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Moritz Coschell Sold at Auction Prices

Illustrator, Painter, Etcher

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    • MORITZ COSCHELL (AUSTRIAN 1872-1928)
      Jan. 27, 2024

      MORITZ COSCHELL (AUSTRIAN 1872-1928)

      Est: $50 - $100

      MORITZ COSCHELL (AUSTRIAN 1872-1928) Portrait of a Bearded Man (Bildnis eines Heeren), 1928 etching on paper 19 x 14 cm (7 1/2 x 5 1/2 in.) [plate]; framed dimensions: 35 x 31 cm (13 3/4 x 12 1/4 in.) signed and dated lower right CONDITION Observed in frame under glass, the work is in good condition, minor waviness to the paper and some surface grime consistent with age. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

      Shapiro Auctions LLC
    • Coschell, Moritz: Drei Männer in Damenkostümen vor dem Ball Burlesque
      Nov. 24, 2016

      Coschell, Moritz: Drei Männer in Damenkostümen vor dem Ball Burlesque

      Est: €400 - €600

      Drei Männer in Damenkostümen vor dem Ball Burlesque. Radierung mit Kaltnadel, auf Van-Gelder-Zonen-Velin. 23,6 x 22,3 cm. Signiert. 1913.Probedruck. Prachtvoller, gratiger Druck mit breitem bzw. vollem Rand. Leichte Faltspuren im weißen Rand, ganz schwache Fleckchen vereinzelt, minimal angestaubt im weißen Rand, sonst in sehr guter Erhaltung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

      Galerie Bassenge
    • Moritz Coschell 1873 Wien - 1943 Wien - Bildn...
      Jun. 11, 2016

      Moritz Coschell 1873 Wien - 1943 Wien - Bildn...

      Est: €150 - €200

      Moritz Coschell 1873 Wien - 1943 Wien - Bildnis eines Herren - Radierung/Japan. 20 x 14.5 cm. 37.5 x 26 cm. Sign. r. u.: Coschell. In der Platte sign. und undeutl. dat. r. u. Das Blatt liegt lose.

      Das Kunst- und Auktionshaus Kastern GmbH & Co KG
    • COSCHELL, MORITZ - Vienna 1872 - 1943
      Nov. 14, 2014

