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17 March to 11 April 2020
Opening: Tuesday, 17 March 2020, 6p.m.
Grisebach shows works by Hilma af Klint and spiritual drawings from her surroundings
Stockholm, November 1906: Swedish artist Hilma af Klint is 44 years old when she turns her life upside down. She turns away from the academic painting in which she was trained and begins to work abstractly – in ever larger formats. In the following months she creates numerous series, including the cycle “The Ten Greatest”, whose paintings measure more than three meters in height. Kandinsky’s, Malevich’s, or Mondrian’s experiments with non-representational painting were still a long way off when Hilma af Klint wrote in her notebook: “The attempts I have made [...] will astonish mankind”. Her prediction came true in 2018, when the Solomon R. Guggenheim Museum in New York opened a major retrospective of her work: The show attracted more than 600,000 visitors and became the most successful exhibition in the museum’s history.
Grisebach is pleased to present Julia Voss’ biography “Die Menschheit in Erstaunen versetzen: Hilma af Klint, Leben und Werk” (S. Fischer Verlag) a selection of works by the Swedish painter, together with drawings and documents from the Monica von Rosen/EWF Private Archive.
For the first time in Germany, the only surviving self-portrait that Hilma af Klint painted of herself is being shown: In the undated painting, the artist presents herself against a blue background, wearing a long white robe. This painting is supplemented by ten other works by the painter that have never been shown in public before: hand-coloured photographs that reproduce the series “The Ten Greatest” in miniature format. Hilma af Klint probably edited these photographs in the early 1920s, when she was striving to make her work, which she herself described as “groundbreaking”, accessible to a wider public. Subsequently, she had all 193 works taken between 1906 and 1915 photographed. In a second step, she coloured these photographs or reproduced them in additional watercolours and glued them into bound albums. With this life’s work en miniature, she created a “museum in a suitcase” with which she travelled to Dornach, Amsterdam and London.
At the same time, the exhibition takes a look at the history and surroundings of Hilma af Klint’s work: She took part in her first seances at the age of seventeen. Among the sponsors of the young Hilma af Klint was Bertha Valerius (1824-1895), a painter and photographer who held spiritual sessions as a medium in Stockholm. As a young artist Hilma af Klint was part of the social circle of Huldine Beamish (1836-1892), whose guests included the writer August Strindberg.
The old orders were suspended during these séances: the living meet the dead, women become men and vice versa, past and future are pushed into the present, and the styles of drawing with pencil on paper explode.
The exhibition opening and book presentation with a conversation between Daniel Birnbaum and Julia Voss will take place on 17 March 2020 at 6p.m. at Fasanenstrasse 25.
The exhibition was curated by Julia Voss and Anna Ballestrem.
Berlin, 3 December 2019: Press release Strong Autumn at Grisebach; World Record for Franz Marc Postcard
Grisebach is looking back at a highly successful autumn season with an overall result of 20 mil.* The first record was already broken on the very first day of the four day auction marathon during the Photography auction. August Sander’s 70-part photo series, “Menschen des 20. Jahrhunderts,” was sold for a phenomenal EUR 949,000 (estimated at EUR 300,000). The lower total estimate of the auction was doubled.
There were surprises at the highly anticipated 19th Century: The title lot, Max Pietschmann’s magnificent portrait of an academy model in Dresden from 1885, attracted 17 telephone bidders and several room bidders: It went into the American market for EUR 75,000 (estimated at EUR 6,000). Even more spectacular was the escalation from EUR 6,000 to EUR 102,500 for Osmar Schindler’s, “Germanischer Krieger mit Helm” from 1902 (Private, Europe).
The ORANGERIE auction was held under the theme “Große Tiere. Von animalisch bis politisch” [Big Animals. Big Shots]. In German this title has a double meaning, “Große Tiere,” literally means, “big animals,” but figuratively it can be translated to, “big shots”. This curated auction spanned many epochs and genres – such as the Chinese turtle from the Han Dynasty (EUR 33,750), to porcelain pugs from Meissen from 1749 (EUR 62,500), to Louise Bourgeois’ bronze paw from 1993 (EUR 45,000). This auction inspired not only the German-speaking public to bid; it brought in over 1.2 million euros. Emil Nolde’s Lioness (EUR 87,500), Richard Müller’s Prometheus with Vulture (EUR 56,250), as well as the multi-part photo installation of the “Alliierten,” by Frank Thiel (EUR 112,500) are indicative for the splendid results.
At the Modern Art auction the bids on Franz Marc’s postcard with a green and white horse galloped to world record heights: a South German private collector won the race with EUR 781,000 (estimated at EUR 250,000). Two museum masterpieces were Lovis Corinth’s “Selbstportrait am Walchensee” and Max Pechstein’s portrait of a woman “Die hellgrüne Jacke”, each of which went to North Rhine-Westphalia for EUR 525,000. The most expensive lot of the evening was Marc Chagall’s late work “Les fiancés aux anemones” from 1979. It went at auction with the “Selected Works” to a bidder for EUR 1,195,000, though subject to reservation. It was auctioned for the benefit of the Christian-Jewish relief organization Kiriat Yearim.
A well-attended room and numerous telephone bidders ensured an excellent sales quota in the Contemporary Art auction. The interest in contemporary art was already apparent during the “Selected Works” auction: Günter Förg’s “Bleibild” from 1991 went to a German collection for EUR 312,500 (estimated at EUR 250,000), and Gotthard Graubner’s Farbkissen went to a collector in Rhineland for EUR 175,000 (estimated at EUR 100,000). The enthusiasm in the auction room continued the following day: Kirkeby, “Untitled”, 1981, EUR 112,500 (estimate EUR 40,000), Lüpertz, “Triumph der Linie”, 1977, EUR 77,500 (estimate EUR 35,000), Genzken, “Weltempfänger”, EUR 52,500 (estimate EUR 25,000). To resounding applause, Thomas Zipp’s “Medicine #1” was auctioned for a grand total of EUR 81,250 (estimate EUR 6,000) in benefit of Christoph Schlingensief’s Operndorf Afrika.
Overall, Grisebach is very pleased with the results of this year’s Autumnal Auctions.
* All results incl. premium
Grisebach is delighted to show an extensive exhibition in celebration of Jakob Mattner (*1946) being awarded the Folker-Skulima-Preis for his artistic oeuvre.
The exhibition is comprised of over 50 works on paper, paintings, sculptures and installations, that had already been shown in public institutions such as Kestnergesellschaft Hannover, Nationalgalerie Berlin, ZKM Karlsruhe, New School Art Center New York and at SITE, Santa Fe, or come from prominent private collections such as the Collection Rudolf Zwirner or the Collection Peter Raue.
