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Modern Art

by Lempertz

Platinum House

237 lots | 234 with images

November 26, 2013

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

237 Lots
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HENRY VAN DE VELDE, Gartenpartie in Kalmthout,  1892

Lot 300: HENRY VAN DE VELDE, Gartenpartie in Kalmthout, 1892

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Description: Oil on canvas 42.5 x 50.2 cm, framed. Unsigned. With an expertise by Thomas Föhl, cat. rais. Henry van de Velde, Klassik Stiftung Weimar, from 7 October 2013 Provenance Maria Heireman, received as a gift from Baron d'Hoest, Brussels; Francisca Coleta Jacobs; private collection, Belgium Literature Henry van de Velde. Schilderijen en tekeningen/Paintings and drawings, exhib. cat. Antwerpen/Otterlo 1987/1988, cf. cat. 34, p. 170 f.; Henry van de Velde. Ein europäischer Künstler seiner Zeit, exhib. cat. Hagen/Weimar/Berlin/Gent/Zurich/Nuremberg 1992-1994, cf. pp. 57 ff., illus. p. 79; Henry van de Velde: Der Maler im Kreis der Impressionisten und Neoimpressionisten, exhib. cat. Jena 2013, pp. 11 ff., cf. illus. p. 195, 197 The Belgian Henry van de Velde, well-known as one of the most important reformers of modern design in relation to almost every facet of life, ranging from silverware to architecture, also occupied himself with fine art at the beginning of his career. His creative drive was all-encompassing; the Bauhaus would later emerge from the applied arts school that he founded in Weimar. At the beginning of the 20th century, he was already serving Karl Ernst Osthaus not just as an architect and designer: in his role as an advisor, he also played a major part in the composition of what was one of the highest-quality collections of European avant-garde art of its day, the Folkwang collection. As a painter, van de Velde knew what he was talking about - he himself had begun his studies at the Antwerp academy in 1880, studied in Paris in the years that followed and was entirely familiar with current art movements. Under the influence of Georges Seurat his palette, which was initially darker, became lighter and friendlier. During the summer months of the early 1890s van de Velde often travelled to Kalmthout, near the Dutch border, for extended stays with his sister Jeanne, who was married to the banker Léon Biart. In addition to the composition on offer, two other views of the garden were created there; these are to be found in the collections of what was formerly the Folkwang and is now the Osthaus-Museum and in Munich's Neue Pinakothek (see comparative illustrations). Parallel layers of dashes of paint are applied in curved strokes; in their unmixed state they permit the subject of the image to emerge only in the eye of the viewer, in keeping with the principle of Divisionism. Swirling layers of paint constantly change direction and trace the vegetal forms in predominantly violet and green tones, conveying the likeness of an abundantly blossoming park landscape in the shimmering heat of mid-summer. The painting on offer, "Gartenpartie in Kalmthout" (Detail of the Garden at Kalmthout), was one of the last paintings to be created before Henry van de Velde dedicated himself entirely to applied art in 1893, prepared the way for the lavish forms of art nouveau and, as one of the founding fathers of modern design, reformed the practice of design on the Continent.

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EDVARD MUNCH, The Stump,  1897

Lot 301: EDVARD MUNCH, The Stump, 1897

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Description: Colour woodcut in grey-brown on thick chamois-coloured Japan paper 37 x 57 cm (46.7 x 64.5 cm), framed under glass. Signed. - A small gap to the upper right corner; a short, narrow trace of moisture on the outer right margin. Woll 117 III; Schiefler 125 b Provenance Marlborough Fine Art London; Marlborough Galerie Zürich (with a label to the frame backing card); private collection Japan (since the 1970s); private collection Exhibition London 1969 (Marlborough Fine Art), Edward Munch - Emil Nolde. The relationship of their art, cat. no. 64 (with a label to the frame backing card); Munich 2012/2013 (Galerie Thomas), Edvard Munch - Ernst Ludwig Kirchner, p. 42, p. 128 f. with a full-page colour illus. This woodcut, which was produced in several different coloured versions, some of which were partially hand-coloured, was based on the painting "Strandmystik" from 1892 (cf. Woll 281) and was presumably first printed in the colour variation offered here in 1906 (Gerd Woll, Edvard Munch, Werkverzeichnis der Graphik, Munich 2001, p. 135). Especially in Edvard Munch's landscapes, human moods and emotions find expression and become spheres of projection. "In summer he created his first Symbolist landscapes in Åsgårdstrand, and 'Strandmystik' was one of these pieces. 'Mysticism will always exist - and be created - the more we discover, the more things we will find that we cannot explain.' [...] The metamorphosis of nature and the anthropomorphization of the elements is also reminiscent of the world of Norse sagas." (Dieter Burchart, in: Exhib. cat. Edvard Munch - Ernst Ludwig Kirchner, Munich 2012/2013, op.cit., p. 42 f.)

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MEDARDO ROSSO, Lo Scaccino,  1883/1884

Lot 302: MEDARDO ROSSO, Lo Scaccino, 1883/1884

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Description: Bronze relief. Height 34 cm. Unsigned. - With bronze-coloured and greenish patina, partly blackish. - With support welded to the inside. Without base. With an expertise by Luciano Caramel, Paris, from 23 February 2005 Provenienz Private collection, Belgium (since the 1970s) Exhibition Winterthur/Duisburg 2003 (Kunstmuseum Winterthur/ Wilhelm Lehmbruck Museum), Medardo Rosso, cat. no. 11 with colour illus. p. 83 (bronze version in the Civica Galleria d'Arte Moderne, Mailand, inv. 7540) Literature Marco Fagioli, Medardo Rosso. Catalogo delle sculture a cura di Marco Fagioli e Lucia Minunno, Florenz 1993, cf. no. 12.4, p. 60; Luciano Caramel, Medardo Rosso: Le origini della scultura moderna, exhib. cat. Rovereto/Turin 2004, Mailand 2004, cf. p. 104 with illus. (cf. also Mola/Fabio III.7c); Paola Mola/ Fabio Vittucci, Medardo Rosso, Catalogo ragionato della scultura, a cura di Paola Mola e Fabio Vittucci, Mailand 2009, cf. I.8a-I.8d, with illus.; cf. also III.7a-III.7c, p. 351, partly with illus.) The bronze cast of the Civica Galleria d'Arte Moderne in Milan was the first bronze version made from the original plaster model of Medardo Rosso's work known as "Sagrestano" or "Lo Scaccino", which is preserved in the Museo Rosso, Barzio (cf. Mola/Vittucci 1.8a and 1.8b). Compared to other motifs of the artist, there are scarcely any formal variations on the "Scaccino" and only a few casts seem to have become known. The present cast is distinguished not only by its painterly, matt patina, but also by its vivid three-dimensional relief, which reveals the roughness of the material and the modulation of light and shadow to great advantage. In the final years of the 19th and in the early 20th century the fame of the Italian sculptor Medardo Rosso was comparable to that of Auguste Rodin in France. The two artists, who were initially on thoroughly friendly terms, had created an entirely new set of aesthetic premises in opposition to classical, academic sculpture and its tradition - premises that would remain influential well into the 20th century. Having already exhibited at the Parisian Salon since 1885, Rosso moved from Milan to the French capital in 1889. There he met the influential journalist and writer Paul Alexis and, most importantly, Emile Zola and Edmond de Goncourt, with both of whom he was friends. The concept of a sculptural "Impressionism" - newly coined at that time - was applied not only to Rodin, but particularly to Rosso. "The era of the block which one can walk around is gone forever" wrote Rosso. "My block is to be viewed like a picture, from a specific point, at a certain optical distance, where it reassembles itself with the help of the viewer's retina. It takes on its value, its quality and its beauty only when your eye beholds it in its own light. Conceived to be lit in a particular way, it must be viewed from a correct optical distance. If one is too near or too distant from it, everything blurs and becomes indistinct" (cited in: Giovanni Lista, Die Ursprünge des 'italienischen Impressionismus' von Medardo Rosso, in: exh. cat. Winterthur/Duisburg, op. cit., p. 48). "At the time when Medardo Rosso decided to move to Paris in 1889, he had achieved complete clarity regarding his ideas. He wanted to demonstrate that he was the founder of 'Impressionist sculpture' or of a new art founded on the 'impression'. 'In the name of the impression ... the art of sculpture was' to be 'freed from its eternal conventions'. He was thus the first Italian artist who went to Paris not in order to learn something, but in order to help establish the triumph of a previously unknown expression of modern art from the new Italy, being its only representative of international standing" (Giovanni Lista, ibid., p. 48/49).

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LÉON POURTAU, Portrait de Madame Vallad,  1890

Lot 303: LÉON POURTAU, Portrait de Madame Vallad, 1890

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Description: Oil on canvas 116 x 81 cm, framed. Signed 'L. Pourtau' lower right. - In fine condition with fresh colours. Provenance Frédéric Luce (the artist's son); Sotheby's London, Impressionist and Modern Paintings and Sculpture, Part II, 29 June 1988, lot 123 Exhibition London 1995 (Royal Academy of Arts), From Manet to Gauguin. Masterpieces from Swiss Private Collections, cat. no. 147 (according to exhibition label on reverse of frame; loan from the Rau collection); Tokyo/Nagoya 1995/1996 (The Sezon Museum of Art/Matsuzakaya Museum of Art), Impressionist and Post-Impressionist Masterpieces from Swiss Private Collections, cat. no. 47, p. 130, illus. 131; Cologne/Lausanne 1997/1998 (Wallraf-Richartz-Museum/Fondation de l'Hermitage), Pointillismus: Auf den Spuren von Georges Seurat / Pointillisme - sur les traces de Seurat, cat. no. 114, p. 254, with full-page colour illus. 114; 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. 99, illus. p. 208 With this work Léon Pourtau has created a close-up portrait combining a sensitive characterisation of the person depicted with a genre-like setting. The artist's mother-in-law Madame Vallad is shown here, occupied with sewing chores. She sits with her sewing basket in the light of a large window and is entirely focussed upon her work. The window provides a view over a town in early spring, bathed in gleaming bright light. Within the dark interior, the sunlight is picked up and reflected by the white pieces of laundry, the upper right side of the sitter and her slightly raised hands. Léon Pourtau, who made this painting when he was just 18 years old, learnt and adopted the pointillist style from his friend Georges Seurat, the founder of Pointillism. In this technique, pure colours are applied as dots next to each other. According to optical principles, the blending and melding of these colours to graduated shades of colour takes place in the eyes of the viewer. The "Portrait de Madame Vallad" shows that this technique is not only suited to capturing the abundance of shimmering light in open landscapes, but also to render the differentiated light conditions and atmosphere of an interior with areas of more modest and darker tones. Rau Collection for UNICEF

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MAX LIEBERMANN, Muschelfischer mit Karren (Krevettenfischer am Strand), c. 1908

Lot 304: MAX LIEBERMANN, Muschelfischer mit Karren (Krevettenfischer am Strand), c. 1908

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Description: Pastel on card, laid down on thicker card 40.5 x 55.5/55.8 cm, framed under glass. Signed 'M Liebermann' lower right. - A typewritten label to the reverse of the old frame backing, therein titled "Krevettenfischer am Strand" (Shrimp Fishermen on the Beach) and with a label from Kunsthaus Bühler. - The colours still very fresh. The margins slightly rubbed, the edges partially slightly bumped. We would like to thank Margrit Nouwen, Berlin, for her kind information. Provenance Frau Toni Lessing, Berlin (before 1927, to January 1933); Dr. Spiro (January 1933 to 11 July 1933); Dr. Zacharias (since 11 July 1933); Helga Täubler, Berlin/New York; Mes. Ader, Picard, Tajan, Hôtel George V, Paris, 22 June 1988, cat. no. 14 with colour illus.; private collection, Germany; Kunsthaus Bühler, Stuttgart, 19 Sept. 2007, private collection, North Germany Exhibition Berlin July/August 1927 (Galerie Bruno Cassirer), Zum 80. Geburtstag von Max Liebermann. Ausstellung von achtzig Pastellen, cat. no. 41 "Muschelfischer mit Karren", not illus.; Munich 1988 (Galerie Dr. Bühler), Aquarell - Pastell - Zeichnung, cat. no. 31 with colour illus. Literature Max Deri, Hors d'Oeuvre, in B.Z. am Mittag, Berlin 4 July 1927 (review of the exhibition at Bruno Cassirer) This pastel excellently displays Liebermann's mastery of the technique by creating an enchanting, light-flooded scenery in an impressionist manner. The piece is also an example of the painter's honest and unsentimental interest in the everyday lives of ordinary people. In front of a narrow pale grey horizon, the landscape of water and sand spreads out, depicted in a haze of white, grey and beige tones. In a mass of varying nuances and surface structures, Liebermann creates an image suggesting immense depth and breadth and expressing the raw character of the seascape. The central figure of the mussel fisher with his cart is accentuated through the use of clear contours and vivid accent colours. Whilst at the beginning of his time in Holland, Max Liebermann deliberately avoided depicting the sea, he changed his mind under the influence of impressionism. "His colour palette becomes lighter and more concerned with showing the effects of sunlight. He now becomes, as noted by his biographer Hancke, 'a confirmed en plein air painter, and a new problem with which, considering it an impossible task, he had previously never concerned himself - namely the depiction of the sea - became an obsession for him'." (cit. in: Max Liebermann am Meer, exhib. cat. Liebermann-Villa am Wannsee, Berlin/Museum Kunst der Westküste, Alkersum a. Föhr 2011/12, p. 18). Liebermann began creating oil sketches directly on the beach in 1896, which he used for the painting "Badende Knaben - Jungen in Zandvoort" (Bathing Youths - Boys in Zandvoort; Eberle 1896/2, Neue Pinakothek München). Now that the sea had become a subject worthy of painting, his oeuvre hence began to contain numerous depictions of bathers, riders and walkers on the beach in the coming years. Depictions devoted to the work, rather than the enjoyments, of the sea are relatively rare, an example of which is "Muschelfischer - Graue See" of 1908 (Mussel Fisher - Grey Sea; Eberle 1908/34).

