Press Releases 2019

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.

Micaela Kapitzky

* 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

Exhibition
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.

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 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.

Press contact
Sarah Buschor
T +49 30 885915 65
sarah.buschor@grisebach.com

* From our auction “Selected Works” on 28 November, 6 p.m.

Time for a new narrative: Grisebach’s approaching evening auction will bring modern art highlights into dialogue with contemporary positions. This heated juxtaposition will surely spark many surprises. Lovis Corinth’s powerfully moving still life, “Rosen, Tulpen, Flieder,” from 1916 (EUR 300,000-400,000) thus comes head to head with Roy Lichtenstein’s Claude Monet inspired work, “Water Lilies,” from 1992 (EUR 200,000-300,000). Arnulf Rainer’s sinister overpainting of Karl Kraus’ photographed death mask from 1984 (EUR 40,000-60,000) suddenly seems like a condensed abstract revival of Käthe Kollwitz’s haunting India ink drawing, “Tod,” (1897, EUR 150,000-200,000). Max Beckmann’s brilliant painting, “Kleine Landschaft aus Bandol,” (1938, EUR 300,000- 500,000) and Heinrich Kühn’s photograph, “Landschaft mit Linden,” (EUR 100,000-120,000) – a masterpiece of pictorialism – also form this particular kind of pairing with reciprocal charges. At the forefront of the selection of modern artworks is Marc Chagall’s 1979 piece, “Les fiancés aux anemones,” (EUR 1,000,000-1,500,000). This masterful late work, which showcases Chagall at the peak of his creative power, will be auctioned off to benefit the

Christian-Jewish charity organization KIRIAT YEARIM. An important testimony to Expressionism is Franz Marc’s artist postcard entitled, “Grünes und weißes Pferd” (1913, EUR 250,000- 350,000), as well as Max Pechstein’s, “Die hellgrüne Jacke,” from 1919 (EUR 400,000-600,000), which colourfully reflects the early Brücke paintings. The Contemporary Art collection is offering a top-quality selection of works by renowned German artists. For example, one of the most significant lead works by Günther Förg (“Ohne Titel”, 1991, EUR 250,000- 350,000) will be featured, alongside one of Gotthard Graubner’s particularly impressive glowing colour space bodies, his “bedecktes rot” from 2001 (EUR 100,000-150,000).

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.

Micaela Kapitzky

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 25^th, 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 25^th, 2019, at 6:00

P.M. at Fasanenstrasse 27 in Berlin.  Professor Dr. Liliane Weissberg

(University of Pennsylvania) will give the introductory lecture.

Anna Ballestrem
T 030 885915 4490
anna.ballestrem@grisebach.com

Press contact
Sarah Buschor
T 030 885915 65
sarah.buschor@grisebach.com

Opening
25 July 2019, 6pm – 9pm
Grisebach, Fasanenstrasse 27, 10719 Berlin

Exhibition
26 July – 21 September 2019

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.

Micaela Kapitzky

Berlin, 4 June 2019

* All prices include buyer’s premium

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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).


Micaela Kapitzky

Previews
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.
Spring Auctions
29 May to 1 June 2019

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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. 

Micaela Kapitzky

Berlin, March 2019


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