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Dr. Anna Ballestrem
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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With a price of € 1,465,000*, Max Beckmann’s highly symbolic exile painting “Braunes Meer mit Möwen“ from 1941 is the highlight of this year’s Autumn Auctions at Grisebach in Berlin.
Günther Uecker’s nail relief “Fluß“ from 1984 (estimate € 400,000 – 600,000) was sold after a long bidding war for € 1,033,000 to a collector in Hong Kong. Ernst Wilhelm Nay’s monumental painting “Chromatische Scheiben“ was the third most expensive lot with € 985,000 – an auction record for an artwork by Nay.
Altogether, sales totalled 24.2 Million Euros in four days and across nine auctions. The Contemporary Art auction made a vital contribution with a total sale of 8.3 Million Euros – the most successful in this area in the history of Grisebach.
The auctions were once again proof that collectors are prepared to pay remarkable prices for remarkable artworks: Rudolf Schlichter’s expressive portrait of “Helene Weigel“ from 1928 went to Berlin art dealer Wolfgang Wittrock for € 600,000 (estimate € 200,000 – 300,000), Ai Weiwei’s sculpture “F Size“ was sold to a German private collection for € 475,000 and the three postcards by Franz Marc from 1913 all went to the same Bavarian private collection for € 925,000 altogether (estimate 300,000).
One of the highlights was the extraordinary collection of 1920s jewellery from the estate Emil Lettré in the auction ORANGERIE which changed hands for the total sum of € 337,500 (estimate € 178,000). Philipp Otto Runge’s portrait of “Friedrich Perthes“ (estimate € 60,000 – 80,000) was sold to a North American private collection for € 350,000 in the auction 19th Century Art.
Florian Illies: „Grisebach in its modern form has two key areas: Classical Modern Art – which established our house’s reputation and continues to achieve extraordinary results – and German post-war and contemporary art which made a vital contribution to this year’s Autumn Auctions.“
*All results inclusive of buyer’s premium
In the autumn auction for Modern and Contemporary Photography on November 29th total sales reached EUR 797,250* (EUR 661,200 lower estimated price). The highest awarded bid went to Frank Thiel’s 12-part photo installation “Die Alliierten“ (The Allies) from the collection Wolfgang Joop which went to a private collection in Northern Germany for EUR 100,000* . After a long bidding war, Edward Steichen’s “Foxgloves“ was acquired by a German collector for EUR 77,500* (estimate EUR 50,000–70,000). Ludwig Mies van der Rohe ‘s photomontage (photo: Curt Rehbein) also created a lot of interest and finally went to a private collector in Germany. The photograph of the “bank and office buildings in Stuttgart“ was sold for EUR 41,250* (estimate EUR 10,000–15,000).
The important but challenging work “Hiroshima“ by Christer Strömholm was able to remain its iconic status with EUR 17,500* (estimate EUR 6,000–8,000). Otto Steinert‘s “Appell“ went to the German trade for EUR 20,000* (estimate EUR 12,000 – 15,000).
The graceful beauty of Louis Faurer’s fashion print “Bowing Dress“ was able to wow a private collector for EUR 19,375* (estimate EUR 8,000–10,000).
The following works were also able to increase their estimates significantly a.o.: Aenne Biermann‘s vintage “Spielbälle“ with EUR 8,125* (estimate EUR 1,500–2,000) and Marta Hoepffner‘s “Feuervogel“ with EUR 6,500* (estimate EUR 800–1,000), sold to the trade respectively.
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* All results inclusive of buyer’s premium
After several spectacular results for works by Max Beckmann, Grisebach can once again offer a museum-quality painting by the artist this season. The artwork “Braunes Meer mit Möwen“, painted in exile in Amsterdam in 1941, is valued at €1,200,000–1,500,000 and thus the most expensive artwork for sale at auction in Germany this Autumn.
German Impressionism is traditionally one of the main focuses for Grisebach and is represented in this auction by top-class works by Lesser Ury, Lovis Corinth, Leo Putz and eight paintings by Max Liebermann (estimates €400,000/600,000). Special attention should in this auction with “Selected Works“ be paid to a painting by Rudolf Schlichter that had been lost for decades and has now resurfaced: painted in 1928, it features the famous actress and wife of Bertolt Brecht, Helene Weigel. Weigel is depicted as protagonist in Bertolt Brecht/Elisabeth Hauptmann’s dark comedy “Mann ist Mann“ (€200,000/300,000).
Highlight of German post-war art is a spectacular main work by Ernst Wilhelm Nay, the 2x3.5 metres composition “Chromatische Scheiben“ from 1960 (estimate €800,000/1,200,000).
A special catalogue has this season been dedicated to treasures in small format spanning two decades. The auction “Small is Beautiful“ on 30 November has three extremely rare postcards depicting animals by Franz Marc to his artist friend Erich Heckel from 1913 (estimated at €100,000/200,000 each).
More than 1600 artworks will be on offer for the Autumn Auctions at Grisebach from the areas Photography, ORANGERIE, Modern Art and Contemporary Art with an average estimate of €24.2 million.
Auction no. 279
29 November 2017, 6 p.m.
On Wednesday 29 November over 200 lots of modern and contemporary photography will be auctioned at Grisebach in Berlin.
One star lot in this season’s sale is a vintage print by Edward Steichen, the “patriarch of photography“. “Foxgloves“, from 1926, had been personally selected by Steichen and is assumed to have been used as master for his book “Steichen. The Photographer“. The photograph’s excellent quality, sharpness and extraordinary haptic depicts a sensuality and plasticity that is remarkable (EUR 50,000–70,000).
During the 1950s and 1960s, Otto Steinert shaped German photography like no other. Steinert was the founder and influential representative of subjective photography and co-founder of the avant-garde group fotoform. “Appell“ from our auction, dated 1950, testifies that image composition grew in significance in his work from 1945 (EUR 12,000–15,000).
Also up for auction is a rare, preserved photomontage by Mies van der Rohe. Collage and montage were among the most important new genres for the artistic avant garde of the 1920s. Mies used the montage of a draft for a bank and office building on Hindenburgplatz in Stuttgart – that was never built – for a competition in 1928. Mies van der Rohe, the most important architect of the 20th Century to this day, owes his reputation partly to his groundbreaking use of new visual media (EUR 10,000–15,000).
Frank Thiel, known for depicting German history around the fall of the Berlin Wall and German reunification with great sensitivity, has created a one-of-a-kind work: Shortly after the fall of the Berlin Wall, Thiel photographed Allied soldiers and created the twelve-part installation which could be admired until recently in Wolfgang Joop’s Villa Wunderkind in Potsdam (EUR 80,000–120,000).
