

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ERICH HECKEL, Clematis, 1940

Lot 763: ERICH HECKEL, Clematis, 1940

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Description: Watercolour and pencil on firm, slightly textured wove paper 67.2/67.6 x 52 cm, framed under glass. Signed and dated 'Heckel 40' lower right within the image, titled '- Clematis -' in lower right corner. - In good condition with fresh colours.The work is registered in the archive of the Erich Heckel Estate, Hemmenhofen. We would like to thank Hans Geissler and Renate Ebner for kind information.

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KARL HOFER, Mädchen mit Laute. Verso: Weiblicher Kopf nach rechts, 1947

Lot 764: KARL HOFER, Mädchen mit Laute. Verso: Weiblicher Kopf nach rechts, 1947

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Description: Gouache, India ink and chalk on light, textured board 54.7 x 39.8 cm, framed under glass visible from both sides. Front side monogrammed 'CH' (ligated) lower right. - Each browned in the mat opening.The works are registered in the Karl Hofer Archive (no. 1678 "Mädchen mit Laute" and no. 1663 "Weiblicher Kopf nach rechts" in the catalogue raisonné of watercolours and drawings currently in preparation).ProvenancePurchased directly from the artist in Berlin probably in the 1940s, since then in family possession

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KARL HOFER, Sitzende Frau, 1923

Lot 764A: KARL HOFER, Sitzende Frau, 1923

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Description: Reed pen drawing on chamois-coloured drawing paper 41.3 x 35.7 cm, framed under glass. Monogrammed 'CH' (ligated) lower right. - Fox marks and slightly browned, small marginal defects. The drawing is registered in the Karl Hofer Archive (no. 501 in the catalogue raisonné of watercolours and drawings currently in preparation).ProvenanceGift from Karl Hofer to the painter Lasar Segall, Dresden; Achim Moeller Fine Art, New York (with gallery label on reverse of frame); private possession, Brazil

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KARL HOFER, Sitzender weiblicher Halbakt von vorne, 1929/30

Lot 765: KARL HOFER, Sitzender weiblicher Halbakt von vorne, 1929/30

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Description: Pencil drawing, wiped, on firm drawing paper 59.8/60.3 x 46/ 47.3 cm, framed under glass. Monogrammed 'CH' (ligated) lower right. - In good condition.The drawing is registered in the Karl Hofer Archive (no. 873 in the catalogue raisonné of watercolours and drawings currently in preparation).ProvenanceStuttgarter Kunstkabinett, Stuttgart, Auction 33, 29/30 May 1959, lot 352 (there dated c. 1923); Lempertz, Cologne, Auction 561, 3 Dec. 1977, lot 314; formerly private collection, Rhineland, estate

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KARL HUBBUCH, Marianne,

Lot 766: KARL HUBBUCH, Marianne,

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Description: India ink drawing on smooth yellowish drawing paper 29.5 x 46 cm, framed under glass. Titled and inscribed '"Marianne" v[on ]Papa gezeichnet' (Marianne drawn by Papa) in pencil lower left, estate stamp "k.h. NACHLASS" lower right. - Upper margin slightly irregularly cut. The paper slightly unfresh (studio traces) and very lightly creased.Verso with a pencil drawing of a half-length sitting young man. ProvenancePrivate possession, Switzerland

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KARL HUBBUCH, Weiblicher Akt,

Lot 767: KARL HUBBUCH, Weiblicher Akt,

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Description: Pencil drawing on ivory-coloured laid paper 50 x 32 cm, framed under glass. Monogrammed 'k.h.' in pencil lower right as well as verso lower left with the estate stamp "k.h. NACHLASS E.Hubbuch". - The paper lightly browned especially in the margins and with few inconspicuous creases. ProvenancePrivate possession, Switzerland

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KARL HUBBUCH, Schuhanzieher/Weibliches Modell,

Lot 768: KARL HUBBUCH, Schuhanzieher/Weibliches Modell,

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Description: Double-sided pencil drawing 38 x 26 cm. Resp. monogrammed 'k.h.'. - The paper lightly browned and with faint trace of horizontal fold. Hole-punched at centre of left margin.ProvenancePrivate possession, Switzerland

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RUDOLF JAHNS, Das Osterbild (Bild No. 24), 1964