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CHRISTIAN ROHLFS, Straße in Soest mit Patroklusturm,  1907

Lot 305: CHRISTIAN ROHLFS, Straße in Soest mit Patroklusturm, 1907

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Description: Oil on canvas 77.3 x 59.3 cm, framed. Signed and dated 'C. Rohlfs 7' lower right (the date slightly difficult to decipher). - Good condition. Partly with slight craqueleur in the pastose areas. With three unobtrusive small losses of colour in the left lower quarter of canvas. Vogt 393 (here, according to Birgit Schulte with the erroneous dimensions "76 x 58 cm" and dated "6") We would like to thank Birgit Schulte, Hagen, for her kind support. Provenance Former collection of Fritz Helmuth Ehmcke, Munich/country mansion Widdersberg, Ammersee; since then in private possession Rohlfs was in the medieval town of Soest for the first time in December of 1904, and the romantic cityscape fascinated him. In numerous variations created from 1905 onwards he repeatedly painted and drew the picturesquely charming houses and, above all, the steeples of this town. In terms of the theme of the present cityscape Rohlfs was interested in the architecture and its rich vocabulary of forms: the narrow Osthofenstraße leading to the "Patroklusturm" and the houses on either side of it, with their complex roofs and sometimes projecting upper storeys. While the artist's numerous sketches and drawings of Soest mostly take the form of accurately detailed architectural studies, the paintings display an emphatically autonomous, subjectively open pictorial reality on account of their dynamic and free use of line. Brown, blue and green tones, an intermediary yellow and a warmly toned white are used here primarily in the sense of local colours. The individual strokes vary in terms of width, length as well as thickness and materiality. At the same time, the paint is applied with a dynamic and forceful brushstroke that presumably derives from the influence of Van Gogh, with whose work Rohlfs was familiar. It is the thickness of these strokes, the irregularities of their materiality, as well as the distribution of light and dark that provide the painting with so much vitality. The artist Fritz Helmuth Ehmcke (1878 - 1965), whose collection contained this painting, was primarily a fine-art and commercial graphic artist, illustrator and book designer. However, he was very interested in architecture. Together with his son, the architect Caspar Ehmcke, he designed - among other buildings - the 1922/1924 country mansion in Widdersberg, next to the Ammersee, where he then lived with his family. Here he also continued cultivating social contacts within a circle of individuals of kindred spirit, and sometimes he also supported artists as a patron. Ehmcke received "Strasse in Soest mit Patrokulsturm" directly from Christian Rohlfs, just as other works of his former collection had also been purchased directly from artist colleagues. These works decorated the walls of his country home (cf. "Das Zelt, Zeitschrift des Ehmcke-Kreises, Blaetter fuer Gestaltendes Schaffen, F.H. Ehmcke Architektur", volume 8, issue 4/5, Munich 1933, pp. 42-47, with photographic images of his home).

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ERNST BARLACH, Der Apostel I,  1925

Lot 306: ERNST BARLACH, Der Apostel I, 1925

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Description: Plaster relief, with sand-coloured tone, 62.2 x 59.2 x 9 cm. Signed 'E Barlach' (scratched in) lower right. - In fine condition. Scattered small superficial chips to the frame. With an analysis of the work by Elmar Jansen, n.p., dated January 1998 We would like to thank Elisabeth Laur, Hamburg, for her kind information. Provenance Gift from the artist to Adolf Kegebein, the architect of Barlach's studio house in Güstrow, c. 1930; since then in family possession Literature Elisabeth Laur, Ernst Barlach. Das plastische Werk, Werkverzeichnis II, Güstrow 2006, p. 190 f., cf. nos. 377-381; Friedrich Schult, Ernst Barlach. Das plastische Werk, Hamburg 1960, p. 169 f., cf. nos. 295-298 Ernst Barlach worked on the plaster model for the relief "Der Apostel" (The Apostle) since autumn 1924. He developed two versions: One, the "Apostel II" has a smooth ground and a frame with a half-rounded profile on three sides (cf. Laur 379, cf. Schult 296). The other version, "Apostel I", has a rough ground and an angularly moulded frame. Barlach used elements from both versions for the final wooden piece. According to Jansen, the more sharply moulded version "Apostel I" is probably the original model (Laur 377; Schult 295). In November 1926, Ernst Barlach moved into a new studio house in Walkmühlenstraße in Güstrow. At this time he attempted to form several of his plaster models in terracotta, and for this reason made casts of these. According to Jansen, several plaster casts were made from the original model of "Apostel I" at this time. These were unknown to Schult, and although Laur mentions two further plaster casts, neither of them are our piece. Jansen explains further that Barlach gave away two copies of this cast as gifts on occasion of his move to the new studio in 1930/31. One was given to the master builder Feine, the other to the architect Adolf Kegebein (1894-1987). Kegebein already knew Barlach's art from his studies in Dresden in 1913, and the two men became friends during the construction of the studio-house (cf. Inge Tessenow (ed.), Ernst Barlach - Marga Böhmer. Briefe, Güstrow 2012, p. 124f.). The relief that Barlach gave to him was signed, whereas the two other copies and the original version were not. The current relief is a fine and expressive example, not only due to its well preserved condition but also the quality of the cast. The rough surface and angular frame present a marked contrast to the intensity and emotional depth of the depiction. With a gesture and expression of both poignancy and conviction, but also of humility, the Apostle seems to appeal to his listener with great eloquence. The figure appears to have held special importance for Barlach. In 1928 he created a charcoal drawing after the relief which according to Jansen was supposed to adorn the cover of his autobiography "Ein selbsterzähltes Leben" (A self-told life) (cf. Schult Zeichnungen no. 1940).

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LYONEL FEININGER, Stilleben,  1912

Lot 307: LYONEL FEININGER, Stilleben, 1912

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Description: Oil on canvas 55.5 x 78 cm, framed. Unsigned. - The reverse of stretcher titled and dated "Stilleben 1912" (Still Life) in pencil by an unknown hand, "J W.M 556" in blue chalk and with a partly torn off label with number "3812" printed in red. Hess 79 with illus. p. 255 ("Whereabouts inaccessible") With a photo-certificate from Achim Moeller, The Lyonel Feininger Project LLC, New York, dated 2 May 2013. The painting is recorded in the Lyonel Feininger Archive under the title "Still Life on Blue Table" with the number "1207-05-02-13". The work will be included in the first volume of the catalogue raisonné of paintings by Lyonel Feininger published by Achim Moeller. Provenance Estate of the artist; Acquavella Galleries, New York (acquired there in 1987); private collection, South Germany Exhibition New York/Washington 1985/1986 (Acquavella Galleries/The Philipps Collections), Lyonel Feininger, cat. no. 32 with colour illus. (label on cardboard backing) The beginnings of Lyonel Feininger's pictorial idiom lie in his humour. At the outset of his career as an artist Feininger spent many years drawing cartoons and caricatures for famous magazines and newspapers, such as "Ulk" and "Lustige Blätter". The "Chicago Sunday Tribune" was also able to secure his services as an illustrator, and he created the two comic strips "The Kin-der-Kids" and "Wee Willie Winkie's". Until the 1920s the pictorial cast he developed at this time would also remain a constant element and an important source in the artist's painterly oeuvre, which began in 1907; Feininger began teaching at the newly founded Bauhaus in Weimar in 1918. In 1911, while once more staying in Paris, new pictorial concepts that went beyond his own comical pictorial idiom opened themselves up to the artist after his renewed encounter with the work of Cézanne and the Cubists (see comparative illus.). From this time onwards Cubist and prismatic structures find their way into his painting. The year 1912 brought new results. "The radical nature of the coming changes also required a new orientation toward the content of the paintings. ... reality as one is accustomed to seeing it ... does not inhere in the representation of observed impressions, but in the appropriation and transformation of perceptions into spatial and plastic, multidimensional pictorial structures. Cloud formations, the movements of the waves, and figures on the beach acquire a corporeal quality, creating multiple views of volume and space and depicting movement. His prior application of color in planes now develops into plastic form, seeming to constitute the entire composition."(Ulrich Luckhardt, Lyonel Feininger, Munich/New York 1998, p. 30 f.). Our "Stillleben auf blauem Tisch" (Still Life on Blue Table) is from this transitional period and unites both aspects: Feininger's whimsical sense of humour and his rekindled interest in Cubism. The formal conception of the motif, with the simultaneous views from above and below and into the objects, would still be realised in a very similar form three years later in the "Stillleben mit Pinseln" (Still Life with Brushes), which was created in 1915 and is in the collection of Berlin's Nationalgalerie, or also the "Gelbes Stilleben mit Samovar" (Yellow Still Life with Samovar) from 1916 in Dusseldorf's Kunstmuseum (see comparative illus.). The vessels feature similarly flattened and straight bases with triangle-shaped views into their interiors. However, compared to the "brush" still life, our earlier composition involves a much stronger comic element in its description of the ceramic objects. With their peculiar forms and the interrelatedness of their arrangement, the objects have been assigned a character that could almost be described as that of independently acting agents: While the Moroccan majolica lamp watches over the colleagues placed at its side as though it were the conductor of an orchestra, the grey bulbous vase at the other end is coming dangerously close to the edge of the table, as though it were being pushed towards the abyss by the colourfully decorated Chinese porcelain bowl - which simultaneously offers its luminously yellow and orange fruits to the eye of the viewer. In light of this looming plunge into the depths, the disorderly pile of modern, yellow dishes seems to be clattering in warning while the little blue-and-white patterned, art nouveau vase in the foreground genteelly maintains its distance from the commotion. In addition to its narrative aspect the ensemble of ceramics offers a wealth of forms, colours and provenances, which reflect Feininger's curiosity and his interest in exotic objects. With its high-contrast colour scheme of luminous blue and orange-red tones, which also suggests his admiration for the works of Cézanne, the still life conveys a Mediterranean space flooded with sunlight; with the background maintained in various shades of brown, it nonetheless also conveys a down-to-earth, domestic warmth. Our painting represents one of the very rare and outstanding still lifes in the work of Feininger, which is otherwise dominated by urban and maritime motifs.

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HEINRICH CAMPENDONK, Das Schaufenster,  1919

Lot 308: HEINRICH CAMPENDONK, Das Schaufenster, 1919

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Description: Watercolour and gouache over preparatory pencil drawing on light card 33.5/33.8 x 39 cm, framed under glass. Monogrammed and dated 'C. 19' lower right. - The colours fresh, the paper however slightly browned. Edges with small defects, lateral edges with narrow card adhesions. Few faint traces of rubbing. Firmenich 812 A Provenance Collection Josef Haubrich, Cologne (acquired directly from the artist), since then in family possession Exhibition Düsseldorf June 1920 (Galerie Flechtheim), Heinrich Campendonk / Josef Eberz, no. 48 ("Schaufenster" - Shop Window), without illus.; Eindhoven 15 Dec. 1951 - 3 Feb. 1952 (Stedelijk van Abbe-Museum), Expressionisme: werken uit de verzameling Haubrich in het Wallraf Richartz Museum te Keulen, probably no. 25 ("compositie, 1919 aquarel"), without illus. (exhibition label on reverse on frame backing) Literature Georg Biermann, Heinrich Campendonk, in: Der Cicerone. Halbmonatsschrift für Künstler, Kunstfreunde und Sammler, vol. XII, 1920, no. 18, with illus. p. 670 In 1916, Heinrich Campendonk settled in Seeshaupt near Lake Starnberg with his family, where he lived a very secluded life. This move formed a turning point in his artistic career. It was a time of intense searching for something primordial, simple and inexplicable, which Campendonk characterised as "das Letzte" (the "Ultimate") (cited after: Gisela Geiger, in: Heinrich Campendonk. Oberbayern - Station Penzberg, exhib. cat. Penzberg 2002, p. 85). He studied the works of Bosch and Breughel, but also Gauguin, Rousseau and Chagall - all painters who created their own, closed pictorial worlds, founded on the elements which Campendonk sought. In this rural setting, the artist created idyllic scenes of life in the countryside, showing a paradisical coexistence of nudes and animals in nature, with folkloric or religious themes and always underlined by a dreamy, surreal and slightly otherworldly atmosphere. There are not the slightest notions of the horrors of a war in which many of Campendonk's artist friends fell. The poverty of the people in this region, although depicted in several recurring motifs, is shown entirely devoid of drama. However, a few motifs inspired by the modern world did enter the artist's work at this point, as in our watercolour "Schaufenster" (Shop Window). Campendonk's works at this time were marked by a pronouncedly static quality. The back- and foregrounds blend into one plane, creatures and objects loose both their corporeality and their proportions, any actions or movements are halted. "This halting is not a sign of harmony, as it is in the works of Gauguin, rather, these pieces have a surreal atmosphere in which that which has been omitted seems at the same time to be present, similar to Rousseau. Together with the subtle but highly expressive palette, the complex play of light and the increasingly emancipated background, the paintings become ever more magical moments, unusually suggestive posed scenes. [...] The artistic cosmos becomes a still life. It is here that Campendonk finally finds the 'Ultimate'." (Geiger, ibid., p. 87).