Impressive architectural urban photographs come from Vera Lutter. The photographer makes use of an old medium for her works with the pinhole camera, Camera Obscura, and makes reference to the origins of photography. The results are monumental architectural views that document (exposure) time (EUR 12,000–18,000 and EUR 15,000–20,000).
Andreas Mühe’s photographic imagery fuses romantic subjects with political figures; he works between reality and fiction, plays with facts and fiction. In the series “A.M. – Eine Deutschlandreise“, Mühe presents Angela Merkel’s doppelganger at symbolic places in Germany. Vicinity and distance, grandeur and alienation blend in this series (EUR 12,000–18,000).
An overview of decades of fashion photography is provided by two portraits by Erwin Blumenfeld and several prints by George Hoyningen-Huene, Louis Faurer, Francois Kollar, Germaine Krull and FC Gundlach. Further highlights of modern photography are vintage prints by Albert Renger- Patzsch: “Landschaft bei Bochum“, 1929 (EUR 4,500–6,500), Aenne Biermann: “Spielbälle“, 1929 (EUR 1,500–2,000), Robert Frank “Ohne Titel (Jungen an der Treppe)“, 1947 (EUR 8,000–10,000) as well as works by August Sander, Eugene Atget, Henri Cartier-Bresson, Garry Winogrand, André Kertész, Horst P. Horst, Christer Strömholm a.o.
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Grisebach is very pleased to present the exhibit “MEMENTO MARY” devoted to Mary Bauermeister starting June 21st, 2017. The exhibit will showcase works created from 1958 until 2016. Born in 1934 in Frankfurt am Main, Bauermeister is by now generally recognized as one of the key German artists of the post-war period.
Over thirty pieces have been loaned to us for the exhibit, some of them coming directly from Bauermeister’s residence in Rösrath in the Rhineland, which the artist has ingeniously laid out as a multi-media artistic creation and thus a “Gesamtkunstwerk” in its own right. This rich selection will allow us to present an overview of the multifaceted output of this extraordinary artist.
The exhibits will include early, massive sculptural installations like “Howevercall” from 1964 as well as the artist’s signature stone swirls and vortexes, microcosmic “glass lens boxes,” as well as backlit cloths and patchwork tableaus in the tradition of the Arte Povera movement. Bauermeister usually makes use of organic materials such as rocks, wood, sand, plant fibers or wax, while combining constructed and found elements into intuitive assemblies. Geometric shapes found in nature, such as snail shells, pyramids, and spirals serve as recurring themes in her work.
Mary Bauermeister studied at the Hochschule für Gestaltung (University of Design) in Ulm under Max Bill and at the Staatliche Schule für Kunst und Gestaltung (State School of Art and Design) in Saarbrücken under Otto Steinert.
A co-founder of the FLUXUS movement, she turned her studio at Lintgasse 28 in Cologne into a creative space for experimental music concerts, readings, exhibits, performances, and happenings, attracting artistic luminaries such as Nam June Paik, John Cage, Merce Cunningham, George Brecht, Otto Piene, Heinz Mack, und Günther Uecker. By the time she had moved to New York in 1962, Bauermeister was well on the way to achieving international renown, and soon her work was being acquired by prestigious institutions such as the Museum of Modern Art in Manhattan. Recent years have seen a resurgence of interest in her oeuvre.
Bauermeister lives and works in the town of Rösrath, just outside Cologne. Her works are shown in such leading museums as the Guggenheim, the Whitney, and MOMA (New York), the Hirshhorn Museum (Washington D.C.) or the Museum Ludwig (Cologne).
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In sunny weather, a painting full of icy coldness became the most expensive lot at Grisebach’s Spring Auctions this week: Max Beckmann’s “Tiergarten im Winter” doubled its lower estimate and was sold after a long bidding war for 1.8 Million Euros (including premium) to a North American private collection.
The next highest price was achieved by the Contemporary Art sale: Andy Warhol’s canvas “Four Times Mona Lisa” was purchased by an American dealer for EUR 685,000, while Norbert Kricke’s monumental sculpture “Große Fließende” reached the second highest price ever paid for the artist with EUR 462,500. Altogether, sales totalled 17.7 Million Euros in four days and across eight auctions.
With numerous strong results for works from “Classical Modern” and “Contemporary Art”, the auctions demonstrated Grisebach’s ability to build on long-term contacts, establishing its position as an important partner for the international trade.
Extraordinary artworks were awarded with extraordinary prices: Camille Pissarro’s summery “Weg bei Louveciennes” went to a Berlin collection for EUR 460,766, Carl Hofer’s graceful young lady for EUR 412,500 to a South German collection and Lovis Corinth’s big “Liegender Akt” – after several private bids – to an American dealer for EUR 375,000.
Alongside “Classical Modern Art”, “Contemporary Art” has now been established as second key area at Grisebach. With a new record number of telephone bidders and high hammer prices achieved for paintings by Gotthard Graubner, Konrad Klapheck and Markus Lüpertz, the focus on German artists in “Contemporary Art” was acknowledged by international collectors. Never before was a painting by Katharina Grosse more successfully sold at auction than at Grisebach (EUR 137,500).
In the spring auction of Modern and Contemporary Photography on 31 May total sales reached EUR 525,925* (sales rate of 100%). With a hammer price of EUR 50,000*, Albert Renger-Patzsch’s “Das Bäumchen“ went to a German buyer, followed by Karl Blossfeldt’s “Chrysanthemum segetum“ which was purchased by a German collector for EUR 43,750*. An American collector bid EUR 25,000* for the photograph “Borsig Locomotive Works, Berlin“ by Margaret Bourke-White. Aenne Biermann’s “Einblick in ein Klavier“ saw the highest increase on its pre-sale estimate and was purchased for EUR 15,000* by a French art dealer (estimate EUR 3,000–4,000).
There were also high hammer prices in the area of contemporary photography, for example for Helmut Newton’s “Nastassia Kinski and Marlene Dietrich doll, Hollywood“ (EUR 15,000* to a German private collection) and for Sherrie Levine’s works from the series “After Karl Blossfeldt“, purchased by a German collector for EUR 11,250*.
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*All results inclusive of buyer’s premium
Three stand-out works provide the highlights of this year’s Spring Auctions at Grisebach. The sales will take place in Berlin from 31 May to 3 June; almost 1,500 artworks will go under the hammer with a combined estimate of 16 million Euros.