Lot 769: RUDOLF JAHNS, Das Osterbild (Bild No. 24), 1964

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Description: Oil on fibreboard 15.9 x 20.7 cm, in original light grey artist's frame 31 x 43.5 cm. Reverse signed and dated 'RJahns.64' in pencil on label from the 52. Herbstausstellung (52nd Autumn Exhibition) and inscribed on reverse of fibreboard "24 Rudolf Jahns Holzminden. Das Osterbild März 64" in black felt-tip pen. - In good condition with fresh colours.Christ 401 (dimensions here 14 x 20 cm) ProvenancePrivate possession, Switzerland ExhibtionHanover 1964 (Kunstverein Hannover), 52. Herbstausstellung Niedersächsischer Künstler, cat. no. 72 (label on reverse); Hameln 1965 (Kunstkreis Hameln), Arche 13, cat. no. 44; Holzminden 1965 (Kulturverein Holzminden), Rudolf Jahns, Carl Buchheister, Kurt Schwitters; Hameln 1967 (Kunstkreis Hameln), Der Kunstkreis Hameln zeigt Rudolf Jahns (handwritten annotation on reverse of frame)

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ALEXEJ VON JAWLENSKY, Meditation, 1922

Lot 770: ALEXEJ VON JAWLENSKY, Meditation, 1922

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Description: Pen and India ink and watercolour on sketchbook paper 8.2 x 5.8 cm (sheet: 18.8 x 11.9 cm), framed under glass. Monogrammed 'aj' within the image lower left, signed and dated 'avjawlensky 22' lower right. Beneath the image the dedication 'Zu Mietze Kirchhoff Namenstag 10. Sept. 22 Wiesbaden.'. Verso of the frame backing with a handwritten confirmation of authenticity from Alex Vömel, Düsseldorf (without year). - Light stain around the image.Not recorded in M. Jawlensky/ L. Pieroni-Jawlensky/ A. Jawlensky Bianconi ProvenancePrivate possesion, acquired from Galerie Thomas, Munich, in 1977

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ALEXEJ VON JAWLENSKY, Kleine Meereslandschaft, 1928

Lot 771: ALEXEJ VON JAWLENSKY, Kleine Meereslandschaft, 1928

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Description: Watercolour over pen and ink on firm watercolour laid paper with rounded corners 10 x 15.8 cm, framed under glass. Signed "A. Jawlensky" in pen and ink lower left. - Verso i.a. numbered in Roman "No IX" and dated "1928" in pencil by an unknown hand.Not recorded by M. Jawlensky/ Pieroni-Jawlensky/ Jawlensky BianconiProvenanceFormerly private collection, Palatinate, in family possession since

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ALEXEJ VON JAWLENSKY, Orangefarbene Blumen in blauer Vase, 1927

Lot 772: ALEXEJ VON JAWLENSKY, Orangefarbene Blumen in blauer Vase, 1927

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Description: Watercolour over pencil on firm laid paper 15.7 x 9.9 cm, framed under glass. Signed 'A Jawlensky' in pencil lower right, verso dated '1927'. With a printed gallery label from Galerie Ferdinand Möller on inside of frame backing, there inscribed "A. v. Jawlensky Blumenstrauss 1927" by hand. - In fine condition. Minimal rubbing in the corners.M. Jawlensky/ L. Pieroni-Jawlensky/ A. Jawlensky-Bianconi 569 with colour illus. p. 244ProvenanceGalerie Ferdinand Möller, Cologne; former collection Josef Haubrich, Cologne; private collection

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WASSILY KANDINSKY, Fröhlicher Aufstieg, 1923

