WE VALUE YOUR ARTWORKS - FOR 65 YEARS GLOBAL EXPERT IN GERMAN ART - Ketterer Kunst
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FOR 65 YEARS
GLOBAL EXPERT
IN GERMAN ART
W E VA L U E
YOUR ARTWORKS
IN 2018 GERMANY’S MOST SUCCESSFUL AUCTIONS TOOK AGAIN P L A C E A T K E T T E R E R K U N S T. T H I S WAY W E O U T PA C E D THE ENTIRE GERMAN COMPETITION AND MOVED UP TO PLACE 16 WORLDWIDE.
2018 – THE MOST SUCCESSFUL YEAR IN THE H I S T O R Y O F T H E F A M I LY BUSINESS KETTERER KUNST Dear Friends, 2018 was another excellent year for our auction house! We know very well how important it is for a family enterprise like ours to find and maintain its clear position on the market. It is this very awareness that always helps us to attract new client groups. Accordingly, we owe our success to both our staff and our clients. For the future we are determined to remain a trendsetter. The growing numbers of our online sale, where we sell 30 % of all our objects, are just one example of our innovativeness. This is a decisive competitive edge for an internationally active auction house that ranks among the global top 20. Over the past ten years we tripled our sales. Realizing international records on a regular basis, we have become Germany’s fastest growing auction house. Naturally, our consignors benefit the most from this development. Working at the highest possible scientific level will remain a key aspect of our busi- ness success, as the value of an art object is increasingly determined by its prove- nance. We have felt obliged to meet these high quality standards since 1954, some 65 years by now. If you currently plan to sell your art objects, I would like to cordially invite you to contact me personally. We are already looking forward to seeing you at our auctions in June and December 2019! With all the best wishes from Munich – Yours, Robert Ketterer
KETTERER KUNST R E V I E W 2 0 18
GÜNTHER UECKER
POETIC ENERGY IN AN
O S C I L L AT I N G R O S E
“Zärtlicher Garten” (Tender Garden) occupies a very special position
among Uecker‘s large-format nail pictures, which are his most sought-
after works on the international auction market, as ever new record pri-
ces deliver impressive proof of. It is a unique and experimental work in
many respects. There is, of course, the color, singular in Uecker’s oeuvre,
EXPERT
a kind of rose, iridescently oscillating in various shades, interspersed
OPINION
with fray parts and characterized by a tangible, three-dimensional depth.
On the other hand, in comparison with Uecker’s works from the 1960s,
the arrangement of the nails in this work is unusually dynamic. Their dense
and undulating layout already hints at later creations titled “Feld” (Field)
and “Woge” (Wave). However, Uecker still employs a rather loose arrange-
ment of medium-sized nails with small heads, instead of the compacted
order of tall nails with big heads, typical of his later works. The brute and
immediate dynamic of his later Field- and Wave Pictures is contrasted
with a gentle, almost poetic energy: an “impertinent tenderness”.
“I have never regarded myself as an aggressor. The aggression I am
imputed to does not exist. It is tenderness with a certain impertinence, a
kind of intrusiveness. This tenderness is a longing for love.” Günther Uecker,
quote after: www.ndr.de/kultur/geschichte/koepfe/Guenther-Uecker-Viele-
Naegel-grosse-Kunst.
In terms of abstraction, the “Zärtliche Garten” perhaps is the most figura-
tive and most pictorial work in Uecker‘s oeuvre, as it reveals – depending
on the observer‘s position – two abstract reclined nudes that face each Dr. Melanie Puff initially pursued a
other, represented by the nails’ density and the background’s intensive, career as curator after she had earned
her doctor‘s degree in Art and Cultural
almost pink coloring.
Science, and spent a year as trainee in
This is what seems to have likewise impressed Ketterer’s clients: In the the Curatorial Department of Painting
& Sculpture at the Museum of Modern
auction six domestic and international bidders competed for the work, Art in New York. However, she soon
eventually they drove the price from an estimated 600,000 to 800,000 felt deep interest in the art market and
euro to a result of 1,462,500 euro – around twice the valuation price. all the diversity it has to offer. She has
Ketterer once more underlined its leading position in German Post War been active as Art Adviser for national
and international clients for some 15
Art. Especially for works from Uecker, it has established a market that
years and also runs the art market ana-
maintains a strong performance on both a national as well as on an inter- lysis platform “The Art Market News-
GÜNTHER UECKER
national level. mag”. What she values most about Zärtlicher Garten. 1964
working for Ketterer is the privilege to Nails and paint on panel
establish ties between collectors and 154 x 153 x 9.5 cm (60.6 x 60.2 x 3.7 in)
the art market, as well as the opportuni-
ty to present such remarkable works RESULT: € 1.5 MILLION
as the above-mentioned one by Uecker
to the public and to promote them with
maximum performance.
KETTERER KUNST R E V I E W 2 0 18
EMIL NOLDE
FIRE-SPITTING
C L O U D C R E AT U R E S
Perhaps it is the picture‘s depth or the strong and bright colours, the
shimmer and the reflections of light and oil paint itself that stirr in me such
an immense fascination when I look at the painting “Herbstwolken, Fries-
land” from the great Emil Nolde. And I am definitely not the only one who
feels this way! I often heard in the many onversation with visitors at our
auction preview sentences like: “I could look at it for hours, over and over
again“. If you add the remarkable list of exhibitions, the one-of-a-kind pro-
venance, and Nolde‘s concept of nature as well as his personal relation
to the painting, it becomes obvious that: This is a nothing less than a top EXPERT
class masterpiece! OPINION
Professor Dr. Manfred Reuther, longtime director of the Emil Nolde Foun-
dation Seebüll and the most acknowledged expert of the painter world-
wide, stressed the importance of “Herbstwolken, Friesland” in a talk at
the Munich headquarters of Ketterer Kunst. This was a very special
moment for me. There is no one else besides Prof. Reuther who has got
such profound knowledge on the oeuvre of the German Expressionist.
The audience was fascinated by his explanations of the effects the Frisian
nature had on the painter: How Nolde saw mystical creatures in the
cloud formations, the sky and the sea, and how he expressed this in his
paintings, such as in the present one. “Don‘t you agree that that the clouds
possibly form two primal, fire-spitting creatures?” thus Prof. Reuther asked.
The scene shows a view onto the lake Hülltoft Deep from a window of
Nolde‘s house in Seebüll. To Nolde this motif was of prime significance.
Nolde had discarded an earlier painting with the same view, however, he
saw the need to eventually return to the motif of the mystical autumn
EMIL NOLDE
clouds, which he did in the present in the work.
Herbstwolken, Friesland. 1929
It was this very fascination that made Bernhard Sprengel, founding father Oil on canvas
of the museum in Hanover, fall for this picture. Searching for a particularly 73.5 x 106.5 cm (28.9 x 41.9 in)
special work by Emil Nolde, Sprengel acquired this oil painting in 1941. RESULT: € 1.7 MILLION
Christiane Gorzalka, daughter of an
The Sprengel Museum emerged from the art patron‘s private collection
artist couple, grew up surrounded by
of Expressionist and Modern Art. However, the collection did not include sculptures and paintings and felt close-
“Herbstwolken, Friesland“, as Sprengel held it back in order to give it to ly connected with art from an early
a close relative as a present. Sprengle supposedly asked the presentee point on. After she had completed her
studies of Art- and Cultural History in
“Are you aware that you own one of the finest works by Nolde in Germany?”.
