Alexej von Jawlensky Grosses Stillleben: Rosen mit gelber Vase Öl auf Leinwandpapier, auf Karton aufgezogen, auf Hartfaserplatte montiert / Oil on canvas paper, laid down on cardboard, mounted on hardboard Dezember 1935 25,5x18,5 cm / 25.5x18.5 cm Signatur / Signature Unten links vom Künstler monogrammiert "A.J.", rechts datiert "35". Rückseitig von Lisa Kümmel bezeichnet "A. Jawlensky XII 1935 N. 1", darunter bezeichnet "Rosen mit gelber Vase" Lower left monogrammed by the artist "A.J.", right dated "35". On the reverse inscribed by Lisa Kümmel "A. Jawlensky XII 1935 N. 1", below inscribed "Rosen mit gelber Vase" Werkverzeichnis / Catalogue Raisonné Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, Band 3, 1934-1937, München 1993, Nr. 1774 Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. 3, 1934-1937, Munich 1993, no. 1774 Provenienz / Provenance Nachlass des Künstlers Privatsammlung Schweiz Estate of the artist Private collection Switzerland Literatur / Literature Clemens Weiler, Alexej Jawlensky, Köln 1959, Nr. 759 Clemens Weiler, Alexej Jawlensky, Cologne 1959, no. 759 Ausstellungen / Exhibitions München 1956, Galerie Otto Stangl, Alexej von Jawlensky, Ausstellung zum 100. Geburtstag Munich 1956, Galerie Otto Stangl, Alexej von Jawlensky, Ausstellung zum 100. Geburtstag Zustand / Condition Die Schichten sind verklebt. Tadellos in der Erhaltung The layers are adhered. Impeccable condition Erläuterungen / Comments Das vorliegende Werk zeigt Rosen in einer gelben Vase vor dunkelbraunem Grund. Jawlensky hat die Blüten in intensivem Rot mit kräftigen Pinselstrichen herausgearbeitet. Die grünen Stiele strukturieren die Komposition vertikal, während links eine weisse Figur und rechts eine blaue Karaffe das Stillleben komplettieren. Die Ölmalerei auf Leinwandpapier ist energisch aufgetragen, die einzelnen Farbschichten sind deutlich sichtbar. Die dunkle Grundierung lässt die leuchtenden Farben der Blüten intensiv wirken. Jawlensky arbeitet mit breiten, expressiven Strichen, wobei die Formensprache vereinfacht ist und die Farbe dominiert. Diese Arbeit entstand 1935, in einer Phase, in der sich Jawlensky intensiv dem Stillleben und den Meditationsbildern widmete. Der Künstler, der sich seit den 1910er-Jahren dem Expressionismus verpflichtet hatte, entwickelte in seinen späteren Stillleben eine eigenständige Bildsprache. Stilistisch verbindet Jawlensky expressionistische Farben mit einer kontemplativen Haltung gegenüber dem einfachen Motiv. The present work shows roses in a yellow vase against a dark brown background. Jawlensky has worked out the blossoms in intense red with bold brushstrokes. The green stems structure the composition vertically, while a white figure on the left and a blue carafe on the right complete the still life. The oil painting on canvas paper is applied energetically, with the individual layers of color clearly visible. The dark ground allows the luminous colors of the blossoms to appear particularly vibrant. Jawlensky works with broad, expressive strokes, with a simplified formal language and color taking precedence. This work was created in 1935, during a period in which Jawlensky was intensely dedicated to still lifes and meditation paintings. The artist, who had committed himself to Expressionism since the 1910s, developed an independent visual language in his later still lifes. Stylistically, Jawlensky combines expressionist colors with a contemplative attitude toward the simple motif. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 11.09.2026; 15:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
Alexej von Jawlensky Abstrakter Kopf: Aurora Öl auf Leinwandpapier auf Sperrholz aufgezogen / Oil on canvas paper laid down on plywood 1931 42,5x33 cm / 42.5x33 cm Signatur / Signature Unten links vom Künstler monogrammiert "A.J.", unten rechts datiert "31" Lower left monogrammed by the artist "A.J.", lower right dated "31" Werkverzeichnis / Catalogue Raisonné Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, Band 2, 1914-1933, München 1992, Nr. 1366 Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. 