MASTER DRAWINGS SHEPHERD W&K GALLERIES - NEW YORK 2019 January 25th through February 16th - Shepherd Gallery
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MASTER DRAWINGS
NEW YORK 2019
January 25th through February 16th
SHEPHERD
W&K
GALLERIES
58 East 79th Street
New York, N. Y. 10075
Tel: 1 212 861 4050
Fax: 1 212 772 1314
ShepherdNY@aol.com
www.shepherdgallery.com
PAUL CÉZANNE Aix-en-Provence 1839 - 1906 Aix-en Provence ARBRES ET ROCHERS, BIBÉMUS , 1895-1900 Pencil and watercolour on paper, 17.7 x 11.3 inch (450 x 286 mm) Catalogue raisonné Rewald Cat. rais. no. 437
Provenance Werner collection, Vienna; W&K - Wienerroither & Kohlbacher, Vienna (2016). Exhibition - Paul Cézanne: 1839 - 1906, Kunsthaus Zürich, Zurich 22.08. - 07.10.1956. - Paul Cézanne: 1839 – 1906, Haus der Kunst Munich, Munich October – November 1956. - Paul Cézanne: 1839 – 1906, Wallraf-Richartz Museum at Kunsthaus Lempertz, Cologne 1956-57. - Deutsche und französische Kunstwerke des 20. Jahrhunderts, Galerie Grosshennig, Düsseldorf 1972-73. - Kirchner, Heckel, Nolde - Die Sammlung Werner, Albertina, Vienna 1.6 - 26.8.2012. Literature - Paul Cézanne: 1839 - 1906, exh. cat., Kunsthaus Zurich (edt.), Zurich 1956, cat. no. 126. - Paul Cézanne: 1839 - 1906, exh. cat., Haus der Kunst Munich (edt.), Munich 1956, cat. no. 99. - Paul Cézanne: 1839 – 1906, exh. cat., Wallraf-Richartz Museum at Kunsthaus Lempertz, Cologne 1956-57, cat. no. 50. - Klaus Albrecht Schröder/Marietta Mautner Markhof, Kirchner, Heckel, Nolde - Die Sammlung Werner, exh. cat., Albertina, Vienna 2012, p. 7.
ALFRED KUBIN Leitmeritz/Böhmen 1877 - 1959 Zwickledt bei Wernstein am Inn ORIENTAL BURIAL PLACE , c. 1910 Ink and watercolor on paper, 10.2 x 13.6 inch (260 x 345 mm) Signed (lower right): AKubin With a dedication written below the image: für Wolfgang Gurlitt, auf der Stätte des Lebens v/s A Kubin Verso: Karl Russ etw. 20.1.1968 Provenance Collection of Wolfgang Gurlitt. Collection Berggruen, Paris. W&K - Wienerroither & Kohlbacher, Vienna (2014). The scenes in this work appear to be embedded in a grid, in which Kubin transports the viewer into a fantastical Oriental world. Recalling the twists and turns of the fairytales in the “Arabian Nights,” the story is shown divided into separate parts, its characters seemingly controlled by an external force. Kubin has filled the entire surface in the manner of a horror vacui. Evenly
distributed colors and the labyrinthine, seemingly unreal connections between the various envisaged places give the imagery a planar effect and recall the ornamental patterns on an Oriental carpet. These stylistic traits, the characteristic elongated figures, and the agitated lines all indicate that this work was drawn in around 1910. During these years Alfred Kubin was in close contact with Paul Klee, as repeated visits, photographs, and surviving letters document. Not only that, the two artists’ works also reveal a mutual esteem and a “tentative” influence. Although Kubin always declined teaching at an art school, his colleagues from Der Blaue Reiter, now working at Bauhaus, plied him with invitations, until he finally relented many years later, agreeing to a small presentation at Dessau in 1932. Peter Assmann Literature - Alfred Kubin. Vingt Dessins, Berggruen, Paris 1986, cat. no. 19. - Alfred Kubin, exh.cat., Shepherd W&K Galleries New York, W&K Edition (edt.), New York 2014, p. 63.
GUSTAV KLIMT 1862 - Vienna - 1918 ANGEL HOLDING A MIRROR, AND CHILD DRESSED AS A WOMAN , 1881-82 Pencil, pen and wash on paper, 3.5 x 8.1 inch (88 x 207 mm) inscribed on plate "Mode", small ornament on left margin verso: Estate stamp (Sammlung R. Zimpel) Catalogue raisonné Strobl Cat. rais. no. 44 Provenance Christian M. Nebehay Collection, Vienna; W&K - Wienerroither & Kohlbacher, Vienna (2017). Literature - Christian M. Nebehay, Klimt Dokumentation, 1969, no. 9 (illus.). - Alice Strobl, Die Zeichnungen. I: 1878-1903, Verlag Galerie Welz, Salzburg 1980, Cat. rais. no. 44. - Marian Bisanz-Prakken, Gustav Klimt. Drawings. Wienerroither & Kohlbacher (Edt.), Vienna 2018, Kat. Nr. 2.
GUSTAV KLIMT 1862 - Vienna - 1918 DESIGN FOR THE FINAL COMPOSITION DRAWING FOR THE ALLEGORY OF OPERA , 1883 Pencil on Paper, 20.9 x 15 inch (530 x 380 mm) verso: Ten different studies in black chalk, including four drafts for an overdoor, Profile of a woman facing right, Portrait of a lady in profile facing right inscribed on verso estate stamp (Sammlung R. Zimpel) Catalogue raisonné Strobl Cat. rais. no. 69
Provenance
Christian M. Nebehay Collection, Vienna;
W&K - Wienerroither & Kohlbacher, Vienna (2017).