Lot 773: WASSILY KANDINSKY, Fröhlicher Aufstieg, 1923

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Description: Colour lithograph on wove paper 23.5 x 19.2 cm (33.8 x 26.8 cm). Signed and probably numbered later. Proof 40/100. Sheet 2 from "Meistermappe des Staatlichen Bauhauses", published by Bauhaus Verlag, Munich/Weimar 1923. - Few tiny foxmarks. Browned in former mat opening - common for the copies of this sheet -, colours slightly faded in places.Friedel/Hoberg 136.1; Roethel 177; Söhn HDO 210-2ExhibitionDarmstadt 1963 (Ernst-Ludwig-Haus auf der Darmstädter Mathildenhöhe), Arbeiten aus der grafischen druckerei des staatlichen bauhauses Weimar und Dessau, 1919-1925, no. 59; Munich 1966 (Städtische Galerie im Lenbachhaus), Kandinsky. Das druckgraphische Werk. Zum 100. Geburtstag, no. 135; Stuttgart 1968 (Württembergischer Kunstverein), bauhaus grafik. 50 Jahre bauhaus, no. 39; Dresden 2013 (Staatliche Kunstsammlungen Dresden Kunsthalle im Lipsiusbau), Im Netzwerk der Moderne. Kirchner, Braque, Kandinsky, Klee ... Richter, Bacon, Altenbourg und ihr Kritiker Will Grohmann, cat. no. 64 with colour illus. p. 185 (other proof)LiteratureHans M. Wingler, Das Bauhaus 1919-1933. Weimar - Dessau - Berlin, Bramsche 1962, pp. 57 and 316After three years of existence, the Bauhaus published a cycle of New European Graphic Prints in an edition of the Bauhaus Prints, thus initiating an extraordinarily ambitious project that was to provide the public with a general overview of the latest artistic activities undertaken by the most important contemporary artists at the time. This portfolio cycle was very large and of a high quality. It was therefore regarded as a prestige project that would provide a convincing testimony to the capabilities of the Bauhaus workshops and would ultimately also bring in financial support. In the end, however, after long delays, only four of the five planned portfolios were published, and when the Bauhaus was closed down in Weimar, the project remained unfinished. Moreover, the difficult economic climate acted as a hindrance to financial success."We have started by calling upon all the important painters and graphic artists in Europe to take action together. We want to publish five portfolios at regular intervals, showing the essential features and thus also the extent of today's art of painting, its intellectual magnitude and an ethical cross-section of the same. We are giving the general public a collection of works that has probably never been offered at such a low price before." (Walter Gropius, quoted in: Klaus Weber, Die Künstlergeneration unserer Zeit - Neue europäische Graphik, in: modell bauhaus, exhib. cat. Bauhaus-Archiv Berlin/Museum für Gestaltung, Stiftung Bauhaus Dessau/Klassik Stiftung Weimar, Berlin 2009, p. 87). In 1922 Kandinsky was invited by Walter Gropius to come to the Bauhaus in Weimar where he then spent the next two years teaching the Wall Design class and preparatory courses on Abstract Formal Elements and Analytical Drawing. The Bauhaus sought to propagate a functional approach, with a connection between art, craft and industrial manufacturing. This met with Kandinsky's desire for a vocabulary of form that was both clearer and more pragmatic. The work of art shown here is a good example of the growing geometrisation and increasing clarity of Kandinsky's compositions.

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WASSILY KANDINSKY, Vierte Jahresgabe für die Kandinsky-Gesellschaft, 1929

Lot 774: WASSILY KANDINSKY, Vierte Jahresgabe für die Kandinsky-Gesellschaft, 1929

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Description: Etching on wove paper 17.7 x 12.6 cm (32 x 21.1 cm). Unsigned. Proof aside from the edition of 10 mentioned by Roethel with dedications from the artist and printed on firm paper. - Minor discolouration within the former mat opening.Friedel/Hoberg 149.1; Roethel 192ExhibitionMunich 1966 (Städtische Galerie im Lenbachhaus), Kandinsky. Das druckgraphische Werk. Zum 100. Geburtstag, no. 150

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WASSILY KANDINSKY, Zweite Radierung für die Editions Cahiers d'Art, 1932

Lot 775: WASSILY KANDINSKY, Zweite Radierung für die Editions Cahiers d'Art, 1932

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Description: Etching on firm paper 29.6 x 23.5 cm (40.1 x 31.5 cm), framed under glass. Signed. One of probably 100 proofs. Published in a portfolio that was sold for the benefit of the Editions "Cahiers d'Art". - Minor irregularities in the plate tone.Friedel/Hoberg 153.1; Roethel 196ExhibitionMunich 1966 (Städtische Galerie im Lenbachhaus), Kandinsky. Das druckgraphische Werk. Zum 100. Geburtstag, cat. no. 154LiteratureKenneth Lindsay, Graphic Art in Kandinsky's oeuvre, in: Prints, 12, 1962, p. 248, illus. 10