The sale of Selected Works is led by a Berlin picture by Max Beckmann, painted in January 1937 shortly before the artist’s final emigration from Germany (estimate EUR 700,000 – 1,000,000).
The sale of Contemporary Art meanwhile includes “Mona Lisa (Four Times)“ by Andy Warhol, estimated at EUR 500,000 – 700,000. This iconic picture was created in the New York Factory and remained until this sale in the collection of one of Warhol’s former assistants.
The Pissarro summer scene “La Route de Marly, Louveciennes“ (1871) provides the sale of 19th Century Art with a masterpiece of French Impressionism (estimate EUR 400,000 – 600,000).
The sales also boast two outstanding female portraits: Conrad Felixmüller’s “Frau im Wald (Wiesbaden)” of 1918, a fascinating example of how the human and the natural were combined in German expressionism; and “Liegender weiblicher Rückenakt” by Lovis Corinth, a life-sized view of a laying nude from 1887. Both works are estimated at EUR 200,000 – 300,000.
The round of auctions is completed by the sales of “Photography”, “ORANGERIE” and “Third Floor” – accompanied this season by an additional catalogue of Picasso ceramics, an exquisite selection of works offered via Grisebach from a private collection.
Auction no. 271
31 May 2017, 18.00
On Wednesday 31 May over 200 lots of modern and contemporary photography will be auctioned at Grisebach in Berlin.
One star lot in this season’s sale is a vintage or an early gelatine silver print by Albert Renger-Patzsch, “Bäumchen“ (“Little Tree”) of 1929 (38.4 x 27.8 cm). This is a piece of the highest rank: thanks to its powerful presence, a sophisticated composition, and the undoubted technical and artistic virtuosity of the photographer (estimate €40,000 / 60.000). The systematic botanical photographs of Karl Blossfeldt also occupy an important place in the history of photography. In these works Blossfeldt emphasised both the physicality and the graphic quality of the individual plants. A rare vintage print of a leaf of the “Crysanthemum segetum” (1915/25) is offered in the sale with an estimate price of €25,000/30,000.
The photograph “Borsig Locomotive Works, Berlin” (c. 1930), by the American photographer Margaret Bourke-White, provides a highly unusual and expertly composed view of two elements for a locomotive engine. This photograph (€20.000/30.000) was likely taken as reportage. Bourke-White was an early pioneer in this field and was particularly renowned for her work with LIFE magazine.
Further highpoints within this season’s sale are two photo-montages by El Lissitzky for the journal “USSR im BAU” (c. 1937, each €5,000/7,000); Berenice Abbott‘s “Nightview, New York“ (€ 8,000/12,000); Jaromir Funke‘s “Stillleben III. Vera Violetta“ (€ 8,000/12,000); two vintage prints by Umbo (Otto Umbehr); photographs taken with the first German “Fisheye-Kamera“ (each € 5,000/7,000); the Alfred Stieglitz photogravure “The Steerage“ (1907), perhaps the best-known motif from his ground-breaking magazine “Camera Work“ (€ 6,000/8,000); and further photographs by Aenne Biermann, Andreas Feininger, Robert Frank, Otto Steinert, Josef Sudek and Yva, among others.
21 photographs from the time of Germany’s division are collected in a special series within the auction: the differences and similarities between life in the east and west made visual by photographers including Christian Borchert, Kurt Buchwald, Arno Fischer, Leonard Freed, Bernard Larsson, Joachim Richau, Evelyn Richter and Frank Thiel.
Helmut Newton’s „Nastassia Kinski and Marlene Dietrich doll, Hollywood“ (€12,0000/15,000) is among the key lots of contemporary photography, along with Beate Gütschow’s monumental fictional city landscape “S#26“ (€10,000/15,000). Further impressive works on offer include Sherrie Levine’s 1990 “After Karl Blosfeldt“ (€ 6,000/8,000), Thomas Florschütz’s “Diptychon Nr. 133“ (€ 5,000/7,000), Rineke Dijkstra‘s young bullfighter “Vendas Novas, Portugal“ (€ 4.500/5.500) and works by Sibylle Bergemann, Matthias Hoch, Candida Höfer, Daniel Josefsohn, Robert Mapplethorpe, Judith Joy Ross, Thomas Ruff and Tom Wood.
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Auction no. 272
on 1 June 2017, 11 a.m.
For five years now Grisebach’s ORANGERIE auction has presented an outstanding crossover of artworks from different cultures with surprising connections with one another.
Around the World: A bronze Buddha from the Wei Dynasty, made in the 5th century and thus one of the earliest testimonies to Buddhist culture in China, originates from the collection of the legendary Editha Leppich, who was an art dealer in Peking in the 1930s. The simplicity of the lines of a collection of 2,500-year-old jade pendants from Costa Rica is astonishing. These contrast with the accessories and clothing by Christian Dior who 70 years ago established his fashion house to create the perfect line for women. The ceremonial swing from Rajasthan was an exotic form of air-conditioning for India’s Hindu god Krishna; Peter Behrens’ unusually large ventilator of 1908 also caused a welcome draught and thus made industrial history. The juxtaposition of Namban laquerwork from Japan with a cabinet by the Baroque lacquer artist Gérard Dagly is equally fascinating.
Design Meets Movie: Two desks at the ORANGERIE auction made design and film history. One of these, George Nelson’s Action Office – in 1960 the world’s first office system – played a prominent role in Stanley Kubrick’s film “Space Odyssey”. The other, the design classic by the Danish designer Bodil Kjær, dating back to the early 1960s, was James Bond’s desk in “From Russia with Love”.
From Russia with Love: The artworks from the Russian imperial court presented at the ORANGERIE auction are outstanding. They include a 10 kg silver tureen from the Perm service for Catherine the Great, which until 1930 was in the Russian State Treasury in the Hermitage. Grand Duchess Alexandra’s shiny golden Champagne cooler was part of what was probably the most extravagant trousseau the world had ever seen. Peter the Great’s midday cannon, which once “blasted” the time at Petersburg Fortress, is another curiosity.
Sex Sells: The auction’s showpiece is a sculpture of a nude model for the Life Room of the Viennese Academy by Franz Xaver Seeger. The artist, who was Messerschmidt’s best friend, created this life-sized dancing figure in 1783 so that the students could familiarize themselves with the human anatomy and musculature. This piece is confronted with bellows from West Africa, which to our Western eyes look like a hermaphrodite.