Exhibition
- Gustav Klimt. Eine Nachlese. 70 bedeutende Zeichnungen, Kunsthandlung & Antiquariät Christian M. Nebehay, Vienna
1963, cat. no. 6.
- 3. Internationale der Zeichnung, Triumph des Genies: Gustav Klimt und Henri Matisse, Mathildenhöhe, Darmstadt 1970,
cat. no. 12.
- Experiment Weltuntergang. Wien um 1900, Hamburger Kunsthalle 1981.
Literature
- Gustav Klimt. Eine Nachlese. 70 bedeutende Zeichnungen, exh. cat. no. VI. ed. Christian M. Nebehay, 1963 Vienna, cat. no.
6.
- Fritz Novotny and Johannes Dobai, Gustav Klimt, Salzburg 1967, p. 380.
- Christian M. Nebehay, Gustav Klimt Dokumentation, Vienna 1969, cat. no. 102.
- 3. Internationale der Zeichnung,Triumph des Genies: Gustav Klimt und Henri Matisse, exh. cat. Darmstadt, Mathildenhöhe
1970, cat. no. 12 (illus.).
- Alice Strobl, Die Zeichnungen. I: 1878-1903, Verlag Galerie Welz, Salzburg 1980, Cat. rais. no. 69.
- Experiment Weltuntergang. Wien um 1900, exh. cat. Hamburger Kunsthalle, Hamburg 1981, cat. no. 11 ("Heilige Cäcilie –
Allegorie der Oper") (illus.).
- Christian M. Nebehay, Gustav Klimt. Von der Zeichnung zum Bild, Vienna 1992, p. 23, cat. no. 17 (illus.).
- Barbara Sternthal, Gustav Klimt. Mythos und Wahrheit, 2006, p. 8 (illus.).
- Marian Bisanz-Prakken, Gustav Klimt. Drawings. Wienerroither & Kohlbacher (Edt.), Vienna 2018, cat. no. 4.
GUSTAV KLIMT 1862 - Vienna - 1918 FEMALE FIGURE IN A LONG GOWN, STUDY FOR "SACRED AND PROFANE MUSIC" , 1896 Black crayon on paper, 17.6 x 12.5 inch (446 x 318 mm) Verso: Study of a seated clothed figure Inscribed on the verso: Nachlaß meines Bruders Gustav. Hermine Klimt Catalogue raisonné Strobl Cat. rais. no. 285
Provenance Serge Sabarsky Gallery, New York; Shepherd Gallery, New York; Galerie Ariadne, Vienna; Private collection, Germany; W&K - Wienerroither & Kohlbacher, Vienna (2012). Exhibition - Gustav Klimt, Galerie Arnoldi-Livie, Munich 1972, cat. no. 11. As Alice Strobl discovered, this delicate study of a woman in classical dress and playing music was a preparatory work for an 1896 allegory of secular and sacred music. This watercolour was originally in the Albertina but was lost after 1920 together with two relevant sketches and there are no known illustrations of these works.1 However, a series of small sketches on the verso of several figure studies demonstrates Klimt’s thoughts about these two personifications.2 Secular music appears as a classical, robed figure playing a cithara, while a frontal figure crowned by a halo embodies sacred music. In this study, Klimt is concentrating on the hands playing music and the introverted sidelong gaze; only the outlines of the instrument are indicated. One of the characteristics of this Symbolist phase in his work is the magical way in which the figure shines out against the dark hatched background. In contrast to his innovative allegories Junius and Skulptur, both also drawn for the series Allegorien, Neue Folge in 1896, the missing work Secular and Sacred Music was never published. Klimt explored the subject of a figure playing the cithara on a number of occasions, leading up to ‘Poetry’ in the Beethoven Frieze (1901–02). Marian Bisanz Prakken (translated by Rebecca Law) 1) Strobl, vol. I, p. 92; the three sheets are listed in the inventory of works removed from the Albertina and transferred to Archduke Friedrich in 1920. 2) Ibid., nos. 282a–283. Literature - Gustav Klimt, Exh. cat., Galerie Arnoldi-Livie, Munich 1972, cat. no. 11. - Gustav Klimt. One hundred drawings with an introduction by A. Werner, New York 1972, no. 6 (illus.). - Alice Strobl, Gustav Klimt. Die Zeichnungen. I: 1878-1903, Verlag Galerie Welz, Salzburg 1980, Cat. rais. no 285. - Marian Bisanz-Prakken, Gustav Klimt. Drawings. Wienerroither & Kohlbacher (Edt.), Vienna 2018, cat. no. 9.
GUSTAV KLIMT 1862 - Vienna - 1918 SEATED GIRL, STUDY FOR "MUSIC II" , 1897-98 Black chalk on cardboard, 17.3 x 13.2 inch (440 x 335 mm) Verso: Estate stamp (Sammlung R. Zimpel) Catalogue raisonné Strobl Cat. rais. No. 298 Provenance Christian M. Nebehay Collection, Vienna; W&K - Wienerroither & Kohlbacher, Vienna (2017). Exhibition - Gustav Klimt - Egon Schiele. Zeichnungen und Aquarelle, Albertina, Vienna 05.04.-16.06.1968. - 3. Internationale der Zeichnung, Darmstadt, Mathildenhöhe 15.8.-11.11.1970.