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FRANZ MARC, Löwe,  1910

Lot 309: FRANZ MARC, Löwe, 1910

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Description: Watercolour and gouache over preparatory pencil drawing on smooth sketchbook paper with rounded edges 16.8 x 20.9 cm. - The colours still very fresh, slightly yellowed in the former mat opening. The paper slightly thinned in two areas on the reverse from a former mounting. Hoberg/Jansen, Skizzenbücher XIX, p. 4 Provenance Maria Marc, Ried; Galerie Otto Stangl, Munich; Marc Estate no. 79; private collection, Bavaria; private collection This beautiful watercolour is from sketchbook XIX, of 1910, which contained approximately 20 pages. Except for a few sheets, the sketchbook has been broken up. Today the sketches of animals and nudes which it contained are to be found at various locations. The actual sketchbook was sold to the Germanisches Nationalmuseum in Nuremberg by the Munich gallerist and estate administrator Otto Stangl. Our watercolour is one of the few works in colour produced by the artist at that time. Franz Marc spent entire days at the zoo in order to memorise the organic structure as well as the characteristic features of the animals. He strove to work out the archetypical and to find the adequate colour for its expressive form. Thus the artist most probably did not paint the background pink for the sake of a decorative effect, but in order to intensify the essential nature of the lion that stands out against it. The brilliance of the colours elevates the lion to a royal symbol.

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EMIL NOLDE, Südseemotiv mit Frauen und Kindern am Strand,  1913/1914

Lot 310: EMIL NOLDE, Südseemotiv mit Frauen und Kindern am Strand, 1913/1914

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Description: Watercolour and India ink on thin Japan paper 34/34.5 x 48 cm, framed under glass. Signed 'Nolde.' lower right. - Colours fresh. Lower part of sheet with slight creases. Some parts with slight foxing and somewhat browned. With a photo-expertise by Martin Urban, Stiftung Ada und Emil Nolde, Seebüll, dated 28 November 1989. The work is registered with the Nolde-Stiftung Seebüll. Provenance Private collection, North Germany Exhibition Berlin 2002 (Brücke-Museum), Emil Nolde in der Südsee, cat. no. 29 with colour illus. (colour reproduction differing) Together with his wife, Emil Nolde set out on his famous voyage to the South Seas in October 1913 as part of a small "medical-demographical" research expedition: this journey would become a rich source of inspiration for the painter. As a member of the expedition, he was officially entrusted with the "investigation of the racial characteristics of the population"; however, his actual goal was to capture images of people and natural scenery untouched by modern civilisation. In this context he did not see this alien South-Sea world in a romantically idealised manner, but was very much conscious of its endangerment and progressive destruction through its colonisation, a situation he vehemently criticised. Because of the climatic conditions and being constantly on the move during this journey, Nolde worked primarily with coloured pencils, coloured chalk, ink and watercolours. These techniques made it possible for him to quickly and spontaneously capture a moment. While he primarily recorded impressions of landscapes in the coloured pencil and chalk drawings, the watercolours were mostly reserved for people; he created numerous portraits as well as depictions of groups of people set in their villages, at the beach or in the water. "Nolde has left behind a sincere, humane and dignified image. It does not share the outer form of the artworks of primitive cultures, but certainly their compositional principle - the reduction of form to the essential, in the service of a soulful, spiritual expression. ... In accordance with Expressionism, Nolde also pursued the Romantic idea of the original unity of humanity and nature. However, for him this was overshadowed by the certainty of its loss." (Barbara Lülf, in: Emil Nolde: Expedition in die Südsee (Brücke-Archiv 20/2002), Munich 2002, p. 140).

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HERMANN STENNER, Rhythmische Landschaft (Eifel). Verso Sketch for Self Portrait,  1912

Lot 311: HERMANN STENNER, Rhythmische Landschaft (Eifel). Verso Sketch for Self Portrait, 1912

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Description: Oil on rough burlap, painted on both sides 49.7 x 66 cm (verso 70 x 54 cm), framed. - In good condition. With applied canvas to the margins and some inconspicuous retouches. Few very minor losses of colour. Hülsewig-Johnen/Reipschläger 85 and 97; Gmelin G85 and G96 We would like to thank Hermann-Josef Bunte, Bielefeld, for his kind support. Provenance The artist's estate; Erich Stenner, Bielefeld; private possession, Bielefeld; private possession, Rhineland Exhibition Bielefeld/Stuttgart 1956 (Städtisches Kunsthaus Bielefeld/Württembergischer Kunstverein), Hermann Stenner 1891-1914, cat. no. 56, no. 111 Literature Gustav Vriesen, Der Maler Hermann Stenner, in: periodical "Westfalen", vol. 35, 1957, issue 3, p. 157, 158, illus. 84; Paul Pieper, Das Westfälische in Malerei und Plastik, Aschendorf/Münster 1964, p. 91, illus. 66; Hans Georg Gmelin, Hermann Stenner 1891-1914, ed. by Alfred Hagenlocher, Schriftenreihe der Hans-Thoma-Gesellschaft, Reutlingen-München 1975, p. 31, illus. 93 & p. 37, illus. 96; Jutta Hülsewig-Johnen, Christiane Reipschläger, Hermann Stenner, Werkverzeichnis der Gemälde, Bielefeld 2003, p. 108 and p. 125 colour illus.; Karin von Maur (ed.), Hermann Stenner. Von Bielefeld nach Meersburg - Ein Maler an der Schwelle zur Moderne, exhib. cat. Schloss Achberg 2007, p. 59; Karin v. Maur/ Markus Pöhlmann, Der Maler Hermann Stenner im Spiegel seiner Korrespondenz, Briefe 1909-1914, Munich 2006, with colour illus. on the cover In the spring of 1910 Stenner was accepted to the Stuttgart academy of art in order to dedicate himself to the study of painting there. As early as 1912 Adolf Hölzel, whose composition class Stenner had been attending since the previous year, provided him with a house on the grounds of the palace park to serve him as a master's studio - a great honour for the artist, who was barely 21 at the time. This landscape, captivating on account of its curvilinear application of line, was presumably created during a longer excursion of Hölzel's class to the Eifel region or to the town of Monschau. The emphatically two-dimensional linear structure, mellowed by means of naturalistic elements, suggests that the artist was more concerned with creating a well-balanced, harmonious composition than an effect of three-dimensional depth. Compared to the self-portrait on the reverse side, the tonality of this landscape is fairly reserved, although the red-violet paths cause the golden glistening fields of grain between them to shine evocatively. While the expressive self-portrait displays study-like aspects, it nonetheless possesses great evocative power - precisely on account of the rapid strokes, the coarse texture of the canvas and the reduction to the intensive basic colours of blue, yellow, green and red. Above all, the yellow flesh tones form a luminous contrast to the colours surrounding them. This extremely decisive and emphatic manner of painting, full of spontaneity, surely corresponded closely to the temperament of the young, emerging painter, who depicts himself here in a self-confident pose, suggestive of a mondaine character.

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EBERHARD VIEGENER, Frühling in Soest,  1919

Lot 312: EBERHARD VIEGENER, Frühling in Soest, 1919

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Description: Oil on thin canvas, laid down on a 5 mm thick wooden panel 107.2 x 72.9 cm, in the artist's original frame. Monogrammed and dated 'E.V. 1919' in red lower right (the date slightly difficult to decipher). - A wooden panel lined with thicker canvas to the reverse and signed, dated, titled and inscribed with information on the owner 'Frühling in Soest/ E. Viegener 1919' (Spring in Soest) in pencil by the artist. - The painting was apparently later removed from the stretcher and transferred to the wooden panel, with visible nail holes in the unpainted edges of the canvas (size of the image approx. 105.5 x 70.5 cm). - In good condition apart from several inconspicuous, minor losses of colour to the lower right. The painting was professionally restored and cleaned in the Westfälisches Landesmuseum in 1994 for the exhibition in Paderborn. Provenance A personal gift from the artist to the former owner, since then in private possession Exhibition Münster/ Soest 1990 (Westfälisches Landesmuseum für Kunst und Kulturgeschichte/ Wilhelm-Morgner Haus), Eberhard Viegener 1890-1967, cat. no. 15 with a full-page colour illus.; Paderborn 1994 (Städtische Galerie in der Reithalle, Paderborn-Schloß Neuhaus), Durchfreuen der Natur: Blumen, Gärten, Landschaften: August Macke und die Expressionisten in Westfalen, cat. no. 80 with a full-page colour illus. p. 177 Literature Will Frieg, Eberhard Viegener, in: Der Cicerone, Halbmonatsschrift für Künstler, Kunstfreunde und Sammler, Ausg. B, XIII. Jahrg., issue 19, October 1921, p. 545; Bernhard Kerber, Der Maler Eberhard Viegener, Soest 1982, no. 6 with colour pl.; Andrea Wandschneider, Die zerrissene Schönheit, Welt im Widerstreit - Gärten und Landschaften von Eberhard Viegener, in: Exhib. cat. Paderborn 1994, Durchfreuen der Natur: Blumen, Gärten, Landschaften: August Macke und die Expressionisten in Westfalen (ed. by Westfälischen Landesmuseum für Kunst u. Kulturgeschichte Münster, i.a. Klaus Bußmann und Ursula Heiderich), p. 95 ff., p. 97/98 Even in the early 1920s, works of this painter from around 1919 were already being described as new, different and visionary. The poet and author Hans Franck, friend and biographer of the artist, enthusiastically characterised his early Expressionist work as "of this side-two tone" in "red and green". "He found his own style at a very early stage: His flickering palette, the consonance constantely recurring in single elements and fundamental structure through which his paintings, when they did appear occasionally in exhibitions, could be recognised in fact as "Viegeneresque" even from afar." ( Hans Franck, Eberhard Viegener, Essen 1925, p. 12, p. 21/22). The painter hat met Hans Franck probably through the circle of Alfred Flechtheim. Flechtheim had edited Eberhard Viegener's series of Expressionist woodcuts "Mond über Soest" (The Moon Over Soest) 1918/1919 in few copies as the "first opus" of the Flechtheim editions in Düsseldorf (cf. Kerber, op. cit., p. 14). Viegener dispensed of the "pointillist", late impressionist manner of 1914-1916 in his painting in order to create expressionist images, influenced by his own direct emotional impulses. The material quality and expressive power of the colours are the main components of these works, and the entire world of objects within the image is encompassed by a new immanent dynamic. These intense compositions, among which were several garden and landscape motifs such as "Blühender Garten mit Pauliturm" (Blooming garden with Paulitower), "Landschaft" (Landscape) and the pendant motif to the current work "Herbst in Soest" (Autumn in Soest, now kept in the Märkisches Museum, Witten, see comparative illus.) all originated directly after the war. The process of abstraction from natural forms is quite developed in this picture, and these transformations of the ordinary seem not least to be influenced by mystical and religious sentiments. In "Frühling in Soest" (Spring in Soest) the figure of an angel appears, visible in the oval-shaped house form to the left side of the composition. She stands in a pale aureole as if in blessing high above the implied fields of the artist's home depicted in the lower third of the composition and amid the broad vegetal web of tree branches in the upper half of the work. In "Frühling in Soest", the natural world explodes in a fully new experience of colour.

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EMIL NOLDE, Orchideenzweig (Rote Rispen),  1925/1930

Lot 313: EMIL NOLDE, Orchideenzweig (Rote Rispen), 1925/1930

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Description: Watercolour on thick Japan paper 15.5 x 19.5 cm, framed under glass. Signed 'Nolde.' lower right. - On verso firmly mounted to the backing card at the upper corners, and titled "Orchideenzweig" (Panicle of Orchids) by Ada Nolde. - The edges cut slightly unevenly. With a photo-expertise by Manfred Reuther, Stiftung Ada und Emil Nolde, Seebüll, from 26 August 2013 Provenance Private possession, North Rhine-Westphalia; Lempertz Cologne, auction 679, 3 June 1992, lot 345; private collection, North Rhine-Westphalia This unusually small watercolour once again demonstrates Emil Nolde's mastery of the treatment of colour and form. The composition is focussed on a close-up of a blossoming panicle of orchids and unfolds in a glowing triad of red-orange, green and a deep grey-blue. The delicate, knobbly line of the twig is filled with blossoms and stretches across the entire picture plane in a gentle arch. At the right edge of the image it crosses a second arch in the form of the upwardly striving stem of a plant. The orchids are in full blossom and have been laid out partly in opaque colours; the green stem and the background in various shades of blue recede behind them in the form of a transparent veil of colour. The artist has kept the flowing application of watery paint in a slight distance to the blossoming twig; in this way, the paint soaked up by the paper surrounds it with a kind of a light aura. Thus the pulsating, bright red of the blossoms is made to shine all the more strongly. Nolde's passion for colour, for its sensual and spiritual emotional qualities, is well known. "The sensation deriving from tones, whether joy, exultation, sadness, tragedy, dream or other emotional impulse can be given through colours; yes, through the value and timbre of its colours, every picture can awaken movement in the soul of every person who is sensitive to colour." (Emil Nolde, cited in: Martin Urban, Emil Nolde - Blumen und Tiere: Aquarelle und Zeichnungen, Cologne 1980, p. 36). In our small work the vehemence and expressive power that the intensive, very deliberate application of colour tones can develop in even a limited space becomes evident.