Berlin, Berlin: The ORANGERIE also focuses on works which tell the city’s cultural history: They include a charming small head of a young girl by Christian Daniel Rauch, showing his beloved granddaughter, one of the rare opaque glass vases by Werner & Mieth, and also lamps from the Music Reading Room of the GDR State Library of 1968.
The auction “ORANGERIE Selected Objects” shows – as is usual in an orangery – the best from all over the world. Epochs, genres and materials know no bounds in art. The ORANGERIE thus encourages “crossover” when collecting.
Dr. Stefan Körner
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Berlin, 3 December 2016: With a spectacular 34 Million Euros Grisebach achieved its highest total sales in its thirty year history in four days – and across Germany since 1945.
In the auction “Selected Works” alone, artworks sold for a total of EUR 21.6 Million.
At the top stands Lyonel Feininger’s “Gelbe Gasse” from 1932. After a bidding war between the bidders in the room and on the telephones the price climbed from a low estimate of EUR 1,000,000 to EUR 3,535,000, finally awarded to a bidder from Switzerland. This was followed by Max Beckmann’s “Stilleben mit brennender Kerze”. After intense bidding and from a low estimate of EUR 700,000 it was eventually sold for EUR 2,950,000 to an American private collection. These two are the most expensive works of art sold in Germany so far this year.
In addition, there were three important paintings by Emil Nolde sold to various German collections. Two still lifes of flowers for EUR 985,000 sold respectively to German private collections and one spectacular ocean image of Nolde’s for EUR 1,225,000 to a collector from Northern Germany.
The current auction cycle also included the thus far most successful sale of “Contemporary Art”. At the very top stand a Joseph Beuys portrait by Andy Warhol, which sold for EUR 1,153,000; it was purchased by a collector in Hongkong. Sales totals, including contemporary prints, came to EUR 5.9 Million.
Bernd Schultz, founder of Grisebach, summarized: “Our anniversary auction could not have gone better. We are pleased that so many exceptional works of art were entrusted to us – and that the market is also prepared to pay remarkable prices for them, also in Germany. “
All results inclusive of buyer’s premium
Berlin, 3 December 2016: In the autumn auction for Modern and Contemporary Photography on November 30th total sales reached EUR 522,500* (sales rate of 90%). The highest awarded bid went to Albert-Renger-Patzsch’s icon “Das Bäumchen”. In this small print size, it attained the highest auction price on record internationally. After a long lasting bidding war, an American collector was able to win the bid at EUR 70,000* (estimate of EUR 20,000–30,000). There was also intense competition for three vintage gelatin prints of designs by Ludwig Mies van der Rohe (Photo: Curt Rehbein), which eventually were all purchased by a private collector from Germany. The image of the model “Gläserner Wolkenkratzer” fetched a price of EUR 35,000* (estimate of EUR 15,000–25,000). The gelatin print of a photomontage, a project on the Berliner Friedrichstrasse, reached EUR 31,875*, and the photograph of a drawing for “Wabe” EUR 50,000* (each had been estimated at EUR 10,000–20,000).
Images surpassing their estimate greatly included amongst others Andreas Feininger’s vintage “N.Y.-3rd ave” with EUR 8,000* (estimate EUR 3,000–4,000) and Evelyn Richter’s “Wartburg” with EUR 4,500* (estimate EUR 1,200–1,500), respectively going to German private collectors. High premiums in the area of contemporary photography were awarded for example for an untitled work by Francesca Woodman, which went to the English market (estimate EUR 12,000–15,000) and Greg Gorman’s “Grace Jones in Hat”, purchased by a German collector for EUR 6,500* (estimate of EUR 1,800–2,000).
*All results inclusive of buyer’s premium
Berlin, November 16, 2016: In its 30th year of business Grisebach is pleased to present the strongest offerings in the company’s history: works of art with a median presale estimate of EUR 29 million will be auctioned in Berlin from November 30 until December 3.
Several outstanding German Expressionist paintings lead the sales: among them two large-format flower gardens and a seascape by Emil Nolde (from € 800,000 to 1,000,000) and a rare early still-life by Max Beckmann from the 1920s (€ 700,000/1,000,000). Elisabeth Gerhardt, August Macke’s companion and muse, served as inspiration for three works by the artist included in the Grisebach auction, among them “Nacktes Mädchen mit roter Blume” of 1911 (€ 700,000/900,000).
Anton Räderscheidt’s “Haus Nr. 9” of 1921 is an icon of New Objectivity. The painting was included in the legendary eponymous exhibition in 1925 in Mannheim (€ 350,000/450,000).
The artists of the Bauhaus are represented by two paintings by Lyonel Feininger, one of them is the spectacular composition, “Gelbe Gasse,” of 1932 (€ 1,000,000/ 1,500,000), and “Burg auf dem Riff” by Paul Klee, 1927 (€ 500,000/ 700,000).
Four paintings by Max Liebermann, among them an imposing life-size self-portrait (€ 300,000/400,000) and “Restaurationsgarten in Leiden” (€ 500,000/700,000) mark the beginning of the auction’s modern art offerings that span to three paintings by South American artist Fernando Botero thereby assertively confirming Grisebach’s position as market leader in this category in Germany. Two works by René Magritte and a painting by Ben Nicholson stand for the international direction this season’s offerings are taking.
In the contemporary art category, too, Grisebach is pleased to present the strongest offerings by value in the company’s history. Two important works of American Pop Art aim at an international clientele: Andy Warhol’s famous portrait of Joseph Beuys (€ 400,000/600,000) and Robert Indiana’s legendary sculpture “LOVE” (€ 300,000/400,000). The German ZERO movement is represented by an early, white grid painting by Otto Piene started in 1957 (€ 250,000/ 350,000) and a spectacular, large two-part nail relief by Günther Uecker “Gespaltenes Feld” (€ 400,000/600,000).
Bernd Schultz: “I am delighted that on the occasion of our anniversary we were entrusted with an oustanding collection of unusual works of art that have already received an enthusiastic response in Germany and abroad.”
Auction No. 263
on November 30, 2016, 06:00 PM
Berlin, October 28, 2016: About 200 photographs will be offered at Grisebach’s Modern and Contemporary Photography Auction on Wednesday, November 30.