2, 1914-1933, Munich 1992, no. 1366 Provenienz / Provenance Nachlass des Künstlers Privatsammlung Schweiz Estate of the artist Private collection Switzerland Literatur / Literature Clemens Weiler, Alexej Jawlensky, Köln 1959, Kat. Nr. 353 Clemens Weiler, Alexej Jawlensky, Köpfe, Gesichter, Meditationen, Hanau 1970, Kat. Nr. 265 Angelica Jawlensky, Il volto come icona, Mailand 1991, S. 124 Angelica Jawlensky, A Longing for God, Mailand 1991, S. 136 Clemens Weiler, Alexej Jawlensky, Cologne 1959, cat. no. 353 Clemens Weiler, Alexej Jawlensky, Köpfe, Gesichter, Meditationen, Hanau 1970, cat. no. 265 Angelica Jawlensky, Il volto come icona, Milan 1991, p. 124 Angelica Jawlensky, A Longing for God, Milan 1991, p. 136 Ausstellungen / Exhibitions München/Essen/Zürich 1977, Haus der Kunst/Museum Folkwang/Kunsthaus, Die Dreissiger Jahre, Schauplatz Deutschland, Kat. Nr. 28 Wasserburg 1979, Ganserhaus, Vom Abbild zum Urbild, Kat. Nr. 31 Düsseldorf 1982, Kunstverein, Bilder sind nicht verboten, Kat. Nr. 75 München/Baden-Baden 1983, Städtische Galerie im Lenbachhaus/Staatliche Kunsthalle, Alexej Jawlensky, Kat. Nr. 187 New York 1987, Leonard Hutton Galleries, Jawlensky, Father and Son, Kat. Nr. 59 Munich/Essen/Zurich 1977, Haus der Kunst/Museum Folkwang/Kunsthaus, Die Dreissiger Jahre, Schauplatz Deutschland, cat. no. 28 Wasserburg 1979, Ganserhaus, Vom Abbild zum Urbild, cat. no. 31 Düsseldorf 1982, Kunstverein, Bilder sind nicht verboten, cat. no. 75 Munich/Baden-Baden 1983, Städtische Galerie im Lenbachhaus/Staatliche Kunsthalle, Alexej Jawlensky, cat. no. 187 New York 1987, Leonard Hutton Galleries, Jawlensky, Father and Son, cat. no. 59 Zustand / Condition In sehr guter Erhaltung In very good condition Erläuterungen / Comments Alexej von Jawlensky wurde in der russischen Stadt Torzhok geboren und zog im Alter von zehn Jahren mit seiner Familie nach Moskau. Nach einer militärischen Ausbildung entdeckte er um 1880 auf der Moskauer Weltausstellung seine Leidenschaft für die Malerei. Dank guter gesellschaftlicher Kontakte konnte er nach St. Petersburg versetzt werden, wo er von 1889 bis 1896 an der Kunstakademie studierte und zugleich Militärdienst leistete. Über den russischen Realisten Ilja Repin (1844-1930) lernte er Marianne von Werefkin kennen, die ihn als Mentorin und Förderin unterstützte und ihre eigene künstlerische Arbeit zugunsten seiner Entwicklung zurückstellte. 1894 übersiedelten Jawlensky und Werefkin nach München, wo er an der Privatschule von Anton Ažbe studierte. Dort begegnete er Wassily Kandinsky und arbeitete später in Murnau gemeinsam mit Kandinsky und Gabriele Münter. In diesem Umfeld entstanden die Ideen für die Neue Künstlervereinigung München sowie zur expressionistischen Bewegung Der Blaue Reiter. Später gründete Jawlensky gemeinsam mit Kandinsky, Klee und Feininger die Gruppe Die Blauen Vier. Jawlenskys frühe Münchner Werke zeichnen sich durch leuchtende Farben, expressive Formgebung und den Einfluss avantgardistischer Strömungen aus. Der Austausch mit Künstlern wie Emil Nolde und Henri Matisse prägte seine Entwicklung nachhaltig. Seit 1914 verfolgte Jawlensky konsequent den Weg zur Abstraktion. Schrittweise reduzierte er die Formen seiner Motive auf ein elementares Grundschema, das er variierend und seriell weiterentwickelte. Besonders deutlich wird dies in seinen Darstellungen des menschlichen Antlitzes. Ab 1918 entstanden die Zyklen der "abstrakten" beziehungsweise "konstruktiven Köpfe", gefolgt von den Serien der "mystischen Köpfe" (1917-1919) und der "Gesichter des Erlösers" (1918–1920). Inspiriert von der Tradition russisch-orthodoxer Ikonen verdichtete Jawlensky das Gesicht zu einer nahezu zeitlosen Chiffre. Augen, Brauen, Nase und Mund strukturieren die Bildfläche in klare geometrische Bereiche. Die Nase erscheint als reduzierte L-Form, während ein kreuzartiges Liniengefüge das Antlitz durchzieht. Der frontal dargestellte Kopf füllt den gesamten Bildraum und wird zum Träger spiritueller und seelischer Ausdruckskraft. Eine geschlechtsneutrale Physiognomie, reduzierte Formen und gedämpfte Farbklänge verleihen diesen Werken eine meditative und mystische Dimension. Jawlenskys Spätwerk zeugt von seiner Suche nach einem universellen Urbild des menschlichen Gesichts. Trotz zunehmender Arthritis, die sein Schaffen ab 1929 stark einschränkte und ihn 1937 nahezu zur Aufgabe der Malerei zwang, blieb seine Kunst von dem Streben nach geistiger Konzentration und innerer Transzendenz sowie von einer tiefgläubigen Haltung geprägt. Das vorliegende Werk zeichnet sich durch eine bemerkenswert ausgewogene Komposition und eine harmonisch abgestimmte Farbgebung aus. Alexej von Jawlensky was born in the Russian city of Torzhok and moved with his family to Moscow at the age of ten. After a military education, he discovered his passion for painting around 1880 at the Moscow World Exhibition. Thanks to good social connections, he was able to be transferred to St. Petersburg, where he studied at the Academy of Art from 1889 to 1896 while simultaneously serving in the military. Through the Russian realist Ilja Repin (1844–1930), he met Marianne von Werefkin, who supported him as a mentor and patron, putting aside her own artistic