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EMIL NOLDE, See mit Boot vor einer Berglandschaft, c. 1925/1930

Lot 314: EMIL NOLDE, See mit Boot vor einer Berglandschaft, c. 1925/1930

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Description: Watercolour and India ink on ribbed laid paper 34.7/35 x 48 cm, framed under glass. Signed 'Nolde' in India ink lower left. - The reverse with traces of former mounting along the margins, slightly showing through to recto. With a photo-certificate from Manfred Reuther, Seebüll, dated 23 October 2012; the work is registered with the Nolde Foundation Seebüll. Provenance Galerie Valentien, Stuttgart (acquired there in 1953); private collection, Peru, since then in family ownership This watercolour, which as usual, Nolde did not date, shows a lake scenery with mountains. Nolde repeatedly visited Switzerland between the years 1927 and 1941 - for recreation or, in the case of a 1948 trip, for his honeymoon - and thus it is likely that he did the painting sometime during this period. Although Nolde's numerous depictions of mountains are less well known than his marsh landscapes, he was an enthusiastic admirer of the imposing world of the Swiss Alps. Time and again, he captured the alpine landscapes in watercolours. Here, dark clouds hang low over the silhouettes of mountains outlined in black. The golden light of the setting sun shines through dramatically, but only in a few places. This waning late afternoon light is enough to conjure up a mysterious atmosphere. The lake and the surrounding countryside are bathed in cool light. The artist only added a few touches of warm tone indicating settlements on the opposite shore of the lake. Otherwise, there is no clear information providing a more exact determination of the location. This was the very effect which Nolde was seeking. His purpose was never merely to illustrate - he aimed to stimulate our imagination, to inspire the creation of inner visions.

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EMIL NOLDE, Hängende rote Blütendolden, c. 1925

Lot 315: EMIL NOLDE, Hängende rote Blütendolden, c. 1925

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Description: Watercolour on thin Japan paper 34.3/35 x 46.8/47.5 cm, framed under glass. Signed 'Nolde.' lower right. - In good condition, colours still fresh. The pastose green areas upper left partly with small superficial rubbings. With a photo-expertise by Manfred Reuther, Stiftung Ada und Emil Nolde, Seebüll, dated 6 June 2007. The work is registered with the Nolde-Stiftung Seebüll. Provenance Private collection, North Germany Aside from the array of glowing colours characteristic of many of Emil Nolde's watercolours of flowers, the present sheet captivates with a reduced palette - concentrated around green, grey and red tones. With a clarity almost suggestive of calligraphy, the red-violet clusters of flowers stand out in front of a background maintained in light grey; they are framed above and below by luxurious, dark-green foliage. The reserved tones of the leaves and background make the luminous red of the blossoms shine particularly brightly. It is not only the hues of the colours that enter into a fascinating relationship of mutual contrast. The sagging forms of the leaves also stand in vivid contrast to the tender and delicate, composite silhouettes of the clusters of flowers. "The form is not to be separated from the colour and is indissolubly linked to its effect; it is simultaneously there, almost always large and dominant, seen up close, as though seeking to break through the frame, often with a forceful and emphatic gesture, a sort of hieroglyph that the painter draws out of the object, new and different every time - even if the object remains the same. [...] The subject matter is never unimportant; some of the watercolours of flowers are like portraits, they possess individuality" (Martin Urban, Emil Nolde - Blumen und Tiere: Aquarelle und Zeichnungen, Cologne 1980, p. 36). However, as Martin Urban points out in the remainder of this passage, it was never a scientific interest in botany or a desire for exact studies that motivated Nolde. Nor did the names of the plants interest him. Their appearance in nature, the diversity of their colour and form, became his preferred theme, because it permitted him to engage in an unrestricted artistic articulation that bordered on abstraction without ever losing its connection to nature.

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HERMANN MAX PECHSTEIN, Der Mühlengraben,  1921

Lot 316: HERMANN MAX PECHSTEIN, Der Mühlengraben, 1921

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Description: Oil on canvas 80.6 x 101.2 cm, framed. Signed 'HMPechstein' in black lower left (the HMP ligatured), and additionally signed, dated and inscribed with the works number 'XIV/ Der Mühlengraben/ HMPechstein' in black crayon to the reverse. - The stretcher with an old browned paper label, thereon a handwritten owner annotation in ink "Eigentümer:/ Ob.-Pfarrer Josef Geller/ Köln", as well as a printed Dutch exhibition label of the Stedelijk Museum, Amsterdam, lower left, thereon inscribed "Max Pechstein/ Kanaal" in India ink as well as the owner's name, overall dimensions and the no. "133 cat.". - In very fine condition. Some small losses of colour along the edges of canvas due to age. Soika 1921/24 with colour illus. Provenance Formerly Joseph Geller collection, Cologne; since then in family possession Exhibition Bern 1948 (Kunsthalle Bern), Brücke. Paula Modersohn und die Maler der "Brücke", no. 152 ("Der Mühlengraben, 1918"), with illus.; Amsterdam 1949 (Stedelijk Museum), Expressionisme, Van Gogh tot Picasso, no. 133 ("kanaal, 1920"), not illus. and with slightly differing dimensions ("109 x 88"); Saarbrücken 2005/2006 (Saarlandmuseum Saarbrücken), Die Brücke in der Südsee - Exotik der Farbe, cat. no. 103, with colour illus. p. 193 ("Der Mühlengraben, um 1920") Literature Lothar-Günther Buchheim, Die Künstlergemeinschaft Brücke, Gemälde, Zeichnungen, Graphik, Plastik, Dokumente, Dresden 1957, no. 343, with illus. p. 310 ("Kanallandschaft, 1918"); Paul Fechter, Lebensdokumente einer Epoche. Der Maler und Zeichner Max Pechstein, in: Sonntagsblatt, Hamburg, no. 29, 17. Juli 1960, p. 7 illus. ("Kanallandschaft 1918") (First print of the essay from the estate of Paul Fechter); Aya Soika, Max Pechstein, Das Werkverzeichnis der Ölgemälde, Bildmotive: Orte -Pommern, Leba (1921-1945), vol. I, p. 72 -78, with illus. 3.4, p. 73 The works diary made by Max Pechstein in the 1920s lists this painting in 1921 under the entry "XIV. Der Mühlengraben" (XIV. The Mill Stream), meaning that any former older titles or supposed dates (1918) made without knowledge of the artist's list stand corrected. The Roman numeral on the reverse of the canvas is a works number which Pechstein allocated to his pieces, but not always chronologically in the year they were made (cf. Aya Soika, Max Pechstein, Das Werkverzeichnis der Ölgemälde, vol. 1, p. 135). In 1921 Pechsten's summer destination of choice became Leba, located on the Baltic coast in Pomerania, and replaced the more easterly Nidden on the Kurische Nehrung, which the artist had visited repeatedly since 1909. However, the artist first returned to Nidden after the interruption of the war. The works from the summer of 1919 were created as if in a reclaimed ecstasy of creative passion, and marked a new phase in Pechstein's artistic life: "Everything inside me is drowned in colours, my mind is filled with images and I am driven from place to place by new ideas for paintings" - he wrote in a letter to Paul Fechter (cited in: A. Soika, op. cit., vol. I, p. 38). The landscapes painted slightly later this summer in Leba, with their expansive, intensely colourful compositions are among the most impressive works created by Pechstein at this time. They are the mature compositions of a then 40 year old artist who was able to reclaim his former force of expression through a new beginning. The present work "Mühlengraben", which was formerly kept in the collection of Joseph Geller, Oberpfarrer of St. Kolumba in Cologne, is one of Pechstein's classic landscapes from this period. The symmetrical, axial composition rises up towards the steeply pointed silhouette of the so-called "Kleine Mühlengrabenbrücke" (Little Mill Stream Bridge) in Leba. The viewer's gaze is led over the calm, mirror-like surface of the water, upon which the trees lining the stream cast dark shadows. Flat meadows with red farmer's cottages bathed in summer light spread out to the right and left of the stream. The heightened, typically Expressionist palette of strong colours, here restricted to a carefully arranged composition of blue, green, yellow and red tones, becomes immediately noticeable. Individual forms are angular, chiselled and surrounded by dark contours in the manner of a woodcut. The forms of the landscape and vegetation are highly abstracted. The perspective centre of the image is condensed almost imperceptibly to a slanted rhombus, which captures and concentrates the viewer's gaze. This creates an exciting interplay of optical weight and formal closeness. A few details are repeated in a varied, rhythmic composition to either side of the centre: The rounded, curved forms of two dark blue rowing boats on the edge of the stream, the strongly contrasted dark and light stripes of colour, the accents of the smooth red architectural forms of the buildings to the right and left of the painting. The planes of the fore and mid ground are directed into the centre through prominent diagonals, which pick up on the orange and red tones and lead towards the bridge on the far horizon. One can almost feel the presence of the wide open sea in this space. For Pechstein, Pomerania was to become like a second homeland, filled with happiness. "Following a contented, and artistically highly productive summer in Leba, the artist stated enthusiastically '... the new landscapes, the new people, I gorged myself upon them... I have the farmland, a far broader subject than in Nidden...' (cited in: A. Soika, Max Pechstein, op. cit., vol. 1, p. 73). "In early December 1921, the Berlin Kronprinzenpalais held an exhibition of 26 paintings by Pechstein, most of which were made in summer in Leba [...] Max Osborn praised the presentation in the Vossische newspaper: 'The artist has spread out the fruit of the closing year before us, and there will be no one, there can be no one, who will not feel joyfully revitalised by the sensual power and richness, the strength and beauty of colour and the rhythm of the forms and values, founded in an opulent clarity, of these down-to-earth paintings.'" (from the German, Soika, ibid., p. 73) A few years later, in 1932-1943, Pechstein's colleague Karl Schmidt-Rottluff, who was also a member of the "Brücke" group, was to discover the Baltic coast near Leba himself as an ideal artistic retreat.

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OSKAR SCHLEMMER, Drei Köpfe,  1925

Lot 317: OSKAR SCHLEMMER, Drei Köpfe, 1925

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Description: Pencil and watercolour on thin drawing paper (from a pad, upper margin with perforation) 9.7/10.1 x 19.9 cm, on verso mounted to a support sheet on the left margin (13.8/14 x 19.9 cm), framed under glass. On verso upper left stamped "INGEBORG SPENGELIN/ FRIEDRICH SPENGELIN" in blue. - The support sheet dated "1924/25" in pencil lower right, lower right margin with fragment of the red estate stamp. - Upper and lower margins with minor creases, left margin with slight glue stain showing through to recto. v. Maur A 182 We would like to thank Karin v. Maur, Stuttgart, for her additional information. Provenance Ingeborg and Friedrich Spengelin, Hamburg (with name stamp on reverse; acquired 1960); private collection, Rhineland Exhibition Stuttgart 1953 (Württembergischer Kunstverein), Oskar Schlemmer. Gedächtnisausstellung zum 10jährigen Todestag, cat. no. 193; Hanover/ Mannheim/ Saarbrücken/ Ulm/ Wiesbaden/ Karlsruhe/ Dortmund/ Kiel/ Pforzheim/ Lübeck/ Bremen 1960/61 (Kestner-Gesellschaft/ Städtische Kunsthalle/ Saarland-Museum/ Ulmer Museum/ Nassauischer Kunstverein/ Badischer Kunstverein/ Museum am Ostwall/ Kunsthalle Kiel und Schleswig-Holsteinischer Kunstverein/ Kunst- und Gewerbeverein Industriehaus/ Overbeck-Gesellschaft/ Kunstverein), Oskar Schlemmer. Handzeichnungen, Aquarelle, cat. no. 14 (there dated "Um 1923" [c. 1923]); with the exhibition label of the Kestner-Gesellschaft Hannover on the reverse of the mat) Karin v. Maur compares the present work with the watercolour "Halbfigur in Rechteckfeldern" dated 1925 (cf. v. Maur A 183, see comparative illus.). In addition to the general "sketchist execution, that he [Schlemmer] does not allow himself so extensively in the early twenties", she sees a "similarity to the chessboard-like structure of the background" (in a note of 6 October 2013). The colourless, black-and-white background structure appears here as a formal counterpoint to the rounded heads shaped in colour. With its regular repetition the strict graphic pattern fills the negative spaces in the narrow horizontal composition. The suggestion of a spatial effect in the relationships between and among the busts nonetheless results from their modulation in terms of colour and their positioning, so that an imperceptible shift, which is perceived in terms of space, results between the female figure seen from behind in the middle of the foreground, the stylised male profile at the left and the diagonally tilted figure of the blond female at the right, placed further into the background. This play between "binding to surface" and "reaching out into space", between "two-dimensionality and three-dimensionality" (Karin v. Maur, Oskar Schlemmer, Monographie, Munich 1979, cf. p. 152) is of central significance for Oskar Schlemmer's pictorial concept. "In this context the most important link in this interweaving of surface and space, of pictorial world and real world, becomes the figure seen from behind, which Schlemmer - after C. D. Friedrich and Seurat - once again grants a central role. However, his preference for figures turned inwards towards the picture also derived from his striving for universality and the absolute, which made him avoid everything personal; it also corresponded to his nature, which was - in spite of his good-naturedness - predominantly distanced and introverted" (cf. v. Maur, ibid., p. 153).

