Jankel Adler Kubistische Komposition Öl und Bleistift über mit Sand grundiertem festem Papier, auf Karton aufgezogen / Oil and pencil over sand-primed heavy paper, laid down on cardboard 1928 37x28 cm / 37x28 cm Signatur / Signature Oben links vom Künstler in Tusche signiert "Adler" Upper left signed by the artist in ink "Adler" Werkverzeichnis / Catalogue Raisonné Heibel 70 Heibel 70 Provenienz / Provenance Slg. Maria Sichtermann-Wernze (1907-2000), Düsseldorf Auktion Dr. Andreas Sturies, Düsseldorf, 6. Mai 2006, Los 3, dort erworben von Galerie Renée Ziegler, Zürich Auktion Grisebach, Berlin, 31. Mai 2008, Los 215 Internationale Privatsammlung Collection Maria Sichtermann-Wernze (1907-2000), Düsseldorf Auction Dr. Andreas Sturies, Düsseldorf, 6 May 2006, lot 3, acquired there by Galerie Renée Ziegler, Zurich Auction Grisebach, Berlin, 31 May 2008, lot 215 International private collection Zustand / Condition Blatt mit leichten Krakelüren, Ränder etwas unregelmässig, rückseitig mit Montierungsresten. In sehr guter Erhaltung Sheet with slight craquelures, margins somewhat irregular, traces of old mounting on the reverse. In very good condition Erläuterungen / Comments Jankel Adler wurde 1895 in Polen geboren und im Geiste des chassidischen Judentums erzogen. 1914 übersiedelte er nach Deutschland, wo er insbesondere im Rheinland als Maler und Grafiker wirkte. Seine Freundschaften mit Künstlerpersönlichkeiten wie Paul Klee, Else Lasker-Schüler und Otto Dix zeugen von seiner engen Vernetzung und seiner bedeutenden Stellung innerhalb der Künstlerkreise der internationalen Moderne. Als politisch engagierter Künstler sah sich Adler 1933 gezwungen, Deutschland zu verlassen. Seine letzten Lebensjahre verbrachte er im Exil in England, wo er 1949 starb. Nach dem Zweiten Weltkrieg geriet sein Werk zunächst weitgehend in Vergessenheit. Heute erfährt es jedoch eine zunehmende Anerkennung und wird als bedeutender Beitrag zur internationalen Moderne sowie als Bindeglied zwischen ihren unterschiedlichen Strömungen gewürdigt. Jankel Adler was born in Poland in 1895 and raised in the spirit of Hasidic Judaism. In 1914 he moved to Germany, where he worked primarily in the Rhineland as a painter and graphic artist. His friendships with artistic personalities such as Paul Klee, Else Lasker-Schüler, and Otto Dix testify to his close network and his significant position within the artistic circles of international modernism. As a politically engaged artist, Adler was forced to leave Germany in 1933. He spent his final years in exile in England, where he died in 1949. After the Second World War, his work initially fell largely into oblivion. Today, however, it is experiencing increasing recognition and is appreciated as an important contribution to international modernism as well as a link between its different currents. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 9:30 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 200.- Übrige Länder / Other countries: CHF 250.-
Yankel Adler (Polish, 1895-1945) Figurative Study, Signed Adler lower right, Watercolor and pencil on paper, Sight-9 1/2" x 7 1/2", Framed-16 1/4" x 14"
Jankel Adler 1895-1949 (Polish) The artist Studio, c. 1940 oil on canvas h:73 w: 116 cm. signed lower left Provenance: Sale: Sotheby's, Tel Aviv, 31 May 1990, Lot 28. Sale: Christie's London, 1 March 2017, day sale, lot 494. Private collection, Israel. Other Notes: Items marked with ** before the lot number indicate that, if the artwork is released in Israel, Israeli VAT (currently 18%) and any applicable taxes or charges shall be borne by the purchaser. The location of each artwork is specified below. Location: Israel. For estimated delivery time please contact us. Condition report available upon request.
JANKEL ADLER 1895-1949 Lodz 1895-1949 London (Polish / British) Title: Bathers Playing with a Ball at the Beach Technique: Original Ink and Ink Wash on Paper size: 21.5 x 29.5 cm / 8.5 x 11.6 in Additional Information: This is an original drawing by Jankel Adler and as probably painted in the early 1940's. Provenance: Acquired by the grandfather of the previous owner in the south of France (possibly in Cagnes sur Mer) in the 1940's directly from the artist. Exhibited: Water-Colours and Draings by Jankel Adler (1895-1949), The Leicester Galleries, Leicester Square, London, October 1951. Condition: Good condition. Light handling creases. Some scattered foxing.
