HIGHLIGHTS AUCTION
MODERN CONTEMPORARY ART

26 JUNE
CA. 5 PM

 

CÉCILE PLAISANCE
1968 Paris

US FLAGG (WHITE). 2013

Barbie Lenticulaire. Multiple.
Photo Lentikulardruck. Ex. 1/4. 72,5 × 55 cm

AUKTION 413 // LOT 338
SCHÄTZPREIS € 3.000 – 4.000

 

CÉCILE PLAISANCE
1968 Paris

GEISHA. 2013

Barbie Lenticulaire. Multiple.
Photo Lentikulardruck. Ex. 1/4. 72,5 × 55 cm

AUKTION 413 // LOT 337
SCHÄTZPREIS € 3.000 – 4.000


TRUE NUDITY


Lovis Corinth captured the vibrant life at the turn of the 19th and 20th centuries on canvas like no other. Inspired by the great Salon painters Adolphe William Bouguereau and Tony Robert-Flury, he translated classical pictorial themes into complexly conceived figure paintings. Persistently striving for recognition from the traditional Paris Salon, Corinth finally found his own voice. The "Dionysian" with its associated excessive cult celebrations characterized the young Corinth's work, of which the present painting "Bacchanalian Procession" from 1896 is a wonderful example. It shows a panoramic scene in which Bacchus, the Greek god of wine, is surrounded by a dancing and drinking entourage. In a trance-like state, the Bacchantes and Maenads seem to be indulging in uninhibited intoxication and pleasure. However, Corinth is not only celebrating hedonistic pleasure here, but also taking an ironic look at the graecophilia of the Wilhelmine era. The painting is also an autobiographical reference - Corinth loved to party to excess. EB

 

 

LOVIS CORINTH
1858 Tapiau – 1925 Zandvoort

BACCHANTENZUG. 1896

Öl auf Leinwand. 55,5 × 100 cm

AUKTION 413 // LOT 301
SCHÄTZPREIS 
€ 150.000 – 200.000


A CREEK AS A SOURCE OF INSPIRATION


Julius Exter was not only an artist, but also a passionate gardener, and this love of nature flowed into his works. In 1892, the painter was instrumental in the founding of the Munich Secession, an important group of artists that made a decisive contribution to the modernization of the art scene. His commitment to modernism was also reflected in his personal life: in 1902, he bought an old farmhouse in Übersee-Feldwies on Lake Chiemsee and founded a painting school there. He lived and worked there until his death in 1939, with the surroundings being a source of inspiration for many of his works. Exter's painterly themes range from intimate nude scenes to idyllic landscapes. The present work, a landscape at sunset, is an impressive example of Exter's ability to capture moods and lighting conditions. The reddish tones of the sky, the reflection in the water and the impasto application of paint lend the painting an atmospheric depth. Although the landscape is only hinted at, its contours are clearly recognizable, which underlines Exter's mastery in the depiction of light and form.

 

 

 

JULIUS EXTER
1863 Ludwigshafen – 1939 Übersee-Feldwies

SEESTRASSE AM BACH

Öl auf Malkarton. 30 × 49 cm

AUKTION 413 // LOT 302
SCHÄTZPREIS € 4.000 – 6.000


MAYSTERFUL


Shortly after her return from Scandinavia in 1920, Gabriele Münter was honored with a retrospective of her work in her first solo exhibition at Galerie Thannhauser in Munich. Nevertheless, commuting between Munich, Murnau and Elmau near Garmisch-Partenkirchen, she initially found it difficult to resume regular artistic work. Her first clues for individual paintings came from the familiar motifs of Murnau and the surrounding landscape, including a garden with acacias, as in the present painting "Vom Mai". A row of dark brown acacia trees divides the picture of a spring-blooming landscape in green and brown into two parts: Above, the pale pink of the sky and, on the left edge of the picture, a pointed gabled house. Below is a woman with a child in her arms. The acacia crowns, which have been cut round and are apparently about to sprout, provide the composition with a pronounced rhythmic accentuation in the field of tension between the fork in the path and the course of the fence. Gabriele Münter opted here - unlike in her early works, which were painted in large areas and with bright colors - for a small-scale pictorial organization of mixed colors, in which, according to the Lenbachhaus, "the echo of her old, lively brushwork lives on". The theme of the garden with acacias seemed so appealing to Gabriele Münter that she took it up in several variations, accompanied by sketches and watercolors.