Trained as a sculptor at Hochschule für bildende Künste Berlin and supported by scholarships and awards in Italy and France, Jakob Mattner’s artistic work has, in deliberate solo effort, developed in the transition from light to dark.
Mattner was influenced by his experiences with space and light in Lübeck’s churches and Bologna Cathedral, Caravaggio’s Chiaroscuro, the iconicity of Malevich and Moholy-Nagy’s light dynamic, but also post-revolutionary constructivism and the simple methods of Arte Povera. Mattner has developed a unique photo-poetic phenomenon since the 1970s without making use of the medium photography. His paintings direct the light to landscapes never seen before, his Helios Negatives and light sculptures have created fleeting spaces, the non-reproducible interior of a Camera Obscura, the encaustic – wax on paper – fills and compresses historic spaces of a collective possible memory.
The leitmotif of the exhibition is imagination and changing perspectives, but also the poeticizing of the world as a ground for the real human existence and its comprehensive capacity of perception. With its plethora of works, the exhibition invites the viewers to immerse themselves in Jakob Mattner’s oeuvre by highlighting the versatility of his craft.
His works were exhibited in Europe, Russia, the United States and South America, the artist lives in Berlin and is represented by Galerie Michael Haas.
Opening and award presentation to Jakob Mattner by Stiftung Folker Skulima
Thursday, 12 December 2019, 6 p.m.
Grisebach, Fasanenstrasse 27, 10719 Berlin
13 December 2019 to 31 January 2020
Mon to Fri 10 a.m. to 6 p.m., Sat 11 a.m. to 4 p.m.
Berlin, November 11, 2019: Grisebach’s range of contemporary art offerings is on the absolute cutting edge of recent German history.
While Berlin celebrates the 30th anniversary of the fall of the Berlin Wall, Berliner painter Norbert Bisky reflects back upon his own personal experiences during those last eventful years of the GDR. Bisky’s 2001 work “wir schlagen zurück II” (EUR 40,000–60,000) refers directly to that horizon of a country, which was then more than ever searching for a collective identity. Bisky plays with imagery mostly related to socialist-idealizing propaganda art. Through this visual language he delivers an unmistakable commentary on past eras of German history which, despite their sunny exterior, could in no way fulfill their promises of salvation.
Stefan Balkenhol has always had a very distinctive approach that breathes new life into figurative sculpture. His “Mann mit schwarzem Hemd und weißer Hose auf grünem Sockel,” 2016 (EUR 65,000–85,000) which was placed right at the entrance in the foyer of last year’s Kunsthalle Emden, welcoming guests with a confident, skeptical look, will also come under the hammer.
The works coming from the most significant German figurative painters are elective affinities of their own kind. Thus, Markus Lüpertz – whose major show can be seen at the moment at the Münchner Haus der Kunst – work “Triumph der Linie” (1977, EUR 35,000–45,000) will be seen alongside Norbert Schwontkowski’s “Ella” (2006, EUR 10,000–15,000), which can currently be seen at the Kunstmuseum in Bonn. Lüpertz’ fine sense for the mythological meets the obscure visual world of Norbert Schwontkowski, in which the artist creates idiosyncratic forms of haziness.
On the other hand, in the midst of Pop Culture, there are two iconic works be Isa Genzken (“Weltempfänger” EUR 25,000–35,000) and Thomas Bayrle (“ELVIS”, 1995. EUR 30,000–40,000). Isa Genzken went live in 1992 when she placed an old radio set on a white pedestal at the Venice Biennale, and the Documenta in Kassel, and declared it a work of art.
With his “Weltempfänger” Thomas Bayrle might have heard a lot of Elvis, in any case the artist, born 1937, offers a dynamic homage to his hometown Frankfurt. At the end of the 50’s, Frankfurt was characterized by its intellectual culture – the FAZ, the Frankfurter Rundschau, the sociology of the Frankfurt School of thought – but also by the ever present American GI’s, and the hype around that hip-swinging American rock star, whose completion of military service at Taunus was a big hit in the media.
Condensed into abstraction, and at least as intense, the works of the internationally acclaimed painter Katharina Grosse (lot 710, 711, 839) and her former teacher Gotthard Graubner (lot 754, 29*), focus on the medium of colour itself – and will be rounding off our Autumn collection. The common starting point of both artists is the powerful belief in the timeless, existential power of colour, which has an immediate transmission on the viewer and becomes a physical experience.
T +49 30 885915 65
* From our auction “Selected Works” on 28 November, 6 p.m.
Berlin, November 6, 2019: From Corinth to Lichtenstein – unexpected parallels at the new evening auction format at GRISEBACH
In contrast, the ORANGERIE auction entitled “Große Tiere – von animalisch bis politisch” stages a cross-over of the epochs. Wildlife diversity and state leaders amuse and polarize in design, photography, autographs and fine arts by a variety of artists including Jeff Koons, Emil Nolde, Pablo Picasso, Richard Wagner, Andy Warhol, Marlene Dietrich, and Louise Bourgeois. The Prussian King Frederick II appears in a carnival costume on a grandiose gold bracelet (1763/1863, EUR 40,000-60,000), while Portuguese contemporary artist, Joana Vasconcelos, merges animalistic power with human craftsmanship with her gigantic lizard (“O Desejado”, 2007, EUR 40,000- 60,000).
Leading the way in the photography auction is the collection of 70 portraits from “People of the 20th Century” by August Sander (EUR 300,000-500,000). Shortly before his death in 1961/63, Sander was able to make this selection for his last exhibition. The entire offering comes from a European corporate collection and also includes early photographs from the 19th century with Negres, Cameron, and Kühn to modern classics by Renger-Patzsch, Steinert, and Irving Penn.
Auction week traditionally begins on Wednesday, the 27th of November, with 19th Century Art. European art and museum history are united in a work of royal provenance: In 1849 King Ernst August I of Hanover acquired a major work by Hermann Kretzschmer, “Wüstensandsturm” (lot 128, EUR 120,000-150,000), which was on permanent loan to the Lower Saxony State Museum until recently. Furthermore, the drawing “Gebirgssee in südlicher Landschaft” distinguishes itself. It was created around 1810 by Johann Wolfgang Goethe (EUR 40,000-60,000) and once owned by the famous Berlin architect Johann Heinrich Strack. The Belvedere Gallery in Vienna restituted yet another gem from the collection of the publisher Rudolf Mosse: the “Parklandschaft in Plankenberg” from 1887 by Emil Jakob Schindler (EUR 50,000-70,000), is a major work of “poetic realism”. The famous artist had a soon to be (even) more famous daughter - Alma Mahler, lover of Gustav Mahler, Oskar Kokoschka, and Walter Gropius. Our painting shows her as a child picking the blossoming flowers in the family estate garden.
