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Moritz Coschell (1872 - 1943)

Lot 563: COSCHELL, MORITZ - Vienna 1872 - 1943

Van Ham Kunstauktionen

November 14, 2014
Cologne, Germany

More About this Item



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.
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
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

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Fine Art

Van Ham Kunstauktionen
November 14, 2014, 2:00 PM CET

Cologne, Germany

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International Sale of Goods (CISG) shall not apply.
11.3 The aforementioned provisions shall also apply mutatis mutandis to the private sale
of items consigned for auction and, in particular, to post-sales, which are not governed by
the provisions on distance sales as they form part of the respective auctions.
11.4 In the event that any of the above provisions are invalid in whole or in part, the
validity of the remaining provisions shall be unaffected. The invalid provision shall be
replaced by a valid provision which most closely resembles the commercial content of the
invalid provision. This applies correspondingly if the contract contains a gap in need of
amendment. In cases of doubt the German version of the General Auction Terms shall
prevail. Translations into other languages merely serve as a guide.
VAN HAM Kunstauktionen GmbH & Co. KG
Markus Eisenbeis
(General Partner and Managing Director; publicly appointed and
sworn auctioneer for arts and antiques)


Payment of the total amount due upon acceptance of a bid shall be made in cash or by bank certified cheque. Cheques shall only be accepted on account of performance. Any taxes, costs, transfer or encashment fees (including any bank fees charged to VAN HAM) shall be borne by the buyer. Buyers who participate in the auction in person shall pay the purchase price to VAN HAM immediately after their bid is accepted. Without prejudice to the fact that payment is due immediately, bids made in absentia may be paid within 14 days of the invoice date without being deemed to be in default. Please note that there is an additional Online-Transaction-Fee for the Invaluable-Online-Bidders of 3%.

Shipping Terms

Auction House will help arrange shipment, at buyer's expense

Explanations to the Catalogue

Bronzes & Sculptures
Indication of the artist refers to intellectual authorship of the model; the castings may also have been made after the artist's death. Materials other than bronze (zinc, galvanoplastic copper, terra-cotta, etc.) are expressly listed. Size stated in centimetres excluding base.

Dimensions are listed in the following order: height, breadth, deepness. Dimensions for paper works refer to the size of the sheet of paper.

Measurements are valid as follows: Height, Width, Depth; they are given in cm. measures of graphical works refer to the actual size of the representations respectively the plate size for etchings and engravings as far as not mentioned otherwise. Measurements in brackets "( )" refer to the paper size.

General References
The description of the works of art has been given greatest care. Main defiviencies are mentioned in the catalogue. The condition of the objects is always being considered in the estimated price.

Since the catalogue text normally contains no particulars about the condition of medium, substrate and frame, we will be happy to provide you further information upon request. No liability can be accepted for frames.

Name ohne Zusatz
(Name without addition)
In our opinion undoubtedly a work of the stated artist.

In our opinion probably wholly or partly a work of the stated artist.

In our opinion from the workshop of the stated artist, presumably under his supervision.

In our opinion a contemporary work showing the influence of the stated artist.

In our opinion a work in the style of the stated artist, but not necessarily by a pupil of his.

Art des
(style of)
In our opinion a work in the style of the stated artist from a later period.

In our opinion a copy of a work of the stated artist.

Painting title in "..."
In our opinion the work was personally titled by the artist.

In our opinion the work was personally signed and/or dated by the artist.

In our opinion the work was signed/dated by someone else later.

Each condition report which has been made available by VAN HAM Fine Art Auctions is the opinion of our experts and does not constitute any claim of guarantee by VAN HAM Fine Art Auctions.

Please Note
The catalogue information is a partial reproduction of the text contained in VAN HAM's published catalogue for the sale for which you have requested access and is available to our visitors for their convenience. Certain important information and notices contained in the published catalogue may not be included in the catalogue text available online. Please note that the published version of the catalogue constitutes the original source material for the catalogue information you have requested. To the extent that there is any difference between the published catalogue and the catalogue information available to you on-line, the terms of the published catalogue will prevail. The text contained on this site may be modified at any time during the pre-sale pe-riod, lots may be added or withdrawn and important announcements concerning lots or the terms under which they are offered may be made or circulated to bidders at the actual auction. VAN HAM is not responsible for any errors or omissions contained in the catalogue material you have requested. The catalogue information may be a-mended by written notice posted during the exhibition prior to the sale or by an oral announcement made during the sale. VAN HAM retains exclusive copyright to the catalogue information you have re-quested. You may not duplicate or otherwise reproduce the catalogue information without the express written permission of VAN HAM.

Buyer's premium and Taxes

The buyer shall pay the bid price plus a premium of 28% on the first €250,000 and a premium of 25% on all sums exceeding this amount. This includes statutory VAT, which will, however, not be listed separately due to the margin scheme as per § 25a UStG (German Sales Tax Act). A premium of 24% on the first €250,000 of the bid price and of 21% on all sums exceeding this amount shall be levied on items listed in the appendix as subject to standard taxation. Statutory VAT of 19% shall be levied on the total of the bid price and the premium. Please note that the reduced VAT rate of 7% from 2014 will no longer apply. For individuals who are entitled to deduct VAT, there is generally the possibility of the VAT identification. We ask for written notice prior to invoicing. Please note that there is an additional Online-Transaction-Fee for the Invaluable-Online-Bidders of 3%.