      COSCHELL, MORITZ - Vienna 1872 - 1943

      Est: €50,000 - €65,000

      COSCHELL, MORITZ Vienna 1872 - 1943 Two portraits of the couple, Dr. Alfred and Margaret Gold. a.) Dr. Alfred Gold. Signed and dated lower right: M. Coschell Berlin / 1904. Oil on canvas. 80 x 125cm. Framed. b.) Margaret Gold, born Zadek. Signed and dated lower right: Coschell Berlin / 1910. Oil on canvas. 83 x 94.5 cm. Framed. Verso: b) Refer to the canvas: 233D. Born in Vienna in 1872 Moritz Coschell initially studied sculpture before turning to painting. At the Vienna Academy he studied under the genre painter Franz Rumpler and the historical and portrait painter August Eisenmenger. From 1899 he moved to Berlin where Coschell quickly became a sought-after portrait painter at the turn of the century. He portrayed the composer Richard Goldberger, Bogumil Zepler and Heinrich Grünfeld and the critic Alfred Kerr-Pope. In addition to portrait paintings Coschell, which was also performed under the name Kocheles, depicted Old Testament scenes and scenes from the life of the Jewish people. In evocative contemporary interiors, he was a strong colourist. Even as a graphic artist and illustrator Maurice Coschell made a name for himself. For the Fischer-Verlag, he made illustrations, among other works by Arthur Schnitzler. Coschell married Lucy Wiskott in 1921, a subsidiary of the ultimate parent company of Westphalia. Her father was the banker Henry Paul Wiskott, whose family was crucial for the industrial boom of Dortmund. Because of his Jewish ancestry Coschell, himself was a Protestant. In 1933 during the German prohibition, which he was able to temporarily escape from by moving to Vienna. Even in his hometown Coschell had quickly become a leading artists, but with the connection to Austria in 1938 his situation was again unbearable. Although he escaped deportation in 1943 he died destitute in Vienna, after several failed attempts to leave the country. The portrayed here Alfred Gold was one of the men who helped shape the German literary and art world between the turn of the century and the beginning of World War II. He was not in the very first row of the innovators but there were men like Alfred Gold, which accompanied the new currents in art and literature. Like his contemporary Erich Mühsam stated: Gold "belonged to the circles of literary and artistic genius accumulations" in Vienna and Berlin during this time. Born in Vienna in 1874 as the son of a Jewish merchant family, he studied philosophy and German but was enrolled as a guest student in art history. His money earned Gold with the price paid writing as a journalist for the magazines "Time" and "Pan". His specialist areas: theater, literature reviews and general Feuilleton- posts that appeared under the pseudonyms Alwin Goldeck and "Fin de siècle". 1901 Alfred Gold moved to Berlin, the German-speaking metropolis, yet a little closer to the pulse of the time. In Berlin he was hired as a correspondent for the Frankfurter Zeitung, but he went there also to own literary works: He was Co-translator of Flaubert's "novel of a young man" (1904), wrote a play (finale, drama in 3 acts, 1905) and "the song of the star Mermaid", a novel in Berlin artistic circles. At least since 1904 Alfred Gold was with Paul Cassirer, the most influential gallery owners and publishers of the time. In its publishing Flaubert translation appeared and since that time Alfred Gold belonged to the extended circle of friends to Cassirer. In the same year, 1904, we present Portrait of 30 year old Alfred Gold by Moritz Coschell. 1911 turned Gold intensified the visual arts: he wrote a book about Frans Hals and his doctorate at the University of Münster in art history over the Empire artist Johann Carl Wilck. The promotion appeared in 1912 published by Paul Cassirer. During the First World War, Alfred Gold was then a member of staff in Cassirer Verlag. While Cassirer himself marched to war service, Gold was in charge of co-editor of the journal "war time". From August 1914 to March 1916 published 65 books this "artist flyers" on the topic of war with original lithographs together with Ernst Barlach, Käthe Kollwitz, Max Liebermann and Max Slevogt. After initially very patriotic held spending the graphics were gradually critical and Alfred Gold had the difficult censorship afford not to endanger the company. After the war Alfred Gold employment had a new direction, with which it may have become familiar in Cassirer environment: Gold was an art dealer. First in Paris, where he lived as a correspondent from 1923. He also appeared as a buyer and a middleman in the art trade. Opened in 1929, Gold has a first gallery in Berlin in 1931 was expanded with a branch in Paris. He devoted himself to doing all the French Impressionists. Not only as a trader but also as an exhibition organizer, about 1930 in the Art Association of the Rhineland and Westphalia in Dusseldorf Fortunately, Alfred Gold, among others, are had also art-theoretical set apart with Jewish culture, with his wife Martha and their daughter, who later became sculptor Marianne Gold Littmann escape persecution from the Nazis. First he moved his art trade all the way to Paris before he immigrated in 1940 with his family to the United States. In exile Alfred Gold wrote more books with time considerations, such as his 1942 settlement with Nazi Germany "The most stupid of all races - dialogs and comments" or 1945 "I call this history, and other stories". His international relations, he used early in connection with restitution issues as in the case of collection of Otto Gerstenberg. Alfred Gold died in 1958 in New York. All concentrations of the image are based on the haggard face of the illustrated Alfred Gold. The major compositional lines, the diagonals that form the left arm and the arm of the chair, meet in the eyes under a slightly wrinkled brow. Virtuoso in the texture and type of painting the portrait of Alfred Gold is an excellent testimony of art to Secession time. In this painting is true, what a critic of the "Allgemeine Zeitung of Judaism" in 1908 said of the portraits of Moritz Coschells: "Recessed one in essence and expression of the portraits by this artist, one discovers that it is not enough for him merely to find similarities in appearance. It comes to him rather to the spiritual depth of, on what is behind the Picturesque, on the individual soulfulness... " That the portrait of Alfred Gold for Great Berlin Art Exhibition, a showcase of German Art, was approved, shows the esteem in which this work was also met with by the experts of his time. We know about his wife Margaret Gold, born Zadek little more than their life details: born 1885 in Berlin and died 1960 in Portland, Oregon. The portrait of Margaret Gold was founded six years later than her husband's. The later image is completely independent and was - never thought of as a counterpart to the earlier paintings - even from its other format. The next task reveals, however, that it must have been very happy in the Gold family with the portrait of the master of the house. Margaret Gold is also shown sitting. She also fills the picture space in height from almost all. Again, the value held in shades of brown background is undefined. Thus, the parallels of the two images. In striking straight posture sitting Gold, this is emphasized even more by the vertical chair back, the parallel extends to the right edge. Her right hand is on the thighs, the left arm hangs down, the fingers of that hand seem to bear on the seat of the chair. Grete Gold wearing a black dress, decorated on the chest and sleeves with pink and green rose petals. The hair wearing draped the young bulky woman. The painting is determined by strictly vertical and horizontal structures. The right attitude and the understated look of the woman Gold they leave themselves strictly and a little aloof appear. Coschell shows here again his great mastery to make the person portrayed as a personality significantly. The contemporary appreciation of the artist and the sitter is also evident that the painting is displayed in the Westermann's Monatshefte by the October December 1910 (the 55th year, the 109th band, first part). See literature: - Paret, Peter: The Berlin Secession. Modern Art and Its Enemies in Imperial Germany, Frankfurt / Main, Berlin, Vienna 1983, to "war time" Pg. 339 f. - Lexicon German-Jewish authors, Vol 9, Munich 2001, p 44 f, - Manual of Austrian writers of Jewish origin, Munich 2002, S.428 f. - Painfully, Erich: Lest we forget. Selected Works, Neuaufl. 2013 - Wikipedia article Alfred Gold / Moritz Coschell, 10/06/2014; - Buber, Martin: Jewish Artists, Berlin 1903; - Commemorative 90 years Westfälische Kaufmannsgilde eV

      Van Ham Kunstauktionen
    • Coschell, Moritz Max Kocheles, geb. 1873,
      Oct. 25, 2008

      Coschell, Moritz Max Kocheles, geb. 1873,

      Est: -

      Coschell, Moritz Max Kocheles, geb. 1873, Verschniete Dorfansicht, Öl/Malkarton, re. u. signiert und bezeichnet: H.K.K. Dorna Kandreni 1917. ca. ...

      Henry's Auktionshaus
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