Three vintage contacts documenting Ludwig Mies van der Rohe’s legendary skyscraper projects come to auction from a French private collection. Mies’s 1921/1922 designs for the “Wabe” on Berlin’s Friedrichstrasse and the “Glass Skyscraper” (1922) are considered milestones in the history of architecture. Commissioned by Mies, Curt Rehbein made the prints, which are among the few pieces of contemporary evidence of the designs that have survived. They all bear the stamp of Atelier Mies van der Rohe on the reverse. In the photograph of the three-dimensional model of the “Glass Skyscraper” (estimate € 15,000/25,000) the interior of the radically new architectural construction is displayed in an impressive way. Two vintages of the “Wabe” project show a famous photomontage, the original of which is lost, and, seemingly, a draft for the charcoal drawing by Mies in the collection of the Museum of Modern Art in New York (each € 10,000/20,000).
In a rare pigment print of circa 1925 Czech photographer Frantisek Drtikol combines a female nude and a still life. The ingenious composition is testimony to Drtikol’s special approach between traditional and modern forms of artistic expression (€ 40,000/50,000). Only a few years later in his well-known “Bäumchen” (1929) Albert Renger-Patzsch created a masterwork of photographic precision and a highly artistic landscape composition. The print offered is an especially well-preserved vintage from the collection of Josef Dickerhoff (€ 20,000/30,000). The Modern Photography section includes furthermore the portfolio “Erste Landung/New York” with shots made by the artist George Grosz on his arrival by ship in New York in 1932. The prints were produced in 1977 by Gerd Sander after the original photographs (€ 10,000/15,000). Other important works in the section are by David Bailey, Erwin Blumenfeld, Elliott Erwitt, Andreas Feininger, Rudolf Koppitz, Heinrich Kühn, Helmar Lerski, Tata Ronkholz, Otto Steinert, among others.
More works, eleven intense images of landscapes and trees (1940s–1960s), by Albert Renger-Patzsch will be on offer from the collection of Adalbert and Thilda Colsman (from € 2,000/3,000 until € 3,000/4,000). They can be viewed in a special presentation in our galleries at Fasanenstrasse 25 until late November.
In the Contemporary Photography section William Wegman’s box “Letters, Numbers, Punctuation” stands out. In their known surreal way Wegman’s Weimaraners enact the letters of the alphabet, numbers and punctuation marks as “tableaux vivants” (€ 20,000/30,000). Further highlights are Elger Esser’s panoramic print, “Lyon II” (€ 12,000/15,000), Gunter Sachs’s “Ascot” (€ 20,000/30,000) or Steven Klein’s staged photograph of the actors Brad Pitt and Angelina Jolie in “Case Study #30” (€ 12,000/15,000). Other important works on offer are by Nobuyoshi Araki, Peter Beard, Helmut Newton, Walter Niedermayr, Jörg Sasse, Reinhart Wolf, Tom Wood, among others.
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Paintings by Emil Nolde, Otto Mueller and Adolph Menzel, with a result of more than one million euros each, were the highpoints of Grisebach’s spring auctions in Berlin. Of the three Emil Nolde’s “Weiße Wolken” of 1926 leads the auctions with a result of EUR 1.5 million* (estimate EUR 1.2-1.5 million). The painting came from the important collection of German Expressionist art assembled by Adalbert and Thilda Colsman. Presented in its own catalogue, the Colsman collection sold almost completely. Shortly afterwards EUR 1.225 million were achieved for Otto Mueller’s “Zwei Mädchen mit gegabeltem Baum” of 1916. The buyer was a Scandinavian museum. The two sales confirmed impressively Grisebach’s leadership in modern German art auctions. Another notable result in this category were EUR 325,000 (estimate EUR 180,000-240,000), paid by a German private collector after fierce bidding against German and international museums, for the iconic portrait of a gentleman, painted in 1921 by the Cologne artist Anton Räderscheidt —an international artist record.
Adolph Menzel’s pastel “Emilie in roter Bluse,” restituted to the heirs of Rudolf Mosse, sold for EUR 1.05 million, almost three times the estimate, to a Swiss private collector. Just before the auction Grisebach was fortunate to arrange the sale of Ludwig von Hofmann’s seminal painting, “Frühlingssturm,” to a private benefactor. The painting, another work from the Mosse collection, will be made available to the Mathildenhöhe Museum in Darmstadt. The “19th Century Art” auction achieved a total of EUR 3.1 million, almost doubling the median presale estimate.
Important collections that had been entrusted with Grisebach reaped the greatest success. Aside from the works from the Colsman, Mosse and Eugen Roth collections German post-war art from the Klütsch collection, mainly by concrete artists, sold outstandingly. With a median presale estimate of EUR 170,000 the collection achieved a total of more than EUR 460,000. The highest selling works were by Günther Uecker, Klaus Staudt and Adolf Luther. The leading lot in the very successful “Contemporary Art” auction was a late work by the Japanese painter Kazuo Shiraga. It sold for EUR 500,000 to a French private collector. A bricks-and-caviar painting by Georg Herold was the top-selling lot in the very successful suite of German art of the 1970s and 1980s. At an estimate of EUR 30,000 to 40,000 it brought EUR 87,000. The auction’s total was more than 3 million euros.
In four days and seven auctions 1,500 works of art sold for a total of 18.8 million. The median presale estimate was EUR 19.5 million.
This fall Grisebach will celebrate 30 years in business with a grand anniversary auction.
* All results include buyer’s premium
With four years in existence “ORANGERIE Selected Objects” breaks ground in the newly inspired interest in the old arts. After a sensational presentation during Villa Grisebach’s preview exhibition and with a yet increased demand among bidders in the room the auction achieved a sell-through rate of 75%.
Lively bidding marked the start of the auction when the miniature painting, “Fall of Mankind,” assigned after comprehensive research to Daniel Fröschel, painter to the court of Emperor Rudolf II, was called. New to the market, the Kunstkammer piece was secured for EUR 47,500 by an important museum in the US.
Another painting that doubled its estimate was Richard Müller’s naked “Circe.” A main work by the artist, it went for EUR 125,000 to a German private collector.
Occasional 18th century French furniture was in great demand same as mid-century modern design objects, which reached GRISEBACH’s young buyers in particular.
Market tendencies were reflected in the result of EUR 75,000 for Abraham Roentgen’s Cylinder Bureau, another proof of how master works of cabinetmaking can be acquired for a bargain these days. Regardless of its outstanding quality, the “Grand bureau de la Chine” with Boulle marquetry by Hendrik van Soest drew an under limit bid. For 75.000 Euro the “undiscovered” treasure is now a delight for a real connoisseur.
The Classicist decorative arts, at long last, included top-selling works by Berlin manufactories, such as a chandelier after a design by Karl Friedrich Schinkel (EUR 50,000) and the KPM krater-form vases with micro mosaic painting (EUR 38,740). Efforts will have to continue to revive this forgotten market. GRISEBACH is passionately committed to this goal.