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ERNST LUDWIG KIRCHNER, Hühner im Grase (unvollendet), 1918

Lot 776: ERNST LUDWIG KIRCHNER, Hühner im Grase (unvollendet), 1918

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Description: Etching on wove paper 12.6 x 14.1 cm (19/19.3 x 17.8/18.2 cm), framed under glass. Signed and inscribed 'Eigendruck'. Dated '1918 12' on reverse. - Rare. - Left margin with traces of paint due to printing, sheet edges irregularly cut, pencil inscriptions slightly faded.Dube R 232We would like to thank Günther Gercken, Hamburg, for kind information

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ERNST LUDWIG KIRCHNER, Drei Frauen im Raum, 1922

Lot 777: ERNST LUDWIG KIRCHNER, Drei Frauen im Raum, 1922

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Description: Reed pen drawing on the reverse of letter, fully signed by Kirchner, on plain yellowish paper 28.6 x 22.6 cm, framed double-sided under glass. The drawing signed and dated 'E L Kirchner 22' in ink (light brownish discolouration) lower left. - The sheet formerly folded twice with cross-shaped symmetrical crease, overall browned. The reverse with stains; the sheet roughened along the edges with traces of former mounting. We would like to thank Gerd Presler, Weingarten, for additional information.ProvenanceFormerly private collection, New York; Lempertz Auction, Kunst des XX. Jahrhunderts, A 556/lot 388 with illus. p. 77 (acquired there), since then in family possessionWith regard to biographical circumstances, the letter is not without interest. As has already been assumed, it was probably intended for Dr. Eberhard Grisebach; the mention of the "Spenglers" refers to the circle around Helene Spengler: "Dr. Eberhard Grisebach was in Davos at this time - we are referring to the end of 1922. Kirchner had already met the Spengler family in 1917. Helene Spengler, wife of the doctor Luzius Spengler, treated the artist from 1918 onwards." - notes Professor Presler, whereby he adds that the letter here seems to suggest tensions which "following the death of Dr. Luzius Spengler on 12 February 1923, erupted openly and led to a breach."

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ERNST LUDWIG KIRCHNER, Platz in Dresden, 1911

Lot 778: ERNST LUDWIG KIRCHNER, Platz in Dresden, 1911

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Description: Pencil on smooth, thin paper 10.3 x 17.2 cm, framed under glass. Unsigned sketch sheet. - Reverse glued in places to mat support. We would like to thank Gerd Presler, Weingarten, for kind informationProvenancePrivate collection, family possessionAccording to Prof. Dr. Dr. Presler, the work originates from an abolished sketch book from 1911: "The motif depicts a square in Dresden, possibly the Albertplatz in the Dresdner Neustadt."

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ERNST LUDWIG KIRCHNER, Sennhütte auf der Stafelalp mit Bauer und Pferd, 1917/ 1918

Lot 779: ERNST LUDWIG KIRCHNER, Sennhütte auf der Stafelalp mit Bauer und Pferd, 1917/ 1918

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Description: Coloured chalk on ribbed laid paper with watermark (anchor) 20.9 x 33.3 / 33.6 cm, framed under glass. Reverse lower left with faded estate stamp, thereon inscribed "FS Da/Aa35" with black feather. - Sheet edges browned, minor paper losses in places to upper edge, faint diagonal crease to upper left corner. With a certificate of authenticity from Eberhard Kornfeld, Davos, dated 31 July 1972ProvenanceGalerie Regina, Fritz Dürst, Davos (acquired 1972); since then in family possession The work depicts, as E. Kornfeld briefly describes, "the white house of the dairy on the Stafelalp"; also to be seen on the hillside is an abstracted figure outline with a horse.

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ANNE-PIERRE DE KAT, Portrait d'homme, 1922

Lot 780: ANNE-PIERRE DE KAT, Portrait d'homme, 1922

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Description: Oil on canvas 73.3 x 59.2 cm, framed. Signed 'de Kat' in reddish brown and additionaly signed and dated 'de Kat 1922' in blue lower right. Reverse of stretcher and canvas with several artist's studio stamps 'Mad. A.P.de Kat'. - Few very minor retouchings. Otherwise in very fine condition.ProvenanceChristie's London, Modern Belgian Paintings, Drawings and Sculpture, 19 October 1989, lot 57b, p. 97 with illus., Collection Rau for UnicefRau Collection for UNICEFAnn-Pierre de Kat was a portrait and landscape painter. He studied at the academies in Delft and the Hague before moving to Brussels in 1901. De Kat soon appeared as a follower of the Brabant Fauvism and Belgian Luminism, a stylistic tendency of Postimpressionism. The encounter with works by Cranach and Breughel led to a more strict, classical approach to his painting.