JANKEL ADLER (POLISH 1895-1949) THE PEASANT AND HIS WIFE, c.1941 signed (lower left), oil on canvas 85cm x 110cm (33 ½in x 43 ¼in) Gift of the Artist to the late owner's grandfather, c.1941-42 Exhibited: Scottish National Gallery of Modern Art, Edinburgh, New Painting in Glasgow 1940-46, 6 July-4 August 1968 and tour to Scottish Arts Council Gallery, Glasgow, 7-28 September 1968 and Art Gallery and Regional Museum, Aberdeen, 5-19 October 1968, no.6 (reproduced in black and white on the catalogue cover);Art Gallery and Museum, Kelvingrove, Glasgow, Jewish Art: Paintings and Sculpture by 20th-century Jewish Artists of the French and British Schools, 5 September-7 October 1979, no.3;Städtische Kunsthalle, Dusseldorf, Jankel Adler 1895-1949, 1 November-8 December 1985 and tour to Tel Aviv Museum, 23 December 1985-11 February 1986 and Muzeum Sztuki, Lodz, 28 February-13 April 1986, no.67. The Peasant and his Wife of c.1941 by the Polish-Jewish artist Jankel Adler is a rare and major example of European Modernism painted in Britain. It is also a testament to the time the artist spent in Glasgow between 1941 and 1942. The work has remained in the same private Glaswegian collection ever since it was acquired from Adler in about 1941 by the late owner’s grandfather, in lieu of a dental bill.Adler was born in Tuszyn, Poland in 1895. He studied in Belgrade, Barmen and Dusseldorf and joined various progressive art groups in Poland and Germany, where he met Otto Dix. In 1931 he became friends with Paul Klee when they were teaching at Dusseldorf Art Academy. As a result of his work being declared ‘degenerate’ by the Nazis, Adler fled to Paris in 1933, where he met Pablo Picasso. He spent much of the next two years travelling before returning to France.Following the outbreak of the Second World War, Adler joined the Polish army and was evacuated out of Dunkirk to Scotland, arriving on 22 June 1940. He moved to Glasgow on 6 December that year and was given a medical discharge on 23 January 1941. He lived first at 142 Renfrew Street in the city before moving to 15 Newton Street. By the time of his arrival, Adler was recognised as a major figure in the European avant-garde and his work was represented in the collections of public galleries including those in Berlin, Lodz, Moscow and Tel Aviv.Adler was welcomed into Glasgow’s art world and soon held a solo exhibition in the Jewish sculptor Benno Schotz’s studio. As Head of Sculpture and Ceramics at Glasgow School of Art, Schotz was in an ideal position to introduce Adler to the Glaswegian artists’ community, as well as to re-unite him with his fellow Polish-Jewish émigré artist Josef Herman, whom Adler had known in Warsaw. In 1972, Herman recalled:“His gift for making friends was prodigious … he was a joy to be with. His conversation ranged wide … his mode of painting was built upon traditions of many countries and many peoples. In this lay his sophistication … He had an incessant thirst for rich and complex styles.” (Josef Herman, ‘Notes from a Glasgow Diary: 1940-43’, The Scottish Art Review, vol. XIII, no.3, 1972, pp.2-3)The arrival of the Scottish Colourist John Duncan Fergusson and his dance pioneer partner Margaret Morris in Glasgow in 1939 had done much to energise the local art scene. In 1940 they were co-founders of the progressive discussion and exhibiting society the New Art Club, of which Adler became a member; he was to exhibit with its offshoot, the New Scottish Club, in November 1942. Adler also became involved with The Centre, established by David Archer as a bohemian café, bookshop and discussion forum. Fergusson and Adler acted as its Chair and Vice-Chair respectively. Herman declared “These were the two men who gave Glasgow of the times a rare atmosphere. It was in their presence that one felt as though art was at the centre of the city’s life.” (op.cit., p.5). Adler himself claimed “For the painter, the bagpipe sounds are a new colour to his palette” (as quoted in typescript of Michael Middleton, ‘Jankel Adler: A Talk given at Ben Uri Art Gallery, London on 16 March 1950’, Ben Uri Gallery Archive).When asked to write the foreword to the catalogue for Adler’s exhibition at Annan’s Gallery in Glasgow in June 1941, Fergusson could be referring to The Peasant and his Wife when he explained: “It is as an ‘idea’ that I’d like to present Adler. Adler the man I don’t know. I’ve only met him a few times, but Adler the ‘idea’ I knew immediately I saw his paintings with their unusual combination of great force and extreme sensibility … These works of Adler’s are some of the best modern paintings I’ve seen.”The painting also embodies the Jewish Echo’s review of the exhibition in which it was declared that ‘his sense of colour and form is superb. Most of the pictures have inner balance and a calm monumentality which is enhanced by his mural-like technique … Adler creates a world of his own.’ (20 June 1941). Adler’s work was included in the landmark Exhibition of Jewish Art organised by Schotz and Herman at the Jewish Institute in Glasgow in December 1942.The Peasant and his Wife is an extraordinary bringing together of Adler’s profound compassion for mankind and his technical innovations. The monumentality of the figures is infused with the dignified emotion seen on their faces and expressed in the tenderness of their poses. The textured, layered technique is presented by way of a palette of muted earth tones, which is combined with the brilliantly coloured geometry of the setting. As Sarah Mac Dougall has pointed out, Adler’s work of this period reveals his assimilation of that of his Modernist contemporaries including Fernand Léger, Picasso and perhaps the Surrealists, realised within his own distinctive visual language. After a sojourn in Kirkcudbright from August 1942 until September 1943, Adler moved to London in 1943 where his neighbours at 77 Bedford Gardens included the Neo-Romantics Robert Colqhoun and Robert MacBryde. He was to have a tremendous impact on their work, as well as on other leading modern British artists of their generation. The depth of impact that Adler had on British art is proven by the fact that a Memorial Exhibition of his work was organised by the Arts Council of Great Britain in 1951, two years after his death. The importance of The Peasant and his Wife is demonstrated by its inclusion in several major exhibitions, including the international touring solo show of 1985-1986, proving Fergusson’s declaration that Adler’s work embodied ‘an unusual combination of great force and extreme sensibility’ (as quoted in the Jewish Echo, 6 June 1941).
Jankel Adler, Polish 1895-1949 - Portrait of a child, 1942; ink on paper, signed and dated lower right 'Adler 1942', 49 x 40.3 cm (mounted/unframed) Provenance: with Gimpel Fils, London, GF8262
Jankel Adler, Polish 1895-1949 - Seated Figure, 1944; pen and ink, signed and dated lower right 'Adler 1944', 39.5 x 34 cm (ARR) Provenance: Gimpel Fils, London (Opus no. 102) (according to the label attached to the reverse); Private Collection, London; Roseberys, London, Impressionist, Modern, Post War & Contemporary Art, 26th May 2021, lot 72; Private Collection, purchased from the above Exhibited: Moray House Collage, Edinburgh, 1986
Jankel Adler, Polish 1895-1949 - Still life; oil on canvas, signed lower right 'Adler', 37.2 x 58.5 cm Provenance: The Collection of the late Simon and Pamela Majaro Note: émigré artist Adler developed a unique visual style of abstracted figuration, that was highly influential on an entire generation of British artist including Robert Colquhoun, Robert Macbryde, John Shelton and Franciszka Themerson. This is a brilliant example of the work he was making at the end of WWII, pushing this language to the extremes of abstraction. Simon Majaro was born in Jerusalem in 1929. He moved to London in 1950 to study law at University College London but soon shifted towards business. He built a successful consulting career before joining Cranfield School of Management, becoming a respected professor and authoring influential books on creativity and innovation. He received an MBE in 2011 for voluntary services to music education through the Cavatina Chamber Music Trust, which he co-founded with his wife, Pamela. In retirement, Simon crafted string instruments from his Hampstead home, making 15 violins, violas, and cellos, each played professionally. He translated his father’s diaries, and writing his first novel at the age of 92. Simon and Pamela were keen collectors of art, owning fine examples of modernist paintings and studio ceramics.