Maastricht, she earned her master’s
Professor Dr. Manfred Reuther added that, in his opinion, the painting degree in Culture, Media & Creative In-
must have meant a lot to Sprengel. dustries at King’s College in London in
cooperation with Tate Modern Gallery.
The price of 1,700,000 Euro, bid by my phone bidder in the auction on Her professional career began in the
December 8, definitely confirms the painting‘s exceptional importance. London art trade where she had been
When I raised my hand to communicate her final bid to the auctioneer, I felt active for an international auction house
for several years before she came to
the audiences’ suspense, as they witnessed how lot 822 “Herbstwolken,
Ketterer Kunst in Munich in the fall of
Friesland” changed owners. 2017.
KETTERER KUNST R E V I E W 2 0 18
GERHARD RICHTER
THE REALITY IS
BLACK-AND-WHITE
Next to the large-size “Abstract Pictures”, Richter’s black-and-white photo
pictures from the 1960s count among his internationally most sought-
after works. Now one of these remarkable works was sold for a million
euro in our autumn auction.
EXPERT
The slightly blurred portrait of the Rhineland businessman and acclaimed OPINION
art collector Willy Schniewind is part of a small series of portraits that
Richter made on the initiative of the legendary gallery owner Alfred Schmela,
Düsseldorf, for his first solo show in September 1964. The series, initially
comprising just eight portraits, was based on three portrait pictures from
1964 that show Alfred Schmela himself. They were made after passport
photographs and photos from gallery openings as a sort of promotional
material for the gallery. The first version of “Portrait Schmela” was sold at
Sotheby’s London for around 4.6 million euro in 2015. A year earlier another
version was gifted to the Art Collections North Rhine-Westphalia from the
art historian Viktoria von Flemming.
The portrait of Willy Schniewind is one of the first two portrait commissions
that were made subsequently to the three portraits of Alfred Schmela.
Next to two versions of the “Portrait Dr. Knobloch“, showing the Krefeld
gynecologist Dr. Gisela Knobloch, of which one was acquired by the State
Art Collections Dresden in 2009 and the other, according to the catalog
raisonné, is considered destroyed, Richter made a total of three versions
of the “Portrait Schniewind“.
Another version of the “Portrait Schniewind“, which comes, just as it is the
case with our work, from the important private art collection of Fänn and
Willy Schniewind, was sold at Sotheby’s London for around 1.43 million Karoline Tiege initially earned her
master‘s degree in Art History, Socio-
euro to a private collector in 2010. The third version used to be in posses-
logy and Philosophy from the Julius-
sion of the “ZERO” artist Günther Uecker and is now part of the renowned Maximilians-University in Würzburg,
Fisher-Collection, one of the largest private collections of American and and gained first work experience in the
German Art from after 1960, and is on display at the Museum of Modern art department at the Hamburg auc-
tion house Hauswedell & Nolte. In the
Art in San Francisco.
following she was active for a German
insurance company as an art insu-
rance expert, at first in Hamburg and
later in Frankfurt. Her fascination for art
led her back to the art trade and she
has been working for the Department GERHARD RICHTER
of Contemporary Art at Ketterer in Mu- Portrait Schniewind. 1965
nich since August 2017. Oil on canvas
120 x 88 cm (47.2 x 34.6 in)
RESULT: € 1 MILLION
KETTERER KUNST R E V I E W 2 0 18
KONRAD KLAPHECK
MIRROR OF MAN
There it is, displayed in discreet simplicity, sporting its individual com-
ponents in an elegant plainness in front of a reduced background. In
“Royal” Konrad Klapheck ennobled a simple typewriter by making it sub-
ject of his art. This early machine picture was followed by many paintings
of technical devices.
“Royal” is the second typewriter ever that Klapheck painted, and this EXPERT
early work is an impressive document of how the artist attained his very OPINION
own representational style within surroundings were the Informel was the
prevailing tendency. Instead of expressive gestures, he captured a simple
device in an extremely realistic representation on the canvas, a gimmick
that adds a sort of individualism to it. In later works Klapheck emphasizes
the characteristic trait of his art with respective titles (e. g. “Der Chef/The
Boss”), thus adding male or female connotations.
What makes this work so special is, on the one hand, its simplicity, and
on the other hand, it is, as the title suggests, the regal presence that the
typewriter emanates. This was the first time that one of the early typewriter
paintings was offered on the auction market. The combination of a unique
artistic signature, a list of remarkable exhibitions, and the expertise our
house has when it comes to top-class artworks, led to a new record
price for a work by the artist on the international auction market.
Julia Haußmann studied Art History,
Political Science and Theology in
Munich. After she had gained first
working experience at various galleries KONRAD KLAPHECK
she was active as assistant of the
Royal. 1957
management at the ‚Kunsthalle der
Oil on canvas
Hypo-Kulturstiftung‘ in Munich. Interrupt-
70 x 80 cm (27.5 x 31.4 in)
ed by two short parental leaves, she
has been active for Ketterer Kunst
RESULT: € 525,000
since 2007.
Auction World Record
R E V I E W 2 0 18
WOJCIECH FANGOR
B99. 1965
Oil on canvas
60 x 60 cm (23.6 x 23.6 in)
RESULT: € 200,000
GÜNTHER UECKER
Nagelbaum. 1958
Welded nails mounted on stone base
Ca. 36 x 47 x 5 cm (14.1 x 18.5 x 1.9 in)
RESULT: € 300,000
KETTERER KUNST R E V I E W 2 0 18
RUPPRECHT GEIGER FRANÇOIS MORELLET
351/60. 1960 5 trames de grillage 0° 18° 36° 54° 72°. 1971
Oil on canvas Mixed media. Iron wire grid over oil on panel
95 x 91 cm (37.4 x 35.8 in) 80 x 80 x 3.4 cm (31.4 x 31.4 x 1.3 in)
RESULT: € 160,000 RESULT: € 200,000
GÜNTER FRUHTRUNK
IMI KNOEBEL Enge-Höhe-Tiefe-Breite. 1980
Anima Mundi 41-5. 2015 Acrylic on canvas
Acrylic on aluminum 194.5 x 259 x 6 cm (76.5 x 101.9 x 2.3 in)
Each 37 x 29 x 5.8 cm (14.5 x 11.4 x 2.2 in)
RESULT: € 170,000
RESULT: € 145,000 Auction World RecordK E T T E R E R - I N T E R N E T- A U C T I O N . C O M
In 2008 we recognized the importance of online sales,
ever since our monthly online sale of quality art has
contributed to this development and is now
an integral part of our business concept.
Today the online department is our
house’s fastest growing division – O N L I N E O N LY
permanently yielding remarkable CONSIGN NOW
price increases.
ONLINE AUCTIONS DODO (D. I. DÖRTE CLARA WOLFF)
Geldfragen, 1928, Watercolor and graphite,
ARE THE FUTURE. 40 x 30 cm (15.7 x 11.8 in)
Result: € 13,001
AND KETTERER
KUNST DEFINES IT.