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BÉLA KÁDÁR, Freundinnen, 1930

Lot 781: BÉLA KÁDÁR, Freundinnen, 1930

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Description: Gouache on smooth chamois-coloured paper 59.5 x 41.6 cm, framed under glass. Signed 'KÁDÁR BÉLA' lower right. - With minor marginal defects including light creases and a narrow inconspicuous moisture mark in upper margin.ProvenanceNorth German private possession

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PAUL KLEINSCHMIDT, An der Bar, 1944

Lot 782: PAUL KLEINSCHMIDT, An der Bar, 1944

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Description: Watercolour over preparatory pencil drawing on heavy watercolour laid card 57.5 x 77 cm, framed under glass. Monogrammed and dated (barely legible) 'P. Kl. 44' lower left and additionally dated '12. April 44' lower right. - Verso on frame with labels from "ACA-Galleries, New York", and "Richard Cohn Ltd., New York", thereon resp. titled and dated "Café 1944". - With smaller marginal defects such as tiny folds and 2 short tears. Colours very fresh.Lipps-Kant A 238We would like to thank Barbara Lipps-Kant, Tübingen, for scientific advice and kind informationProvenanceErich Cohn, New York (before 1949); private collection, USA

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PAUL KLEINSCHMIDT, Drei Bardamen, 1933

Lot 783: PAUL KLEINSCHMIDT, Drei Bardamen, 1933

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Description: Oil on canvas, mounted on new canvas 37.5 x 48 cm. Dedicated (barely legible) and monogrammed later 'Freundschafts[bild ?] für die liebe Mada[me ?] P. Kl.' (Friedship[picture?] for dear Mada[me?] P. Kl.) in pen and ink upper right. - Verso on stretcher with labels from "ACA-Galleries, New York" and "Richard Cohn Ltd., New York", thereon resp. titled and dated "At the Opera, 1931". - With few minor losses of colour to margins and various smaller retouchingsNot recorded by Lipps-Kant, cf. Lipps-Kant 203 (2nd version)We would like to thank Barbara Lipps-Kant for scientific advice and kind information ProvenancePrivate Collection, USALiteraturecf. catalogue book Paul Kleinschmidt. Zwischen Bar und Boudoir, Exhib. Ulm/Kaiserslautern/Delmenhorst/Bensheim/Würzburg 2003/2004, illus. 22, p. 8 and cover illus. "Drei Bardamen", 1933The present painting was created by Paul Kleinschmidt as an excerpt from a larger, rejected composition. The work is related to the painting "Drei Bardamen" from 1933 (see comparison illus.).

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FRITZ KLIMSCH, Tänzerinnen, 1923

Lot 784: FRITZ KLIMSCH, Tänzerinnen, 1923

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Description: Bronze. Height 30 cm. Monogrammed 'P.K.' [sic!] on the plinth. Noack founrdy, Berlin; according to their kind information, the original model is still existing there. - With dark, anthrazite-coloured patina.Braun 115 (this exemplar)The initial "P", erroneously exchanged by the founder, was confirmed as authentic to the previous owner by Hermann BraunProvenanceJustizrat (Judicial Councillor) Ernst Cohnitz, Berlin (until 1971), subsequently Margrit Fischer-Cohnitz and heirs; private collection, Rhineland LiteratureHermann Braun, Fritz Klimsch. Eine Dokumentation, Cologne 1991, p. 351 f.; Wilhelm Bode, Fritz Klimsch, Berlin 1924, no. 70

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PAUL KOTHER, Zigeunerin mit Kind, 1912

Lot 785: PAUL KOTHER, Zigeunerin mit Kind, 1912

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Description: Oil on canvas 77.3 x 65.3 cm. Signed 'Kother' lower left. Signed 'P. Kother. fec.' on reverse. - In good condition, colours still fresh. Superficial craqueleur in places.We would like to thank Torsten Sabatier, Verden, for confirmatory information