work in favor of his development. In 1894, Jawlensky and Werefkin moved to Munich, where he studied at the private school of Anton Ažbe. There he met Wassily Kandinsky and later worked in Murnau together with Kandinsky and Gabriele Münter. In this environment, the ideas for the Neue Künstlervereinigung München as well as for the expressionist movement Der Blaue Reiter emerged. Later, Jawlensky founded the group Die Blauen Vier together with Kandinsky, Klee, and Feininger. Jawlensky’s early Munich works are characterized by luminous colors, expressive forms, and the influence of avant-garde movements. The exchange with artists such as Emil Nolde and Henri Matisse had a lasting impact on his development. Since 1914, Jawlensky consistently pursued the path toward abstraction. Step by step, he reduced the forms of his motifs to an elementary basic schema, which he developed further in variations and series. This is particularly evident in his depictions of the human face. From 1918 onwards, the cycles of the "abstrakte" or "konstruktive Köpfe" emerged, followed by the series of the "mystischen Köpfe" (1917–1919) and the "Gesichter des Erlösers" (1918–1920). Inspired by the tradition of Russian Orthodox icons, Jawlensky condensed the face into an almost timeless cipher. Eyes, brows, nose, and mouth structure the pictorial surface into clear geometric areas. The nose appears as a reduced L-shape, while a cross-like network of lines runs through the face. The head, shown frontally, fills the entire pictorial space and becomes the bearer of spiritual and emotional expressiveness. A gender-neutral physiognomy, reduced forms, and muted color tones give these works a meditative and mystical dimension. Jawlensky’s late work testifies to his search for a universal archetype of the human face. Despite increasing arthritis, which severely restricted his work from 1929 and nearly forced him to give up painting in 1937, his art remained marked by the pursuit of spiritual concentration and inner transcendence, as well as by a deeply religious attitude. The present work is distinguished by a remarkably balanced composition and a harmoniously coordinated use of color. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 11.09.2026; 15:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
(1864 Torschok - 1941 Wiesbaden) nach "Gewitter" und "Das Wort". Originaltitel Zwei Blätter. Farboffsetdruck/Kunstdruckpapier. Im Druck beschriftet. Nach den Gemälden Jawlenskys von 1916 bzw. 1933. Copyright Cosmopress/Genf. Hrsg. Achenbach Art Edition/Düsseldorf. Darstellung 48,5 cm x 33 cm bzw. 42,6 cm x 33 cm. After the paintings by Jawlensky. Offset print in colours.
Gouache on paper Signed lower left Dimensions: 25.3 × 36.1 cm Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects. Archival documentation confirms that this artwork was received from Mykolas Žilinskas on April 22, 1954 By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks Notes: Accompanied by a certificate of authenticity Condition: For a detailed condition report, please email: info@hammersite.com
Gouache on paper Dimensions: 29 × 42.2 cm Signed lower left Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects. Archival documentation confirms that this artwork was received from Mykolas Zilinskas on April 22, 1954. By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects. Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks. Notes: Accompanied by a certificate of authenticity Condition: For a detailed condition report, please email: info@hammersite.com
Ink on paper Signed lower left Dimensions: 21.2 × 30 cm Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects Archival documentation confirms that this artwork was received from Mykolas Žilinskas on April 22, 1954 By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks. Notes: Accompanied by a certificate of authenticity Condition: For a detailed condition report, please email: info@hammersite.com
Gouache on paper Dimensions: 24.8 × 32.1 cm Signed lower left Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects. Archival documentation confirms that this artwork was received from Mykolas Zilinskas on April 22, 1954. By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks. Notes: Accompanied by a certificate of authenticity from an art historian Condition: For a detailed condition report, please contact us at info@hammersite.com
Alexej von Jawlensky 1864 - 1941 Landschaft mit rotem Dach, Wasserburg (Landscape with Red Roof, Wasserburg) signed A. Jawlensky (lower right) oil on cardboard 48.9 by 52.4 cm. 19¼ by 20⅝ in. framed: 58.1 by 61.5 cm. 22⅞ by 24¼ in. Executed circa 1906.