A total of 1,438 artworks, with an overall average estimate of EUR 20 million, will be offered in 8 catalogues on four auction days at Grisebach.
The preview in Berlin begins on November 22nd at Fasanenstraße 25, 27, and 73.
An exhibition featuring photographs by Rudi Weissenstein, Ellen Auerbach, and Christian Boltanski, curated by Dr. Sarah Hadda
Grisebach and guest curator Dr. Sarah Hadda are proud to present the exhibition “Rudi Weissenstein – Exile and Photography,” which opens on July 25th, 2019.
Rudi Weissenstein (1910 Iglau, Bohemia - 1992 Tel Aviv) was one of Israel’s greatest photographers. In documenting daily life in the early days of the emerging Jewish State, his key theme was the dream of a homeland.
His images are optimistic, yet upon closer inspection, they reveal the complex psyches and ambivalent emotions of the men and women in exile. The topics of hope, of developing and building up, and identity are recurring motifs in Weissenstein’s oeuvre. Haunted by the loss of his old homeland and driven by this experience, his images highlight the role that identity has for the creation of a new society. In this process, the experiences of individuals as well as the collective memory are key. His life in Palestine is an example of how diverse the conditions could be for photographers from Germany. Like many other émigrés, Rudi Weissenstein was forced to rebuild his livelihood from nothing with his Pri Or studio (Hebrew for “photo house”), in which he sold portraits of tourists or Israeli soldiers or snapshots taken on the beach.
The photographic artist Ellen Auerbach (1906 Karlsruhe – 2004 New York City), who emigrated three years earlier in 1933, followed a similar path. In Tel Aviv, she opened a small studio specialized on children’s portraits called Ishon (Hebrew for “eyeball” or “pupil”) together with her friend Liselotte Grschebina. Her life’s journey would eventually take her farther afield to London and New York. We are grateful to the Berlin Academy of Arts for lending us the works by Ellen Auerbach included in the exhibition, which allow the topic of exile and photography to be addressed in greater depth.
The exhibition also presents works by the artist Christian Boltanski (*1944 – currently living in Paris). Boltanski’s photo-wall montage entitled Die Jüdische Schule (The Jewish School), from his “Frozen Leopard II” portfolio, (1992), pays homage to some of the Holocaust’s forgotten victims who, in the words of Siegfried Kracauer, appear to have been “buried under a blanket of snow.”
The exhibition of works by Weissenstein that have never been shown before, in synergy with works by his contemporary Ellen Auerbach, investigates the art-historical aspects of Weissenstein’s photographic art. At the same time, it highlights and palpably drives home the overarching theme of remembrance via the connection formed with the works by Christian Boltanski – remembrance both at the individual as well as at the collective level.
The exhibition will be opened on July 25th, 2019, at 6:00 P.M. at Fasanenstrasse 27 in Berlin. Professor Dr. Liliane Weissberg (University of Pennsylvania) will give the introductory lecture.
T 030 885915 4490
T 030 885915 65
25 July 2019, 6pm – 9pm
Grisebach, Fasanenstrasse 27, 10719 Berlin
26 July – 21 September 2019
Berlin, 4 June 2019: Grisebach celebrates 100 years of Bauhaus! Results of the Spring Auctions in Berlin
The Bauhaus celebrates its 100th birthday and Grisebach joined in the celebration: 249 artworks from various fields were in great demand in the ORANGERIE auction “bauhaus forever!“. The top lot was Naum Slutzky’s tea and coffee set, which the Museum für Kunst und Gewerbe Hamburg managed to secure for EUR 225,000*. A complete set of legendary Bauhaus postcards from 1923 went to a North Rhine-Westphalian private collection for EUR 206,250. The lots from the estate of Bauhaus artist Ludwig Hirschfeld-Mack sold extremely well, amongst them the photogram “Reflektorisches Farbenspiel“ from 1923, which more than doubled its estimate with EUR 62,500.
The most expensive work from our auction Selected Works also came from a Bauhaus artist: Paul Klee’s “Dryaden“ from 1939 was purchased for EUR 500,000 by a private collector from Lower Saxony. Gabriele Münter’s “Heuhocken in Murnau“ went to a South German private collection for EUR 462,500. The paintings by Max Liebermann and Lovis Corinth achieved EUR 375,000 and EUR 312,500 respectively. Exciting bidding wars took place in post-war art, such was the case with Ernst Wilhelm Nay’s “Rot in tiefem Klang“, which climbed from EUR 120,000 to EUR 437,500.
The auction Contemporary Art provided positive surprises, and the total sales clearly surpassed the lower estimate. Günther Förg’s “Untitled“ from 1995 with an estimate of EUR 40,000 rose to EUR 112,500 and Werner Berges’ “Vanessa“, with an estimate of EUR 12,000, climbed to EUR 72,500 thanks to a number of bidders on the phones and in the room. Bridget Riley’s colour study achieved EUR 90,000 (estimate EUR 20,000) due to several international bids. One of the two large-scale sculptures by Tony Cragg went to an Austrian private collection for EUR 175,000.
Two self portraits from 1930 by Bauhaus photographer Gertrud Arndt caused excitement in the Photography auction: After long bidding wars, both works – each estimated at EUR 3,000 – went to their new owners for EUR 20,000 and EUR 56,250 respectively (trade Berlin / private collection, USA). The portrait of Lyonel Feininger, taken by his son Andreas, 1928, in Dessau, was valued at EUR 5,000 and eventually took EUR 18,750 (private collection, North Rhine-Westphalia).
Spirits were high in the auction 19th Century Art, where tension-filled bidding wars demanded attention throughout. The most expensive lot was Adolph Menzel’s drawing of the interior of Einsiedeln Abbey in Switzerland, which was purchased for EUR 275,000 by a Swiss private collector (estimate EUR 60,000). An icon of art history: Carl Philipp Fohr’s portrait of his friend Sigismund Ruhl from 1816 – recently restored by the Kupferstichkabinett Berlin – found its way into a renowned private collection for EUR 122,500. Fritz von Uhde’s museum quality painting “Holländische Nähstube“ also raised its price from an estimated EUR 40,000 to EUR 168,750. However, the surprise of the evening was Karl Stauffer-Bern’s self portrait from the Rudolf Mosse Collection, which was valued at EUR 2,500 and sold for a spectacular EUR 143,750.
Sales from the Spring Auctions totaled EUR 15.3 Million.
Berlin, 4 June 2019
* All prices include buyer’s premium
Berlin, 6 May 2019: From family collections. GRISEBACH presents market-fresh Modern Art pieces and brings Bauhaus and contemporaries together.