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KÄTHE KOLLWITZ, Die Klage, 1938/40

Lot 786: KÄTHE KOLLWITZ, Die Klage, 1938/40

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Description: Bronze. Height 26.6 cm. Width 25.5 cm. Depth 9.7 cm. Signed 'KOLLWITZ' on edge of left side. With foundry mark "H.NOACK BERLIN" on lower side edge. Presumably cast at a later date, possibly after 1960. - Dark brown patina.We would like to thank Annette Seeler, Berlin, for confirmatory and additional information ProvenanceFormerly Galerie Westenhoff, Lübeck; North German private collection, family possession Exhibitioni.a. Cologne 1984 (Josef-Haubrich-Kunsthalle), Skulptur des Expressionismus, cat. no. 88 with illus. (other cast); Frankfurt on the Main 1985 (Jahrhunderthalle Hoechst), Käthe Kollwitz 1867-1945. Zeichnungen, Druckgrafik, Skulpturen aus dem Bestand der Galerie Pels-Leusden, Berlin, und anderen Sammlungen, cat. no. 132; Hanover 1990 (Wilhelm-Busch-Museum), Käthe Kollwitz. Druckgraphik, Handzeichnungen, Plastik, illus. p. 62 (reverse illus.); Berlin 1995 (Käthe-Kollwitz-Museum Berlin), Käthe Kollwitz - Schmerz und Schuld. Eine motivgeschichtliche Betrachtung, cat. no. 125 with illus. p. 197; Berlin 2005 (Käthe-Kollwitz-Museum), Hommage an / Homage to Käthe Kollwitz, pp. 134/135 with colour illus. (other cast); Berlin 2011 (Käthe-Kollwitz-Museum), Käthe Kollwitz. Bildhauerin aus Leidenschaft. Das plastische Werk, colour illus. p. 94 (other cast) LiteratureKäthe Kollwitz. Das plastische Werk, ed. Hans Kollwitz, preface by Leopold Reidemeister, Hamburg 1967, with illus.; Werner Timm, Käthe Kollwitz. Das plastische Werk 1909-1943. Versuch einer Rekonstruktion. Ausgeführte und geplante Werke, in: exhib. cat. Käthe Kollwitz. Druckgraphik, Handzeichnungen, Plastik, Wilhelm-Busch-Museum, Hanover 1990, p. 64-74, no. 59 with illus. p. 62 (lateral illus.); Käthe Kollwitz. Zeichnung, Grafik, Plastik, Bestandskatalog des Käthe-Kollwitz-Museums Berlin, revised by Annette Seeler, Berlin 1999, cat. no. 171 with colour illus. p. 357 (other cast)

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GEORG KOLBE, August von Thyssen, 1923

Lot 787: GEORG KOLBE, August von Thyssen, 1923

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Description: Bronze, mounted on marble base, approx. 35.5 x 21 x 23 cm. Base: 14.7 x 20 x 20 cm. Monogrammed 'GK' (ligated) on the back right. One of at least 5 exemplars (3 ex. at Thyssen, 1 ex. in the Museum of Cultural and Municipal History, Duisburg). - Dark brown patina.Not recorded by BergerConfirmed by Ursel Bergerin the correspondence with the consignorLiteraturecf. Ursel Berger, Georg Kolbe. Leben und Werk, Berlin 1990, pp. 72 and 200, illus. 85We would like to thank Ralf H. Althoff, Museum of Cultural and Municipal History, Duisburg, for kind information.

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JEAN LAMBERT-RUCKI, Personnage Lunaire, 1938