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PAUL KLEE, Mesalliance. 1933,16.,  1933

Lot 318: PAUL KLEE, Mesalliance. 1933,16., 1933

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Description: Black brush drawing (watercolour) on strong wrapping paper, painted in a greenish tone and primed with casein 42 x 57.8 cm, mounted on firm light card support 50.1 x 64.7 cm, framed under glass. Signed 'Klee' in pencil lower right as well as dated, titled and inscribed with the works number '1933 K 16 Mesalliance' in black ink at lower center of support. - Tiny losses of priming colour at upper right corner retouched. The support card with age-related browning and narrow light-stain; narrow remains of adhesive tape along upper edge. Catalogue raisonné Bern, vol. 6, 6061 (there still "Whereabouts: unknown") Provenance Lily Klee, Bern (1940-1946); Klee Gesellschaft, Bern (1946-1948); Curt Valentin (Buchholz Gallery; Valentin Gallery), Berlin/New York (from 1948); Saidenberg Gallery, Inc., New York; private possession, Rhineland Exhibition New York 20 April -15 May 1948 (Buchholz Gallery, Curt Valentin), Paul Klee, no. 6; New York 26 October -13 November 1948 (Buchholz Gallery Curt Valentin), Fifty Drawings by Paul Klee, no. 47 Literature Max Huggler, Paul Klee. Die Malerei als Blick in den Kosmos, Frauenfeld/Stuttgart 1969, p. 139 This composition on paper covered with an opaque wash applied with a brush is defined by a line drawn freely across the page, which concisely and economically outlines two suggestively figurative forms. The figure on the left characterised as female and the one on the right as male - they become indissolubly interlocked. Nonetheless, placed asymmetrically on the picture plane, they are obviously striving apart and antagonistically turn their "backs" to one another. A captivating story that Klee has ironically assigned the French concept of "Mésalliance" as its title: an ill-matched pair unfortunately misconnected. Max Huggler describes how Klee, in a group of works from these years, repeatedly articulates the duality and the relationship of two abstract forms and, in doing so, simultaneously interprets human behaviour: "The problem of the two figures begins with an easel painting of 1929, in which fields of colour interpenetrate one another. Apparently it was only after concluding work on this task that four little legs were added to the fields and the image named Disput [cat. rais. 4988]. This humorous fancy has its origin in the tension that a doubling of the formal idea implies or can imply. While the artist sensed a contradiction in the fields working against one another here, compromise prevailed in the following year, so that he named this form Zwillinge [painting, 1930, cat. rais. 5244]. The solution of this problem was so important to him that he dealt with it in three versions - of which one is named Geschwister [cat. rais. 5326, see comparative illus.] - and the double or single repetition will continue to reappear until the end of his oeuvre. With Zwillinge and Geschwister the relationship to human behaviour also emerges; in the drawing Jugendliche [cat. rais. 5222] it becomes an active grasping of one another and in Verbindung [cat. rais. 5138], a swaying intertwining. The same form one and one-half times results in ein Fetzen Gemeinschaft [actually painted on a scrap of cloth], scenes of pairs also appear, such as öffentliches Duell, Mésalliance or the easel painting Magkommen! ... - satire in the spirit of and in keeping with the tenor of the 1902 etching zwei Männer, einander in höherer Stellung vermutend, begegnen sich ..." (Huggler, op. cit., pp. 139/140).

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LYONEL FEININGER, Zwo Frachter,  1936

Lot 319: LYONEL FEININGER, Zwo Frachter, 1936

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Description: Watercolour and pen and ink on chamois-coloured laid paper 25.7 x 46.5 cm, framed under glass. Signed, titled and dated 'Feininger Zwo Frachter 19.9.36' in pen and ink lower margin. - Very slightly browned with weak light-stains. Thumbtack holes along the margins. With a photo-certificate from Achim Moeller, New York, dated 7 October 2013. Achim Moeller, Managing Principal of the Lyonel Feininger Project LLC, has confirmed the authenticity of this work. It is registered in the Archive of the Lyonel Feininger Project LLC, New York - Berlin under the no. 1230-10-07-13. Provenance Galerie Ohse, Bremen (label on frame); family possession Walter Dexel; private possession Exhibition Tokyo 1966 (Minami Gallery), Feininger 1871-1956, cat. no. 2; Paris 1974 (Berggruen & Cie), Feininger: Huiles, aquarelles & dessins, cat. no. 59 with illus.; London 1975 (Achim Moeller Ltd.), Lyonel Feininger. Visions of City and Sea: Watercolours, Drawings, Paintings. A Tribute to the Late Hans Hess, cat. no. 32 with colour illus.; Hamburg 1978 (Levy Galerie), Lyonel Feininger, Bilder, Aquarelle, Zeichnungen, cat. no. 29 with colour illus.; Wolgast/Flensburg 1999 (Museum der Stadt Wolgast/Schifffahrtsmuseum), Im Hafen von Peppermint: Die Schiffe Lyonel Feiningers, cat. no. 27, p. 50 with colour illus. The last paintings made by Lyonel Feininger in Germany before he finally emigrated to the USA in 1937 depict the increasingly tense situation in which the artist found himself at the time. The forms became more compact, the colours denser and the more serious, dark tone of the images differed greatly from his previous artistic phases. However, "Zwo Frachter" provides a thoroughly different impression: Feininger presents the freight ships after which the image is named with humour and ease, in a manner reminiscent of children's drawings. The boats seem to be at anchor on the still water surface, accompanied by tremendous clouds of smoke, receiving their cargo, a busy crew member can be seen on the left ship. The large, towering brown forms in front of the boats however leave room for interpretation. The mood of the drawing, in which Feininger has once again taken up one of his favourite motifs - the sea and ships - is imaginative and joyful.

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MAURICE DE VLAMINCK, L'Allée,

Lot 320: MAURICE DE VLAMINCK, L'Allée,

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Description: Oil on canvas 60.5 x 73 cm, framed. Signed 'Vlaminck' lower right. - Minor circular craqueleur in the lower left part of the painting with tiny retouches. With a photo-certificate from Gilbert Pétrides, Paris, dated 29 June 1984 (no. 17.660). The work will be included in the catalogue raisonné under preparation by Maïthé Vallès-Bled and Godeliève de Vlaminck, Wildenstein Institute, Paris. Provenance Galerie Thannhauser München, Luzern, Berlin (label on the stretcher); Hauswedell & Nolte, Hamburg, Auction 8 July 1984, acquired there by the previous ownwer; private collection, South Germany "I love the countryside, not occasionally, but always, because I live here. ... I paint where I live and that is enough for me. I chose the place where I built my house for deep and human reasons and not for 'artistic' ones. I do not need any new impressions to stimulate me to work", writes the passionate landscape painter Vlaminck of the motif dearest to him. And he goes on: "Coming from the suburban landscape of Chatou and Bougival the atmosphere of the landscape, where the earth is absolute ruler, initially disoriented me with its monstrous vastness. Here everything is big ... one ... simple, rich in essential colour and drawing. The horizon is endless; the villages, houses, walls, everything is of an earthy colour, everything built of earth. Earth and sky ... an immeasurable sky that sinks down to the horizon like a gigantic roof. Vastness upon vastness. Clouds speed across the low sky in which swarms of crows and starlings fly. Straw ricks in the fields, straw on the farmyard floor, rotting straw of a muted colour. Low roofs, walls made of clay or fieldstone. Green meadows, black poplars, beech trees, rickety nut trees, hornbeams with reddish leaves that change colours according to the season and time of day. To be able to paint that! And to convey the simultaneously cheerful and tragic, fleeting and eternal atmosphere that vibrates forever in this reality!" (Maurice de Vlaminck, Rückblick in letzter Stunde: Menschen und Zeiten, St Gallen/Switzerland 1965, pp. 102f., after the original French edition "Portraits avant décès", Paris 1943). The "Allée" clearly reveals the artist's fascination with this austere landscape. The street stretching out beneath a vast sky, lined with the slender silhouettes of the poplars, positively pulls the viewer into the space of the picture and towards the low-set horizon.

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HANS PURRMANN, Langenargen mit Schloss Montfort,  1932

Lot 321: HANS PURRMANN, Langenargen mit Schloss Montfort, 1932

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Description: Oil on canvas 73.2 x 92.1 cm, framed. Signed 'H. Purrmann' lower right. - Fine original condition. With minimal rubbing to the upper edge and few minimal unobtrusive losses of colour. Lenz/Billeter 1932/02 (here with black and white illus. and the erroneous dimensions 58 x 73 cm) With a confirmation of authenticity from Felix Billeter, Hans Purrmann Archive, Munich, dated 10 October 2013. The painting is listed in the files of the Hans Purrmann Archive under the archive-no. 1158. Provenance Formerly private collection, France; private possession, France This painting depicts the topographical setting at Langenargen, which lies on Lake Constance and is also where Purrmann had owned a house since the First World War. On account of his painting in a manner learned from Henri Matisse, Purrmann creates something here that could be said to be a seemingly southern autumn landscape, with high-contrast, luminous colours. Purrmann frequently painted the town of Langenargen on the north side of the lake. A very similar view with a depiction of the Moorish-style Montfort Castle is featured in the composition "Landschaft bei Langenargen" (Landscape near Langenargen; cf. Lenz/Billeter 1932/01, dimensions 60 x 73 cm), which was also painted in 1932. However, our much larger painting displays a more thorough articulation in its details and a more nuanced colourfulness - particularly in the foreground and middle ground - in comparison to the smaller version. It can thus be recognised as the more mature of the two paintings. An open, bright expanse is created here through the blue of the sky and the lake; nonetheless, all of the passages are pulled together compositionally through the forms bordering them, the peninsula across the lake and the distant mountains. In Purrmann's work we often find thinned-down paints, which give expression to the principle of the transparency of light and space. The branches of the tree motif utilised as a repoussoir are arranged in an arabesque-like and captivating manner. The painting's delicate palette is convincing: the charming contrast of the blue, green and turquoise tones and the warm, luminous umber and ochre.

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MAX SLEVOGT, Sonnenbad, c. 1921

Lot 322: MAX SLEVOGT, Sonnenbad, c. 1921

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Description: Oil on canvas 95.3 x 75.5 cm, framed. Signed 'Slevogt' lower right. - In good condition, colours still fresh. The area of the sky with a small retouch as well as slight craqueleur with very few tiny losses of colour. Imiela annotation 4, p. 420, there dated "1916" With a photo certificate by Hans-Jürgen Imiela, Mainz, dated 27 June 2001 Provenance Collection Dr. Karl Zitzmann, Erlangen; auction sale Paul Cassirer and Hugo Helbing, Die Sammlung eines süddeutschen Kunstfreundes, Berlin, 3/4 March 1925, cat. no. 137, plate 58; private possession Switzerland; Lempertz cologne, auction 520, 1st December 1971, lot 1054; private possession; Lempertz Cologne, auction 549, 5 December 1975, lot 690, plate 22; private collection Rhineland-Palatinate Exhibition Munich 1922 (Moderne Galerie Thannhauser), Max Slevogt, cat. no. 11, without illus. According to information kindly provided by Bernhard Geil, the work was not created in the 1910s, as indicated by Imiela, but around 1921. It is very probably connected with the cycle of prints "Im Sonnenbad" (The Sunbath), which Slevogt etched at Neukastel in 1922 (cf. Söhn 559-568). The Neukastel estate, now called the "Slevogthof", originally belonged to the family of Slevogt's childhood friend Antonie Finkler; it lies on the southern Wine Route next to the Palatinate Forest. The artist had been a regular guest there since the end of the 1880s, as is demonstrated by the Neukastel landscapes to be found in his oeuvre from around 1888 onwards. After marrying Antonie "Nini" Finkler in 1889, Slevogt finally purchased the estate in 1914 and converted it into his summer residence. During the First World War, Neukastel became a place of refuge for the Slevogt family, which fled the gloomy situation in Berlin - with its increasingly difficult living and working conditions - as often as possible. There is no trace of the events of the war in the numerous views created of the Neukastel garden and its immediate surroundings at this time. During and after the war, numerous views of the garden and the neighbouring countryside were created at Neukastel. In many of these works members of the family and friends have been captured in casual and natural poses while going about their everyday tasks in idyllic surroundings. Particular emphasis is placed on the depiction of the seasons, whose typical lighting and colours fundamentally define the general mood of the paintings. Our "Sonnenbad" (Sunbath) particularly clearly exemplifies the private atmosphere of these works. Shimmering with light and bathed in the most vibrant summer colours, the image shows a part of the garden, where three men - wearing at most a hat to protect them from the sun - take advantage of their seclusion to enjoy an extended sunbath. Within the masterfully executed, airy summer landscape, the depicted situation among the sunbathers utterly at ease possesses a certain comic effect, which also testifies to the carefree interaction between the familiar circle of the Slevogt's family and friends.