Not one, but two special paintings, which have been in a family collection since the beginning of the 20th century, will be auctioned off on 30 May in Berlin. “Helle Rosen,” a vibrant flower still life painted with tremendous passion by Lovis Corinth in 1915, is estimated at EUR 250,000-350,000. The painting has been in a family collection since 1917. Also deserving of special attention is Paula Modersohn-Beckers’ 1903 painting, “Brustbild eines Mädchens nach links vor Birken,” which has long been owned by the artists’ family (EUR 120,000–150,000), as well as various coloured postcards from Brücke artists Karl Schmidt-Rottluff, Hermann Max Pechstein, and Erich Heckel (up to EUR 25,000–35,000). An enchanting rarity is the colourful greeting, “Steinbock im Gebirge” by Franz Marc from 1913 (EUR 40,000–60,000). Other findings in the Modern Art department include “Stilleben in Grau” by Max Pechstein from 1913 (EUR 500,000–700,000), “Fischräucherei am Bahngleis“ by Karl Schmidt-Rottluff from 1937 (EUR 400,000–600,000), or the new-objectivity painting “Mädchen mit Schafen” by Georg Schrimpf from 1923 (EUR 180,000–240,000). Paul Klee painted “Dryaden” with oil on paper one year before his death, and it is estimated at EUR 400,000–600,000.
The Bauhaus turns 100 – the ORANGERIE is joining in the celebration by offering artworks that have been in family collections for nearly a century. Among them is an entire set of graphics, paintings, and the so-called pedagogical dollhouse by Ludwig Hirschfeld-Mack (EUR 8,000–10,000) that aids to re-discover this great visionary from the Weimar Bauhaus: One outstanding example is the original photo of “Reflektorisches Farbenspiel” from 1923 (EUR 25,000-30,000), which was published in the renowned Bauhaus-Book of 1927, shown at the MoMA in New York in 1938, and has now been contributed to Grisebach by the family. The descendants of the Hamburg architect Fritz Block entrusted us with the iconic tea and coffee set created by Naum Slutzky, the master goldsmith at the Bauhaus, which was made in 1927 and accompanied the Blocks during their exile to Los Angeles (EUR 180,000-240,000). The
‘bauhaus forever!’ auction not only covers the historical range from the original Bauhaus lamp by Wilhelm Wagenfeld from 1924 (EUR 100,000-150,000), to László Moholy-Nagy’s “Expressionist Composition” from 1946 (EUR 120,000-150,000), but is also dedicated to the surprising predecessors and successors of the Bauhaus concept with a spirit of curiosity and enjoyment.
The main lot of the auction for Contemporary Art is Gerhard Richter’s painting from the 1996 series “Fuji”, a particularly powerful example for which the artist used oil paint and squeegee to create a unique, complex and multi-layered colour surface (EUR 300,000-400,000). Another highlight is the early colour cushion, “Farbraumkörper” by Gotthard Graubner from 1972 (EUR 100,000-150,000). Ulrich Erben is one of the most important contemporary representatives of concrete painting in Germany. His work “Rot und Blau” from 1988, is his first multicoloured painting in acrylic on canvas after a long phase of monochrome and constructivist painting, which marks the beginning of his series “Farben der Erinnerung” (EUR 35,000-45,000). A special discovery is the work “Wool” by Rosemarie Trockel. She weaves the international Wooltrade sign, designed by Francesco Saroglia, into her wool carpet, a material with a traditional female connotation (EUR 80,000-120,000) that is unusual in contemporary art.
The 19th Century Art department also delivers high quality offerings: Menzel’s drawing, “Inneres der Stifts-kirche zu Einsiedeln” is a masterpiece from the year 1881, and it is estimated at EUR 60,000–80,000. Carl Philipp Fohr’s “Bildnis Ludwig Sigismund Ruhl“ from 1816 is yet another masterpiece on paper (EUR 25,000–35,000) and an iconic example of early romantic German drawing. A museum quality oil painting by Fritz von Uhde, “Holländische Nähstube” from 1882 – unmistakably influenced by French Impressionism and von Uhde’s affinity to Liebermann – is estimated at EUR 40,000-60,000. The two “typical” works for early Dresden painting by Carl Gustav Carus are estimated at EUR 25,000-35,000 (“Weidenstamm mit Unterholz”, circa 1820) and EUR 18,000-24,000 (“Tannen”, circa 1840).
Special collector’s items can be discovered in the Photography department: an absolute rarity is the 1925 work “Triebwerk einer Lokomotive” by Albert Renger-Patzsch (EUR 40,000-60,000). The market for Renger-Patzsch is growing internationally, and his works are increasingly sought after. Irving Penn shaped photography like no other. “Young Berber Shepherdess, Morocco” from our auction, dated 1971, was sold by Vogue to Natalia Vodianova’s charity auction for the benefit of the Naked Heart Foundation, New York, to the current owners (EUR 50,000-70,000). From another great American photographer, Robert Mapplethorpe - a close friend of Patti Smith - we will auction the special still life “Rose with Smoke” from 1985 (EUR 30,000-40,000). Another top lot is František Drtikol’s work “Composition au nu aux poires” from 1925 (EUR 40,000-60,000), an example of his typically “scenic” worlds.
Over 1,640 artworks will be up for auction in the Spring Auctions from 29 May to 1 June with a total lower sale estimate of EUR 15,0 million. The preview in Berlin begins on 24 May and ends on 28 May in three locations at Fasanenstrasse (25, 27, 73).
Berlin, 24 to 28 May 2019
Grisebach, Fasanenstrasse 25, 27 and 73
Fri to Mon 10 a.m. to 6 p.m., Tue. 10 a.m. to 3 p.m.
29 May to 1 June 2019
In choosing Sarah Miltenberger as head of the department of Contemporary Art, Grisebach secures an influential addition to our staff: With experience in art dealing, and an excellent international network, Sarah Miltenberger comes from König Galerie, where she has been the Senior Director since 2015. Before that, Miltenberger has held positions at reputable galleries such as Carlier Gebauer, Galerie Zink, and Eigen & Art.
With this recruitment, Grisebach demonstrates devotion to the international contemporary art market and strengthens our already leading position. This is an important step in the implementation of our current corporate strategy. With this move, contemporary art will be equated to the cornerstone of the auction house – Modern Art. This is an explicit display of the internationality, future, and growth of the auction house.
Jesco von Puttkamer, the former expert in contemporary art and manager of our Munich office, will lead the company as Senior Director and Senior Specialist not only in Southern Germany, but also in Austria and Italy from now on.