The ORANGERIE’s results show that works can be highly successful that are new to the market and have a well-documented history of ownership. Along those lines, a Lombard Maria Lactans sculpture previously from an important dealership in Madrid changed hands for EUR 62,500 to a famous London dealership. Almost all the works from the estate of Hanns Eisler were acquired by a German museum where they will be displayed in the permanent exhibition.
The next ORANGERIE auction will be held as part of the “30 Years GRISEBACH” anniversary auctions in the fall. With its magazine-style auction catalogue and cross over of categories and periods the unusual will be staged dramatically yet again.
Dr. Stefan Körner
* All results include buyer’s premium
In the spring auction of Modern and Contemporary Photography on Wednesday, June 1 “Negativ-Portrait Wera Meyer-Waldeck,” an extremely rare vintage print by Bauhaus photographer Gertrud Arndt, met increased interest and, after fierce bidding, sold to a private collector in Switzerland for the international artist record of EUR 52,500* (estimate EUR 10,000-15,000). Peter Beard’s portrait of pop artist Andy Warhol became the auction’s top-selling lot. It was bought by a German private collector for EUR 70,000* (estimate EUR 50,000–70,000). Peter Keetman’s unique “Konvolut für Bernd Lohse” sold to a British buyer for EUR 56,250* (estimate EUR 45,000-55,000).
High prices were also achieved for the large-format “Portrait A. Roters” by Thomas Ruff and for the light-modeled 1921 vintage “Sonnenblume” by Edward Steichen. Both sold to US collectors for EUR 31,250* (estimate EUR 25,000-30,000) and EUR 25,000* (estimate EUR 20,000–30,000), respectively. Two further works by Peter Beard, the oversize print “Large Tusker” and the small “Giraffes in Mirage” sold for EUR 23,750,* each, to German collectors (estimates EUR 20,000–30,000 / EUR 10,000-15,000). Hiroshi Sugimoto’s “Red Sea, Safaga” was bought by another German private collector for EUR 22,500* (estimate EUR 18,000-22,000 EUR).
Another auction record was achieved by two early works by Tata Ronkholz. The two “Trinkhallen” themed prints brought EUR 9,750 EUR* and EUR 9,375,* respectively, and went to a German buyer (estimate EUR 2,500-3,500, each).
The sale total was EUR 601,187.* The auction sold 84% by value.
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* All results include buyer’s premium
We are pleased to announce that the heirs to Rudolf Mosse have agreed to let the painting "Frühlingssturm" by Ludwig von Hofmann return to the museum Mathildenhöhe in Darmstadt. The masterpiece had been restituted to the heirs and was going to be sold at Grisebach in Berlin on June 1. Grisebach are pleased to have successfully arranged for the return of the painting after a German benefactor came forward offering his generous support. The benefactor has agreed to make the painting available to the museum as a permanent loan for an unlimited period of time. The collection of Rudolf Mosse, the great Berlin newspaper publisher and philanthropist of the 1910s and 1920s, was seized and sold in a forced auction in 1934. The work by Ludwig von Hofmann ended up in Darmstadt where it was on display as a seminal work of German Jugendstil for seven decades.
Eric Bartko, spokesperson for the Mosse heirs, comments: "We are pleased that this main work of German Jugendstil returns to the Mathildenhöhe in Darmstadt. The painting was of central importance to Rudolf Mosse — and it is of key importance for Darmstadt. We are grateful to Grisebach for waiving their right to present it for sale in an international auction and for arranging, together with the private benefactor, the return of the work to Darmstadt."
Micaela Kapitzky: "We are delighted to have found a way for this outstanding painting to remain accessible to the German public and thank the Mosse heirs for their cooperation and the benefactor for his generosity."
In its spring auctions on June 1-4 Grisebach is offering for sale 1,487 paintings, photographs, prints, sculptures and objects. The works in six categories are presented in eight catalogues: 19th Century Art, Selected Works, Modern Art, Collection Adalbert and Thilda Colsman, Contemporary Art, Photography, ORANGERIE and Third Floor. The median pre-sale estimate of all the works and objects in the auctions is 19.5 million euros.
19th Century Art
The 19th Century Art department is pleased to present more than 130 lots, among these important works from the collections of Rudolf Mosse and Eugen Roth.
In 1934 the collection of Berlin newspaper publisher Rudolf Mosse was the first art collection to be sold in a forced auction. After intensive negotiations with museums in Germany and Switzerland three main works from the collection were restituted to the heirs of Rudolf Mosse who chose to entrust Grisebach with the sale.
They are important works of 19th century German art: Adolph Menzel’s pastel, “Emilie in a Red Blouse” (estimate € 300,000-400,000), Wilhelm Leibl’s “Portrait of Appellationsrat Stenglein” (€ 120,000-150,000) and Ludwig von Hofmann’s “Spring Storm” (€ 200,000-300,000), one of the seminal paintings of German Art Nouveau (Jugendstil).
Eugen Roth (1895-1976) was not only a renowned German lyricist, famous above all for his “Humans (Ein Mensch)” poems. Throughout his life he was also an obsessive collector of 19th century drawings, some of which lay untouched in his file cabinet for many years. Grisebach is pleased to offer a large group of important early German Romanticist drawings from the estate (estimates from € 1,000 to 30,000).
Selected Works, Modern Art and Collection Colsman
20 works from the Collection of Adalbert and Thilda Colsman are grouped in a separate catalogue. Works include Emil Nolde’s “Weiße Wolken” (€ 1,200,000–1,600,000) and Christian Rohlfs’s “Blaue Berge” (€ 120,000–150,000). Adalbert Colsman, a silk manufacturer, gained privileged access to the art of his time through his sister, Gertrud, and brother-in-law, Karl Ernst Osthaus, founders of the Folkwang Museum, the world’s first museum predominately devoted to contemporary art. Adalbert and his wife, Thilda, lived in close proximity to the Osthauses who were to shape their worldview. They were on friendly terms with Christian Rohlfs, Ewald Mataré, Otto Dix and other artists and shared a close friendship with Ada and Emil Nolde for more than 50 years. In difficult times and while he was officially banned from painting the Colsmans supported Nolde and his wife and helped protect the artist’s work by offering a safe storage place.
Other highlights in the modern art category include works by Otto Mueller, Lovis Corinth, George Grosz, Anton Räderscheidt and Konrad Klapheck.
“Zwei Mädchen mit gegabeltem Baum” by Otto Mueller from circa 1916/17 was first exhibited at the Berlin Secession in 1917. A signature work by the artist, it comes with an estimate of € 1,000,000-1,500,000.