GÜNTER FRUHTRUNK
Krümmungen, 1960, Acrylic on Fiberboard,
26.7 x 26 cm (10.5 x 10.2 in)
Result: € 26,001
GOTTHARD GRAUBNER GÜNTHER UECKER
Ohne Titel (Kissenbild grün-grün), 1970, Strömungen, 2016, Embossing Print,
Mixed Media, 55 x 46 cm (21.6 x 18.01 in) 74.4 x 55 cm (29.2 x 26.6 in)
Result: € 27,001 Result: € 10,002KETTERER KUNST R E V I E W 2 0 18
GEORG BASELITZ
DANCE OF HEROES
Powerful – yet tender and poetic is the “Mäanderlied (28.VII.91/2.VIII.91)”
by Georg Baselitz from 1991. In the early 1990s Baselitz picked up motifs
from his earlier ‘Hero Pictures’, now illustrating them in an airy manner
and upside down. Two ovals, formed from Baselitz‘s black shoe prints,
dominate the center of the large-size canvas that “Mäanderlied” was
executed on. Pacing the canvas off with his footsteps, Baselitz seizes
EXPERT
the white image surface step by step. This strong composition, gaining
OPINION
its special effectiveness through the contrast between the light parts of
the canvas and the dark pictorial elements, is completed by a suspense-
ful color canon of rose and green. The formal arrangement of the artist‘s
footprints evoke associations of a wreath of radiant lights and charge the
picture‘s expressiveness with an energetic aura.
After we had sold the painting “Zwei halbe Kühe“ for 900,000 euro last
year – the highest price ever realized for a Baselitz painting on the German
auction market, we were able to underline our position as expert in Ger-
man 20th Century Art with another record price for a work by the artist.
The painting from the former ownership of the Cologne publisher Alfred
Neven DuMont was eventually sold to a German private collection after
a fierce international bidding skirmish.
Bettina Beckert has been active in
the art business for 25 years. After she
had studied Art History, Modern History
and English Literature in Munich she be-
gan to work as an expert for Modern
Art at Ketterer Kunst. From 2004 to
2006 she held a post as director of
the Columbus Art Foundation. She
subsequently returned to the Munich
art business and was active as a free-
lance journalist in the Art & Art Market
Department of a large German business
journal. In 2015 she returned to Ketter
Kunst, initially active in the Department
of Modern Art – she contributes all her
GEORG BASELITZ
expertise to the Department of Post Mäanderlied (28.VII.91/2.VIII.91). 1991
War Art since early 2018. Oil on canvas
287 x 229 cm (112.9 x 90.1 in)
RESULT: € 660,000KETTERER KUNST R E V I E W 2 0 18
WILHELM LEHMBRUCK
PAY I N G O B E I S A N C E T O
A GRACEFUL BEAUTY
FORMED IN STONE
I take a bow to this extremely rare cement cast from Wilhelm Lehmbruck,
which is one of the most famous expressionist creations by the artist. I am
particularly happy that it finally returns to its home country after more than EXPERT
100 years. What an exciting century it has been witness to. There were OPINION
thrilling changes of ownership, it became acquainted with renowned
collectors and expert, both in Germany as well as abroad. The extensive
research we conducted regarding its origin and the results it produced
kept us on our toes all the way to the day of auction. Now this graceful
beauty, whose existence and condition is, in consideration of the long
journey and the delicate material, even more astonishing, has finally
come home.
I also bow to Wilhelm Lehmbruck – the sculptor who is deservedly regar-
ded a pioneer of 20th Century Sculpting, and who was able to partake
in renowned exhibitions all over the world during his lifetime while always
maintaining close contacts with other great artists and acclaimed collec-
tors. Unfortunately, the great success and appreciation he experienced
did not help him to cope with the atrocities of the war he had experienc-
ed, which is why he eventually decided to put an end to his life at a rather
early point.
It is despite or perhaps because of the great international recognition for
Wilhelm Lehmbruck‘s oeuvre that I am so happy to see how his finest
works find their way home into the most acclaimed national collections. WILHELM LEHMBRUCK
Gebeugter weiblicher Torso. 1912/13
As the leading German auction house it is one of our key strengths to Miriam Heß has been evaluating Art
Cement cast, base with red brown patina
fully exhaust our global research opportunities with great perseverance of the 20th and 21st Century for Ket-
terer Kunst with great commitment for
Mounted on a wooden plate
all the way to the end, in order to guarantee our clients the most complete Height: 90 cm (35.4 in)
more than 15 years. Located near
provenance, as well as best possible history behind the artwork. Heidelberg, she has been in charge of
the representation for Baden-Württem-
RESULT: € 375,000
berg, Hesse and Rhineland-Palatinate
since 2007. The long-standing and
trustful cooperation and her location in
the immediate vicinity of our clients
has led to close relationships which
she enjoys most about her job.KETTERER KUNST R E V I E W 2 0 18
E. L. KIRCHNER
Haus auf der Staffel. 1918/19
Oil on canvas
ALEXEJ VON JAWLENSKY
28 x 32.5 cm (11 x 12.7 in)
Gelbe Häuser. 1909
Oil on board RESULT: € 400,000
53.5 x 49.5 cm (21 x 19.4 in)
RESULT: € 300,000 ERNST LUDWIG KIRCHNER
KIRCHNER’S QUEST FOR
I N S P I R AT I O N I N I S O L AT I O N
In June and August 1917 Ernst Ludwig Kirchner rented a little hut on the Stafelalp. Severely impaired by his medication addiction, Kirchner
saw the remoteness in the Swiss mountains as his last chance for a both mental and physical recovery. With the help of his fiancee Erna
Schilling, Kirchner was able to find his way back to the very creativity that was characteristic of his creation during the Dresden and Berlin
years. These years yielded some of his most significant works, among them our painting “Haus auf der Staffel“. It is one of the first works
that Kirchner made in Switzerland and is of key relevance for the development of style and motifs during his Davos years. A tremendous
gem for every Kirchner collector and lover of Expressionism.
EXPERT Owing to the remarkable research our cataloging department conducted in close cooperation with the Kirchner archive, renowned Kirchner
OPINION experts and art-historical research institutions we were able to document this work‘s uniqueness, which eventually led to a bidding fight
Sandra Dreher studied Art History,
between half a dozen collectors and a result of twice the estimated price.