With just 37 years of age, Moritz von der Heydte, who began his career at Sotheby’s in London and has been the director of Artcurial Germany’s Munich branch since Autumn 2015, will take over as head of the Grisebach representative office in Munich in March. This is a powerful addition for Grisebach in the south, as well as an expression of our confidence in the potential of the market and abundance of collecteurs and works of art in the region.
Berlin, March 2019
Berlin, December 2018: Art historian Diandra Donecker becomes Florian Illies’ successor from 1st January
The choice of the 30 year-old Diandra Donecker, who has successfully led Grisebach’s photography department for two years after working at Christie’s and holding various positions in the international art trade as well as at the Me-tropolitan Museum N.Y., is a clear step in the direction of the future. Ms Donecker has extensive experience in the art world and art market and is held in high esteem by colleagues, collectors and museum directors. Her appointment takes account of the ever-growing base of young customers and underlines our commitment to the next generation, both within and outside of the company.
Bernd Schultz: “Since its establishment in 1986 Grisebach has espoused a forward-looking philosophy. Courage, creativity, competence and reliability are our foundations, qualities which Ms Donecker possesses in great quantity. Villa Grisebach and its colleagues are therefore overjoyed that we were able to secure Ms Donecker for this position. Her appointment as leading managing director and partner – alongside Micaela Kapitzky – is therefore a groundbreaking decision for the future of our company.“
Berlin, December 2018
Following the auction of the Bernd Schultz Collection to benefit an Exilmuseum in Berlin, labelled the “art market event of the year“ (Welt am Sonntag), as well as the Photography and Art of the 19th Century auctions, the autumn auctions at Grisebach continued last week with our largest departments. Held over three days, the Modern and Contemporary art auctions raised a total of 14.3 million Euros. *
After the spectacular result of 5.5 million euros in the Spring for Max Beckmann’s „Ägypterin“– the highest price ever realised at auction in Germany – there was another million-euro work in our Autumn auction: Ernst Ludwig Kirchner’s „Akte im Wald“ went to a Spanish private collection for €1,465,000.
Works of German impressionism once again enjoyed huge popularity with collectors: Lesser Ury’s Berlin painting „Hauptbahnhof Bülowstraße bei Nacht“ went for a well-deserved €450,000 to a southern German collection after a long bidding war in the auction hall. Lovis Corinth’s „Flieder im Kelchglas“ achieved €437,500. Works by Emil Nolde (€487,500), Fritz Winter (€150,000), Norbert Kricke (€125,000) and Bruno Goller (€125,000) among others, attracted much attention from bidders both at home and abroad. Bernar Vernet’s steel scultpure more than doubled its price estimate; it achieved €200,000.
The performance of contemporary art on Friday evening was outstanding. Taking place amidst lively participance from bidders in the hall and on the telephones, the total estimate of the auction was significantly surpassed. The highest price was €337,500 for Tom Wesselmann’s aluminium relief of 1993 „Stillife With Made in Japan Pitcher“ - a German auction record. Another record was set with Ulrich Erben’s „Farben der Erinnerung“ of 1993/94 at €75,000 (estimate €12,000). Bids from the fully-packed hall and on eight telephones led to a tripling of the estimate for Günter Fruhtrunk’s painting „Ineinanderwirkung von vier Räumen“ with a final price of €143,750.
This year, Grisebach has attained total sales of €51 million and with this extraordinary result it reconfirms its preeminent position among the German auction houses.
*All prices include buyer’s premium
German expressionist works by the Brücke group of artists have rarely been so strongly represented at Grisebach as in the upcoming Autumn auction.
Ernst Ludwig Kirchner’s iconic painting “Akte im Wald“ (Fehmarn) of 1912 (estimate EUR 1,200,000–1,500,000) has the highest valuation followed by Erich Heckel’s early and brilliant masterpiece “Blaue Iris“ of 1908 (EUR 1,000,000–1,500,000). Otto Mueller’s work “Drei Badende und rotbraune Bäume“ will come under the hammer (ca. 1914 EUR 700,000–900,000) and Max Pechstein’s glowing landscape painting “Morgenrot“ of 1919 is also up for auction with an estimate of EUR 250,000-350,000. Emil Nolde’s wild painting “Segelboot“ (Hamburger Hafen) of 1910 (EUR 400,000–600,000) reveals the artist’s close relationship with the city of Hamburg.
Given our tremendous success in Spring 2018 with the sale of Max Beckmann’s “Ägypterin“ for the highest price ever achieved at auction in Germany (EUR 5.5m), two large-format watercolours from the 1930s by the artist have been entrusted to us (each EUR 250,000-350,000). In addition we are offering 35 drawings by Max Beckmann from a German private collection, including the famous “Selbstbildnis mit steifem Hut“ (EUR 50,000-70,000).
Masterpieces by Lovis Corinth (EUR 350,000-450,000), Paula Modersohn-Becker (EUR 200,000-300,000), Gabriele Münter (EUR 150,000-250,000), Alexej von Jawlensky (EUR 300,000-400,000), Karl Hofer (EUR 250,000-350,000) and Otto Dix (EUR 250,000-350,000) round out the range of Modern Art on offer. Post-war art is represented by some important paintings by, among others, Ernst Wilhlem Nay (EUR 250,000-350,000) and Gerhard Hoehme (EUR 100,000-120,000).
Berlin, 23 to 28 November 2018
Grisebach, Fasanenstrasse 25 and 27
Fri to Tue 10 a.m. to 6 p.m., Wed 10 a.m. to 3 p.m.
29 November to 1 December 2018
Berlin, 13 November 2018
Our Contemporary Art auction this autumn is led by Gerhard Richter’s colour-intensive painting “Studie für ein abstraktes Bild” from 1978 (EUR 250,000–350,000), followed by Tom Wesselmann’s relief-like “Stillife with made in Japan Pitcher” from 1993 (EUR 180,000–240,000).
Beuys’ rare and impressive bronze “Berglampe” from 1953 (EUR 80,000–100,000) as well as Anselm Kiefer’s assemblage “Gilgamesch” from 1981/85 (EUR 70,000–90,000) are heavily atmospheric pieces. Arnulf Rainer’s “Fingermalerei” from 1974 and Johannes Grützke’s larger-than-life nude painting “Der Segen” from 1985 both have estimates of 20,000-30,000 Euro. One of Sigmar Polke’s best-known print subjects – “Freundinnen II” from 1967 – has been entrusted to us in an especially beautiful hand-coloured state (EUR 60,000–80,000).