JANKEL ADLER (Tuszyn, Poland, 1895- Aldbourne, UK, 1949). "Interior with figures". Oil on canvas (burlap). Signed on the lower right. Measurements: 90 x 69 cm. Oil painting by Jankel Adler, key figure of the Central European avant-garde between the wars, which synthesizes in a particularly eloquent way his personal interpretation of cubism, far from the orthodox analytical rigor and loaded with a deep human and expressive dimension. In this Cubist Composition, Adler articulates an interior populated by figures and objects arranged in superimposed, almost scenographic planes, where the portrait and the still life merge in a scene of enigmatic and suspended atmosphere. The forms appear fragmented and freely reconstructed, always maintaining a clear figurative reference, a characteristic feature of his mature language. The palette of ochers, muted reds, blacks and earthy grays, together with the deliberate use of a burlap support, gives the work a strong materiality, underlining Adler's interest in painting understood as a living and tactile surface. This choice reinforces the introspective character of the scene and connects with his constant technical and formal experimentation. The work is fully inscribed in the artist's mature stage, when his cubism is crossed by an emotional and melancholic charge, a reflection of the historical and vital fracture that marked his generation. Far from a purely formal exercise, Adler's language combines plastic modernity and psychological resonance, making him one of the most singular voices of 20th century European art. A Polish-Jewish painter and engraver, Adler developed his career between Poland, Germany, France and the United Kingdom. Linked to the Junges Rheinland group, he maintained a relationship with figures such as Paul Klee, which was decisive in his artistic evolution. He achieved international recognition in the twenties, obtaining, among other achievements, the gold medal at the exhibition "German Art in Düsseldorf" (1928). Persecuted by the Nazi regime, his work was described as "degenerate art": several of his paintings were confiscated and exhibited at the famous Entartete Kunst exhibition in Munich in 1937. Exiled first in Paris and later in the United Kingdom, his production was marked by the experience of exile and the tragedy of the Holocaust. Currently, Jankel Adler's work is represented in important international collections and museums, such as the Tate (London), the Städel Museum (Frankfurt), the Museum Kunstpalast (Düsseldorf) or the Israel Museum (Jerusalem), consolidating his position as one of the most relevant and personal artists of the European modern avant-garde.
JANKEL ADLER (POLISH 1895-1949) HEAD OF WOMAN, OPUS 79 Watercolour, pen and ink 24cm x 19.5cm (9.5in x 7.75in) Exhibited: Gimpel Fils, London, Jankel Adler: Works on Paper - Part 2, 23 January-8 March 2014
Destruction, oil on canvas, 110X85 cm. Signed. Literature: Jankel Adler, Stanley William Hayter, London, 1948, no. 28. Exhibition and Literature: Jankel Adler, DuMont, 3 exhibition: Städtische Kunsthalle Düsseldorf; The Tel Aviv Museum and Lódz, Muzeum Sztuki, November 1985-April 1986, no. 95. (Illustrated)
JANKEL ADLER 1895 Tuszyn, Polen - 1949 Aldbourne bei London, England LIEGENDER DAMENAKT Bleistift auf Papier. R 53,5 x 47,5 cm, BM 37,5 x 27,5 cm. Unten rechts mit Stempelsignatur. An den Rändern gebräunt, montierungsbedingt mit hellen Flecken in den Ecken, min. Griffspuren. Im Passepartout und hinter Glas gerahmt (ungeöffnet). Provenienz: Düsseldorfer Privatsammlung. JANKEL ADLER 1895 Tuszyn, Poland - 1949 Aldbourne near London, England RECLINING FEMALE NUDE Pencil on paper. F 53,5 x 47,5 cm, sheet size 37,5 x 27,5 cm. Stamped signature lower right. Browned at the edges, light spots in the corners due to mounting, minimal handling marks. Mounted and framed behind glass (unopened). Provenance: Düsseldorf private collection.
Adler, Jankel. Ohne Titel. (Zwei Stehende). Radierung in Rotbraun auf Montgolfier-Maschinenbütten. Signiert unten links in der Platte. Motivmaße: 46 x 30 cm. Blattmaße: 47 x 31 cm. Das Blatt umlaufend unter Passepartout montiert, verso mit etwas schwarzem Abklatsch und Resten einer alten Montierung, die etwas nach vorne durchscheinen, das Blatt gleichmäßig gebräunt.
Adler, Jankel. Ohne Titel. (Sitzender Damenakt). Braune Tusche auf bräunlichem Maschinenbütten. Passepartout-Ausschnitt: 54,5 x 33 cm. Blattmaße: 62,5 x 48 cm. Verso mit Notizen von fremder Hand. - Das Blatt an den Kanten unter Passepartout montiert, gebräunt, stockfleckig, lichtrandig.