 

 

 

GABRIELE MÜNTER
1877 Berlin – 1962 Murnau/Oberbayern

VOM MAI

Öl auf Leinwand. 34,5 × 44,4 cm

AUKTION 413 // LOT 310
SCHÄTZPREIS € 80.000 – 120.000

The painting is registered in the artist's estate under no. L 327. It will be included in the catalog raisonné of Gabriele Münter's paintings published by the Gabriele Münter and Johannes Eichner Foundation.

 

 


TUSCANY GROUP


Born in Speyer in 1880, Hans Purrmann initially learned the trade of decorative painter in his father's business. Following his interest in art, he began studying at the Academy of Fine Arts in Munich under Gabriel von Hackl and Franz von Stuck in 1897. During this time, he met Paul Klee, Wassily Kandinsky and Albert Weisgerber, among others, who inspired his work, as well as Pablo Picasso and Henri Matisse, whom he met in Paris. In 1908, Purrmann was offered a position at Henri Matisse's newly founded academy, with whom he undertook several trips to German cities. In Paris, Purrmann also met the painter Mathilde Vollmoeller, whom he married in 1912. In 1916, the family moved to their main residence in Berlin, where success soon followed: Purrmann's first major solo exhibition took place in 1918 in the rooms of the Berlin art dealer Paul Cassirer. 

In 1919, the family bought a fisherman's house in Langenargen on Lake Constance, where they spent many summers. But Purrmann felt increasingly drawn to Italy, and so he moved to Rome with his family from 1923 to 1928. His surroundings there inspired him to create light-flooded landscape paintings in vibrant colors. After Hitler came to power in 1933, Purrmann's work was defamed as "degenerate art" in National Socialist Germany. He was banned from exhibiting and monitored by the Gestapo. The only option was to flee: Friends help Purrmann to become the honorary director of the Villa Romana in Florence.  "I got the administrative job at the Villa Romana in Florence. There's not much to the post, just a free apartment (furnished), four rooms and a studio. I have accepted for two years and have to start in October, so I can get away from Berlin and the fruitless dispute," he wrote to a friend in June 1935. Purrmann was the best-known and most successful artist to choose Tuscany as an exile. The landscape inspired him and he paid homage to it with magnificent paintings and watercolors. While Purrmann's paintings in the 1920s were still strongly influenced by the style of the Fauvists (he painted views of the shores of Sanary-sur-Mer and Langenargen on Lake Constance in bright, bold colors), the artist increasingly detached himself from his role models in Italy and developed his own style. In this painting, which shows the view from the Villa Romana to the Villa Bitthäuser, Purrmann gives us a glimpse of the summer landscape of Tuscany with cypresses and lush vegetation in his typical painting style of the period - with an apparently transparent application of paint.

Purrmann and his wife also succeeded in turning the Villa Romana into a lively art center. Threatened by the National Socialists but untouched, it became a refuge for German artists such as Werner Gilles, Eduard Bargheer and Monika Mann. A free island of art in exile.

After Mussolini's fall in 1943, Purrmann fled to Switzerland, where he continued to work as an artist. The following years are characterized by extensive exhibition activity and numerous honours. He died in Basel in 1966. Today, works by Purrmann can be found in the Kunstmuseum Stuttgart, the Museum für Neue Kunst Freiburg and the Neue Pinakothek in Munich, among others.

 

 

HANS PURRMANN
1880 Speyer – 1966 Basel

BLICK AUF DIE VILLA BITTHÄUSER, FLORENZ. 1942

Öl auf Leinwand. 76 × 61 cm

AUKTION 413 // LOT 317
SCHÄTZPREIS: 60.000 – 80.000


ENTRUCKED


Lyonel Feininger was fascinated by the Weimarer Land, this "old world" that was new to him, ever since he first visited his future wife Julia Berg there in 1906. Villages such as Oberweimar, Vollersroda and Gelmeroda, which he explored by bicycle, captured his imagination, and above all the small Gothic village church of Gelmeroda, which he captured in countless nature notes and paintings, became the symbol of a romantically transfigured fairytale world, which he incorporated into his comic strips, paintings and the early "Mummenschanzbilder", which are populated by strangely elongated and historically dressed people. From around the beginning of the 1920s, Lyonel Feininger's towns and villages appear in the light of a frozen reverie and spirituality. They denote Feininger's romantic turn to a world that was on the brink of destruction through mass society and industrialization - what remained was the escape into an illusionary "dream city". When Feininger returned to the USA, he took the imaginary Thuringian villages within him with him, even as he developed a new linearity in his painting and devoted himself to New York cityscapes.  