A selection of contemporary art by Berlin artists from the 2000s comes from a London collection and includes an iconic “Soziale Fassade” by Isa Genzken from 2002 (EUR 40,000–60,000), a large-format painting “Clear Day” by Franz Ackermann from 2003 (EUR 30,000–40,000), the “Konferenz der Echos” by Martin Eder (EUR 20,000–30,000 Euro), as well as the rare four-part room installation “Dr. Monopoly Mann (Vampir mit Hundepimmel)” by Jonathan Meese (EUR 15,000–20,000).
T +49 30 885915 20
Berlin, 23 to 28 November 2018
Grisebach, Fasanenstrasse 25 and 27
Fri to Tue 10 a.m. to 6 p.m., Wed 10 a.m. to 3 p.m.
29 November to 1 December 2018
Berlin, 13 November 2018
Berlin, October 29, 2018: “Art market event of the year“ The Bernd Schultz Collection to benefit an ExilMuseum in Berlin is sold at auction for a spectacular 6.5 million Euros
The auction of the Grisebach founder’s collection to benefit an ExilMuseum in Berlin broke all records: “The art market event of the year“ (Welt am Sonntag) was the largest auction of a collection of drawings in Germany since 1945.
Substantial interest brought over 5000 visitors to the previews and extensive press coverage at home and abroad paid off with 6.5 million Euros* raised in the three auctions, above the estimated price of 5 million Euros.
Bernd Schultz: “I am delighted that most of the works on paper which I have cherished, treasured and loved for many decades are now passing into other appreciative hands. This result will be a strong boost for the establishment of the ExilMuseum. Having bid ‘farewell’ to my collection, an energetic ‘new beginning’ for the museum project commences.“
Works by French artists stood out particularly among the over 100 lots in the first auction of Old Master and 19th Century Drawings: top lots included studies by Toulouse-Lautrec (EUR 356,250), Watteau (EUR 87,500), Ingres (EUR 87,500), and Degas (EUR 118,750).
On Friday, the iconic 1910 work “Abschied“ by Käthe Kollwitz attained the highest result of the Modern and Contemporary Art Auction with EUR 437,500. The suite of five excellent drawings by Kollwitz, one of the central artists of the Bernd Schultz Collection, realised EUR 838,500 in total.
The important self portrait by Oskar Kokoschka achieved the second highest result of the auction with EUR 362,500. Works by Ernst Wilhelm Nay, Hermann Glöckner, Edvard Munch and Pablo Picasso achieved exceptional results.
*all results include buyer’s premium
The Autumn auction of Modern and Contemporary Photography on 26th October achieved a total result of EUR 741,000* against an estimate of EUR 760,000. The highest bid went to Thomas Struth’s “Paradise 24, Sao Francisco de Xavier“ Brazil. 2001” from a Belgian private collection, which was sold to a private collection in Switzerland for EUR 95,000*.
For EUR 71,250*, the German trade secured a true rarity in the form of a unique photogram by László Moholy-Nagy. A rare vintage print by Umbo finally went to a German art dealer for EUR 10,000* (estimate EUR 1,500–2,000) after a bidding war.
In amongst the wide selection of Russian avantgarde works were two impressive sales: the “Pionier mit Trompete“ by Alexander Rodchenko achieved EUR 9,375* and went to a German museum while “Die Dusche“ by Boris Ignatovich is now in private hands for EUR 8,125*.
Michael Wesely’s unique work “Point Lobos“, with an estimate of EUR 7,000–9,000, broke a record at EUR 25,000*. Dr Neuhauss’ documentation of Otto Lilienthal’s glider flight from 1895 achieved a well-deserved EUR 12,500*. Martin Munkacsi’s “Um-Sprung“ is now in the appreciative hands of a Danish private collector for EUR 40,000*.
T +49 30 885915 27
Berlin, 29 October 2018
* all results include buyer’s premium
Auction no. 298
26th October 2018, 6pm
190 lots of Modern and Contemporary Photography will be up for auction on Friday 26th October at Grisebach in Berlin.
Several highlights will come under the hammer including a large vintage print by László Moholy-Nagy. Created in Chicago in 1939, the photogram achieves a powerful visual impression with its silky matt blacks and depths and its bright, explosive and energetic centre while at the same time resonating with an intense musicality (EUR 50,000/70,000).
Some ten years earlier Edward Steichen produced a sensuously seductive flower still life. The silky petals appear to dance and it could be termed a portrait for it is much more than just a realistically illustrative piece. This is a piece of museum quality from the estate of the artist’s widow Joanna Steichen. (EUR 50,000/70,000).
Thomas Struth was able to discover his version of paradise in Brazil. He has created a monumental work on 210 x 271 cm which draws the viewer into the dense, green and succulent jungle. (60,000/80,000).
Hiroshi Sugimoto guides the viewer into a drive-in cinema. In his time exposure photograph the screen erected between the trees appears white, the film erased as if by a ghostly hand. An enchanting spectacle, a scrutiny of viewing habits and temporality and a life subject for the artist, for whom “theatres“ have always been an ever more important theme. (EUR 15.000/20.000).
We take the small leap from the theatre to dance and the stage with fascinating vintages by František Drtikol, André Kertesz, Edmund Kesting, Alfred Eisenstaedt alongside vibrant street scenes by Robert Frank, Berenice Abbott, Weegee, Helen Levitt, Garry Winogrand as well as portrait and nude photography by Man Ray, Erwin Blumenfeld, Helmut Newton, and Edward Weston among others.
Vintages by Knud Lönberg-Holm, Evert Marinus van Ojen, Ralph Steiner and Zander & Labisch document among other things the exciting architecture of the 1920s and 30s.
Two fashion photographers come under the hammer from the estate of Angelica Blechschmidt, the former editor of German Vogue, embedded in a fine selection of fashion photography with works by Horst P Horst, Jeanloup Sieff, Deborah Turbeville, and Walde Huth.
Early photography also sees increased representation, with Dr Richard Neuhauss’ shot: “Otto Lilienthal, Gleitflug mit dem großen Doppeldecker vom Fliegeberg“ (EUR 6,000/8,000) and Heinrich Kühn’s painterly gum print “Venedig“ demanding particular attention.
T 030 885915 27
Berlin, 19th until 24th October 2018
Grisebach, Fasanenstrasse 27
Fri to Tue 10 until 6pm, Wed 10 until 3pm
The human face is the guiding light of the Grisebach founder’s collection of works on paper, to be sold at auction to benefit his long-wished-for goal.
It is the people within the images which have always fascinated Bernd Schultz, stoked his curiosity and which will continue to inspire him; their thoughts, life experiences and most secret passions. The whole spectrum of human life gazes out at us from the works in the collection. From the confident, striking features and life lines on paper, the foundations of a tremendous vision take shape thanks to this auction: the establishment of an ExilMuseum in Berlin to commemorate the displaced persons of history. For this purpose, Bernd Schultz presents his collection of drawings which has been assembled over six decades with true passion.