VON JAWLENSKY , ALEXEJ 1867 Twer/Moscow–1941 Wiesbaden Title: Mittlere Meditation, 1936 / VII / N. 14. Date: 1936. Technique: Oil on colouring paper. Mounting: Mounted on Bristol board. Measurement: 19 x 12.5 cm. Notation: Monogrammed and dated lower left and right: A.J. 36. Inscribed and dated on the inside of the passepartout: VII 1936. Signed, dated and inscribed verso top and center: A. Jawlensky VII 1936 N.14 I.A. Also inscribed here by a hand other than that of the artist's: M11630. A certificate from the Alexej von Jawlensky Archive, Mergoscia, dated 13.01.26 is available for the work. The work will be included in the catalogue raisonné currently in preparation. Provenance: - Hans Ostertag Collection, Frankfurt/Main (according to the consignor) - Private collection, South Germany (by inheritance) - The series „Meditationen“ marks the zenith of his search for mental depth and formal reduction - The intimate work capivates with its reduced design language and a vivid contemplative effect - Clear dark-glowing colours Alexej von Jawlensky is regarded as one of the most significant figures of Expressionism within the artistic circle known as ‘Der Blaue Reiter’. Following military training, he studied in St Petersburg under Ilya Repin before moving to Munich in 1896. There, he engaged intensively with the artistic movements of his time and was profoundly influenced by the works of Vincent van Gogh and Paul Gauguin. As a co-founder of the “Neue Künstlervereinigung München” and through close collaboration with Wassily Kandinsky and Gabriele Münter, Jawlensky developed a distinctive visual language. Characteristic of his work is the reduction of form in favour of heightened colour intensity, intended to emphasise not the visible but the spiritual. His art occupies a key position between figuration and the tendency towards abstraction and ranks among the central positions of classical modernism. The work on offer belongs to the artist’s extensive series of head portraits, which Jawlensky termed “Meditations” from 1937 onwards. Against a dark, almost solid background, a highly simplified, frontal head form emerges. The facial features are reduced to a few rhythmically placed lines: bright red strokes on the forehead create focused accents, whilst violet and blue lines below the cheeks structure the form. This small, intimate work is characterised by a translucent, glazed colour scheme in places. The structure of the ground remains visible and stands in a tense contrast to the coloured flashes of light. At the same time, the composition exudes a remarkable inner calm that impressively underscores the meditative character of the series. Within Jawlensky’s oeuvre, the ‘Meditations’ mark the high point and culmination of his artistic development. Shaped by illness and seclusion, they condense the form into a timeless symbol of inner contemplation and lend the face an iconic, almost spiritual presence. Estimated shipping costs for this lot: The lot is unsuitable for parcel shipping. Transport only by shipping company after consultation following the auction. additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Alexej von Jawlensky #Expressionism #Russia #Modern Art #1930s #Head #Oil #Works on paper #Modern Art.
VON JAWLENSKY , ALEXEJ 1867 Twer/Moscow–1941 Wiesbaden Title: Meditation. Date: 1935. Technique: Oil on paper with linen embossing. Mounting: Laid down on card (31.5 x 24cm). Depiction Size: 18 x 14 cm. Notation: Monogrammed and dated lower left and right: A.J. 35. Additionally signed, dated and inscribed verso centrally on the card: A. Jawlensky 1935 N 131 J. Frame: Framed (36 x 31cm). Provenance: - Galerie Scheyer, Hollywood, CA (1935, directly from the artist) - Foreclosure auction, San Francisco, 1954, lot 9, no. 76 - Landau Galleries, Los Angeles (acquired from the previous owner) - Sotheby's London, 28.6.1961, lot 51 - Kunstkabinett Hanna Bekker vom Rath, Frankfurt am Main - Hans Steinbrenner Collection, Frankfurt am Main - Jakob Steinbrenner Collection, Munich - Galerie Meyer-Ellinger, Frankfurt a. M. (acquired in 2000) Literature: - Jawlensky, Maria/Pieroni-Jawlensky, Lucia/Jawlensky, Angelica: Alexej von Jawlensky - Catalogue Raisonné of the Oil Paintings, Vol. Three 1934-1937, Munich 1993, cat. rais. no. 1622 - Jawlensky's "Meditationen" ("meditations"), reduced to the essentials, testify to a mysterious magic and move the viewers in a special way - Significant late work from his famous series - Timeless visual language between icon painting and modernism Particularly in the late 1930s, when he was already marked by illness, he created—with an almost religious fervor—a distinctive pictorial type that remains inseparably associated with his name to this day. Emerging from an intensive engagement with portraiture, Jawlensky arrived at a fundamental reflection on the image itself—a process that ultimately led him to the icon in its true, religious sense. The Meditations are an expression of his deeply spiritual worldview and his search for the transcendent, reaching beyond the profane and the everyday. In doing so, he consciously drew upon the tradition of Russian icon painting: its abstracted visual language, which dispenses with individual features, corresponded to his idea of the archetypal image. Despite numerous variations, the fundamental type of his Meditations remained constant—an iconic representation once discovered, possessing in itself a quiet, almost magical effect that requires no further interpretation. "Small formats of great intensity characterized the late work of Jawlensky and the collection of Jochen Neynaber" Estimated shipping costs for this lot: The lot is unsuitable for parcel shipping. Transport only by shipping company after consultation following the auction. additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Alexej von Jawlensky #Expressionism #Russia #Modern Art #1930s #Geometric Abstraction #Painting #Modern Art. In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
Gouache on paper Signed lower left Dimensions:25.5x 36 cm Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects. Archival documentation confirms that this artwork was received from Mykolas Žilinskas on April 22, 1954. By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects. Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks. Notes: Accompanied by a certificate of authenticity from an art historian Condition: For a detailed condition report, please email: info@hammersite.com
From an Important Royal Collection, Southern Germany Alexej von Jawlensky 1864 - 1941 Kleine Meditation: Ich bete (Small Meditation: I pray) signed with the artist's initials (lower left) and dated 36 (lower right) oil on paper 18.8 by 12.3 cm. 7⅜ by 4⅞ in. Executed in 1936. The authenticity of this work has kindly been confirmed by the Alexej von Jawlensky Archiv and will be included in their forthcoming catalogue raisonné.
ALEXEJ VON JAWLENSKY (1864-1941) Kleiner geneigter Frauenkopf mit geschlossenen Augen signed with the artist's initials 'A.J.' (lower left); signed again, variously inscribed in Cyrillic and dated '29.V.24' (lower center, on the inside left page) watercolor and pencil on paper 7 1/8 x 4 3/4 in (18.1 x 12.1 cm) Executed on May 29, 1924
Spirit of Dreams: Property from the Joseph H. Hazen Family Collection Alexej von Jawlensky 1864 - 1941 Variation: Morgendämmerung (Variation: Dawn) faintly signed with the initials A.J. and dated 17 (lower left) oil on canvas laid down on board 14 ½ by 10 ⅝ in. 36.8 by 27 cm. Executed in 1917. The authenticity of this work has kindly been confirmed by the Alexej von Jawlensky Archiv and will be included in their forthcoming catalogue raisonné.