 

 

 

LYONEL FEININGER
1871 New York – 1956 ebenda

OBERGRUNSTEDT I. 1920

Farbiges Aquarell über Tusche.
48 × 49 cm

AUKTION 413 // LOT 308
SCHÄTZPREIS € 35.000 – 50.000


COLLECTED


 

 

 

KARL SCHMIDT-ROTTLUFF
1884 Rottluff bei Chemnitz – 1976 Berlin

STILLLEBEN MIT PILZEN.

Farbiges Aquarell mit Tusche auf Aquarellkarton.
49,5 × 66,2 cm

AUKTION 413 // LOT 315
SCHÄTZPREIS € 18.000 – 20.000

 

KARL SCHMIDT-ROTTLUFF
1884 Rottluff bei Chemnitz – 1976 Berlin

DREI KATZEN. UM 1910

Aquarell und Tuschpinsel auf bräunlichem Velin.
47 × 60 cm

AUKTION 413 // LOT 307
SCHÄTZPREIS € 30.000 – 40.000


A MAGICAL EVENING


Franz Radziwill was an important painter of the 20th century, known for his unique works in the style of Magical Realism. His artistic journey began in the 1920s in the circle of realists, including artists such as Georg Grosz, Otto Dix, Christian Schad and Karl Hubbuch. Inspired by the old masters and influenced by Surrealism and New Objectivity, Radziwill developed a remarkable painterly language. After initial successes in cities such as Bremen, Hamburg and Berlin, Radziwill moved to Dangast on the Wadden Sea in 1922, where he was to live and work for 60 years. This decision marked a significant stylistic change in his work. Around 1923, he broke away from Expressionism and developed his own interpretation of Magical Realism.

Radziwill's works are characterized by a unique emphasis on landscape painting and reflect his characteristic attitude towards the techniques of the 20th century. His paintings are unmistakable and clearly distinguishable from those of other German realist painters. Through his masterful fusion of reality and fantasy, Radziwill created a fascinating artistic world that still evokes admiration today.

Franz Radziwill's life was just as contradictory as his enigmatic paintings. He retreated to tranquil Dangast before the turmoil of the Weimar Republic and initially perceived the "spirit of optimism" of National Socialism as positive. He even joined the party and became a professor of painting at the Düsseldorf Art Academy in 1933. However, as Radziwill's early expressionist work did not correspond to the National Socialist taste in art, he fell out of favor: paintings were confiscated and exhibitions banned, and he was also stripped of his professorship in Düsseldorf in 1935.

The war brought personal hardship for Radziwill, friendships broke up and loved ones died. In the post-war period, the painter developed a new understanding of art and later gained recognition in both German states. His work remains an impressive testimony to the great upheavals and contradictions of the 20th century, captured in colorful paintings that address the brutal intrusion of technology into a supposedly romantic nature.

 

FRANZ RADZIWILL

1895 Strohausen bei Rodenkirchen – 1983 Wilhelmshaven

ABEND

Gouache über Tuschzeichnung. Ca. 30 × 38 cm

AUKTION 413 // LOT 309
SCHÄTZPREIS € 7.000 – 9.000


THOUGHT STRIKE


 

 

 

ERNST LUDWIG KIRCHNER
1880 Aschaffenburg – 1938 Davos

LANDUNGSSTEG IN BURGTIEFE MIT SEGELBOOT. 1908

Strichätzung auf weichem Velin.
Handexemplar des Künstlers. 13,5 × 9,7 cm

AUKTION 413 // LOT 306
SCHÄTZPREIS € 10.000 – 15.000

 


SUITCASE ART 


 

 

FRIEDENSREICH HUNDERTWASSER
1928 Wien – 2000 Queen Elizabeth 2, Pazifischer Ozean

LOOK AT IT ON A RAINY DAY. 1971/72

Original-Holzkassette mit farbigem Deckelprägedruck und handsigniert.
10 Farbserigraphien mit Metallprägungen.
Blattgröße: 49 × 66,5 cm

AUKTION 413 // LOT 322
SCHÄTZPREIS € 9.000 – 11.000

 

 
 
KUNSTVOLL KÜNSTLICH: GUSTAV KLIMT
DIE BOTSCHAFT DER BEAUVOIR

BODY ART


It seems as if Lassnig is not only observing her body purely externally, i.e. what she sees when she looks in the mirror, but also her state, her feeling during the painting process, a situational sensation. The artist's perceptual experiences are therefore not limited to the sensory organ of the eye. Lassnig paints the outside and adds the inside. The physical sensations revealed in the artist's self-portraits, which she brings to the canvas, appear to be a central moment in her work. Lassnig herself later called these works "body awareness paintings". The artist created them not only standing up, but also lying or sitting down, sometimes even with her eyes closed. 