Literature - Graphische Sammlung Albertina, Gustav Klimt - Egon Schiele. Zeichnungen und Aquarelle, exh.cat. Albertina, Vienna 1968, cat. no. 11 (illus.). - Christian M. Nebehay, Gustav Klimt. Dokumentation, Vienna 1969, p. 175, cat. no. 265. - 3. Internationale der Zeichnung: Triumph des Genies. Gustav Klimt und Henri Matisse, Ausstellungskatalog, Mathildenhöhe, Darmstadt 1970, cat. no. 17. - Alice Strobl, Gustav Klimt. Die Zeichnungen 1878-1903, vol. I, Verlag Galerie Welz, Salzburg 1980, Cat. rais. no. 298. - Marian Bisanz-Prakken, Gustav Klimt. Drawings, Wienerroither & Kohlbacher (edt.), Vienna 2018, cat. no. 11.
GUSTAV KLIMT 1862 - Vienna - 1918 STANDING FEMALE NUDE, STUDY FOR "PALLAS ATHENE" , around 1898 Pencil on paper, 18 x 12 inch (458 x 305 mm) Catalogue raisonné This work will be included in the forthcoming Catalogue raisonné by Marian Bisanz-Prakken Provenance Estate of Fay Shwayder, Denver, Colorado; W&K - Wienerroither & Kohlbacher, Vienna (2007). Exhibition - Wildt. L'anima e le forme da Michelangelo a Klimt, Musei San Domenico, Forli 28.1. - 17.06.2012. - Au Temps de Klimt. La Secession à Vienne, Pinacothèque de Paris, Paris 12.2.2015 - 21.6.2015.
In November 1898, Klimt’s painting Pallas Athene was presented for the first time in the new Secession building. His modern interpretation of the goddess, dubbed the ‘Secession’s demoness’ by Hevesi, shocked the public. Depicted as a half-length portrayal with a hypnotic stare, the goddess holds in her right hand a provocatively red-haired and naked triumphant figure instead of the traditional clothed Nike. Shortly afterwards Klimt completed another of his programmatic paintings: Nuda Veritas (1899) in which the red-haired miniature figure in Pallas Athene emerged as a life-sized person standing for truth in art. Both female figures are early representatives of the modern, slim and stylized physical ideal which was to shape Klimt’s allegories in the following years. This study is related to the drawings in which, according to Alice Strobl, Klimt was preparing the triumphant figure for Pallas Athene. In the painting, however, the figure bearing a small light stretches her arms out sideways while in the studies the arms of the frontal model are poised at right angles. In this drawing the left arm is also poised as if holding something – and Klimt has emphasized the tensed muscles of the upper arm – whereas the right arm seems to rest on an invisible object. The curved outlines of this pronounced frontal figure, viewed slightly from below, anticipate the Gorgons in the Beethoven Frieze (1901– 02) and the studies for Veritas in the Faculty Painting Jurisprudence (1903). Marian Bisanz–Prakken Literature - Marian Bisanz-Prakken, Gustav Klimt – Egon Schiele, Wienerroither & Kohlbacher (edt.), vol. 13., Vienna 2008, cat. no. 1. - Marian Bisanz-Prakken, Gustav Klimt. Drawings/Zeichnungen, Wienerroither & Kohlbacher (edt.), Vienna 2012, cat. no. 2. - Marian Bisanz-Prakken, Gustav Klimt. Drawings, Wienerroither & Kohlbacher (edt.), Vienna 2018, cat. no. 13.
GUSTAV KLIMT 1862 - Vienna - 1918 STANDING FROM THE FRONT WITH HANGING ARMS, STUDY FOR THE PORTRAIT OF ADELE BLOCH-BAUER , 1903 Black chalk on paper, 17.8 x 12.4 inch (452 x 316 mm) Catalogue raisonné Strobl Cat. rais. no. 1062 Provenance Private Collection, New York; W&K - Wienerroither & Kohlbacher, Vienna (2018). Literature - Alice Strobl, Gustav Klimt. Die Zeichnungen 1878-1903, vol. I, Verlag Galerie Welz, Salzburg 1980, Cat. rais. no. 1062.
GUSTAV KLIMT 1862 - Vienna - 1918 KNEELING NUDE FACING LEFT , 1904 Black crayon on Japan paper, 21.5 x 13.6 inch (547 x 346 mm) Estate stamp at upper right Catalogue raisonné Strobl Cat. rais. no. 1417 Provenance Galerie Ariadne, Vienna; Heinz Stangl, Vienna; W&K - Wienerroither & Kohlbacher, Vienna (2013). This drawing belongs to the group of autonomous studies executed in 1904, in which Klimt experimented in a variety of ways with the subject of a model leaning forwards, propped on her arms, or standing.1 Two drawings from this group (Strobl nos. 1415, 1418) were included in the illustrations for the bibliophile publication Hetärengespräche (Dialogues of the Courtesans, Leipzig 1907). The geometric composition of postures and gestures, combined with a preference for thin models, characterizes many of his nude studies in the years following the Beethoven Frieze (1901–02). At this time Klimt adopted the innovative approach of composing his figures based around the main lines of architecture. This work also documents the artist’s gradual
shift in his use of paper and drawing materials around 1904. Klimt is drawing with black crayon – soon to be replaced by pencil – on the new Japan paper that is slightly larger than the packing paper he had previously used. Marian Bisanz-Prakken (translated from German by Rebecca Law) 1) Strobl, vol. II, nos. 1410–1418 Literature - Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-19182, vol. II, Verlag Galerie Welz, Salzburg 1982, Cat. rais. no 1417. - Marian Bisanz-Prakken, Gustav Klimt. Drawings, Wienerroither & Kohlbacher (edt.), Vienna 2018, cat. no. 40.