Theater Studies and Literature with a
focus on 20th Century Art. She has It is crucial to us to explain our consignors the current market situation before making the decision to sell, as it is the only way to settle on
been active for Ketterer for three years.
an estimate price in line with real market opportunities. What does that mean? Market opportunities do not only refer to the objective of
Since June 2017 she attends to the
Department of Modern Art – together merely selling the work, but to realize the best price possible. This is our top priority, and the sale of Kirchner‘s painting once more proved
with her colleague Christiane Gorzalka. this approach to be right.KETTERER KUNST R E V I E W 2 0 18
LOVIS CORINTH
Chrysanthemen im Krug. 1918
Oil on canvas
71 x 50.5 cm (27.9 x 19.8 in)
RESULT: € 300,000
EXPERT
OPINION
CORNELIA SCHLEIME
Liebeslohn, 2007
Acrylic, shellac and asphalt varnish on canvas
200 x 160 cm (78.7 x 62.9 in)
RESULT: € 30,000
Auction World Record
Barbara Guarnieri gained first work
experience at several auction houses LOVIS CORINTH
while she was studying Art History,
Romance Philology and Archaeology. M A S T E R LY C O N J O I N T O P P O S I T E S
Fascinated by the auction world, she
began to work for the Hamburg branch
of Ketterer Kunst in early 2000. Bet- I was fascinated by the painting of the flower still life at first sight. From a rational perspective one could ask: “Why, it‘s just a flower still life?”
ween 2008 and 2015 she was in
Well, but where does the fascination come from? In my opinion it is for the contrasts that Lovis Corinth combines in this work with such
charge of the Departments of Modern
and Contemporary Art at the Swiss great mastery that make it such an inimitable masterpiece.
auction house Koller. Along with the
He created the still life in a breathtaking dynamic with a pastose brushstroke and in his characteristic, powerful manner. At the same time
experience gained at a renowned in-
surance company, the expertise of the it is particularly captivating for its masterly tenderness and haptic presence. He uses strength and delicacy, dynamic and calmness, bright
Italian native was particularly coined by white and a dark sfumato background to create an electrifying arc of suspense which finds support in the brilliant composition. The flowers
her activities on the German and inter- in the vase stretch out into the upper left half of the picture. With great poise Corinth guides the observer‘s view to the unknown image
national art market. With a great deal of
space that opens up behind the vase, and creates yet another contrast: The known and the unknown face to face. The choice of flowers
enthusiasm for art and a feel for our
clients’ needs and wishes, Barbara is also well attuned to the work‘s overall impression, as Corinth picked red and white chrysanthemums, a contrastive couple that adds ever
Guarnieri returned to our Hamburg more tension to the work – red chrysanthemum stand for love while the white ones represent death!
branch and is now active as represen-
tative for Italy, Switzerland, France and I am delighted that this impressive painting with all its power and meaning fascinated our clients, too and that we were able to realize such
the Benelux Union. a high result.KETTERER KUNST R E V I E W 2 0 18
FRANZ VON STUCK
Amazone, 1897
Bronze, with gold and dark brown patina
34 x 17.3 cm ( 13.4 x 6.8 in)
RESULT: € 50,000
MAX LIEBERMANN
Zwei Reiter in der Allee bei Sakrow
Presumably 1924
Oil on canvas
63.5 x 75 cm (25 x 29.5 in)
RESULT: € 300,000
OTTO DIX
Gletscher im Engadin. 1938
Mixed media on fiberboard
80 x 70 cm (31.4 x 27.5 in)
RESULT: € 400,000KETTERER KUNST R E V I E W 2 0 18
CARL SPITZWEG
Am Sonntagmorgen. 1851/1855
Oil on canvas, laid on board
22.8 x 15.2 cm (8.9 x 5.9 in)
RESULT: € 90,000
JOHANN WILHELM PREYER
Früchtestillleben. 1882
Oil on panel
23.8 x 32 cm (9.3 x 12.5 in) EXPERT
OPINION
RESULT: € 40,000
CARL SPITZWEG
T I M E L E S S S I T U AT I O N A L H U M O U R
B Y A G R E AT O B S E R V E R
His waggishly pointed Biedermeier image worlds made Carl Spitzweg one of the most acclaimed German humorist painters of the 19th century.
Eva Lengler studied Art History, Eng- The artist allows the observer to sneak a peek at the bourgeoisie idyll from a typical peep-box-perspective – inhibited by poor poets, knitting
lish Literature and Archaeology in Würz- soldiers and quirky gardeners.
burg and Cologne. After she had com-
pleted an internship with an art trading The timeless appeal his neatly drawn characters have up until today is impressively illustrated by the colorful work “Am Sonntagmorgen” from a
company in Munich she was active for
Southern German private collection, which we offered in our auction on November 23. In an intimate portrait format, Spitzweg shows the angled
a London auction house for several
years. In 2015 she joined the Catalo- garden of a middle-aged man reading his paper in the morning sun. However, something seems to bemuse him. Looking above his paper, he
ging Department at Ketterer Kunst. In sees a small black bird on a cornice pertly looking back at him.
January 2017 she began to contribute
her expertise to the Department of 19th Capturing moments filled with heartiness and with a certain comic situation were Spitzweg‘s trademark and his secret of success. In the light
Century Art. of the positive auction result, I am particularly delighted that the charm of his works has not faded at all after more than 150 years.KETTERER KUNST R E V I E W 2 0 18
I VA N A I VA Z O V S K Y
AT M O S P H E R I C A L
BRILLIANCE:
THE RUSSIAN
WILLIAM TURNER
Ivan Aivazovsky was a true painter of the sea, it was his element and EXPERT
leitmotif. Whether rough and stormy or calm and peaceful, he painted the OPINION
sea in all its splendor and magnificence. There was no other artist be-
sides him who was able to paint the sea the way he did. Born on the
Crimea on the shores of the Black Sea, Aivazovsky experienced the sea
from an early point on, and he became familiar with the forces of nature.
Throughout his entire life he created more than 4,000 seascapes.
Through his paintings the artist teaches us the character of the sea. The
observer immediately looses himself in his scenes. Aivazovsky underlines
his artistic brilliance with the gently shaded nuances of the reflections on
the surface of the water, the airiness of the towering clouds and a light
that fills the entire image space. The scene evokes a longing within the
observer, a longing that this perfect moment of peace may never go by.
This is one of the most striking characteristics of his artworks, and also
what distinguishes him from others. He had always been admired by the
audience in his home country Russia, and up until today Aivazovsky’s IVAN AIVAZOVSKY
works guarantee successful sales. Ruhige See. 1887
Oil on canvas
65.3 x 98.5 cm (25.7 x 38.7 in)
RESULT: € 200,000
Sarah Mohr studied Economics and
Art History with a focus on German
and English 19th Century Painting in
Munich. After she had been active in
the international auction business she
joined Ketterer Kunst in 2011, as she
sees diverse artworks, the interaction
with clients and the art market’s dyna-
mic at the heart of her professional
passion.KETTERER KUNST R E V I E W 2 0 18
KOLOMAN MOSER
Blick auf die Rax von der Villa
Mautner v. Markhof im Abendlicht
Around 1913
Oil on canvas
36 x 48.9 cm (14.1 x 19.2 in)
KARL HAGEMEISTER
RESULT: € 200,000 Schwere See. Around 1913
Oil on canvas
105 x 165.3 cm (41.3 x 65 in)
RESULT: € 55,000
HERMANN PLEUER
Stuttgarter Westbahnhof in der
Abenddämmerung. 1899
Oil on canvas
59 x 76 cm (23.2 x 29.9 in)
RESULT: € 55,000
Auction World RecordKETTERER KUNST R E V I E W 2 0 18
ALFONS WALDE
Aurach bei Kitzbühel. 1926/1928 JOSEF SCHARL
Oil on board
Der Abend. 1925
59.5 x 42 cm (23.4 x 16.5 in)
Oil on canvas
RESULT: € 525,000 158 x 52.5 cm (62.2 x 20.6 in)
RESULT: € 150,000
Auction World RecordKETTERER KUNST R E V I E W 2 0 18
ERNST WILHELM NAY
Purpurmelodie. 1951
Oil on canvas
90 x 126 cm (35.4 x 49.6 in)
RESULT: € 500,000
TONY CRAGG
Point of View. 2002
Bronze with dark brown patina
Ca. 252 x 200 x 145 cm (99.2 x 78.7 x 57 in)
RESULT: € 660,000
Auction World RecordKETTERER KUNST R E V I E W 2 0 18
ASGER JORN
Cent défauts. 1967
Oil on canvas
99 x 130 cm (38.9 x 51.1 in)
RESULT: € 300,000
ROBERT RAUSCHENBERG
County Sweep (Galvanic Suite). 1989
Mixed media. Acrylic and lacquer
over galvanized steel
123 x 305 cm (48.4 x 120 in)
RESULT: € 540,000KETTERER KUNST R E V I E W 2 0 18
KATHARINA GROSSE
Ohne Titel. 2010
Acrylic on canvas
247.5 x 174 cm (97.4 x 68.5 in)
RESULT: € 275,000
EXPERT
OPINION
FRITZ WINTER
Triebkräfte der Erde. 1944
K AT H A R I N A G R O S S E Oil on paper
29.5 x 21 cm (11.6 x 8.2 in), the full sheet
M A S T E R O F N O N - O B J E C T I V E PA I N T I N G RESULT: € 200,000
We were lucky to get two works from Katharina Grosse for what was our to date most successful sale of Contemporary Art on June 9, 2018.