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MARIA MELA MUTER, Zigeunerfamilie, c. 1930

Lot 323: MARIA MELA MUTER, Zigeunerfamilie, c. 1930

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Description: Oil on panel 101.5 x 83.3 cm, framed. Unsigned. - In very good original condition. With a barely noticeable round dent to the baby's stomach (studio trace). Provenance Galerie Gmurzynska, Cologne (with a fragmentary label to the reverse; presumably 1960s); Galerie Kenda Bar-Gera, Cologne (with a label to the reverse inscribed with the inventory "No 26" and dated "ca. '30"); private possession, Israel The present work is simultaneously intimate, reflective and highly expressive. Both the vivid colour, hightened with blueish white and the lively, pastose brushwork are typical of Muter's work. However, Muter herself always postulated that form and not colour should receive the most attention, the latter in perception should only be "stroked softly by the eye" (Mela Muter: Randbemerkungen zu meiner Malerei, in: Mela Muter Retrospektiv-Ausstellung, Köln 1967 (Galerie Gmurzynska), n.p.). The persons portayed in this detailed composition appear genuine and authentic, so that one presumes a deep and sympathetic bond between painter and subject. Time and again, the artist herself was able to empathize in a fascinating way with her models.

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MAURICE DE VLAMINCK, Marine,

Lot 324: MAURICE DE VLAMINCK, Marine,

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Description: Oil on canvas 65 x 81 cm, framed. Signed 'Vlaminck' lower right. - Partially with craqueleur and 2 inconspicuous small retouched losses of colour in the pastose area. The work will be included in the catalogue raisonné under preparation by Maïthé Vallès-Bled and Godeliève de Vlaminck, Wildenstein Institute, Paris. Provenance Lempertz Auction 1 December 1982, lot 751 (acquired there by the previous owner); private collection, South Germany With rapid, broad brushstrokes and a restricted palette consisting of blue, green, black and white, Maurice Vlaminck has created an impressive depiction of a turbulent sea beneath threatening, mountainous clouds. He has also achieved an extraordinary vitality and perspectival depth. While the horizon is still lit up by the glistening sunlight, the dark passages of the sky and sea in colours ranging from blue-green to deep black herald a storm on the open water. The silhouettes of two sea birds carried out with delicate, white brushstrokes are the only living creatures visible among the turbulent elements. Rugged, primitive landscapes were always able to inspire Vlaminck more than charming locations subjugated by humanity. As a force of nature, the sea held a particular fascination for the artist. In a series of paintings, particularly from the 1940s, he depicts the stormy sea as unfathomable, threatening and powerful. People have no place in these images: if present at all, human civilisation is to be seen only in the form of a boat threatened by the powerful waves.

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GEORG SCHRIMPF, Seehamer See,  1937

Lot 325: GEORG SCHRIMPF, Seehamer See, 1937

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Description: Oil on canvas 65 x 90 cm, framed. Signed and dated 'G. Schrimpf 37' lower right. - Professionally cleaned. In good condition; some small, scattered retouches in the sky area. Hofmann/Präger 1937/9 With a photo-certificate from Christmut Präger, Cologne, dated 6 August 2013 Provenance Private possession, South Germany Literature Matthias Pförtner, Georg Schrimpf, Berlin 1940, p. 61 with illus. (here titled "Seehamer") This painting - long considered lost - shows the Seehamer See, a lake in Upper Bavaria, in gentle morning light. The lake lies there peacefully, surrounded by woods and meadows, far removed from any sign of civilisation. The morning mists cast a delicate, ephemeral veil over the Alpine mountain chain lying in the background. It can be gathered from a text by Georg Schrimpf that this is not a naturalistic reproduction of the landscape, but of the artist's mental image of it. Schrimpf experienced landscapes during long walks surrounded by nature; however, he first painted them during a second stage - from memory and in the studio. In spite of its apparent exactitude, extending down to details, this is thus so to speak a 'dream landscape' (cf. Georg Schrimpf: Bildvorstellung, in: Wolfgang Storch, Georg Schrimpf und Maria Uhden, Leben und Werk, Berlin 1985, p. 183). On account of the mild transparency and the luminous colours, there adheres to the painting a somewhat melancholy, lyrically meditative calm that facilitates a contemplative state of mind. In the same year that Schrimpf painted the 'Seehamer See', Munich hosted the "Entartete Kunst" (Degenerate Art) exhibition, where one of his works was among those shown. Schrimpf had been professor of painting at the Staatliche Hochschule in Berlin since 1933. Although he was one of the most important representatives of German landscape painting at that time, he was dismissed from his post in the summer of 1937, because of his earlier membership in the German Communist Party and the Red Aid organisation.

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OTTO DIX, Saul und David I,  1946

Lot 326: OTTO DIX, Saul und David I, 1946

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Description: Oil on fine canvas, mounted on wooden panel 104.5 x 118.5 cm, framed. Signed and dated '46' lower right with the artist's initials in dark red. Löffler 1946/1 Provenance Galerie Klihm, Munich (until 1979) Exhibition Tübingen/Reutlingen 1946 (Kunstgebäude Tübingen), Sommerausstellung 1946. Max Ackermann, Kurt Georg Becker, Otto Dix, Jacob Fehrle, Erich Heckel, cat. no. 83; Freiburg 1950 (Kunstverein), (with frame labels on reverse), Otto Dix, Gemälde, Aquarelle, Zeichnungen, Graphik aus den Jahren 1914 bis 1950; Munich 1952 (Ausstellung Pavillon), Otto Dix, cat. no. 23; Darmstadt 1962 (Hessisches Landesmuseum), Otto Dix. Die Gemälde - Handzeichnungen - Aquarelle, cat. no. 42; Munich 1970 (Haus der Kunst), Große Kunstausstellung, cat. no. 696 (with label on reverse edge of canvas); Freiburg 1971 (Augustinermuseum), Otto Dix, Handzeichnungen, Pastelle, Lithographien aus der Sammlung Walther Grosz, cat. no. 10; Nuremberg 1977 (Germanisches Nationalmuseum), Otto Dix 1891 - 1969. Dokumente zu Leben und Werk des Malers, cat. no. 31; Lissabon 1977 (Fundaçao Calouste Gulberkian, Goethe-Institut Lisboa), Otto Dix., cat. no. 1, with illus.; Altenkirchen 1979 (Kreisständehaus), Otto Dix, Zum Gedächtnis, without cat.; Halle/Westf. 1992 (Museum Halle), Keimlinge der großen Kunst. Otto Dix und die Bibel, without cat. no., with full-page colour illus. p. 45; Bern 2010/2011 (Kunstmuseum Bern/Zentrum Paul Klee), Lust und Laster. Die 7 Todsünden von Dürer bis Naumann, without cat. no., with full-page colour illus. p. 175 Literature Fritz Löffler, Otto Dix. Leben und Werk, Dresden 1977, p. 124, full-page illus. no. 183; Bewundert wie umstritten - Wirken von Otto Dix gezeigt, "Saul und David" von kirchlicher Institution erworben, in: Rhein-Zeitung Koblenz, 21.6.1979; Klaus Otte/Hermann Krämer, Otto Dix. Das Wunder der Auferstehung noch viel größer zu machen - Zu drei religiösen Werken von Otto Dix, Emmendingen 1980, with full-page colour illus. p. 32 In the spring of 1946, Dix returned to Hemmenhofen from war imprisonment. This moment marks not only his setting out on a new phase in his life - a period defined by his joy at his regained freedom - but also a shift in the means he used to create his art. Dix abandoned his laborious, old-masterly glazing technique in order to return to an "alla prima" painting technique, which he continued to use until the end of his life. A pastose, somewhat rough application of paint, partly applied with a wide brushstroke, is characteristic of this manner of painting - this leads to an increased autonomy of and emphasis on the colour values. These colours are no longer necessarily subject to the given circumstances, but possess an independent value as vehicles of expression. This becomes particularly clear when looking at the more loosely applied colours of the background. Here the accentuation is more on colour relationships than on a detailed intelligibility. Dix's turning to the realm of religious themes is also characteristic of this new beginning. Of the 25 paintings painted after his return, seven deal with Biblical material. Dix depicted the subject of "Saul and David" a number of times in the form of paintings, drawings and lithographs, among which our painting represents the earliest variation. It shows the powerful King Saul: voluminous, sitting on his throne and bearing a spear in his left hand. The young David kneels before him, playing his harp and thus soothing the evil spirit of Saul. The theme treated here is the power of music or of the arts in general over violence and tyranny.

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OTTO DIX, Landschaft bei Zimmerbach mit Bruderkapelle (Munstertal),  1945

Lot 327: OTTO DIX, Landschaft bei Zimmerbach mit Bruderkapelle (Munstertal), 1945

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Description: Oil and tempera on panel 67.7 x 84.9 cm, framed. With the artist's mark and dated '45' in red lower right. - Very fine, original condition. Not recorded by Löffler With an expertise by Rainer Beck, Coswig, dated 10 August 2013. The work will be included in the catalogue raisonné of paintings by Otto Dix currently under preparation. We would like to thank Rainer Pfefferkorn, Otto-Dix-Stiftung, for his kind information. The painting has been registered in the archive under the preliminary no. 1945/24. Provenance Gift from the artist to the previous owner (1945); since then in familly possession, France Literature See in general: Catherine Teissier (ed.), Otto Dix, Lettres et dessins, Mons 2010 This is a typical work from the period Otto Dix spent as a prisoner of war in Alsace. From April 1945 to February 1946 he was interned at the prisoner of war camp in Logelbach. The Colmar painter Robert Gall, with whom he became friends there, soon furnished the artist with work outside of the camp. Dix thus not only carried out garden work, but also received commissions for paintings from a handful of local families and was able to create these works in Gall's studio. During this period Dix not only painted the romantic Alsatian landscape featuring the Vosges mountains he loved so much (Löffler 1945/6 to 9), but also other works that included portraits (Löffler 1945/4; 1946/9 and 10), an Ecce homo painting (Lempertz, Cologne, Modern Art, Auction 896, 29 Nov 2006, lot 78) and a Head of Christ (Löffler 1946/3) as well as an important triptych containing Mary, Mother of God, and Saints Peter and Paul (Löffler 1945/1a) for the other prisoners of war (cf. Catherine Teissier (ed.), Otto Dix, op. cit., pp. 176 ff., and Löffler, p. 57). The present work features oil and tempera paint applied in multiple layers over a charcoal underdrawing. Compared to the earlier landscape paintings using a very fine brush and a glazing technique, the present work is more spontaneous, more direct and is aimed more at establishing chromatic relations than a dramatic chiaroscuro contrast. It thus forms a transition to Dix's late-Expressionist late work. In the left foreground the painting shows the monks' chapel near Zimmerbach in the Munster valley, presumably a reference to Paul Vuillemin (1913-1967). In the background viewers see the Hohneck mountain on the border between Alsace and Lorraine. Because of the dedicated and courageous actions of Vuillemin, a locally well-known priest and member of the resistance, the chapel became a symbol of the resistance's struggle against the Nazi regime. In the Munster valley, a few months before Dix arrived at Logelbach, Vuillemin had been arrested and imprisoned by the Secret Field Gendarmerie. It is safe to assume that Dix knew of the activities and the fate of the priest. In this sense the painting is presumably to be understood not only as a landscape, but also symbolically as a memorial by the moralist Dix.