Jankel Adler 1895 Tuszyn - 1949 Aldbourne Reclining girl Ink brush on paper; H 478 mm, W 655 mm; signed lower right ''Adler''; lower right with embossed stamp ''Bristol Karton''; Provenance: Collection of Dr. Matthias Rech, Bonn (verso collector's note ''Jankel Adler Ddf. vom Künstler Bonn 28/5/1930 DM Rech'')
Jankel Adler (Polish, 1895–1949) Figures Monotype on paper Signature stamp lower right With A. M. Adler Fine Arts, New York label verso To be sold without reserve Dimensions: (Frame) 14.5 in. (H) x 15.75 in. (W) (Paper) 6.5 in. (H) x 8.25 in. (W)
JANKEL ADLER 1895-1949 Lodz 1895-1949 London (Polish / British) Title: Portrait of a Bearded Man Technique: Pencil Drawing on Sketchbook Page Size: 13.5 x 18 cm. / 5.3 x 7.1 in. Additional Information: This is an original drawing by Jankel Adler. This drawing comes from the skecthbook of the artist. Acquired by the grandfather of the previous owner in the south of France (possibly in Cagnes sur Mer) in the 1940´s directly from the artist. Condition: Good condition.
Jankel Adler, Polish 1895-1949 - Figure Composition, opus 152, c.1945; oil on canvas, signed lower left 'Adler ', 51 x 76 cm Provenance: with Gimpel Fils, London, no.GF2379 and VAA3465S (according to the two labels attached to the reverse of the frame); private collection, purchased from the above on the 19th October 2018 Exhibited: Camden Arts Centre, London, 'Roots and Influences: Jankel Adler, Hilde Goldschmidt, Harry Weinberger', November 1976 (according to the label attached to the reverse of the frame) Note: émigré artist Adler developed a unique visual style of abstracted figuration, that was highly influential on an entire generation of British artist including Robert Colquhoun, Robert Macbryde, John Shelton and Franciszka Themerson. This is a brilliant example of the work he was making at the end of WWII, pushing this language to the extremes of abstraction.
Jankel Adler (Polish 1895–1949) Nude Woman Monotype With stamped signature lower right To be sold without reserve Dimensions: (Frame) 24 in. (H) x 19 in. (W) (Image) 16 in. (H) x 12.25 in. (W)
Jankel Adler, Polish 1895-1949 - Figure Composition, opus 152, c.1945; oil on canvas, signed lower left 'Adler ', 51 x 76 cm Provenance: with Gimpel Fils, London, no.GF2379 and VAA3465S (according to the two labels attached to the reverse of the frame); private collection, purchased from the above on the 19th October 2018 Exhibited: Camden Arts Centre, London, 'Roots and Influences: Jankel Adler, Hilde Goldschmidt, Harry Weinberger', November 1976 (according to the label attached to the reverse of the frame) Note: émigré artist Adler developed a unique visual style of abstracted figuration, that was highly influential on an entire generation of British artist including Robert Colquhoun, Robert Macbryde, John Shelton and Franciszka Themerson. This is a brilliant example of the work he was making at the end of WWII, pushing this language to the extremes of abstraction.
Jankel Adler, British/Polish 1895-1949 - Reclining Figure, opus 117, c.1942; offset drawing on paper, signed and dated lower right 'Adler', 50.5 x 40.3 cm Provenance: with Gimpel Fils, London, GF2377 (according to the labels attached to the reverse of the frame) Note: émigré artist Adler developed a unique visual style of abstracted figuration, that was highly influential on an entire generation of British artist including Robert Colquhoun, Robert Macbryde, John Shelton and Franciszka Themerson. The fragile, spidery style of these drawings looks forward to the work of Tracey Emin.