Lot 788: JEAN LAMBERT-RUCKI, Personnage Lunaire, 1938

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Description: Bronze, painted. Height 111 cm. Width 51 cm. Depth 19.5 cm. Signed 'J. Lambert-Rucki' and with foundry mark "fonderie TEP" on top of the cast-with plinth. Numbered and stamped "JDV" by Éditeur Jacques de Vos, Paris, on reverse edge of plinth. Dated "2001" on left side edge of plinth. Cast 2/8 from the posthumous edition of 8 casts and 4 artist's casts. - The paint at the edges of the plinth partially bumped.With a photo-certificate from the daughters of the artist, Mara and Léano Rucki, Paris, dated 24 April 1997, authorising the posthumous editionProvenancePrivate collection, ParisExhibitionParis 1988 (Galerie Jacques De Vos), Centenaire Jean Lambert-Rucki, here the plaster original; Athens 1997 (Galerie Titanium), Jean Lambert-Rucki, with front cover illus., here cast 1/8; Beauvais 1997/1998 (Musée départemental de l'Oise), Jean Lambert-Rucki. Présentation d'une donation. Donation Léano et Mara Rucki, no. 43, here cast EA IV/IV; Vitoria Gasteiz/Vigo 2003/2004 (Museum of art/Caixa Nova Fondation), Atelier Montparnasse (here our cast)LiteratureJacques De Vos, Jean Lambert-Rucki 1888-1967, Paris 1988, no. 135 with colour illus. without page and front cover colour illus. (plaster)

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HENRI LEBASQUE, Nu dans un intérieur, 1955

Lot 789: HENRI LEBASQUE, Nu dans un intérieur, 1955

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Description: Watercolour and graphite on paper 18.5 x 10 cm, framed under glass. Signed 'H. Lebasque' in pencil lower right. - The watercolour is mounted in places on card support.With a photo-certificate from Denise Bazetoux, Maisons-Laffitte, dated 17 Dec. 2012. The work will be included in the supplementary volume of the catalogue raisonné currently in preparation by Denise Bazetoux.

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HENRI LEBASQUE, Le Pradet, la baignade dans la crique, 1925

Lot 790: HENRI LEBASQUE, Le Pradet, la baignade dans la crique, 1925

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Description: Watercolour, chalk and graphite on chamois-coloured wove paper with watermark ('Inalterable') 28.5 x 41.3 cm, framed under glass. Signed 'Lebasque' lower right. - In perfect condition. With a photo-certificate from Denise Bazetoux, Maisons-Laffitte, dated 17 Dec. 2012. The work will be included in the supplementary volume of the catalogue raisonné currently in preparation by Denise Bazetoux. Following kind additional information of Denise Bazetoux the watercolour depicts the peninsula of Oursinières, Provence.

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MAX LIEBERMANN, Spaziergänger im Berliner Tiergarten, 1925

Lot 791: MAX LIEBERMANN, Spaziergänger im Berliner Tiergarten, 1925

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Description: Pencil and coloured pencil on chamois-coloured paper 11.1 x 17.3 cm, framed under glass. Signed 'M. Liebermann' in pencil lower right. - Verso: pencil drawing of a person looking out of a window. - The coloured pencil faded. The upper right corner and the lower corners of sheet with faint traces of former backside mounting with tape, professionally restored. We would like to thank Margreet Nouwen, Berlin, for kind information, confirming authenticity.ProvenanceFormerly private collection, Palatinate, family possession

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WALTER LEISTIKOW, Kanalszene, 1900

Lot 792: WALTER LEISTIKOW, Kanalszene, 1900

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Description: Black chalk highlighted with white on brownish drawing paper, mounted on board 47.3 x 63.5 cm, framed under glass. Signed 'W. Leistikow' in black chalk lower right. - Inscribed and dated, barely legible, "Gilleleie 1960" or "1900" by another hand, most probably the artist's daughter, in black chalk lower left.The depicted canal scene was probably executed around 1900. Leistikow's daughter, to whom the dated inscription presumably can be attributed, lived in Copenhagen and owned a holiday cottage in Gilleleje, a small coastal town north of the capital.We would like to thank Heinz Holtmann, Cologne, for kind information.

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CONSTANT LE BRETON, La Loire à Ancenis,

Lot 794: CONSTANT LE BRETON, La Loire à Ancenis,

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Description: Oil on canvas 49.5 x 73 cm, framed. Signed 'C. Le Breton' lower right. Titled 'LA LOIRE. A ANCENIS' on reverse. Inscribed 'C. Le Breton 21 rue Visconti VI', 'La Loire a Ancenis' and 'Docteur G. Rau' on the stretcher. - With few small retouchings.ProvenanceAcquired directly from the artistLiteratureChristie's London, Impressionist and Modern Paintings and Sculpture, 3 Dec. 1991, lot 270 with colour illus. (unsold); Christie's South Kensington, Impressionist & Nineteenth Century Art, 22 June 2000, lot 204 with colour illus.Rau Collection for UNICEF