GUSTAV KLIMT 1862 - Vienna - 1918 SEATED, LONG-HAIRED NUDE, STUDY FOR "ADAM AND EVE" , around 1917 Pencil on paper, 22 x 14.8 inch (560 x 375 mm) Estate stamp at lower right Catalogue raisonné Strobl Cat. rais. no. 2915
Provenance Estate of Fay Shwader, Denver, Colorado. Exhibition - Kunsthandlung und Antiquariat Christian M. Nebehay, Vienna 1967, cat. no. 45. - Wildt. Soul and shapes between Michelangelo and Klimt, Musei San Domenico, Forli 28.01. - 17.06.2012. - Au temps du Klimt. La Secession a Vienne, Pinacothèque de Paris, Paris 12.02.2015 - 21.06.2015. - Klimt und Shunga. Explizit Erotisches aus Wien und Japa", Buchheim Museumder Phantasie, Bernried am Starnberger See 19.03.- 19.06.2016. In the narrow, vertical format of the painting Adam and Eve (1917–18, unfinished), Eve, shown as voluptuous and naked, is the dominant frontal figure. She conceals most of Adam who is standing behind her and, with his head inclined, appears to be sleeping, while Eve gazes dreamily into the distance. Klimt drew several groups of studies for this painting (Strobl, cat. rais. nos. 2865–2921): depictions of standing naked couples, studies of male heads, drawings of athletes, and separate sketches for the main female figure. For the biblical mother of all humankind, the artist chose a voluptuous body with a torrent of wavy hair. Some of the studies already point towards the composition in the painting; others are more loosely related to Eve. This drawing of a seated, naked model facing right who gazes back over her right shoulder, her face framed by a heavy cascade of curls, belongs to the second category of studies. In some places Klimt went over the short and rapid strokes with his pencil again, emphasizing the wavy outline of the spreading curtain of hair. Characteristically, Klimt first suggested the mouth using soft lines which he then repeated boldly slightly above. This shifting of the shape creates a lively effect: the lips seem to open as if she were about to speak. In spite of the rapid and nervous repetitive strokes – characteristic of Klimt’s late period – taken as a whole, the nude has a bold, clear structure. An important role in this respect is the triangular form created by the hair and the supporting arm. Marian Bisanz--Prakken Literature - Alice Strobl, Gustav Klimt. Die Zeichnungen. III: 1912 - 1918, Verlag Galerie Welz, Salzburg 1984, Cat. rais .no. 2915. - Marian Bisanz-Prakken, Gustav Klimt – Egon Schiele, Kunsthandel Wienerroither & Kohlbacher (ed.), vol 13, Vienna 2008, cat. no. 21. - Marian Bisanz-Prakken, Gustav Klimt. Drawings/Zeichnungen, Wienerroither & Kohlbacher (ed.), Vienna 2012, cat. no. 30. - Mona Horncastle / Daniel J. Schreiber (ed.), Klimt und Shunga. Explizit Erotisches aus Wien und Japan, exh. cat., Buchheim Museum der Phantasie, Bernried am Starnberger See 2016, Buchheim Verlag, Feldafing 2016, p. 55 (illus.). - Marian Bisanz-Prakken, Gustav Klimt. Drawings, Wienerroither & Kohlbacher (ed.), Vienna 2018, cat. no. 60.
KÄTHE KOLLWITZ Königsberg 1867 - 1945 Moritzburg SHARPENING THE SCYTHE , 1905 pencil on paper, 19.9 x 13.7 inch (506 x 347 mm) The authenticity of the work has been confirmed by Miriam Stauder (Käthe Kollwitz Museum, Köln), e-mail, 5.8.2016. The work is listed in the catalogue raisonnés of drawings (Edt. Otto Nagel and Timm Werner, Käthe Kollwitz. Die Handzeichnungen. Berlin/DDR 1972, 1980) under the number NT 396. It is a composition sketch for the etching with an identical title from 1905 (Kn 88). The watermark on the work is well documented in Nagel/Timm: MAN 1902 Catalogue raisonné Nagel/Werner cat.no. NT 396
Provenance Werner Collection, Vienna This is a compositional sketch for the etching of the same name from 1905 (Kn 88), corresponding to the states I to V. At Nagel/Timm also the watermark is described: MAN 1902 Literature Nagel, Otto (ed.) and Timm, Werner (rev.): Käthe Kollwitz. Die Handzeichnungen. (Drawings) Berlin/DDR 1972, 1980, cat.rais. no. NT 396
EGON SCHIELE Tulln 1890 - 1918 Vienna POLDI , 1914 Black crayon, 17.7 x 11 inch (450 x 280 mm) Signed and dated on center right, inscribed on upper right: Poldi Catalogue raisonné Kallir Cat. rais. no. 1521 Provenance Estate of the artist; Melanie Schuster Collection, Vienna; Rudolf Leopold Collection; Private collection, New York; W&K - Wienerroither & Kohlbacher, Vienna (2015).
Literature - Jane Kallir, Egon Schiele. The Complete Works. Including a Biography and a Catalogue Raisonné, New York 1990 and 1998, Cat. rais. no. 1521.