 

MARIA LASSNIG
1919 Kappel am Krappfeld – 2014 Wien

„SELBSTPORTRAIT IN NYC“. 1969

Farbsiebdruck und Handabzug auf Velin.
56 × 45,5 cm

AUKTION 413 // LOT 334
SCHÄTZPREIS € 2.000 – 3.000

 

MARIA LASSNIG
1919 Kappel am Krappfeld – 2014 Wien

„SIE WEBT MIT GÖTTLICHEN HÄNDEN“. 1975

Bleistift auf Zeichenpapier. 38 × 41 cm

AUKTION 413 // LOT 333
SCHÄTZPREIS € 4.000 – 6.000


WAITING FOR THE DUSTMAN


Born in Cologne in 1976, the artist Christian Gieraths studied art history, philosophy and cultural studies at the Academy of Fine Arts in Münster in Ulrich Erben's class from 1999 to 2005. At the same time, he began studying at the Düsseldorf Art Academy in 2001 in Thomas Ruff's photography class. In 2005, he completed his studies as a master student of Ulrich Erben in the class of Daniele Buetti. Gieraths' works are dominated by deserted streets and squares that suggest a deep sense of calm and pause. These scenes are characterized by a special anti-realistic atmosphere, expressive colours and striking lighting. One example of this is the seemingly abandoned basketball hall from the "Sotchi Royal" series. Despite its decay, it radiates an aesthetic that is both melancholy and calm. Gieraths captures the ambience of this place with a masterful hand and brings it to life by taking the viewer on a poetic journey through forgotten spaces.

 

CHRISTIAN GIERATHS
1976 Köln – lebt in Münster

BASKETBALLHALLE. 2000

C-Print auf Dibond. Ex. 3/6. 120 × 120 cm

AUKTION 413 // LOT 336
SCHÄTZPREIS € 2.000 – 3.000


MASSIVE ROTATION


Among contemporary sculptors who not only use the medium of steel, but explore it in depth, Thomas Röthel stands out in particular. Born in Ansbach in 1969, Röthel followed in the footsteps of his grandfather and father and began his artistic career as a wood sculptor before expanding his skills at the Nuremberg Academy of Fine Arts. He quickly developed his own language when working with steel - a material that became his preferred means of expression. The sculpture "Drehung" impressively illustrates Röthel's artistic approach and ability to transform steel - a seemingly inflexible material - into a flowing dynamic form. The creative process of the present sculpture "Drehung" is based on a precise, well-considered approach: from a starting format of solid steel, which is selected according to specific ratios of length, width and thickness, sculptures are created through targeted incisions, uniform heating and careful bending, which radiate both physical heaviness and visual lightness; subsequent corrections are virtually impossible. Without the use of welding techniques, Röthel allows the steel to be twisted and turned, whereby every angle of the sculpture offers a new dimension of observation.  "Drehung" thus unites the contrasts of dynamics and statics, heaviness and lightness, which is typical of Röthel's work. Each work stands on its own in this process and questions both the material and sculptural limits of the virtuoso handling of this material.

 

THOMAS RÖTHEL
1969 Ansbach

DREHUNG

Stahl, gedreht. Beton-Sockel. H. 104 cm

AUKTION 413 // LOT 332
SCHÄTZPREIS € 4.000 – 5.000


DIVIDED AND CONNECTED


In 1989, Alfred Lechner developed a short series of only six sculptures. It consists of divisions, precisely calculated cuts on rectangular bodies and cubes, which are welded back together, in some cases the cut surfaces are on the outside. He restores the divided bodies, the intention of division is to be carried out by the viewer through the visible "wound". The original intention to divide is now subject to the desire for wholeness, although or because it remains recognizable in the "wound".

 

 

ALF LECHNER
1925 München – 2017 Obereichstätt, Dollnstein

VERSCHLIESSUNG V. 1989

Stahl massiv. 72,5 × 30 × 30 cm

AUKTION 413 // LOT 331
SCHÄTZPREIS € 18.000 – 20.000

ONLINECATALOGUE

LOTS 1 - 26, 2 PM
LOTS 50 - 124, CA. 2.30 PM
LOTS 125 - 228, CA. 3.30 PM
LOTS 300 - 338, CA. 5 PM

HIGHLIGHTS

FINE JEWELLERY
FINE ART AND ANTIQUES
FINE ART 16 - 20. CENTURY
MODERN & CONTEMPORARY ART