Center Stage: The Estate of Jacqueline Littlefield Alexej von Jawlensky 1864 - 1941 Meditation signed A. Jawlensky, dated 1936.V and numbered N24. (on the reverse) oil on canvas mounted on board 7 by 5 ⅜ in. 17.8 by 13.7 cm. Executed in 1936. The authenticity of this work has kindly been confirmed by the Alexej von Jawlensky Archiv and will be included in their forthcoming catalogue raisonné.
Property from a New York Private Collection Alexej von Jawlensky 1864 - 1941 Mystischer Kopf: Rabenflügel IV (Mystical Head: Raven's Wing IV) signed A. Jawlensky and dated 18. (lower right); signed A. Jawlensky, dated 1918 and inscribed M.K. (on the reverse) oil on board 10 ¼ by 7 ⅝ in. 26 by 19.4 cm. Executed in 1918.
Gouache on paper Signed lower left Dimensions:32 x 22.3 cm Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects. Archival documentation confirms that this artwork was received from Mykolas Žilinskas on April 22, 1954. By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects. Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks. Notes: Accompanied by a certificate of authenticity from an art historian Condition: For a detailed condition report, please contact us at info@hammersite.com
Gouache on paper Signed lower left Dimensions:41 x 26 cm Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects. Archival documentation confirms that this artwork was received from Mykolas Žilinskas on April 22, 1954. By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects. Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks. Notes: Accompanied by a certificate of authenticity from an art historian Condition: For a detailed condition report, please contact us at info@hammersite.com
Oil on canvas Signed lower left Dimensions (including frame):87 x 77 cm Dimensions (excluding frame):66 x 56.5 cm Provenance:Privet collection of Omer Albert Notes: Accompanied by a certificate of authenticity from an art historian Accompanied by a condition report including a UV test by Giora from Museum Israel Attached is an agreement 21/05/1936 between D.Sophie Moscona and Hanna Bekker Attached is an agreement dated 03/08/1988 between D.Sophie Moscona and Omer Albert Additional Information:The work is not included in the Catalogue Raisonne , Also has not been submitted to the Gabriele Münter Foundation. Condition: For a detailed condition report, please email: info@hammersite.com
Gouache on paper Signed lower left Dimensions:39.5 x 35.5 cm Provenance: Private collection of Joseph Katzenberg (b. 1901, Lithuania), owner of an art gallery established together with his wife Sonia in the early 1930s in the Jewish quarter, near the central synagogue. The gallery exhibited works of art, including pieces from the avant-garde period, as well as mirrors, glass works, and decorative objects. Archival documentation confirms that this artwork was received from Mykolas Žilinskas on April 22, 1954. By descent within the family. In 1967, the Katzenberg family immigrated to Israel, bringing with them the full contents of the gallery, including artworks, Judaica, furniture, and decorative objects. Inherited by the grandson, Abraham Katzenberg (Petah Tikva, Israel). The inheritance includes the gallery archive, documentation, books, and artworks. Notes: Accompanied by a certificate of authenticity from an art historian Condition: For a detailed condition report, please email: info@hammersite.com
SITZENDER AKT MIT AUFGESTÜTZTEN ARMEN, 1912 Holzkohle auf Papier. 43 x 31 cm. Rechts unten signiert „A Jawlensky“. Links unten datiert „1912“. Gerahmt. Provenienz: Galerie Rosenbach, Hannover. Sotheby's London, 28. Juni 1978, Lot 176. Jacqueline Kohler-Krotoschin, Zürich. Auktion Beurret & Bailly, Basel, 20. Juni 2018, Lot 107. Privatsammlung, England. Literatur: Clemens Weiler, Alexej Jawlensky. Köpfe, Gesichter, Meditationen, Hanau 1970, Nr. 1471. M. Pieroni-Jawlensky und L. Jawlensky-Bianconi, Alexej Jawlensky. Werkverzeichnis der Aquarelle und Zeichnungen 1890–1938, London 1998, Vol. IV, Nr. 99, S. 64 (mit Abb.). Ausstellungen: Zwischen Tradition und Moderne, Galerie Rosenbach, Hannover, 1975, Nr. 222, Kat.Nr. 14 (mit Abb.). (1471442) (12) Alexej von Jawlensky, 1864 Torschok – 1941 Wiesbaden SITZENDER AKT MIT AUFGESTÜTZTEN ARMEN, 1912 Charcoal on paper. 43 x 31 cm. Signed “A Jawlensky” lower right. Dated “1912” lower left. Provenance: Galerie Rosenbach, Hannover. Sotheby's London, 28 June 1978, lot 176. Jacqueline Kohler-Krotoschin, Zurich. Auktion Beurret & Bailly, Basel, 20 June 2018, lot 107. Private collection, England. Literature: Clemens Weiler, Alexej Jawlensky. Köpfe, Gesichter, Meditationen, Hanau 1970, no. 1471. M. Pieroni-Jawlensky and L. Jawlensky-Bianconi, Alexej Jawlensky. Werkverzeichnis der Aquarelle und Zeichnungen 1890 – 1938, London 1998, vol. IV, no. 99, p. 64 (with ill.). Exhibitions: Zwischen Tradition und Moderne, Galerie Rosenbach, Hannover, 1975, no. 222, cat. no. 14 (with ill.). (†)