EGON SCHIELE Tulln 1890 - 1918 Vienna GIRL LEANING ON HER ELBOW , 1915 Charcoal on paper, 19.7 x 13.1 inch (500 x 334 mm) Signed and dated lower left Catalogue raisonné Kallir Cat. rais. no. 1745
Provenance Collection Ehrenzweig; Fischer Fine Art, London; Private Collection, Austria; W&K - Wienerroither & Kohlbacher, Vienna (2018). Exhibition - Egon Schiele: Paintings, Watercolours, Drawings, London 1972. - Vienna: Turn of the Century Art and Design, Fischer Fine Art, London Nov. 1979 - Jan. 1980. Literature - Rudolf Leopold, Egon Schiele: Paintings, Watercolours, Drawings, London 1972, no. 57. - Vienna. Turn of the Century Art and Design, Fischer Fine Art (edt.), London 1980, cat. no. 82. - Jane Kallir, Egon Schiele. The Complete Works. Including a Biography and a Catalogue Raisonné, New York 1990 and 1998, Cat. rais. no. 1745.
GEORGE GROSZ 1893 - Berlin - 1959 REGULAR GUESTS , 1915 Ink on paper, 12.6 x 8.1 inch (320 x 205 mm) Signed (lower right): GROSZ Inscribed lower left: 87 Verso: titled: Stammgäste, 313| V22/drawing Dr. Ralph Jentsch confirmed the authenticity of this artwork.
Provenance Atelier of the artist, Berlin (1915); Martin O. Grosz (son of the artist); Sheila Joan Herbert; W&K - Wienerroither & Kohlbacher, Vienna (2011). Exhibition - George Grosz, Caixa Forum, Palma 5.6. - 2.9.2012 and Tarragona 19.9.2012 - 6.1.2013. - George Grosz’s Berlin. Prostitutes, Politicians, Profiteers, Richard Nagy Ltd, London 25.9. - 2.11.2013. - Grosz. Krieg Grotesk. Zwischen Expressionismus und Neuer Sachlichkeit, Buchheim Museum, Buchheim 6.6. - 2.11.2014. Coffee house scenes play an important role in Grosz's earlier oeuvre. Berlin was famous for its cafés. They were preferred meeting places for artists, writers and other intellectuals. These included above all the Romanesque Café, Café Josti and Café des Westens, also popularly known as Café Megalomania. The numerous bars of the city, the beer palaces, some of which were as big as station halls, and wine taverns that ran through four floors were also very popular. All these romping places formed ideal hunting grounds for Grosz, the "big and small game hunter", who was constantly stalking, drawing or apparently passively observing his surroundings. In this scene the same figures appear again and again: Rigged cocottes, pimps with nasty food, sucking and smoking fat growths. Before the First World War, Grosz planned a large three-volume work "The Ugliness of the Germans". It was in 1915 that Grosz came to a drawing style that was to make him famous, and in which the present drawing "Regulars" is also executed. It is his so-called "razor-sharp" style, a staccato of sharp strokes and short, strong lines. In his autobiography "A little yes and a big no" Grosz reports how he studied the most direct manifestations of the art business during his forays through Berlin in order to arrive at his razor-sharp style, which drastically and bluntly reflects the hardness and lovelessness of his objects. Ralph Jentsch Literature - Serge Sabarsky, George Grosz. Die Berliner Jahre, exh. cat., Hamburger Kunsthalle, Hamburg 1986, cf. ill. 56. - Obra Social "La Caixa", George Grosz. De Berlín a Nova York, VEGAP, Barcelona 2012, p. 92, fig. 27.
ERNST LUDWIG KIRCHNER Aschaffenburg 1880 - 1938 Frauenkirch bei Davos GIRL IN THE BUSHES (DANCING GIRL) , 1913 Black ink brush on paper, 18.5 x 12.4 inch (470 x 315 mm) on verso: estate-stamp and the inscription "F Be / Bh 2" in ink as well as the numbers "K 4534", "C 1240" and 4166 in pencil. "Standing woman act", ink brush around 1923. Catalogue raisonné Estate stamp no. F Be / Bh 2
Provenance Estate of the artists; Gallery Nierendorf, Berlin; Collection Werner, Vienna; W&K - Wienerroither & Kohlbacher, Vienna (2016). Exhibition - Klaus Albrecht Schröder, Marietta Mautner Markhof (Edt.): Kirchner, Heckel, Nolde - Die Sammlung Werner. exh. cat. Albertina Vienna, 1.6. - 26.8.2012, p. 82, no. 33. (here titled: "Tanzendes Mädchen") Literature - Klaus Albrecht Schröder, Marietta Mautner Markhof (Edt.): Kirchner, Heckel, Nolde - Die Sammlung Werner. exh.cat. Albertina Vienna, 1.6. - 26.8.2012, p. 82, no. 33.
ERNST LUDWIG KIRCHNER Aschaffenburg 1880 - 1938 Frauenkirch bei Davos RECLINING FEMALE NUDE , around 1915 Pencil on Paper, 12.2 x 18.6 inch (31 x 47.2 cm) Signed in lower right "EL Kirchner". Verso with estate stamp of the Kunstmuseum Basel (Lugt 1570b) and the hand-written registration number "B Be/Bg 17" in ink and the numbers "K 2097" and "1722" in pencil. Dieses Werk ist im Ernst Ludwig Kirchner Archiv Wichtrach/Bern dokumentiert. Catalogue raisonné B Be/Bg 17 Provenance Estate of the artist (1938); Galerie Nierendorf, Berlin (12.05.1963); Private collection, Germany; W&K - Wienerroither & Kohlbacher, Vienna (2018).
OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz DESIGN OF THE FRESCO FOR THE CREMATORIUM IN BRESLAU , 1914 Pencil on transparent paper, 5.4 x 8.3 inch (138 x 211 mm) Catalogue raisonné Weidinger/Strobl Cat. rais. no. 787 Exhibition - Oskar Kokoschka. Lebensspuren: Ausgewählte Gemälde, Aquarelle, Zeichnungen der Kokoschka-Stiftung Vevey aus den Jahren 1906 bis 1976, Schleswig-Holsteinisches Landesmuseum, Kloster Cismar, Schleswig 28.06. - 25.10.1992. Literature - Heinz Spielmann, Oskar Kokoschka. Lebensspuren: Ausgewählte Gemälde, Aquarelle, Zeichnungen der Kokoschka- Stiftung Vevey aus den Jahren 1906 bis 1976, exh. cat., Schleswig-Holsteinisches Landesmuseum, Kloster Cismar, Schleswig 1992, cat. no. 58j, ill. 34, p. 49. - Alfred Weidinger/Alice Strobl, Oskar Kokoschka. Die Zeichnungen und Aquarelle. 1897 – 1916, Galerie Welz (edt.), Salzburg 2008, p. 482, Cat. rais. no. 787.
OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz DESIGN OF THE FRESCO FOR THE CREMATORIUM IN BRESLAU , 1914 Pencil on papier calque, 5.4 x 8.3 inch (138 x 212 mm) Catalogue raisonné Weidinger/Strobl Cat. rais. no. 785 Exhibition - Oskar Kokoschka. Lebensspuren: Ausgewählte Gemälde, Aquarelle, Zeichnungen der Kokoschka-Stiftung Vevey aus den Jahren 1906 bis 1976, Schleswig-Holsteinisches Landesmuseum, Kloster Cismar, Schleswig 28.06. - 25.10.1992. Literature - Heinz Spielmann, Oskar Kokoschka. Lebensspuren: Ausgewählte Gemälde, Aquarelle, Zeichnungen der Kokoschka- Stiftung Vevey aus den Jahren 1906 bis 1976, exh. cat., Schleswig-Holsteinisches Landesmuseum, Kloster Cismar, Schleswig 1992, cat. no. 58i, ill. no. 35, p. 49. - Alfred Weidinger/Alice Strobl, Oskar Kokoschka. Die Zeichnungen und Aquarelle. 1897 – 1916, Galerie Welz (edt.), Salzburg 2008, p. 482-483, Cat. rais. no. 785.
OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz GIRL WITH A JUG , c. 1922 Watercolour on paper, 18.9 x 25.8 inch (480 x 655 mm) signed lower left: Oskar Kokoschka 1563 i/i Dr. Mag. Alfred Weidinger, Österreichische Galerie Belvedere, Vienna, has confirmed the authenticity of this work. (11.02.2016) Provenance Kunstsalon Cassirer, Berlin; Collection J. W. Böhler (1929).
OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz RECLINING NUDE , 1922 Watercolour on thin Bütten Paper, 20.5 x 27.6 inch (520 x 700 mm) lower left with pencil: "Aus der Besitz des Prof. Robert Sterl Dresden" lower right in pencil: "14.2.22" Provenance Werner Collection, Vienna Exhibition Kirchner, Heckel, Nolde - Die Sammlung Werner. Albertina Museum, Vienna 1.6 - 26.8.2012, p. 166, no. 77 The outbreak of the First World War and Kokoschka's severe war injury in 1914, as well as the painful end of his relationship with Alma Mahler in 1915, led to a local and artistic reorientation: in 1917 he moved to Dresden, received a professorship at the academy of arts there in 1919, and developed a completely new, intense power of colour in his painting. The works of the
Dresden years shine and the compositions seem to be constructed from cubic building blocks. This watercolour painting is an impressive example of the pictorial monumentality of the watercolours of those years. Kokoschka reduced the composition of the female nude to a few, block-like schematized body components composed of light-flooded color bars. The figure envelops a colour cave of coloured cushions and surfaces, harmoniously light and dark colour accents form the pictorial space and create volume, transparency and an iridescent atmosphere. Kokoschka's works created in Dresden earned him recognition among collectors and enthusiasts and were highly acclaimed at home and abroad, for example at the Venice Biennale in 1922. But all this did not make him happy in the long run. His urge to be free and to travel was too strong. Initially on leave for only two years, Kokoschka finally stayed completely away from the academy of arts. There he was forced to fill his professorship: Otto Dix succeeded him in 1927. Literature Klaus Albrecht Schröder, Marietta Mautner Markhof (Hg.): Kirchner, Heckel, Nolde - Die Sammlung Werner. Exh. cat. Albertina Museum, Vienna.
FERNAND LÉGER Argentan/Normandie 1881 - 1955 Gif-sur-Yvette bei Paris COSTUME FOR SWEDISH BALLETT: COSTUME PROJECT FOR "SKATING RINK" , 1926 Watercolor and gouache on paper, 10.2 x 7.6 inch (260 x 193 mm) Monogrammed and dated (lower right): F.L. 26 Verso: estate stamp; certified by Nadia Léger no. G 169 Certificate of authenticity by Irus Hansma, Paris, 8.6.2012 Provenance Private collection, France.