During his years in Munich, from 1891 until 1901, Lovis Corinth frequented the playwright Max Halbe whom he portrayed as well as other family members. The portrait of Berta Heck, the sister of Halbe’s wife’s, Luise, (€ 280,000-340,000) was executed during that time. Corinth combines in this painting a close-up view of the sitter with a panoramic view of the surrounding wide landscape.
In 1925 after extended travels George Grosz reported back to his friend, Mark Neven DuMont, that he was now busy working on “water colours.” One of these watercolours, “Drinnen und Draußen,“ which Grisebach is pleased to offer at an estimate of € 200,000–300,000, became a well-received work shortly after it was created. It was exhibited, among others, in shows at the Kunsthaus Zürich and, in 1930, at Galerie Flechtheim.
Anton Räderscheidt’s painting, “Junger Mann mit gelben Handschuhen,” of 1921 (€ 180,000–240,000) belongs to the artist’s most important work period. Through works like these Räderscheidt became one of the leading exponents of “Magic Realism” in Germany.
Eduardo Chillida, who created majestic monumental sculptures such as the “Wind Combs” at the cliff line of San Sebastián or the work “Berlin” for the German Federal Chancellery, was a master of the small scale, too. Proof is the fired clay sculpture, “Óxido 61,” of 1981, offered by Grisebach at an estimate of € 200,000–300,000.
Aside from the roughly 270 lots in the modern art category there is also Konrad Klapheck’s “Vergebliches Warten” (€ 90,000–120.000). The painting was first exhibited in 1966 in a monographic show at Kestner-Gesellschaft in Hanover, an important recognition awarded to an artist with only 11 years of practice. Klapheck’s paintings of everyday objects that he combines with human attributes have found international acclaim.
With an estimate of € 500,000–700,000 the leading lot in this category with 140 works is Kazuo Shiraga’s “KINKO. Colourful like autumn leaves.” As a body painter the Japanese artist compares to no one else. In his art of volcanic paint streams Shiraga unites the discipline of Zen painting with the gestural Informalism predominant in Western art in the post-war period.
A couple having intercourse is placed at the center of Sigmar Polke’s “Ohne Titel (Münster 1973).” The scene, rendered in a sparse line drawing, feels as static as the surrounding colour composition feels emotional. It appears as if Polke worked himself to the center of the action from the outside to the inside (estimate € 120,000–150,000).
The mastery of Neo Rauch’s painting is to leave the beholder in a state of complete uncertainty. In his “Garten im Sturm” (estimate € 100,000–150,000) a singularly archaic struggle of spheres over the prerogative of interpretation is displayed.
Dark moods, dreams, the unconscious, the abysmal, mysticism, legendary creatures, deathly pale skin – in his fascinating painting, “Die Schlaflosen” (€ 50,000–70,000), Martin Eder seems to reference elements of Dark Romanticism.
The Saarland entrepreneur Dietmar Klütsch began collecting art in the mid-1980s focusing on important examples of the concrete art and ZERO movements. Grisebach’s selection includes works by Günther Uecker, Adolf Luther, Klaus Staudt, Leo Erb, Hermann Bartels and Raimer Jochims. The Klütsch Collection was last celebrated in a comprehensive exhibition at Museum Haus Ludwig für Kunstausstellungen Saarlouis.
Isa Genzken’s “Weltempfänger“ of 2015 is a reference to an eventful year in the artist’s life: It was in 1982 that she participated in both, the Venice biennial and documenta in Kassel. It was also the year in which she positioned a generic radio set, a multi-band radio, on top of a pedestal and declared it a work of art. “Weltempfänger” (estimate: € 20,000–30,000) is a donation by the artist. The work will be sold to benefit Verein KINDerLEBEN - Verein zur Förderung der Klinik für krebskranke Kinder e.V.
In Grisebach’s photography auction alone 230 works of modern and contemporary photographs will be presented for sale.
Vintage prints are rare on the auction market by such artists as Gertrud Arndt, Edward Steichen, André Kertész and Iwao Yamawaki. Gertrud Arndt’s innovative 1930 “Negativ-Portrait Wera Meyer-Waldeck” where the artist utilized the negative copy technique is considered one of the “classics“ of Bauhaus photography (€ 10,000-15,000). While Edward Steichen’s 1921 study of a sunflower emanates the artist’s hallmark precision and focused lighting (€ 20,000-30,000), the Hungarian photographer André Kertész, on his forays into Paris, captured the unusual moments and chance encounters of daily life such as in his 1929 photograph of dismounted wooden carousel horses (€ 20,000-25,000). “Konvolut für Bernd Lohse” is a unique arrangement of main works by Peter Keetman, selected by the artist and presented as a gift to the picture editor and publisher, Bernd Lohse, in the 1970s (€ 45,000-55,000). Other vintages offered in the auction include works by Erwin Blumenfeld, Albert Renger-Patzsch, Tata Ronkholz, Otto Steinert, Josef Sudek and Fred Zinnemann, among others.
A group of rare photographs by the Japanese architect and photographer Iwao Yamawaki, who studied at the Bauhaus from 1930 to 1932, originally comes from the collection of Tom Jacobson. The photographs of mainly modern architecture were shot during those years (estimates from € 3,000 until € 5.000)
Among the highlights of the contemporary photography auction are four works by Peter Beard, one is a portrait of Andy Warhol with unique additions (€ 50.000-70.000), another one an over-size print of the “Large Tusker” (€ 20.000-30.000). Other top lots are two Diasec works by Thomas Ruff (€ 22.000-28.000 / 25.000-30.000), the portfolio “Aktion in einem Kreis” by Günter Brus (€ 6.000-8.000) as well as works by Robert Mapplethorpe, Hiroshi Sugimoto, Deborah Turbeville.
ORANGERIE Selected Objects
The “ORANGERIE Selected Objects” catalogue presents, in the manner of magazine features, the fine and decorative arts in a cross over style. Essays were contributed by Gesine Schwan, Margit J. Mayer, Simon Strauss and Wolfgang Uchatius, who each describe one of the objects’ “conversational qualities.” Among the just short of 90 lots are objects from the estate of the composer, Hanns Eisler (1898–1962). On behalf of the heirs Grisebach is pleased to offer personal gifts by his artist friends, such as Gustav Seitz and Fritz Cremer, which include a portrait bust of Eisler’s best friend, Bertolt Brecht. The composer’s death mask and grand piano combineart and cultural history.