The collection of almost 400 works covers a wide range, from the Gothic period into the present day. Watteau and Warhol, Menzel and Baselitz, Corinth and Picasso are represented. Oskar Kokoschka’s twitchy lines from the early 20th century segue into an unsentimental portrait by Max Beckmann and the existentialism of Käthe Kollwitz. The confident draughtsmanship of contemporary artists like Bruce Nauman adds further to the sumptuous depth of the collection.
Just as the lines of a drawing provide insight into the mind of the artist, bright minds of today have written about these works – personally, passionately and poetically. Their texts express the conscious farewell of the collector and provide a powerful surge for success in this new project.
Dr. Stefan Körner
T +49 30 885915 64
After seven years as partner and director of Villa Grisebach, Florian Illies will from the beginning of 2019 de-vote himself to a new endeavour outside the art trade.
Florian Illies was primarily responsible for the 19th Century Art department at Grisebach, which he built up with great competence and extraordinary commitment to become the market leader in Germany. Micaela Kapitzky, Illies’ co-director for the last two years, will temporarily carry out this role. Florian Illies will remain closely linked to the auction house as a member of the board.
Micaela Kapitzky and Bernd Schultz: “The partners thank Florian Illies for seven inspiring years and look forward to further productive work with him.“
Florian Illies: “I am very grateful to Grisebach and its partners for seven wonderful years in Fasanenstrasse. Great trust was placed in me from the very beginning and I am glad that I was able to work in and for this special company in various ways. It will forever remain close to my heart.“
Berlin, 2 June 2018: Beckmann’s ‘The Egyptian’: The highest price paid for a painting in a German auction
The Spring Auctions at Grisebach in Berlin were marked by a record: Max Beckmann’s mysterious portrait of a woman from 1942, “Die Ägypterin“, which had been in the collection of the family of Erhard and Barbara Göpel since its creation, was sold for 5.5 Million EUR* (estimate 1.5–2 Million EUR). This is the highest price ever paid for a painting in Germany. After a long bidding war between thirteen telephone bidders and four collectors in the room, the intimate portrait went to a prominent Swiss private collection.
An early study by Gabriele Münter from the Blauer Reiter period, painted in Murnau in 1908, was purchased for 575,000 EUR* (estimate 350-450,000 EUR) by a Bavarian collection. The auction 19th Century Art saw Menzel’s pastel “Die Schlittschuhläufer“ being sold to a German museum for 312.000 EUR* (estimate 250-350,000 EUR) in a sweltering auction room.
The growing significance of Contemporary Art at Grisebach is highlighted by the fact that the next highest prices after Beckmann’s “Ägypterin“ were achieved by Anselm Kiefer and Günther Uecker. Kiefer’s impressive “für Velimir Chlebnikow“ was sold for 865,000 EUR* (estimate 700,000-1.000,000 EUR) and Günther Uecker’s nail object “Interferenzen“ found a new admirer for 757,000 EUR* (estimate 500-700,000 EUR).
Another record was set by the Photography auction: Grisebach was able to achieve the highest price ever for a photograph sold in a German auction with a photogramm by László Moholy-Nagy from his time at the Weimar Bauhaus. It was awarded to an American private collection for 488,000 EUR* (estimate 300-500,000 EUR).
Sales from all seven auctions over four days totaled 23.5 Million.
Berlin, 2 June 2018
* all results inclusive of buyer’s premium
Berlin, 31 May 2018: Photography auction Grisebach: Quantum leap on German photography market 488,000 EUR for photogram by László Moholy-Nagy
The Spring auction for Modern and Contemporary Photography on 30 May broke several records. With a lower estimate of 988,000 EUR, total sales reached 1,190,000 EUR*, a record for the Photography department at Grisebach which will celebrate its 20th anniversary this year. Top lot of the evening was a photogram by László Moholy-Nagy, a unique work from the artist’s time at the Weimar Bauhaus. The bid was won by an American collector for 488,000 EUR against two other bidders (estimate 300,000–500,000 EUR). This is the highest price ever reached for a single photograph in Germany.
High prices were also paid for Peter Beard’s “Ahmed Diptych“, which went to a German private collection for 62,500 EUR, and František Drtikol’s pigment print “Composition“ which was purchased by a Belgian collector for 50,000 EUR. Images surpassing their estimate greatly included vintages by Albert Renger-Patzsch (42,500 EUR, estimate 5,000/7,000 EUR), Alfred Ehrhardt (11,250 EUR, estimate 2,500/3,500 EUR), Bernd and Hilla Becher (12,500 EUR, estimate 4,000/6,000 EUR), Alexander Rodchenko (26,250 EUR, estimate 3,000/5,000 EUR) and Hugo Schmölz (4,000 EUR, estimate 400-600 EUR).
T +49 30 885915 27
Berlin, 31 May 2018
* all results inclusive of buyer’s premium
It counts as one of his most beautiful pictures: Max Beckmann’s “Weiblicher Kopf in Blau und Grau - Die Ägypterin”. Created during his exile in Amsterdam in 1942, the painting was acquired from his studio in the same year and has been in the collection of the Beckmann experts Erhard and Barbara Göpel ever since. With an estimated price of €1 500 000 - 2 000 000, ‘The Egyptian’ will be up for auction in Berlin on 31 May and has attracted great national and international interest. Among further highlights from the Modern Art department are an extremely powerful “Selbstbildnis mit geschlossenen Augen” by Käthe Kollwitz (estimated at € 80 000 / 120 000), an early Murnau landscape by Gabriele Münter dating to 1908 (€ 350 000 / 450 000), Paula Modersohn-Becker’s „Mädchen in Dämmerung mit karierter Bluse“ (€ 300 000 / 400 000) and Karl Hofer’s ravishing „Putzmacherin“ from 1922 (€ 280 000 / 350 000). Gert Wollheim’s distinctive portrait of Heinrich George also deserves special attention and will be displayed alongside the famous portraits of the legendary actor by Otto Dix and Max Beckmann (€ 80.000 / 120.000)
The Contemporary Art department can expect the most high-value sale since its establishment: at the forefront of this sale are two top-class works: Anselm Kiefer’s „für Velimir Chlebnikow“ (€ 700 000 / 1 000.000) and Günther Uecker’s „Interferenzen“ (€ 500 000 / 700 000). An abstract photo from the “Freischwimmer” series by Wolfgang Tillmanns is a rare specimen from the most coveted group of works by the most important German photographer (€ 250 000 / 350 000). With paintings by Konrad Kalpheck and Arnulf Rainer, a pillow painting by Gotthard Graubner, and many other works, the department is reckoning with a lower sale estimate of € 4.7 million.