FERNAND LÉGER Argentan/Normandie 1881 - 1955 Gif-sur-Yvette bei Paris DAVID TRIOMPHANT , 1936 Watercolour, gouache and pencil on paper, 12.8 x 9.4 inch (325 x 240 mm) Verso: authenticated by Nadia Léger Nr. G 102-2 Certificate of authenticity by Irus Hansma, Paris, 8.6.2012 Provenance Private collection, France.
FERNAND LÉGER Argentan/Normandie 1881 - 1955 Gif-sur-Yvette bei Paris COMPOSITION À L´OISEAU , c. 1949 Gouache and lead on paper, 25.2 x 17.7 inch (640 x 450 mm) Monogrammed (lower right): F.L. Verso: reference no. G 623 / 3 Certificate of authenticity by Irus Hansma, Paris, 8.6.2012 Provenance Private collection, France.
LYONEL FEININGER 1871 - New York - 1956 STÄDTCHEN II (SMALL TOWN II) , 1929 Watercolour and Indian ink on paper, 11.7 x 19 inch (298 x 483 mm) Signed (lower left): Feininger Inscribed (lower center): Städtchen II Dated (lower right): 27 4 29 Certificate of authenticity by The Lyonel Feininger Project, NY, cert. no. 1186-01-17-13, 17.01.2013. Catalogue raisonné The Feininger Project No. 1186-01-17-13 Provenance Private Collection, USA; W&K - Wienerroither & Kohlbacher, Vienna (2012). Exhibition - Lyonel Feininger, Marlborough-Gerson Gallery, New York April – May 1969.
A delicate network of lines merges in the eye of the beholder to form the silhouette of a town. Feininger has sparingly added areas of turquoise to enhance the sense of the spiritual. The composition is not based on a real scene but the form and grouping of the buildings involuntarily calls to mind his fantasies carved out of wood. The graphic ‘scaffold’ of the work – anticipating his late linear style – gives the work a stringency that recalls modern architecture. The watercolour Stadt I (Town I) of 29 November 1926 marked the beginning of a series of related works and an interesting episode in the artist’s oeuvre. Yet Feininger was not inspired to create this group by contemporary architecture in Dessau. Instead he was influenced by his own photographs showing his rows of wooden houses, cast in plaster, which depict the ‘town at the end of the world’. T. Lux Feininger, the artist’s youngest son, presumed that these plaster houses were cast in the workshop at Bauhaus. Even as late as the year 1952, Feininger returned to these photographs as a source for watercolours that now demonstrated a greater degree of abstraction. In this example, the two-dimensional windows indicate that the wooden houses themselves or their photos probably provided the starting point. How and where Lyonel Feininger found inspiration for his art is a constant source of amazement. His curiosity and courage to experiment were always leading to surprising results, significantly expanding the overall scope of his work. 1) Lyonel Feininger: Die Zeichnungen und Aquarelle, exh. cat. Hamburger Kunsthalle and Kunsthalle Tübingen, 1998, p. 218, 224 and 225. Wolfgang Büche (translated from German by Rebecca Law) Literature - Marlborough-Gerson, Lyonel Feininger, exh. cat., Marlborough-Gerson Gallery (edt.), New York 1969, cat. no. 106. - Sabarsky, Lyonel Feininger. Drawings and Watercolors, Serge Sabarsky Gallery (edt.), New York 1979, cat. no. 30.
CHRISTIAN ROHLFS Niendorf bei Leezen, Holstein 1849 - 1938 Hagen in Westfalen HOUSE WITH A STRIPED ROOF , 1919 Pencil and watercolour on handmade paper, 23.5 x 18.7 inch (598 x 476 mm) signated bottom left: CR 19 Provenance Werner Collection, Vienna Exhibition Kirchner-Heckel-Nolde, Die Sammlung Werner, Albertina Museum, Vienna 30.05 - 26.08.2012 Literature Kirchner-Heckel-Nolde, Die Sammlung Werner, exh.cat. Albertina Museum, Vienna 2012, cat.no. 72, pp. 156-157 (ill.) and p. 153 (ill.).
CHRISTIAN ROHLFS Niendorf bei Leezen, Holstein 1849 - 1938 Hagen in Westfalen BLUE HOUSE , c. 1932 Water tempera and watercolour on paper, 21.3 x 29.7 inch (540 x 755 mm) signated right bottom: CR Provenance Werner Collection, Vienna Exhibition Kirchner-Heckel-Nolde, Die Sammlung Werner, Albertina Museum, Vienna 30.05.-26.08.2012. One last time, at the age of 78, the artist changed his lifestyle once again and gave in to the pressure of his doctor, who advised him to stay in the South after Rohlf's severe pneumonia, which had just survived in 1926. In 1927, after a trip to Ticino, the Rohlfs couple decided to stay on Lake Maggiore and lived in Ascona for nine months a year until Rohlfs's death in 1938.
The "blue house" would have to be a mountain or farm house in the Maggiatal near Ascona or a side valley further north. The structures of this or similar buildings in the catchment area of Lake Maggiore, which reflect the light strongly and are partly interlaced, have occupied Rohlfs for many years and led to partly very different solutions. The "Ticino Houses" of 1930, dissolved in an Italian Divisionist manner by striped brush structures, and the "Houses in Bosco" of 1936, seen as if through a veil of light, share not only their colour chord of white and the triad of blue-green-brown-yellow, but also the attempt to use manifestations of light for the same interweaving of object, interspace and pictorial ground, as Rohlfs had done before 1911 with the brush texture and then the colour forms constructed from it. The sheet of the Werner Collection is stylistically very close to the "Chapel in Ticino" from Wilhelm Grosshennig's former offer, dated 1932, although it appears less stylised and self-confident than this one. Both watercolours lie in the middle between the possibilities of 1930 and 1936, whereby the comparatively restless, searching character of Werner's sheet undoubtedly lends it a greater freshness and naturalness. Source: Kirchner-Heckel-Nolde, The Werner Collection, Exhibit. Cat. Albertina Museum, Vienna 2012, cat. No. 75, pp. 162-163. Literature Kirchner-Heckel-Nolde, Die Sammlung Werner, exh. cat. Albertina Museum, Vienna 2012, cat. no. 75, p. 162-163.