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KURT SCHWITTERS, M 2 x 13 By,  1947

Lot 328: KURT SCHWITTERS, M 2 x 13 By, 1947

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Description: Merzzeichnung. Oil and paper collage on card 14 x 10.7 cm, mounted on paper 22.3 x 16.4 cm, firmly mounted on thicker support, with wooden strips, framed box-like under glass. Signed and dated 'Kurt Schwitters 1947' on the original paper support lower left, and titled 'Mz x 13 BY' lower right. - The paper support with fox marks and slightly browned in the corners. Otherwise in good condition. Orchard/Schulz 3444 Provenance The Pinacotheca, New York 1947-48 (commission; gallery label included); Swetzoff Gallery, Boston/Massachusetts, 1963 (acquired); Leonard and Jean Brown, Springfield/Massachusetts, until 1966 (acquired); Mr. and Mrs. Jonathan M. Brown, New York, since 1966 (inherited) Exhibition New York 1948 (The Pinacotheca), Kurt Schwitters, cat. no. 14; Princeton 1981 (The Art Museum, Princeton University), Princeton Alumni Collections. Works on Paper, with illus. p. 218 Kurt Schwitters' artistic principle "Merz" was defined by him as "creating relationships, preferably between everything on earth". Chance, and the playful use of coincidence, even gave the impulse for the choice of the syllable after which the art form was named. In the 1920s, Kurt Schwitters thus created his revolutionary, all-encompassing artistic world, possibly including all areas of life. He continued it's development until his death in 1948. His main medium was collage, or assemblage, using various materials from numerous different sources. He referred to plane collages as "Merzzeichnungen" (Merz drawings) and three dimensional assemblages as "Merzbilder" (Merz images). Through these combinations of found objects, the artist created new relationships between the various pieces. Their value was enhanced or decreased according to his own definitions: They relinquished their original function and lost their significance as materials, whilst at the same time gaining a new unexpected importance within an image. Each collage became an artistic micro cosmos with its own levels and grammar of meaning. At the same time, "Merz" was ideologically and stylistically a fully open matter. "The radical openness of MERZ was a result of the direct influence of Schwitters' life on his art: His personal experience became a part of this art, and thus MERZ recorded the traces of his life, which become "de-formalised" and "obscure". [...] For Schwitters' art, these were the extremely different impressions of the surroundings in and from which he worked - Hannover, Norway, England, the city and the countryside. He responded by the choice of materials and pictorial relationships to which he subjected his chosen elements." ( Joachim Büchner, Kurt Schwitters und MERZ, in: Kurt Schwitters 1887-1948, exhib. Cat. Sprengel Museum Hannover 1986, p. 14).

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JÁNOS VASZARY, Pompadour, c. 1926/27

Lot 329: JÁNOS VASZARY, Pompadour, c. 1926/27

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Description: Oil on rough canvas 80.5 x 91.5 cm, framed. Signed 'vaszary J.' lower left. - Good original condition. Partly with slight craqueleur. We would like to thank Mariann Gergely, Hungarian National Gallery, Budapest, for her kind information confirming the authenticity. Provenance Formerly private collection, Hungary; private possession, Hungary Exhibition Warsaw 1927 (Towarzisztvo Zacheny Sztuk Pieknich) Wystawa Sztuki Wegierskiej, without cat.; Budapest 1927 (Nemszeti Szalon (National Salon) with label on verso, no. 309); Venice 1928, exhibition of Hungarian artists (XVI. exhibition), no. 108 (verso on the stretcher with stamp); Vienna 1928 (Künstlerbund Hagen), Ausstellung des Vereins Neuer Künstler ÚME), cat. no. 241; Genua 1929 (Palazzo Rosso), I. Esposizione d'Arte Ungherese (ÚME), cat. no. 178 (verso on the stretcher with label and round stamp "UME 1925"); Budapest 1998 (Polgár Gallery), Janos Vaszary Memorial Exhibition, cat. no. 21. Literature Béla Déry, Muveszeti kiallitasok külföldön az 1927 évben. Budapest 1928, n.p.; Árpád Polgár (pub.), Polgár 50, Budapest 2006, p.174, with colour illus. p. 173. Since the 1920s the painter and graphic artist János Vaszary, recipient of numerous awards, has been counted among the most important representatives of modern Hungarian art in Europe. Vaszary initially studied at the art academies in Budapest and Munich and then at Paris's Académie Julian from 1889 to 1893. His work reflects the influence of Puvis de Chavannes above all, but also that of the Fauves, Dufy and Matisse and - in relation to the sketch-like style of drawing - van Dongen. This painting shows a scene from Leo Fall's operetta "Madame Pompadour", which premiered in Berlin in 1922. Scenes from the Parisian nightlife, depictions of concerts or the circus, are certainly common within Vaszary's oeuvre. Like the theatrical work, our painting is staged in a manner that is elegant, animated, gallant and evinces satirical wit. The lightness of its French theatrical models can also be found here. Back in Budapest, Vaszary was active in cultural politics. He was among the founders of "KÚT" (New Society of Visual Artists); however, he left it again in 1927 in order to join the ÚME (Association of New Artists), which had been founded in 1925 and whose president he became in 1927. The painting features the stamp of this artists' association. In 1928 Vaszary assembled and organised the Hungarian material for the 16th Venice Biennale. A sticker on the reverse side proves that the painting "Pompadour" was also presented there. A second, very similar version of the painting "Pompadour" exists in a smaller format (58 x 75 cm, oil on canvas, 1927, cf. Kieselbach Galeria, 26th auction, Budapest 12 Oct 2004, cat. no. 55; see also Mariann Gergely, East and West: János Vaszary's Art in the Twenties and Thirties, in: exh. cat. János Vaszary, Budapest 2007/2008 (Magyar Nemzeti Galeria), p. 242. with colour illus.). According to kind information provided by Mariann Gergely, there is not doubt that it was our larger version which was exhibited in the Palazzo Rosso of Genoa in 1929.

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GERHARD MARCKS, Schreitendes Mädchen,  1960/62

Lot 330: GERHARD MARCKS, Schreitendes Mädchen, 1960/62

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Description: Bronze. Height 188.5 cm. With artist's signum to the top of the cast-with plinth. Numbered 'I' to the reverse of the plinth and with the foundry mark "GUSS BARTH BERLIN". One of two casts. - Grey-green patina. Patina for the most part irregular and with several stains (weather effects due to outdoor deployment). Rudloff 736; Gerhard Marcks Werktagebuch Gips/Bronze (works diary plaster/bronze) 516 Provenance Galerie Vömel, Düsseldorf (acquired in 1998); since then in private possession Exhibition Berlin 1963 (Akademie der Künste), Rückblick und Gegenwart, cat. no. 315 Literature Gerhard Marcks Haus, vol. 1: Plastik, Gerhard-Marcks-Stiftung, Bremen 1971, cat. no. 160 The portraits of young women carried out by Gerhard Marcks in numerous variations from 1945 until the end of his career make up what is quite likely the most extensive area within his oeuvre. Günter Busch writes of them: "In spite of their - always strictly austere - beauty they are no thoughtless, 'classicistic' affirmation of a doubtful human greatness, no mere 'as if'. Like the post-war monuments, they would be inconceivable without all of the turmoil that our century has lived through, which they confront with their 'Nevertheless'. ... The artist circles round his theme in ever new variations, always achieving a new expression through slight shifts in weighting, positioning of the limbs, twisting along the axes, the angle of the head, the handling of the surface, the articulation of the hair and so on. And it remains surprising how he always arrives at an entirely coherent creation of form and human statement by means of these different elements - which are always utilised in a distinct way and in new constellations" (cited in: Gerhard Marcks: Das plastische Werk, Frankfurt a.M./Berlin/Wien 1977, pp. 72f.). The body language of our striding young woman conveys an impression of graceful movement. Being in the midst of taking a step, she has only a few points of contact with the ground beneath her, and this lends great lightness to her. The lively arm posture, the neck stretched slightly forwards and the attentive and quite curious gaze ahead express a purposeful striving onwards. The goldsmith Merwe Scherneck served as the model for this bronze. Gerhard Marcks also created several other figures after her image in 1960/61, including "Hemdausziehende auf eckigem Sockel" (Figure Removing Her Shirt on Angular Base; Rudloff 747) and "Portrait IV Merwe" (768). The plaster model of our "Schreitendes Mädchen" (Striding Girl) was only cast twice - Marcks reworked it into the figure "Schreitende, Arme vor der Brust" (Striding Figure, Arm before Her Chest; Rudloff 781) in the same year.

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SERGE POLIAKOFF, Composition abstraite,  1967

Lot 331: SERGE POLIAKOFF, Composition abstraite, 1967

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Description: Oil on canvas 100 x 81 cm, framed. Signed 'SErgE PoLiAKoFF' lower right. - With a short, retouched scratch in the upper margin as well as on the immediate left edge of the stretcher at the top with 2 minor retouched losses of colour. With partial early-stage shrinkage cracks in the pastose areas. With an expertise by Alexis Poliakoff, Paris, dated 19 October 2010. The painting is registered in the Serge Poliakoff Archive under the no. 967187. Provenance Redfern Gallery, London, 1969 (label on reverse of stretcher); Galerie Ernst Beyeler, Basel (label on reverse of stretcher); private collection, Italy Exhibition Basel 1970 (Galerie Beyeler), Moon and Space, cat. no. 64, with full-page colour illus. p. 27 (here titled and dated "composition rouge, bleue et verte 1966") As an artist Serge Poliakoff always remained solitary. His oeuvre cannot be associated with the expressive or the informel tendencies of his contemporaries. In the course of a slow and deliberate working process, and in each of his compositions, he developed the desired harmony between forms and colours by means of their careful counterbalancing . His goal was to arrive at a state of absolute "stillness": "In order to be a painter, you have to seek precisely that point where art, science and chemistry meet ... If you can do that, there will be total stillness in your pictures: not merely the absence of sound, but a positive tranquility that opens peoples' eyes to another world" (Serge Poliakoff, quoted in: Serge Poliakoff: Retrospektive, exh. cat. Kunsthalle in Emden/Kunsthalle der Hypo-Kulturstiftung München, Munich 2006, p. 66). Since the early 1950s Poliakoff had been working with a purely abstract, geometrical vocabulary in which variously coloured forms are placed in direct contact with one another, under the exclusion of all linear elements. His distinctive repertoire of relatively expansive forms enabled Poliakoff to create highly diverse variations in ever new constellations; his canon of colours displays an inexhaustible richness in its mixing and layering of relatively few basic colours. Once he had developed it, the artist continued to pursue this compositional concept with great rigour and passion until his death - without ever falling into stagnation or repetition. Our composition was created in 1967 and features formations of shapes in two manifestations of a distinct character; these are typical of Poliakoff's oeuvre and repeatedly appear in it: On the one hand there are the block-like, opaque planes of green and red that function as a stable framework in the foreground of the image. On the other hand the passages of light and dark blue display a vigorous, painterly structure and are light and semi-transparent in appearance. Like a stained-glass window, they seem as though they were illuminated by a light source behind them. In comparison with the opaque planes, they optically recede into the background of the image, and this leads to the development - in spite of all the monumental calmness emanating from the composition - of an exciting, dynamic interaction.

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HENRI LAURENS, Métamorphose,  1940

Lot 332: HENRI LAURENS, Métamorphose, 1940

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Description: Bronze sculpture. Height 9 cm. Width 22.6 cm. Depth 7.3 cm. Monogrammed 'HL' [ligatured] and numbered to the reverse lower left. Proof 3/6. - With fine, dark brown patina, partly highlighted. - With a label from Galerie Louise Leiris, Paris Attached inside, therein the inventory no. "14626". - Accompanied with light wooden base (2 x 24.4 x 8.6 cm). - There is a larger version in marble from the same year (Collection Claude Laurens, cf. i.a.: exhib. cat. Frauenbilder, Frauenkörper von Henri Laurens, Kunsthalle Bielefeld, Bielefeld 2001, cat. no. 50 with colour illus. p. 73). We would like to thank Quentin Laurens, Paris, for his kind confirmatory information after seeing the original. Provenance Galerie Louise Leiris, Paris; private collection, North Germany Exhibition New York 1952 (Curt Valentin Gallery), Henri Laurens, cat. no. 21 with illus.; Karlsruhe 1964 (Badischer Kunstverein), Pablo Picasso, Henri Laurens, cat. no. 32 with illus.; Munich 1967 (Galerie Günther Franke), H. Laurens. Bronzen und Terrakotten, leaflet no. 3 with illus.; London/Belfast 1971 (The Hayward Gallery/ The Ulster Museum), Sculpture and drawings by Henri Laurens 1895-1954, cat. no. 67 with full-page illus. p. 67; Bielefeld 1972 (Kunsthalle Bielefeld), Henri Laurens. Plastiken, Grafiken, Zeichnungen, cat. no. 14 with illus. 16; Berlin 1991 (Altes Museum), Bronzen, Steine und Arbeiten auf Papier von Henri Laurens, 1885-1954, cat. no. 31 with colour illus. p. 32 Literature Norbert Nobis (ed.), Henri Laurens, Skulpturen, Collagen, Zeichnungen, Aquarelle, Druckgraphik, inventory catalogue and exhib. cat., Sprengel Museum Hannover, Hanover 1985, cat. no. 12 with colour illus. "Which deciding impulse did Laurens have on 20th century sculpture? I find it to be the following: Laurens combined the autonomous cubist forms and biomorphic deformity of the human body - those two great innovations of the sculpture of his time - with the spirit and ethics of a classicism that is not expressed in the motif, but as a 'fait plastique'. This classical principle affects all of Laurens' works [...] It is expressed in the presence of calm in every movement, human proportions in the tectonics of his forms and a search for harmony in the compromise between volume and filled space. Laurens articulates these problems of form differently in every level of his style. In and through them he expresses his relaxed humanist attitude, the relevance of which has only increased today." (Christa Lichtenstern, in: Henri Laurens, exhib. cat. Hanover, Hanover 1985, op. cit., p. 54). Even if mythological motifs play an important role in his work, the legendary component of his figures was never of primary importance to Henri Laurens. He was more concerned with seeking solutions to issues of form relating to the tension between volume and hollow space, and the relationship between sculpture and surrounding space. The "Métamorphose" of 1940 depicts the theme of transformation in compact and heavy forms. The stout upper body, supported on its strong base, remains that of a human figure. However, the exceedingly tight waist forms a break from which point the lower part of the body rears up as a powerful, undulating snake-like form. The humanoid legs are barely discernible, however they lead to the shape of a bifurcated tail fin. This hybrid creature is a perfectly harmonious merger of two forms: The figure of a woman and the embodiment of the sea.