With two obviously very different motifs, they were made over a time span of 13 years, both works are particularly captivating for their im-
mediate expressiveness. With her much sought-after artworks, the master of non-representational painting, who had reached her rank as
an acclaimed contemporary artists years ago, she has been breaking her own record prices over and over again. Form an art-historical per-
Undine Schleifer studied Art History
spective her works are located somewhere between American Color Field Painting and Land Art, additionally, the influence of her teachers
and Political Science at the University
Gerhard Richter and Gotthard Graubner can be observed. Katharina Grosse stands for a painting concept that accepts no hierarchies and of Kiel, and gained first experience in
that almost avails itself of anarchy. the art trade. Subsequently she earned
her master’s degree in Modern and
Apart from mainly German bidders who got involved in the bidding fight for the painting from 2010, we also received commissions from Contemporary Art at Christie‘s in Lon-
several international bidders – one even came as far as from South Korea. Eventually it found a new home with a German collector present don in cooperation with the University
in the saleroom, who stood his grounds through the bidding race and was able to relegate competitors to second place and beyond. Our of Glasgow. She has been active for
Ketterer Kunst in the Department of
sale saw a typical auction result for a work from Katharina Grosse: Even though her art is sold with great success at international auctions,
Post War/Contemporary Art for six
the highest prices, however, are always realized in Germany. Ketterer Kunst, for instance, was able to fetch two record prices for the artist years, in early 2018 she became head
in Germany. of the department.KETTERER KUNST R E V I E W 2 0 18
GERHARD RICHTER GERHARD RICHTER
Grün-Blau-Rot. 1993 Rhombus. 1998
Oil on canvas Oil on panel
29.7 x 39.8 cm (11.6 x 15.6 in) 24 x 28 cm (9.4 x 11 in)
RESULT: € 260,000 RESULT: € 325,000
EXPERT
OPINION
GERHARD RICHTER
T R A N S C E N D E N TA L A N D R E L I G I O U S
DIMENSIONS UNITED
Gerhard Richter’s ‘Rhombus’ from 1988 is a prime example of the abstract works from Germany’s
most successful artist. Originally part of a series of paintings made for a sacred space and today
in possession of the Museum of Fine Arts in Houston, Texas, the picture sold here is the only Stefan Maier discovered his love for
rhomb-shaped work offered on the international art market. art in his early childhood on numerous
museum visits with his family and went
In the article “Der Meister der Indifferenz” (Master of Indifference), released on ‘Weltkunst Online’ on to study Art History in Munich and
on February 9, 2017, Eckhart Gillen wrote as follows: “On the one hand, Richter believes a Berlin. He set up his own gallery in Dres-
painting should ‘at least come very close’ to the faith in a transcendent world, while he is, at the den in 2003 following a long-term posi-
tion at the Prussian Palaces and Gar-
same time, well aware of the fact that this religious dimension of painting has been secularized dens Foundation Berlin-Brandenburg,
ever since the period of Enlightenment. However, he clings to the idea that there is a common as well as various interior design pro-
GERHARD RICHTER faith in art as a ‘›religio‹, ›reversion‹, ›bonding‹ to the incognizable, the supra-rational and supra- jects and almost three years as assis-
Fuji. 1996 being‘. […] [Richter] confirms that the ‘Abstract Pictures’ – despite the deconstruction of the tant and director at an art consultancy
Oil on alucobond firm. At around the same time an inter-
pictorial aura through an artistic process of coincidence and transparency – put him in an elegiac
37.5 x 29 cm (14.7 x 11.4 in) national corporation recruited him to
mood. Effects and receptions his pictures evoke remain just as ambivalent as the doubts and its council of art advisers, to which he
RESULT: € 300,000 hopes of their creator.” renders valuable services to this day.KETTERER KUNST REVIEW 2018
FRITZ WINTER
Später Sommer. 1960
Oil on canvas
135 x 145 cm (53.1 x 57 in)
RESULT: € 160,000
NORBERT KRICKE
Raumplastik (Kleine Reux). 1961
Welded stainless steel rods, nickel-plated,
on basalt base
32.5 x 26.8 x 25.5 cm (12.7 x 10.5 x 10 in)
Base: 5 x 4.5 x 4.5 cm (1.9 x 1.7 x 1.7 in)
RESULT: € 125,000KETTERER KUNST R E V I E W 2 0 18 GABRIELE MÜNTER LOVIS CORINTH Haus am Hang. Around 1940 Luzerner See am Vormittag. 1924 Oil on plywood panel Oil on canvas 38 x 45.8 cm (14.9 x 18 in) 62.5 x 75.8 cm (24.6 x 29.8 in) RESULT: € 260,000 RESULT: € 375,000
KETTERER KUNST R E V I E W 2 0 18
AUGUST MACKE
THE PLAY OF
GLOWING COLORS
Interrupted by a trip to Tunis in spring 1914, August Macke spent the
time between late September 1913 and the summer of 1914 with his
family in Hilterfingen on Lake Thun. In retrospect, these few months are
considered his best and happiest days, both as far as his private life and
his artistic development are concerned. Initially influenced by his artist
EXPERT
friend Franz Marc, and later by Robert Delaunay’s style, he created works
OPINION
on Lake Thun that count among the best in Macke‘s oeuvre. His bright
watercolors and oil paintings, in possession of acclaimed collections
around the globe today, and his light-flooded works characterized by an
impressive coloring have coined our idea of German Expressionism up
until today.
Our watercolor “Begrüssung” also came into existence there. It shows a
lake scenery with two women on a balcony in Macke’s typical bent-for-
ward posture, greeting a man who lifts his hat to them. Macke realized a
striking transparency and luminance in his watercolors. Executed in soft
modulations and with airy contours, our work “Begrüssung“ is a marve-
lous example of his mastery.
Up until today, more than hundred years later, the sheet still fascinates
art lovers. It took a bidding fight of a couple of minutes before it changed
owners for a remarkable result of 940,000 euro.