The ORANGERIE’S leading lots are a writing cabinet by Hendrik van Soest (circa 1700, estimate € 100.000-120.000) and a cylinder bureau by Abraham Roentgen (circa 1770, estimate € 50.000-70.000). One shimmers in a luminous red tortoise shell, the other in the translucent noblesse of mahogany. These are furniture pieces from the leading cabinetmakers of their time and standing, synonymously, for quality, innovation and utmost luxury.
Grisebach’s ORANGERIE presents extraordinary objects with the intent of opening new ways of appreciation for the decorative arts. The mix of works is meant to inspire: A painted Kunstkammer piece by Daniel Fröschel is juxtaposed to trompe l’oeils of Italian faience ware and proto types of Ron Arad’s design classics. The rediscovery of Reinhold Begas’ “Wrestler” sculpture is highlighted with the same devotion as the woven hashish visions from the Moroccan Atlas mountains that were given form in a group of Berber carpets of the 1970s.
On Wednesday, June 1 more than 230 works of modern and contemporary photography will be offered for sale at Grisebach in Berlin.
Vintage prints are rare on the auction market by such artists as Gertrud Arndt, Edward Steichen, André Kertész and Iwao Yamawaki. Gertrud Arndt’s innovative 1930 “Negativ-Portrait Wera Meyer-Waldeck” where the artist utilized the negative copy technique is considered one of the “classics“ of Bauhaus photography (€ 10,000/15,000). While Edward Steichen’s 1921 study of a sunflower emanates the artist’s hallmark precision and focused lighting (€ 20,000/30,000), the Hungarian photographer André Kertész, on his forays into Paris, captured the unusual moments and chance encounters of daily life such as in this 1929 photograph of dismounted wooden carousel horses (€ 20,000/25,000). “Konvolut für Bernd Lohse” is a unique arrangement of main works by Peter Keetman, selected by the artist and presented as a gift to the picture editor and publisher, Bernd Lohse, in the 1970s (€ 45,000/55,000). Other vintages offered in the auction include works by Erwin Blumenfeld, Albert Renger-Patzsch, Tata Ronkholz, Otto Steinert, Josef Sudek and Fred Zinnemann, among others.
A group of rare photographs by the Japanese architect and photographer Iwao Yamawaki, who studied at the Bauhaus from 1930 to 1932, originally comes from the collection of Tom Jacobson. The photographs of mainly modern architecture that Yamawaki’s set in the New Vision style were shot during those years (estimates from € 3,000 until € 5.000).
Among the highlights of the contemporary photography auction are four works by Peter Beard, one is a portrait of Andy Warhol with colour and collage additions (€ 50,000/70,000), another one an over-size print of the “Large Tusker“ (€ 20,000/30,000). Other top lots are two Diasec works by Thomas Ruff, one is from his series exploring the architecture of Mies van der Rohe, Afrikanischen Strasse in Berlin-Wedding (€ 22,000/28,000), the other one is a young woman from his portrait series (€25,000/30,000), further Günter Brus’s portfolio “Aktion in einem Kreis“ (€ 6,000/8,000) as well as works by Robert Mapplethorpe, Hiroshi Sugimoto, Deborah Turbeville, and others.
The art collection of the Berlin newspaper magnate Rudolf Mosse (1843-1920) was the very first one to be sold off at forced auction by the Nazis in 1934. After intensive negotiations, a decision was reached to return three main works of the collection held by German and Swiss museums to the heirs of Rudolf Mosse. These works are scheduled to be offered at auction on June 1st, 2016, at the Berlin auction house Grisebach. All three are significant paintings from the 19th century: Adolph Menzel’s pastel “Emilie Menzel, die Schwester des Künstlers, in roter Bluse“ (Emilie Menzel, the Artist’s Sister, Wearing a Red Blouse) (estimated price: € 300,000 – € 400,000), Wilhelm Leibl’s “Bildnis des Appellationsrates Stenglein” (Portrait of the Appellate Judge Stenglein) (€ 120,000 – € 150,000), and Ludwig von Hofmann’s “Frühlingssturm” (Spring Storm) (€ 200,000 – € 300,000), one of the key works of the German Art Nouveau movement, the Jugendstil.
Eric Bartko, spokesman for the Mosse Art Restitution Project commented, “It is very clear that the Berlin of today is a cosmopolitan, politically progressive capital to a socially and politically progressive nation such as Rudolf Mosse and Theodor Wolff actively lobbied for in the pages of the Berliner Tageblatt. Berlin today is not the capital it was under the National Socialists, and the socially and politically progressive positions that it represents in Europe today reflect the socially and politically progressive positions the Mosse heirs continue to hold. This is why it is also important to us that, before then being sold at auction, these three works from the collection of Rudolf Mosse will once again be shown in the same city in which they were kept on public view for many decades.”
In recent years, Grisebach has already built up a track record of successfully auctioning off valuable works of art that had been returned to the collections of Alfred Sommerguth, Max Liebermann, and Hermann Pächter, or that were being offered for sale with the express consent of their former owners. Grisebach’s managing director Micaela Kapitzky on this new opportunity, “We are very pleased that the heirs of Rudolf Mosse have entrusted us with the task of preparing these important works for public sale following their restitution. We are well aware of our special responsibility in this context.
As part of the Photo Weekend Düsseldorf, Grisebach will host a double exhibition in its Düsseldorf showroom. On show will be works by Michael Wolf from his highly regarded series Tokyo Compression as well as a selection of works by Seiichi Furuya, who documented the former GDR, East Germany, a few years before the fall of the Berlin Wall.
The location of the exhibition was chosen with intent, as, due to a large expat community, Japanese culture is lived more authentically in Düsseldorf than in any other German city.
With In and / or out, Grisebach aims at uniting two opposing perspectives: The German photographer Michael Wolf, who moved to Hong Kong in 1994, has documented and continues to explore the individual’s existence in Asian metropoles. His impressive series Tokyo Compression examines people coping with the daily problems of commuting, often at the verge of exhaustion.
The Japanese photographer Seiichi Furuya, who moved to East Germany in 1984 as an interpreter, documented the slowly declining GDR from a radically personal point of view, capturing the population’s situation in his images.
In this exhibition, Grisebach presents a juxtaposition of urban life from two unique perspectives.
Daniel von Schacky
T +49 211 8629 2199
13 February–1 April 2016
Bilker Strasse 4–6, 40213 Düsseldorf
Opening: Friday, 12 February 2016, 6 pm–9 pm
Opening hours: Mo–Fr, 10 am–6 pm