OTTO ERICH WAGNER Klepacov 1895 - 1979 Vienna ABSTRACT COMPOSITION , 1935 ink on paper, 10.9 x 8.8 inch (278 x 224 mm) monogrammed and dated lower right: W 1935 Provenance Private collection, Vienna. Literature - Gerald Bast, Agnes Husslein-Arco, Harald Krejci, Patrick Werkner (ed.), Wiener Kinetismus. Eine bewegte Moderne, exh. cat. Belvedere Vienna, Springer Vienna/New York 2010, il. p. 185.
OTTO ERICH WAGNER Klepacov 1895 - 1979 Vienna HÄUSER (HOUSES) , 1923 Charcoal and ink brush on paper, 17.7 x 12.4 inch (449 x 316 mm) signed on lower right: OTTO ERICH WAGNER titled on upper centre: HÄUSER dated on lower left: 27.11.1923
NICOLAS DE STAËL St. Petersburg 1914 - 1955 Antibes COMPOSITION , 1951 Ink on paper, 18.6 x 29.3 inch (473 x 743 mm) Signed and dated (lower left): Stael 51 Françoise de Staël: Nicolas de Staël. catalogue raisonné des œuvres sur papier. Ides et Calendes 2013, p. 207, cat. rais. no. 409. Catalogue raisonné Françoise de Staël, cat. rais. no. 409 Provenance Werner collection, Vienna Exhibition Albertina Vienna, „Kirchner, Heckel, Nolde - Die Sammlung Werner“, 1.6. - 26.8.2012. Literature
Klaus Albrecht Schröder, Marietta Mautner Markhof (Hg.): Kirchner, Heckel, Nolde - Die Sammlung Werner. exhibition catalogue Albertina Wien, 1.6. - 26.8.2012, p.186, No 87.
ZORAN MUSIC Gorizia/Görz 1909 - 2005 Venedig HORSE AND RIDER , 1952 Gouache on paper, 10.6 x 12.8 inch (270 x 324 mm) Signed and dated (lower centre): MUSIC 1952 Provenance Beverly B. Bernstein collection, Washington D.C. From 1945 to 1954 the dominant subject in Zoran Music’s compositions was the horse. He not only created oil paintings depicting this subject – mostly on rough canvas to convey the rugged and earthy countryside of Dalmatia – but also many drawings, watercolours and gouaches. This particular work stands out on account of its subtlety and it testifies to the artist’s ability to present the abstract, intrinsic qualities of paint for its own sake. The subject is harmoniously incorporated in its surroundings and the picture’s surface is composed of a fine framework of painted zones. The horse appears virtually motionless and sculptural; it’s legs taper like stilts. A real muscular anatomy has been transformed into an emblematic, archaic figure, recalling Scythian or ancient Chinese small equestrian sculptures. In the literature on the artist the Cavallini are interpreted as
a reflection of his biography, a symbol of Music’s relentless journeying and rootlessness, despite the fact that the horses are so static. In post-war art, Music’s close relation in terms of archaic horses is Marino Marini. Both artists made an essential figurative contribution to an art then dominated by abstraction. Florian Steininger Literature Siegbert Metelko, Charlotte Hug: Zoran Music. Monographie. Verlag Artacatos. Vaumarcus / Zurich 2009.
ZORAN MUSIC Gorizia/Görz 1909 - 2005 Venedig FEMALE NUDE , 1957 Gouache und India ink on paper, 14 x 17.7 inch (355 x 450 mm) Signed (lower center): MUSIC Provenance Beverly B. Bernstein collection, Washington D.C. The main subjects in the art of Zoran Music are figures and landscapes. While he was a prisoner at Dachau concentration camp, Music had been forced to confront human suffering in the most harrowing way and he documented this in explicit drawings. These traumatic experiences did not resurface in his paintings and drawings, however, until the 1970s. By contrast, the gouache Female Nude seems to express a more peaceful state of mind, akin to the atmosphere in his Cavallini pictures. Instead of the cries of the dead, of shock and horror, these images exude melancholy, gentleness and lyricism. Music chose the classic subject of the female nude, a stock motif for artists ranging from Titian to Velázquez, Manet to Matisse. Yet Music has transformed the sensual allure of the naked body, proffered to the viewer, into an abstracted interplay of colours and forms asserting the
supremacy of the surface. The figure is painted in subtle shades and looks like a cut-out, resembling a collage or silhouette. This planarity is emphasized by the ornamental framing and one can detect the influence of Byzantine mosaics. After all, in the 1950s Music was living primarily in Venice. The overall earthy character of the nude is similar to the stark and sandy Cavallini pictures and its surface has the quality of masonry, like a fresco. An extremely sensitive figuration emerges out of this stony, earthy overall impression, exuding luminosity and atmosphere. Florian Steininger Literature - Siegbert Metelko/Charlotte Hug, Zoran Music. Monographie. Verlag Artacatos. Vaumarcus / Zurich 2009, compare ill. p. 124.
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