Dr. Simone Wiechers studied Art
History in Marburg, where she initially
held a position at the University of Mar-
burg Museum for Graphic Art. Since
earning her doctorate she has become
deeply involved in the art business in
Berlin. In early January 2015 she left
her position as director with the art tra-
der Dieter Brusberg and transferred to
the Berlin branch of Ketterer and is
well aware of her privilege in being so AUGUST MACKE
close to collectors. At our branch in the Begrüssung (Thunersee). 1913
capital she, among others, curates Watercolor
exhibitions of works from public and 31.8 x 26.7 cm (12.5 x 10.5 in),
private collections. Her credo: »the the full sheet
chemistry has to be right”.
RESULT: € 940,000KETTERER KUNST R E V I E W 2 0 18 ERICH HECKEL ERNST LUDWIG KIRCHNER Badende am Stein. 1914 Selbstporträt mit Gerda (Mann und Sitzende im Atelier). 1915 Oil on canvas Color pastel over charcoal 100 x 67 cm (39.3 x 26.3 in) 67.4 x 52 cm (26.5 x 20.4 in) RESULT: € 625,000 RESULT: € 500,000
KETTERER KUNST R E V I E W 2 0 18
KARIN KNEFFEL
2008/8. 2008
Oil on canvas VICTOR VASARELY
110 x 140.5 cm (43.3 x 55.3 in)
Dauve. 1977
RESULT: € 125,000 Acrylic on canvas
200 x 200 cm (78.7 x 78.7 in)
RESULT: € 350,000KETTERER KUNST R E V I E W 2 0 18
ADOLF RICHARD FLEISCHMANN
Composition #138x, 1959
Oil on canvas
99 x 79 cm (38.9 x 31.1 in)
RESULT: € 70,000
EXPERT
OPINION
LYNN CHADWICK
Maquette for R34 (Maquette for Stranger III), 1959
Bronze with dark brown patina
43.4 x 53 x 15 cm (17 x 20.8 x 5.9 in)
RESULT: € 175,000 ADOLF RICHARD FLEISCHMANN
T H E FA S C I N AT I O N O F L I N E S
Adolf Fleischmann was one of the most prominent representatives of abstraction in Germany and the USA after 1945. His recognition
there was so strong that he could also be referred to as an American abstract painter. However, this admission has not been put into effect
officially. With Mondrian as a source of inspiration, he was able to establish a reputation in the US in a short period of time. He was close
friends with a number of American artists, among them Barnett Newman, the great representative of American Abstraction.
In late 1944 Adolf Fleischmann returned to the liberated city of Paris where he found a completely devastated studio and the remains of just
a few of his pictures. “I suffered a nervous breakdown.” But he picked himself up again and continued to work, establishing his own geo-
metric style as of 1950. The closeness to Piet Mondrian can be observed, however, they strongly differ in terms of the use of colors. Over
Ralf Radtke has been Ketterer Kunst’s the last 20 years of his life Adolf Fleischmann created a distinguished and stringent body of works. In his new home New York the then
representative for the Rhineland region 60-year-old painted obsessively, creating pictures characterized by horizontal and vertical lines that show skyscraper architecture as a
for thirteen years and tok over as head source of inspiration.
of the Düsseldorf office in 2018. His
focus is on post-war art, especially on Fleischmann was definitely not a representative of Op-Art, as he preserved a classic image concept, however, he was one of its precursors.
the art of the Zero group, a field in which Our work “Composition # 138x“ is a prime example therefor. Adolf Fleischmann has never entirely fallen to oblivion, however, he has not
he has gained some considerable ex-
pertise. He particularly likes the familiar
been met with the deserved recognition up until today. I am convinced that this will change, as Michel Seuphor said the following about
atmosphere at Ketterer Kunst and he him: Fleischmann is one of Mondrian‘s very few successors. For years the range of offerings at Ketterer has included some of his high-
feels strongly connected with the house. class works, and it is just to say that Ketterer made great contributions to the positive light he is seen in today.KETTERER KUNST R E V I E W 2 0 18
ENRICO CASTELLANI FRITZ KOENIG
Superficie bianca. 1980 Camargue XIV. 1966
Acrylic paint on relief canvas Bronze
100 x 150 x 6 cm (39.3 x 59 x 2.3 in) 8 x 58.5 x 37.5 cm (3.1 x 23 x 14.7 in)
RESULT: € 300,000 RESULT: € 100,000
GÜNTHER UECKER
Ohne Titel (Feld). 1967
Mixed media. Nails and paint JAN SCHOONHOVEN
on canvas on panel R 70-1. 1970
43 x 43 x 5.5 cm Relief. Pigment and papier mâché on panel
(16.9 x 16.9 x 2.1 in) 48 x 48 x 4 cm (18.8 x 18.8 x 1.5 in)
RESULT: € 300,000 RESULT: € 160,000GÜNTHER UECKER Woge, Japan. 1995 Nails and paint, on canvas on panel 125 x 120 cm (49.2 x 47.2 in) RESULT: € 825,000
A SERVICE OFFERED BY KETTERER KUNST R E V I E W 2 0 18
ART COLLECTION
C O N S U LT I N G
F O R P R I V AT E C O R P O R AT E
COLLECTORS COLLECTIONS
You have compiled a private art collection over the past couple of Your company is in possession of an art collection and you think
years – and now you face the decision to see what direction it about possible changes?
should take?
There are many good reasons why a corporate collection should
be adapted to meet the company‘s latest development. In an ideal
Ketterer Kunst is at your side in all matters regarding a possible
case a collection reflects corporate identity, takes the respective
reorientation of your collection: Does it make sense to scale down?
business sector as well as the product portfolio and the regional or
Is it advisable to sell the collection or to give it to a foundation? De-
international business areas into account. This general set-up can
pending on the focus of your collection, a combination of different
be affected by, for instance, a reorganization of the company, new
measures can also make sense, for instance a stronger focus on
heads at the management level, expansions and new business seg-
single areas while selling other parts of the collection.
ments, but also by an altered regional disposition. If these changes
apply, it is recommendable to revise the corporate collection and to
Our first consulting talk is absolutely free and non-binding. As part
adapt it, both in terms of range and value. Ketterer Kunst is happy
of the following expert advice (analysis and valuation, outlining poten-
to help you redirecting your corporate collection.
tial strategies and their respective implementation) we will prepare
a custom-made offer. In order to express the character of your company, we can outline
ALEX KATZ
the potential directions your collection can take in a first free and
Sunset 2. 2008
non-binding consulting talk.
Oil on canvas
Based on this talk, we will prepare an individual offer that allows for 122 x 168 cm (48 x 66.1 in)
your corporate collection‘s needs. RESULT: € 275,000
CONTACT:
Bettina Beckert
sammlungsberatung@kettererkunst.de
Tel. +49 89 55244 -140KETTERER KUNST BERLIN R E V I E W 2 0 18
E X H I B I T I O N S 2 018 / 2 019
February 23 – April 29, 2018
LI TRIEB
ARCHIVE OF MOMENTS - DRAWINGS, PHOTOGRAPHY, TEXTS
In her conceptually perceived ‘Archive of Moments‘ with impressive drawings, texts and photo-
graphs, the artist Li Trieb traces the inspirational powers of the sky and the element water. In
doing so she strictly takes formal determining factors into consideration. The seven months
that she had spent in a Buddhist monastery in Thailand were formative for the artist. The graphic
Li Trieb depiction of a fleeting event in nature takes months of her lifetime, a process she meticulously
documents. Author and curator Ludwig Seyfarth delivered the opening speech.