Gouache on paper Signed lower left Dimensions: 34 x 22 cm Notes: Accompanied by a certificate of authenticity from an art historian Provenance: The artwork originates from the distinguished collection of Yehuda Frenkel (1916-2001), a notable Holocaust survivor, cultural figure, and documented associate and partner of Oskar Schindler. Following World War II, Frenkel settled in Austria, where he became the owner of a respected art gallery in Vienna and developed a reputation as a refined collector with significant financial means. Over several decades, he actively acquired artworks from major European cultural centers, with a particular focus on Paris and Vienna. His collection reflected both intellectual depth and a well-informed appreciation of modern art. According to information provided by the family, the present work was acquired in Paris at Galerie Charpentier, a gallery active in the mid-20th century and closed for more than 30 years. During its years of operation, Galerie Charpentier was known among collectors as a boutique gallery specializing in modernist and avant-garde works, attracting international buyers such as Frenkel. This provenance is fully consistent with Frenkel’s established collecting patterns. Between the 1960s and 1980s, he regularly purchased works in Paris, often selecting pieces from reputable galleries with strong standing in the European art market. The present work remained in his private collection until his death in 2001 and has been preserved within the family ever since. Notice:Yehuda Frenkel (1916-2001) passed away at the age of 85 and is remembered for both his extraordinary personal history and his influential role in the international art world. Condition: For a detailed condition report, please email: info@hammersite.com
Gouache on paper Signed lower left Dimensions:33.6 x 25 cm Provenance: The artwork originates from the distinguished collection of Yehuda Frenkel (1916-2001), a notable Holocaust survivor, cultural figure, and documented associate and partner of Oskar Schindler. Following World War II, Frenkel settled in Austria, where he became the owner of a respected art gallery in Vienna and developed a reputation as a refined collector with significant financial means. Over several decades, he actively acquired artworks from major European cultural centers, with a particular focus on Paris and Vienna. His collection reflected both intellectual depth and a well-informed appreciation of modern art. According to information provided by the family, the present work was acquired in Paris at Galerie Charpentier, a gallery active in the mid-20th century and closed for more than 30 years. During its years of operation, Galerie Charpentier was known among collectors as a boutique gallery specializing in modernist and avant-garde works, attracting international buyers such as Frenkel. This provenance is fully consistent with Frenkel’s established collecting patterns. Between the 1960s and 1980s, he regularly purchased works in Paris, often selecting pieces from reputable galleries with strong standing in the European art market. The present work remained in his private collection until his death in 2001 and has been preserved within the family ever since. Notice: Yehuda Frenkel (1916-2001) passed away at the age of 85 and is remembered for both his extraordinary personal history and his influential role in the international art world. Notes: Accompanied by a certificate of authenticity from an art historian Condition: For a detailed condition report, please email: info@hammersite.com
Alexej von Jawlensky 1864 - 1941 Kind mit gefalteten Händen (Child with Folded Hands) signed A. Jawlensky (upper right) oil on canvas 40.3 by 32.7 cm. 15⅞ by 12⅞ in. framed: 55.9 by 47.8 cm. 22 by 18¾ in. Executed circa 1909.
Alexej von Jawlensky 1864 - 1941 Große Meditation (Great meditation) oil on linen-finish paper 25.3 by 17.5 cm. 10 by 6⅞ in. framed: 42.2 by 34.5 cm. 16⅝ by 13⅝ in. Executed in 1937. The authenticity of this work has kindly been confirmed by the Alexej von Jawlensky Archiv and will be included in their forthcoming catalogue raisonné.
Jawlensky, Alexej von Torschok, 1864 - Wiesbaden, 1941 24,5 x 20,6 cm, R. "Sitzender Akt mit hochgezogenen Knien", 1912. Pencil on paper. Singed, in pencil lower right. Weiler, IV, 134. Galerie Thomas, München. Private property, Southern Germany. Nagel Auktionen, "Spezialauktion Moderne Kunst", 21 October 2000, lot 1439. Private property, Baden-Württemberg. Literature Otto Fischer, "Das neue Bild", München 1912, fig. p. 36. Jawlensky, Alexej von Torschok, 1864 - Wiesbaden, 1941 24,5 x 20,6 cm, R. "Sitzender Akt mit hochgezogenen Knien", 1912. Bleistift auf Papier. In Bleistift unten rechts signiert. Weiler, IV, 134. Galerie Thomas, München. Privatbesitz, Süddeutschland. Nagel Auktionen, "Spezialauktion Moderne Kunst", 21. 10. 2000, Lot 1439. Privatbesitz, Baden-Württemberg. Literatur Otto Fischer, "Das neue Bild", München 1912, Abb. S. 36.