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EDMOND AMAN-JEAN, Paysage avec étang (Bourg-en-Bresse), c. 1923

Lot 333: EDMOND AMAN-JEAN, Paysage avec étang (Bourg-en-Bresse), c. 1923

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Description: Oil on canvas 50.5 x 61.3 cm, framed. Signed 'Aman Jean' in black lower right. - Professionally cleaned, with minor retouches in some places, among others on the lower edge of the canvas and in the right area of the picture. With a confirmation of authenticity by Patrick-Gilles Persin, Paris, dated 3 February 2004 We would like to thank Yann Farinaux-Le Sidaner, Paris, for his kind and additional information. Provenance Formerly Corinne Simon, great-granddaughter of the artist; since 1988 in German private possession

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EDUARD BARGHEER, Prozession (San Gaetano Forio d'Ischia),  1949

Lot 334: EDUARD BARGHEER, Prozession (San Gaetano Forio d'Ischia), 1949

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Description: Watercolour over preparatory drawing in pencil on fine laid paper 30 x 42.3 cm. Signed and dated 'Bargheer 49' lower left, the reverse also signed, dated and titled 'Eduard Bargheer Prozession 1949'. - Fresh colours. Slightly browned within the former mat opening. Provenance Acquired directly from the artist by the previous owner; private possession, USA

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ERNST BARLACH, Lesende Mönche II (Die Buchleser),  1921

Lot 335: ERNST BARLACH, Lesende Mönche II (Die Buchleser), 1921

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Description: Bronze. Height 14.2 cm, mounted on marble base (15 x 10 x 3.5 cm). Signed 'E. Barlach' on right hem of robe to the side. Unstamped copy from an edition of 20 unnumbered casts. Foundry Hermann Noack, Berlin. - Brown patina. - The marble base slightly bumped in the corners. Laur 320; Schult 249 We would like to thank Elisabeth Laur, Hamburg, for her kind additional information. Provenance Private collection, Rhineland Exhibition c.f. i.a.: Berlin/Düsseldorf 1930 (Galerie Flechtheim), cat. no. 14; Hanover 1931 (Kestner Gesellschaft), cat. p. 2; Hamburg 1948 (Galerie Rudolf Hoffmann), cat. no. 11; Düsseldorf 1951 (Galerie Alex Vömel), cat. no. 17 Literature Friedrich Droß (ed.), Ernst Barlach, Die Briefe II (1925-1938), Munich 1969, p. 835, no. 996, p. 835; Carl Dietrich Carls, Ernst Barlach. Das plastische, graphische und dichterische Werk, 5th edition Flensburg/Hamburg 1950, p. 58; Gert von der Osten, Bildwerke in der Landesgalerie Hanover, Hanover 1957, no. 439; Hans-Werner Schmidt u. Peter Thurmann (ed.), Ernst Barlach, Mehr als Ich, Bielefeld 1998 (exhib. Kunsthalle Kiel ), p. 84

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ERNST BARLACH, Russisches Liebespaar,  1909

Lot 336: ERNST BARLACH, Russisches Liebespaar, 1909

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Description: Porcelain sculpture, white glaze 20.5 x 35 x 27 cm. On underside with the embossed stamp "Schwarzburger Werkstätten für Porzellankunst", the company emblem (fox running in a straight line) and the engraved form number "U9". Unkown number of casts (probably 10 to 15 copies). - Very good condition. Laur 135; Schult vol. I, 89 Provenance Private collection, Hesse Exhibition i.a.: Hamburg 1977 (Ernst Barlach Haus), Stiftung Hermann F. Reemtsma, cat. no. 20; Hamburg 2002 (Ernst Barlach Haus), Der Zeichner Ernst Barlach, cat. no. 94; Hamburg 2002 (Ernst Barlach Gesellschaft), Barlach und Russland. Ernst Barlachs Russlandreise im Sommer 1906, cat. p. 365; Hamburg 2003 (Hauptkirche St. Katharinen), Ernst Barlach. Mystiker der Moderne, cat. p. 170; Güstrow 2004 (Ernst Barlach Stiftung), 10 Jahre Ernst Barlach Stiftung Güstrow, cat. no. 37; Kyoto 2006 (National Museum of Modern Art), Ernst Barlach Retrospektive, cat. no. 45 Literature Friedrich Droß (ed.), Ernst Barlach, Die Briefe I, 1888-1924, Munich 1968, no. 307; Carsten Meyer-Tönnesmann (ed.), cat. Alfred Mohrbutter, Altonaer Museum, Hamburg 1987, p. 12; Max Adolf Pfeiffer, Schwarzburger Werkstätten für Porzellankunst, Unterweißbach 1912, pict. 15; Otto Pelka, Keramik der Neuzeit, Leipzig 1924, illus. 39, p. 40; Eckart Klinge, Ernst Barlach Porzellan, Leipzig 1995, p. 64

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WILLI BAUMEISTER, Aru mit Punkten,  1955

Lot 337: WILLI BAUMEISTER, Aru mit Punkten, 1955

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Description: Colour silkscreen on thin card 34.3 x 50.5 cm (42 x 59.4 cm), framed under glass. Signed and numbered. Proof 1/50. Published by Kunstverlag Fingerle, Esslingen. - Sheet yellowed and with a light-edge around image. The sheet slightly cut. A small pressure mark in the black area, a small loss to the blue. Spielmann/F. Baumeister 215 a

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MAX BECKMANN, Kleine Operation,  1914

Lot 338: MAX BECKMANN, Kleine Operation, 1914

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Description: Etching on chamois coloured ribbed laid paper 25.5 x 26.8 cm (37.5 x 40 cm). Signed and dated '14' lower right. Proof 10/20. - The paper slightly browned, with light stain. The wide margins with some brownish stains. Hofmeier 82 II B.

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MAX BECKMANN, Selbstbildnis von vorn, im Hintergrund Hausgiebel,  1918

Lot 339: MAX BECKMANN, Selbstbildnis von vorn, im Hintergrund Hausgiebel, 1918

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Description: Etching on wove paper 30.6 x 25.5 cm (53.8 x 37.5 cm). Signed and numbered. Proof 16/30. One of a total of 100 proofs on wove paper, of which 30 copies were numbered by Günther Franke. Published by Verlag R. Piper & Co., Munich, probably in 1922. - The wide margins somewhat browned, with minor handling creases and partly with slight foxing. Hofmaier 125 II B.b.

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MAX BECKMANN, Hinter den Kulissen,  1921

Lot 340: MAX BECKMANN, Hinter den Kulissen, 1921

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Description: Etching on firm Japan 21 x 30.8 cm (32.6/32.9 x 47.1 cm), framed under glass. Signed. One of 75 proofs on this paper. Sheet 3 from the portfolio "Der Jahrmarkt", printed by Fritz Hanfstaengl, Munich, published by Verlag der Marées-Gesellschaft, R. Piper & Co., Munich 1922. With the embossed stamp of the Marées-Gesellschaft. - The margins slightly browned. Upper margin with traces of three creases, one of them reaching into the printed area. Right sheet edge with few small stains. Hofmaier 193 B.a.

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MAX BECKMANN, Toilette (Vor dem Spiegel),  1923

Lot 341: MAX BECKMANN, Toilette (Vor dem Spiegel), 1923

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Description: Etching on laid paper with watermark "BSB" 27.6 x 21.7 cm (58.2 x 45.5 cm), framed under glass. Signed and numbered. Proof 43/60. Published by Paul Cassirer, Berlin 1924. - Minimally browned, isolated tiny fox marks. Small rubbing in the image. Hofmaier 286 B. Provenance Perry T. Rathbone, with stamp on reverse Perry T. Rathbone was director of the St. Louis City Art Museum in the 1940s and initiator of the major Max Beckmann retrospective exhibition in 1948. He and his wife were the artist's friends and patrons. In 1948, they were each portrayed by Beckmann (see Göpel 751 and 773).

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NACH GEORGES BRAQUE, Nature morte,

Lot 342: NACH GEORGES BRAQUE, Nature morte,

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Description: Colour collotype with stencil on wove paper with watermark "ARCHES" 23.7 x 34.9 cm (49.3 x 64.6 cm), framed under glass. Signed and numbered. Proof 300/300. After a painting. Published by Guy Spitzer, Paris, his embossed stamp within the image, the reverse with the edition label and handwritten edition number. - The wide margins browned, slightly browned within the mat opening and with slight light stain. Small fox marks. Upper and lower margin with small pressure marks and traces of scratches.

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MARC CHAGALL, Le coq rouge,  1952

Lot 343: MARC CHAGALL, Le coq rouge, 1952

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Description: Colour lithograph on wove paper 37.2 x 44.1 cm (37.7 x 55.8 cm), framed under glass. Signed and numbered. Proof 4/200. Printed by Mourlot Frères, Paris. From the separate edition of the exhibition catalogue "Keramik und Skulpturen" and "Fabeln von La Fontaine" in the Galerie Maeght, published in "Derrière le miroir", no. 44-45, Paris 1952. - Browned in mat opening and with light-stain. Foxing especially in the outermost lateral margins. Mourlot 60; Cramer Books 21

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MARC CHAGALL, Cheval brun,  1952

Lot 344: MARC CHAGALL, Cheval brun, 1952

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Description: Colour lithograph on wove paper 37.3 x 53.5 cm (37.8 x 55.9 cm), framed under glass. Signed and numbered. Proof 69/200. Printed by Mourlot Frères, Paris. From the separate edition for the exhibition catalogue "Keramik und Skulpturen" and "Fabeln von La Fontaine" in the Galerie Maeght, published in "Derrière le miroir", no. 44-45, Paris 1952. - Browned and with light stain in the mat opening. Left margin with fox marks. Mourlot 61; Cramer Books 21

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MARC CHAGALL, Disrobing her with his own hand, the king looked upon her body and saw it as if were a silvern ingot ...,  1948

Lot 345: MARC CHAGALL, Disrobing her with his own hand, the king looked upon her body and saw it as if were a silvern ingot ..., 1948

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Description: Colour lithograph on laid paper 37 x 28.2 cm (42.8 x 33 cm), framed under glass. Signed, dated and inscribed 'Pl. 4'. Proof 23/90. Sheet 4 from the series "Four Tales from the Arabian Nights". Printed by Albert Carman, City Island/New York, published by Pantheon, New York 1948. - Slightly browned and with light stain in the mat opening, upper right corner of the sheet browned. Isolated small fox marks. Colours faded. Mourlot 39; Cramer Books 18

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MARC CHAGALL, Bonjour sur Paris,  1952

Lot 346: MARC CHAGALL, Bonjour sur Paris, 1952

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Description: Colour lithograph on wove paper with watermark "Arches" 40.2 x 54.3 cm (50.2 x 66.3 cm), framed under glass. Signed and inscribed 'E.A.' One of 35 artist's proofs aside from the edition of 75 numbered and signed proofs. - The paper faintly browned within mat opening, the colours slightly faded in parts. Mourlot 71

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MARC CHAGALL, L'Ecuyère,  1956

Lot 347: MARC CHAGALL, L'Ecuyère, 1956

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Description: Colour lithograph on wove paper with watermark "RIVES" 35.3 x 52.8 cm (36.4 x 53.2 cm), framed under glass. Signed and numbered. Proof 47/100. From the edition of 100 proofs, published aside from the catalogue edition "Derrière le miroir. 10 ans d'edition" with 2000 copies for the 10-year anniversary of the publishing house at Maeght, Paris 1956. Printed by Mourlot Frères, Paris. - Minimally browned in mat opening. The pink-coloured areas faded. Mourlot 153; Cramer Books 26

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MARC CHAGALL, Le bouquet noir et bleu,  1957

Lot 348: MARC CHAGALL, Le bouquet noir et bleu, 1957

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Description: Colour lithograph on wove paper 23.4 x 18.3 cm (37.8 x 28.7 cm). Signed and numbered. Proof 65/90 from the edition with wide margins, which was printed aside from the book edition. Sheet 11 from the series of 15 lithographs for "Chagall" by Jacques Lassaigne, published by Maeght Éditeur, Paris 1957. Mourlot 202; Cramer Books 34

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MARC CHAGALL, Cirque,  1967

Lot 349: MARC CHAGALL, Cirque, 1967

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Description: Colour lithograph on wove paper 42.6 x 65.8 cm (52 x 75.8 cm), framed. Signed and numbered. Proof 6/24 of the original suite. One of the 23 coloured lithographs in the "Cirque" series, which also contained 15 black and white lithographs, published by Tériade in Paris in 1967. - Yellowed in the mat opening. Mourlot 510; Cramer Books 68

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