June 28 – September 18, 2018
VISITING KETTERER KUNST:
MUSEUM FÜR KONKRETE KUNST, INGOLSTADT
The focus of the MKK‘s collection is on bridging established and contemporary positions of
non-representational, geometric art with a strong affinity for design and applied arts, which
can be found in, for example, Constructivism, Bauhaus and De Stijl. The exhibition at Ketterer
Kunst in Berlin showed highlights from the MKK that illuminated unusual aspects of Concrete
Sergio de Camargo Art: neon colors, foldings, diversity of materials and the birth of the logo. Next to classics from
Richard Paul Lohse, Josef Albers, Günter Fruhtrunk and Nelly Rudin, the exhibition comprised
works from Gerold Miller, Ottmar Hörl and Haleh Redjaian. Dr. Simone Schimpf, director of the
MMK Ingolstadt, delivered the opening speech.
October 12 – November 3, 2018
KARL SCHMIDT-ROTTLUFF AND MAX KAUS – TWO ARTIST FRIENDS
This exhibition highlights the friendship between two artists from the first and second generation
of expressionists. Max Kaus met Erich Heckel as early as in 1916 while he was serving as para-
medic in World War I. Four years later he became acquainted with Karl SchmidtRottluff at the
Free Secession. What the two artist had in common was their love of nature and a passion for
figurative illustration. After a preview at Ketterer Kunst in Hamburg, the exhibition was mounted
Max Kaus in Berlin. Christiane Remm, curator at the Karl and Emy SchmidtRottluffFoundation, delivered the NORBERT BISKY
opening speech. Alle finden Anschluss. 2000
Oil on canvas
February 22 – April 28, 2019 190 x 270 cm (74.8 x 106.2 in)
LOTHAR QUINTE – COLOR CHORDS IN RETROSPECT RESULT: € 90,000
Auction World Record
With a selection of works from the most important work groups since the 1950s, Ketterer
Kunst shows an homage to one of the most exciting German representatives of OpArt. The
oeuvre of the Grieshaber student is particularly captivating for its versatility, as Lothar Quinte
reinventied himself and his fine art time and again. On occasion of the opening on February
22, 2019, Dr. Ulrike Lorenz, director at Kunsthalle Mannheim and designated president of
Lothar Quinte ‘Klassik Stiftung Weimar’, will deliver the opening speech.
June 21 – September 15, 2019
HORST KUHNERT – CELEBRATING THE 80TH BIRTHDAY
He sought new ways to leave two- and three-dimensionality, and attained surprising solutions.
On occasion of his 80th birthday, Ketterer Kunst in Berlin dedicates a retrospective to Horst
Kuhnert. The exhibition will show a cross-section of the artist’s versatile creation. The key aspect
of “space” in the oeuvre of Horst Kuhnert will be highlighted with the help of paintings, prints,
drawings, reliefs and sculptures. Leane Schäfer, director of Kunstmuseum Gelsenkirchen, will
Horst Kuhnert deliver the opening speech on June 21.KETTERER KUNST R E V I E W 2 0 18
HARTMANN SCHEDEL
Nuremberg Chronicle, Nuremberg 1493
RESULT: € 147,600
LATIN BOOK OF HOURS
Parchment manuscript, Bruges around 1460
RESULT: € 103,300
LATIN-FRENCH BOOK OF HOURS
Parchment manuscript. Rouen around 1470
RESULT: € 78,700
MARIA SIBYLLA MERIAN
Der Raupen Verwandelung. Nuremberg 1679-83
RESULT: € 51,700KETTERER KUNST R E V I E W 2 0 18
JOHANN WOLFGANG
VON GOETHE
Die Leiden des jungen Werthers. Leipzig 1774
RESULT: € 22,800
WASSILY KANDINSKY
Klänge. Munich 1913
RESULT: € 22,800
ALBERTO GIACOMETTI
Paris sans fin. Paris 1969
JOHANN HEINRICH ZEDLER
Universal-Lexicon. Halle and Leipzig 1732-50 RESULT: € 23,400
RESULT: € 20,900KETTERER KUNST 3 STEPS TO SUCCESS
Selling art through Ketterer Kunst is your safe way to get the
best result possible!
Not only did we establish our international client base over decades,
we also register an average annual increase in new clients of around
20 %! Acclaimed museums and renowned collectors from all around
the world rely on our expertise.
Use the opportunity and benefit from our vast network and inter-
national renown: The booming art market once more promises
excellent returns for the coming auction season. The way to your
own successful sale is simple – you can reach your goal in just
three steps!
3 STEPS TO SUCCESS!
SELLING THROUGH KETTERER KUNST 2
GET THE BEST OFFER!
Every work of art is just as unique as our
range of services! Our experts find the best
presentation for every artwork and know
how to fetch a maximum yield. Another plus:
1 Only Ketterer Kunst uses the great potential
of various distribution channels!
You want to sell a top-quality work? 3
CONTACT US! In this case the saleroom auction and a
REALIZE THE BEST PRICE!
presentation in a classic print catalog is the
You own art and want to profit from the cur-
first choice. This is where we most certainly The contract has been closed? Than it‘s
rent market condition? Get in touch with us!
reach the right buyers for your top lot! time to sit back and relax, as Ketterer Kunst
The classic way: By mail will take care of the rest.
You want to get the most out of a work
Send a letter or an e-mail to info@ketterer-
from the lower price range? We organize collection, transport, insu-
kunst.de and you will reach the right expert
We recommend the internet auction with an rance, and, if necessary, restoration mea-
for your request! Just include a short de-
elaborate online presentation and a maxi- sures. We carry out comprehensive re-
scription and a picture of the work.
mum reach! While less expensive works search around your work and describe it in
The personal way: The talk often run danger of being overlooked in the line with latest scientific standards - putting
You appreciate personal and qualified ad- saleroom auction, they can become hard- your art in the spotlight of a highly professi-
vice? Just give us a call (+49 89 55 244 0)! fought top lots in online auctions. onal presentation. Our broad, international
If you wish, we will also call on you or arran- marketing campaigns take the sale poten-
No matter whether classic saleroom auction,
ge for a meeting at our company. tial of your work to a global level.
high traffic internet auctions or direct sale:
The fast way: The online form You can rely on our expert‘s recommenda- This is how we guarantee to fetch the best
You are short of time? Just use our online tion! Ketterer Kunst guarantees to make price for your work! There‘s just one thing
form (http://www.kettererkunst.com/sell) to the most of your art – custom-made for the you will have to do: Look forward to your
get a custom-made offer the fastest way. perfect result! payment!OUR TEAM R E V I E W 2 0 18
Post War/Contemporary Art Modern Art
MUNICH MUNICH
Undine Schleifer, MLitt Sandra Dreher, M.A.
Tel. +49 89 55244 -131 Tel. +49 89 55244 -148
u.schleifer@kettererkunst.de s.dreher@kettererkunst.de
Karoline Tiege, M.A. Christiane Gorzalka, M.A.
Tel. +49 89 55244 - 244 Tel. +49 89 55244 -143
k.tiege@kettererkunst.de c.gorzalka@kettererkunst.de
Bettina Beckert, M.A.