Jankel Adler (1895 Tuszyn - 1949 Aldbourne) (F) Seated, bearded man, etching on firm paper, 27 cm x 14 cm motiv dimensions, 66 cm x 50 cm sheet dimensions, edition II 15/4 inscribed, signed by Nina Adler, the artist's daughter 'Für Jankel Adler Nina Adler', sheet irregularly browned, occasionally slightly stained, light-stained, upper left sheet tear glued behind
Jankel Adler, British/Polish 1895-1949 - Reclining Figure, opus 117, c.1942; offset drawing on paper, signed and dated lower right 'Adler', 50.5 x 40.3 cm Provenance: with Gimpel Fils, London, GF2377 (according to the labels attached to the reverse of the frame) Note: émigré artist Adler developed a unique visual style of abstracted figuration, that was highly influential on an entire generation of British artist including Robert Colquhoun, Robert Macbryde, John Shelton and Franciszka Themerson. The fragile, spidery style of these drawings looks forward to the work of Tracey Emin.
Jankel Adler, Polish 1895-1949 - Portrait, opus 92, 1942; lithograph on paper, possibly unique, signed and dated in ink lower left 'Adler 1942', 37.8 x 30.1 cm Provenance: with Gimpel Fils, London, no.GF2376 (according to the two labels attached to the reverse of the frame); private collection, UK Note: émigré artist Adler developed a unique visual style of abstracted figuration, that was highly influential on an entire generation of British artist including Robert Colquhoun, Robert Macbryde, John Shelton and Franciszka Themerson. The fragile, spidery style of these drawings looks forward to the work of Tracey Emin.
Jankel Adler (Polish 1895-1949) The Kiss signed 'Adler' (lower right) oil and gesso on card laid down on board 31 x 25 cm, framed and glazed 44 x 38 cm Provenance: Hans and Elsbeth Juda by 1967. From the collection of Mrs Elizabeth Corob. Exhibited: Sheffield, Graves Art Gallery, "In Our View" Some Paintings and sculpture bought by Hans and Elsbeth Juda between 1931-1967, May - June 1967, cat.no.3. Slightly dirty. Some minor frame abrasion to edges, and a few surface abrasions elsewhere. Some small spots of paint to upper edge. No evidence of retouching when viewed under UV light.
JANKEL ADLER (POLISH 1895-1949) SOLDIER SLEEPING (OPUS 138), 1940 Signed and dated lower left, pen and ink on paper 49.2cm x 40cm (19.5in x 15.75in), unframed The Artist;Gimpel Fils, London. Exhibited: Gimpel Fils, London, Jankel Adler, 2012.
Jankel Adler, Polish 1895-1949 - Composition with figures, opus 37, 1943; graphite on paper, signed and dated lower right 'Adler 43', 14 x 18.7 cm Provenance: with Gimpel Fils, London, no.GF21229 (according to the two labels attached to the reverse of the frame); private collection, UK Note: émigré artist Adler developed a unique visual style of abstracted figuration, that was highly influential on an entire generation of British artist including Robert Colquhoun, Robert Macbryde, John Shelton and Franciszka Themerson.
Jankel Adler (Polish 1895-1949) The Kiss signed 'Adler' (lower right), oil and gesso on card laid down on board, 31 x 25 cm, framed and glazed 44 x 38 cm Provenance Hans and Elsbeth Juda by 1967. From the collection of Mrs Elizabeth Corob. Exhibited Sheffield, Graves Art Gallery, "In Our View" Some Paintings and sculpture bought by Hans and Elsbeth Juda between 1931-1967, May - June 1967, cat.no.3.
JANKEL ADLER 1895-1949 Lodz 1895-1949 London (Polish / British) Title: Bathers Playing with a Ball at the Beach Technique: Original Ink and Ink Wash on Paper size: 21.5 x 29.5 cm / 8.5 x 11.6 in Additional Information: This is an original drawing by Jankel Adler and as probably painted in the early 1940's. Provenance: Acquired by the grandfather of the previous owner in the south of France (possibly in Cagnes sur Mer) in the 1940's directly from the artist. Exhibited: Water-Colours and Draings by Jankel Adler (1895-1949), The Leicester Galleries, Leicester Square, London, October 1951. Condition: Good condition. Light handling creases. Some scattered foxing.
JANKEL ADLER 1895-1949 Lodz 1895-1949 London (Polish / British) Title: Portrait of a Bearded Man Technique: Pencil Drawing on Sketchbook Page Size: 13.5 x 18 cm. / 5.3 x 7.1 in. Additional Information: This is an original drawing by Jankel Adler. This drawing comes from the skecthbook of the artist. Acquired by the grandfather of the previous owner in the south of France (possibly in Cagnes sur Mer) in the 1940´s directly from the artist. Condition: Good condition.