Central to the auction of 19th Century paintings are two works by two of the great German artists of the 19th century: Adolph Menzel and Caspar David Friedrich. Estimated at € 250 000 / 350 000 is Menzel’s large format pastel “Die Schlittschuhläufer” which was long missing and is only now visible for the first time in 60 years. A museum quality watercolour by Caspar David Friedrich dating to the 1820s, a poetic „Mittelgebirgslandschaft“, is estimated at € 200 000 / 300 000.
The Orangerie celebrates the provenance of outstanding artworks from all eras. A broad sweep of art history is covered with the card table of Russia’s Catherine the Great (€ 35 000 / 45 000), Prince Albert’s gold brooch for ‘his’ Queen Victoria (€ 12 000 / 15 000), the life-size equestrian portrait of King Frederick of Sweden (€ 60 000 / 80 000) and the stone Chinese guardian lions of the publishing-King Rudolf Mosse (€ 60 000 / 80 000) among others. Icons of design rich in contrast brush up against one another with works by Marianne Brandt and Dieter Rams as well as the Hollywood Regency designer, Tommy Parzinger (€ 15.000 / 17.000).
The Modern and Contemporary Photography department is delighted to present the most expensive offering ever seen on the German auction market with an estimated price of € 300 000 / 500 000. Forming an introduction to the 100th anniversary of the Bauhaus in 2019 is László Moholy-Nagy’s photogram, produced in 1923/25 during his time with the Weimar Bauhaus. In addition, further experimental works by Man Ray, Theodor Roszak and Thomas Ruff as well as others form a fascinating contextualisation of this rarity. Large prints by Alfred Renger-Patzsch from the estate of the architect Fritz Schupp as well as a “Composition” by František Drtikol and three iconic works by Peter Beard constitute the top lots of the auction.
Over 1,500 artworks will be up for auction in the Spring Auctions from 30 May - 2 June with a total lower sale estimate of € 18.3 million. The preview in Berlin begins on 25 May and ends on 29 May in three locations in the Fasanenstraße (25, 27, 73).
Dates of the auctions
30 May 2018, 3pm 19th Century Art
30 May 2018, 6pm Modern and Contemporary Photography
31 May 2018, 11am ORANGERIE Selected Objects
31 May 2018, 6pm Selected Works
1 June 2018, 11am Modern Art
1 June 2018, 6pm Contemporary Art
2 June 2018, 11am/3pm Third Floor – Estimates up to € 3.000
On Wednesday 30 May over 200 lots of Modern and Contemporary Photography will be up for auction at Grisebach in Berlin. The highlight of the auction is a vintage print by Laszlo Moholy-Nagy. The photogram, produced during his time at the Weimar Bauhaus in 1923/25, captivates the viewer with a picture full of different, overlapping objects. Moholy-Nagy masterly handles the contrast of substance and transparence. Similar to an X-Ray photograph, the objects appear suffused with light and they form stark contours which then become lost in blurriness. In this valuable unique piece, he unites the principles of avant-garde collage with the technique of an artistic drawing in an extremely poetic way (EUR 300.000/500.000). Frantisek Drtikol shaped erotic photography like barely any other. Drtikol is counted with Jaromir Funke and Jaroslav Rössler among the most important representatives of the Czech avant-garde. In this atmospheric pigment print he shows his model within a subtly illuminated expressionist stage design. Through this setting the naked body and its shadows move away from each other and this creates a dance of seduction between light and shadow (EUR 40.000/60.000).
Peter Beard found the central theme of his life in Africa. The “Ahmed Diptych” is up for auction with the original frame drawings by an African artist alongside two further unique works. The threat to the natural animal kingdom posed by people and civilisation finds an expression here which reflects Beard’s own conflict between tenderness for and worry about a world threatened with destruction.
Along with other avant-garde photographers Otto Steinert developed a new, experimental image aesthetic within “subjective photography”, understanding the individual idea of the image as the opposite of pure illustration and documentation of the visible. The principal example “Zwei Soldaten” stands as an example for this “Neue Sehen”. The vintage print is one of two existing prints, one of which is kept in the collection of the Museum Folkwang, Essen. The auction also includes some characterful landscape and architectural shots by Albert Renger-Patzsch. Three vintage prints are up for auction, straight from the estate of the architect Fritz Schupp, including “Gas und Strom”, which with its size and fine tonality presents the clarity and magic of Renger-Patzsch’s pictorial language in a particularly characterful manner (EUR 5 000/7 000).
Two portraits by Lilian Bassman and a number of prints by Horst P. Horst, Walde Huth and William Klein form an overview of decades of fashion photography. The “Pionierin” (EUR 3.000/5.000) by the Russian constructivist artist Alexander Rodchenko counts among the climactic points of modern photography along with Berenice Abbott's “Water Front: From Roof of IrvingTrust Co. Building, Manhattan” (EUR 7.000/9.000) or Iwao Yamawaki’s “Fassade” (EUR 4.000/6.000). Examples of contemporary photographic art come from William Eggleston, Tod Papageorge, David LaChapelle, Cindy Sherman, Tom Wood, Lewis Baltz, Bernd and Hilla Becher, Thomas Ruff, and Robert Mapplethorpe among others.
T 030 885915 27
Berlin, 25. bis 29. Mai 2018
Grisebach, Fasanenstraße 25, 27 und 73
Fr to Mo 10am-6pm, Tue 10am-3pm
22 March until 12 May 2018
Fasanenstrasse 27, 10719 Berlin
Grisebach is pleased to host the exhibition ‘Neue Malerei’ by Christian Jankowski (*1968) from 22 March.
Picasso, Richter, Warhol, Dürer and many others – Jankowski uses works by these iconic artists by sending contemporary photographs of tableaux vivants which he found online to Shenzhen in order to create oil paintings on canvas by local copyists and artists in his Chinese studio. Thus, conceptual art.
The result is not new painting (‘Neue Malerei’) but the idea we have of painting. Not only does this push the bounderies of painting but we have to ask ourselves what art really is.
Jankowski’s unusual approach to masterworks of art could also be described as appropriation art. His unsettlingly beautiful works not only make us wonder whether canon and its underlying principles still exists. They also highlight that factors such as originality and aura – which were traditionally regarded as proof of real artistry – are now put to the test.
Jankowski’s ‘Neue Malerei’ sets an example in that respect. Jankowski holds a professorship for sculpture (installation, performance, video) at Staatliche Akademie der Bildenden Künste Stuttgart. He lives and works in Berlin.
The exhibition opens on Wednesday, 21 March at 6 p.m.
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