Oil on cardboard Dimensions (excluding frame): 40.1 × 61.5 cm Dimensions (including frame): 70 × 43.5 cm Notes:Accompanied by a certificate from a historian. Accompanied by a condition report including a UV test by Giora from Museum Israel Provenance:Acquired by Sophie Moscona (1905–1981), through h er husband, during a visit to Wiesbaden, Germany, in June 1929. Th e acquisition reflects th e Mosconas’ personal engagement with th e artist during a period of h ealth and financial difficulty, facilitated by th e Friends of Jawlensky Society, establish ed by th e artist’s close associate, Hanna Becker vom Rath Sold by Sophie Moscona in 1980, to yeuda frenkel Purchased by Professor Mascona Sofi from a gallery in London. Later acquired by / passed to a private collector, Tel Aviv. Condition: For a detailed condition report, please email: info@hammersite.com
Gouache on paper Signed lower left Dimensions: 31.5 x 24.5 cm Provenance: The artwork originates from the distinguished collection of Yehuda Frenkel (1916-2001), a notable Holocaust survivor, cultural figure, and documented associate and partner of Oskar Schindler. Following World War II, Frenkel settled in Austria, where he became the owner of a respected art gallery in Vienna and developed a reputation as a refined collector with significant financial means. Over several decades, he actively acquired artworks from major European cultural centers, with a particular focus on Paris and Vienna. His collection reflected both intellectual depth and a well-informed appreciation of modern art. According to information provided by the family, the present work was acquired in Paris at Galerie Charpentier, a gallery active in the mid-20th century and closed for more than 30 years. During its years of operation, Galerie Charpentier was known among collectors as a boutique gallery specializing in modernist and avant-garde works, attracting international buyers such as Frenkel. This provenance is fully consistent with Frenkel’s established collecting patterns. Between the 1960s and 1980s, he regularly purchased works in Paris, often selecting pieces from reputable galleries with strong standing in the European art market. The present work remained in his private collection until his death in 2001 and has been preserved within the family ever since. Notice:Yehuda Frenkel (1916-2001) passed away at the age of 85 and is remembered for both his extraordinary personal history and his influential role in the international art world. Condition: For a detailed condition report, please email: info@hammersite.com
Alexej von Jawlensky 1864 - 1941 Große Meditation (Rot - grün - gelb - schwarz) (Great meditation (red - green - yellow - back)) oil on linen-finish paper laid down on cardboard 24.8 by 18 cm. 9¾ by 7⅛ in. Executed circa 1936.
Charcoal on paper Signed lower right Dimensions: 30.6 × 21.5 cm Provenance: From the collection of Olivia Amar (Estate of Omer Albert), inherited from her late husband in 1999. Previously held in the following private collections: Eliezer Perl, 1937–1986; Mordechai Perl, 1986–1996; Omer (Amar) Albert, 1996–1999 Condition: For a detailed condition report, please email: info@hammersite.com
Ink and pen on paper Signed lower right Dimensions: 33 × 21.5 cm Provenance: From the collection of Olivia Amar (Estate of Omer Albert), inherited from her late husband in 1999. Previously held in the following private collections: Eliezer Perl, 1937-1986; Mordechai Perl, 1986-1996; Omer (Amar) Albert, 1996-1999 Condition: For a detailed condition report, please email: info@hammersite.com
Gouache on paper Signed lower left Dimensions: 30 x 22.5cm Provenance:Lev and Esther Markish, Russia Acquired in 1998 by Albert Omer Notes: Accompanied by a certificate of authenticity Condition: For a detailed condition report, please email: info@hammersite.com
(1864 Torschok - 1941 Wiesbaden) Sitzender Akt mit gewendetem Oberkörper Die weich geschwungene, einfühlsame Zeichnung eines Frauenkörpers entstand während Jawlenskys früher Münchner Periode, in der er sich 1908 mit Gleichgesinnten wie Werefkin, Kandinsky und Münter zur Neuen Künstlervereinigung München (N.K.V.M.) zusammengeschlossen hatte. Sie stammt aus einem Skizzenbuch mit einstmals 56 ähnlichen Aktzeichnungen, welche die Galerie Rosenbach in Hannover 1985 ausgestellt hat. Detlev Rosenbach nummerierte die Blätter oben rechts und gab eine Echtheitsbestätigung mit seiner Unterschrift bei, die sich auch auf der Rückseite dieses Blattes befindet. Bleistift/Papier. Recto mit dem Stempel "Alexej von Jawlensky Skizzenbuch" und der eingetragenen Nummer I/30; Verso im Sichtfenster kleiner fixierter Zettel mit der Bestätigung durch Rosenbach. 30,5 cm x 23,6 cm. Rahmen. Provenienz: Niedersächsische Privatsammlung, Galerie Rosenbach, Hannover. Vgl. Alexej von Jawlensky. Akte. Ein Skizzenbuch, Galerie Rosenbach, Hannover 1985, Nr. 30; Wvz. Alexej von Jawlensky. Catalogue Raisonné Volume Four. The Watercolours and Drawings 1890-1938. Bearbeitet von Maria Jawlensky, Lucia Pieroni-Jawlensky und Angelica Jawlensky Bianconi, Nr. 890 (mit Abb.). Pencil on paper. Stamped. On the reverse confirmation of Detlev Rosenbach, who exhibited the complete sketchbook in 1985, Cat. Raisonné Nr. 890.
Oil on linen-textured paper, mounted on card. (19)35. Approx. 18 x 14 cm (backing card approx. 31 x 25 cm). Monogrammed lower left and dated lower right.