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ROGER MARCEL LIMOUSE, Autel (Amboise), 1942

Lot 795: ROGER MARCEL LIMOUSE, Autel (Amboise), 1942

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Description: Oil on canvas 100.2 x 54.3 cm, framed. Signed 'R Limouse' lower left, titled, dated and signed on reverse of canvas 'AUTEL (AMBOISE) 1942 LIMOUSE'. - Very good condition with fresh colours. Age-related craqueleur in places. The edges slightly rubbed in places due to framing.ProvenanceHotel Drouot Rive Gauche Paris, Hervé Chayette, 3.121979, lot 21.Rau Collection for UNICEFBorn in Algeria, the artist moved to Paris in 1919 and began studying at the Académie Julian and then art and illustration at the Écoles de la Ville de Paris. From 1926 he exhibited at the Salon des Indépendants. His main subjects were still lifes and nudes. Due to his both decorative and delicate painting style, the phrase "Réalité poétique" seems fitting. Roger Limouse became increasingly known after the war and in the context of the eponymous artist group, which consisted of 8 painters, including Maurice Brianchon, Roland Oudot and Kostia Terechkovitch (cf. E. Benezit, Dictionnaire des peintres sculpteurs dessinateurs et graveurs. Vol 6, Paris 1976, p. 670).

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FERNAND LÉGER, Composition aux deux Personnages, 1920

Lot 796: FERNAND LÉGER, Composition aux deux Personnages, 1920

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Description: Lithograph on laid paper with blindstamp "DIE SCHAFFENDEN" 28.5 x 23.5 cm (40.7 x 30.8 cm). Signed. One of 125 proofs. Sheet 8 from the portfolio "Die Schaffenden", 2nd volume, 4th portfolio, published by Verlag Gustav Kiepenheuer, Weimar 1920. - Lower margin with minor handling creases.Saphire 2; Söhn HDO 72708-8 (there titled "Die Maschinenbauer (Les constructeurs)")

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ALFRED LÖRCHER, Hockende mit Katze, 1950

Lot 797: ALFRED LÖRCHER, Hockende mit Katze, 1950

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Description: Terracotta. Height 37 cm. Width 30 cm. Depth 44 cm. (Plinth 29.5 x 44 cm). Monogrammed 'AL' (joined) on left rear side of plinth . - A short fire crack in the left armpit and two short cracks to left and front edges of plinth. Grüterich P 520 (height "30 cm")We would like to thank Marlies Grüterich, Cologne, for kind informationProvenanceSotheby's 2 July 1997, lot 142Rau Collection for UNICEF

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ALFRED LÖRCHER, Sitzendes Mädchen, seine Füße trocknend, 1938/1940

Lot 798: ALFRED LÖRCHER, Sitzendes Mädchen, seine Füße trocknend, 1938/1940

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Description: Zinc cast. Height 29.5 cm. Width 16 cm. Depth 18.3 cm. Unsigned. - Olive-brown, velvety patina. - Narrow, reworked casting seams at the top of the arms and on one thigh.cf. Grüterich P 40 (height "40 cm")With an expertise from Marlis Grüterich, Cologne, dated 2 April 2013Exhibitioncf. Stuttgart 1950 (Staatsgalerie), Alfred Lörcher zum 75. Geburtstag, cat. no. 130; cf. Stuttgart 1960 (Württembergischer Kunstverein), Alfred Lörcher. Ausstellung zum 85. Geburtstag, cat. no. 21Rau Collection for UNICEF

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ALFRED LÖRCHER, Kauernde, 1927

Lot 799: ALFRED LÖRCHER, Kauernde, 1927

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Description: Terracotta. Height 60 cm. Width 28 cm. Depth 49 cm (Plinth 27 x 44 cm). Not signed or inscribed. - Right edge of plinth minimally bumped, the front left corner professionally reattached. A small hole to the rear hairline. - One of two known remaining exemplars (one copy destroyed during the war).Grüterich P 29We would like to thank Marlies Grüterich, Cologne, for kind informationLiteratureKleinkunstkatalog der Staatlichen Majolika-Manufaktur Karlruhe AG, Karlsruhe 1928, no. 307; Peter Otto Heim, Der Bildhauer Alfred Lörcher, Stuttgart 1935, pp. 18, 22, pl. 34Rau Collection for UNICEF

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