Tel. +49 89 55244 -140
b.beckert@kettererkunst.de
19th Century Art
MUNICH
Robert Ketterer Gudrun Ketterer, M.A.
Sarah Mohr, M.A.
Auctioneer Auctioneer
Tel. +49 89 55244 -147
Tel. +49 89 55244 -158 Tel. +49 89 55244 - 200
s.mohr@kettererkunst.de
r.ketterer@kettererkunst.de g.ketterer@kettererkunst.de
Dr. Melanie Puff
Contact for US Clients
Tel. +49 89 55244 - 247
m.puff@kettererkunst.de
Eva Lengler, M.A.
Tel. +49 89 55244 -146
e.lengler@kettererkunst.de
Julia Haußmann, M.A.
Tel. +49 89 55244 - 246
j.haussmann@kettererkunst.de
Rare Books
HAMBURG
Christoph Calaminus
Tel. +49 40 374961 - 11
Representatives c.calaminus@kettererkunst.de
BERLIN
Dr. Simone Wiechers
Tel. +49 30 88675363
s.wiechers@kettererkunst.de
Christian Höflich
Tel. +49 40 374961 - 20
c.hoeflich@kettererkunst.de
DUSSELDORF
Ralf Radtke
Tel. +49 2151 618000
r.radtke@kettererkunst.de
Art Collection Consulting
BADEN-WURTTEMBERG, THE ART CONCEPT
HESSE, RHINELAND-PALATINATE Andrea Roh-Zoller, M.A.
Miriam Hess Tel. +49 172 4674372
Tel. +49 6221 5880038 artconcept@kettererkunst.de
m.hess@kettererkunst.de
NORTHERN GERMANY, Stefan Maier
SWITZERLAND, ITALY, Tel. +49 34293 449283
FRANCE, BENELUX s.maier@kettererkunst.de
Barbara Guarnieri, M.A.
Tel. +49 171 6006663
b.guarnieri@kettererkunst.deFA C T S & F I G U R E S 2 0 1 8 VA L U AT I O N D AY S & A U C T I O N D AT E S
BIDDERS FROM
RANK 16
OF THE WORLD’S TOP-SELLING
ART AUCTION HOUSES**
48 N AT I O N S
Upcoming Valuation Days
Modern Art
Post War / Contemporary Art
60 ART
3,953
Italiy
Berlin
March 6, 2019
March 7, 2019
52
Dusseldorf March 9, 2019
EXPERTS M . € T O TA L Munich March 11, 2019
PROCEEDS BIDDERS Hamburg March 12, 2019
IN 2018 Belgium/Netherlands/Luxembourg March 13, 2019
Frankfurt March 20, 2019
96
R E S U LT S A B O V E
€ 100,000
14
30 %
OF ALL OBJECTS
SOLD ONLINE
Switzerland
France
Stuttgart
Upcoming Valuation Days
March 21, 2019
March 27, 2019
March 27, 2019
WORLD
RECORDS 19th Century Art
5,000 sq m
NO. 1
ART AUCTION HOUSE
E X H I B I T I O N S PA C E
Hamburg
Hanover
Dusseldorf
February 19, 2019
February 21, 2019
February 26, 2019
Berlin February 28, 2019
IN GERMANY*
Stuttgart March 7, 2019
Frankfurt March 8, 2019
Nuremberg March 11, 2019
ARTNET REPORT EUROPE 2018*
**Source: Annual balance of online data bank Artprice / art auctions 2018. www.artprice.com
*Source: Annual balance of online data bank Artnet / art auctions 2018. www.artnet.com
Auction Dates Spring 2019
Rank Auction House Lots Sold Lots Offered Total Sales Value Auction House City Auction House Country
1 Christie's London 4154 5432 € 978,767,141 London United Kingdom 19th Century Art May 24, 2019
2 Sotheby's London 4818 6347 € 933,126,219 London United Kingdom Rare Books May 27, 2019
3 Phillips London 2119 2493 € 249,075,585 London United Kingdom
Classics of the 20th Century /
4 Sotheby's Paris 1743 2141 € 177,039,855 Paris France
5 Christie's Paris 1293 1618 € 135,839,000 Paris France
Contemporary Art June 6 – 8, 2019
6 Bonhams London 1925 2921 € 79,047,972 London United Kingdom
7 Artcurial 2925 4601 € 73,999,922 Paris France
8 Dorotheum 4275 8149 € 71,322,849 Vienna Austria
9 Ketterer Kunst GmbH & Co KG 1293 1825 € 48,472,837 Munich Germany
10 Grisebach GmbH 2084 2748 € 46,635,322 Berlin Germany
11 Kunsthaus Lempertz 1593 2825 € 32,485,392 Cologne Germany
12 Christie's Geneva 160 180 € 30,021,963 Geneva Switzerland
13 Hampel Fine Art Auctions 843 1766 € 29,253,579 Munich Germany
14 Sotheby's Milan 131 193 € 26,476,000 Milan Italy
15 Galerie Kornfeld Bern 655 1001 € 25,902,261 Bern Switzerland
16 Koller Auktionen AG 1833 2986 € 25,741,299 Zurich Switzerland
17 Bruun Rasmussen Auctioneers 2201 3144 € 23,170,907 Copenhagen Denmark
18 Desa Unicum 2288 3230 € 20,784,598 Warsaw Poland
19 Bukowskis Stockholm 1583 2187 € 20,675,544 Stockholm Sweden
20 im Kinsky 1480 2378 € 18,846,235 Vienna Austria
21 Van Ham Kunstauktionen 1585 2520 € 18,694,640 Cologne Germany
22 Piasa 1676 3017 € 17,203,119 Paris France
23 Christie's Amsterdam 370 437 € 16,493,688 Amsterdam The Netherlands
24 Farsettiarte 581 593 € 15,394,840 Prato Italy
25 Christie's Milan 53 58 € 14,693,500 Milan ItalyKETTERER KUNST MUNICH Joseph-Wild-Str. 18 · 81829 München Tel. +49 89 55244 -0 Fax +49 89 55244 -166 infomuenchen@kettererkunst.de HAMBURG Barbara Guarnieri Holstenwall 5 · 20355 Hamburg Tel. +49 40 374961- 0 Fax +49 40 374961- 66 infohamburg@kettererkunst.de BERLIN Dr. Simone Wiechers Fasanenstr. 70 · 10719 Berlin Tel. +49 30 88675363 Fax +49 30 88675643 infoberlin@kettererkunst.de DUSSELDORF Ralf Radtke Malkastenstr. 11 · 40211 Düsseldorf Tel. +49 211 36779460 Fax +49 211 36779462 infoduesseldorf@kettererkunst.de BADEN-WÜRTTEMBERG, HESSE, RHINELAND-PALATINATE Miriam Hess Tel. +49 6221 5880038 Fax +49 6221 5880595 infoheidelberg@kettererkunst.de BELGIUM, FRANCE, ITALY, LUXEMBOURG, NETHERLANDS, SWITZERLAND Barbara Guarnieri Tel. +49 171 6006663 b.guarnieri@kettererkunst.de USA Dr. Melanie Puff Tel. +49 89 55244 - 247 m.puff@kettererkunst.de
K E T T E R E R K U N S T. C O M
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