JAWLENSKY, ALEXEJ 1867 Twer/Moscow - 1941 Wiesbaden Title: Blick auf Murnau. Date: Ca. 1908. Technique: Oil on cardboard. Mounting: Laid down on canvas. Measurement: 27,5 x 35,5cm. Notation: Signed lower left: Jawlensky. Frame/Pedestal: Craftman's frame. The painting was originally painted on both sides and was separated in 1977. The other side is cat. rais. No. 146, which depicts a landscape in Wasserburg. Provenance: - Artist's studio - Adolf Frank, Braunschweig (1921, directly from the artist) - Gustav Forstenzer, Braunschweig/New York (1924 through inheritance from the previous owner) - Serge Sabarsky Gallery, New York (1981) - Private collection, South America/Germany (1982 acquired from the previous owner) Literature: - Jawlensky, Maria/Pieroni-Jawlensky, Lucia/Jawlensky, Angelica: Alexej von Jawlensky - Catalogue Raisonné of the Oil Paintings, Vol. One, 1890-1914, Munich 1991, cat. rais. no. 215 - One of the first Murnau paintings, filled with a glowing, colour-intensive evening atmosphere - A key work in Alexej von Jawlensky's transition to expressionist art - The painting documents a special moment in German art history From the academy to the avant-garde The discovery of fine art became a revelatory experience for the young Alexej von Jawlensky – a turning point in the life of a young man who, in Tsarist Russia, had been destined by his family for a military career. Today, Jawlensky is regarded as a leading representative of German Expressionism and one of the most influential figures in international art history. The co-founder and spiritual pioneer of Der Blaue Reiter lent modern art a new, spiritually imbued expressiveness in his portraits, landscapes and still lifes, which reached its zenith in the meditative imagery of the icon-like heads in his late work. After a solid education at the Academy of Arts in Saint Petersburg, Jawlensky moved to Munich in 1896 with his colleague and patron Marianne von Werefkin – at that time a stronghold of Art Nouveau and a vibrant centre of avant-garde movements. In his passionate struggle for a new, authentic visual language, he found a close friend and companion in Wassily Kandinsky. Extended stays in France between 1903 and 1907 brought Jawlensky into contact with the flamboyant colours of Vincent van Gogh, the symbolic power of Paul Gauguin's paintings and the bold formal language of the Fauves around Henri Matisse. These experiences gave his painting decisive impetus. Murnau as a gateway to new art In the summer of 1908, a legendary collaboration between Alexej von Jawlensky, Marianne von Werefkin, Wassily Kandinsky and Gabriele Münter took place in Murnau am Staffelsee – a place that Jawlensky and Werefkin had discovered in the autumn of 1907 on their wanderings through the Upper Bavarian Alpine foothills. Here, the artist finally broke away from lifelike representation and made colour the vehicle for emotional expression. The paintings created in Murnau combine the external landscape with an inner vision, marking the decisive step from Neo-Impressionism to Expressionism. From then on, the visible world was merely an occasion for Jawlensky to shape the invisible and give voice to the soul in expressive, elemental colour compositions. The painting "Blick auf Murnau" (View of Murnau) captures the special atmosphere of the Bavarian Alpine foothills in powerful colours and clearly structured forms. Above the red roofs of the village, the slender spire of St. Martin's Church rises as a silent point of orientation in the pictorial space. Jawlensky renders the scenery in generous, summary surfaces and a delicate colourism: the landscape, village and sky are structured into luminous zones enclosed by dark contours, following the example of the cloisonné technique of the French Nabis. Spatial depth gives way to an almost ornamental flatness. The contrast between warm reds and cool blues and greens heightens the emotional impact. The glow of the roofs and the mysterious violet of the sky lend the work an almost sacred, contemplative mood. Thus, "Blick auf Murnau" becomes a key work in the transition from Impressionist vision to Expressionist sensibility – an impressive example of Jawlensky’s search for the spiritual in art. Doris Hansmann Estimated shipping costs for this lot: Arrangement after the auction. Explanations to the Catalogue Alexej Jawlensky Russia Modern Art 1900s Craftman's frame Landscape Works on paper Oil Village
Alexej von Jawlensky 1864 - 1941 Abstrakter Kopf: Ostern (Abstract Head: Easter) signed with the initials A.J. (lower left); dated 33. (lower right); signed A. Jawlensky, dated 1933 and inscribed N.83. (on the reverse) oil on board 16 ⅞ by 13 in. 42.8 by 32.9 cm. Executed in 1933.
Oil on board Signed Dimensions: Without frame: 32 × 26 cm With frame: 27 × 21.8 cm Provenance:Paris, May 1968 — The work by Alexej von Jawlensky entered the Daulouede family. It was given as a gift to Gabriel Daulouede, who had been assisted by the Müller family. The painting remained in the family, passing by inheritance to his son, Pierre Daulouede. Following the death of Pierre Daulouede (2024), the work was inherited by his son, François Daulouede, the current owner. Thus, the painting has remained within a single family for over fifty years, providing rare continuity and well-documented lineage of ownership. Condition: For a detailed condition report, please email info@hammersite.com
Gouache on paper Signed (lower right) Dimensions: 32.3 × 24 cm Provenance: Estate of Lev Krishevski and Esther Markush Notes: Authenticated by an art historian Condition: For a detailed condition report, please email: info@hammersite.com
