DÜRER, PICASSO, REMBRANDT & CERAMICS BY JOHANNES NAGEL

 

Now open until 27 October 2023

Artcurial, Galeriestr. 2b, 80539 Munich, Germany

 

An exhibition in cooperation with Artcurial Germany and Galerie Zink Waldkirchen

 

Mon.-Fri.: 10:00-13:00h and 14:00-18:00h

 

Works by Dürer, Picasso, Rembrandt, Delacroix, Richard Müller, Lorenzo Pasinelli, Richard Seewald and ceramics by the contemporary artist Johannes Nagel.

 

SCROLL DOWN FOR PRICES AND DESCRIPTIONS

 

Albrecht Dürer & Johannes Nagel

 

ALBRECHT DÜRER
1471 – 1528

 

DETAILS

The Bathhouse, circa 1496-97

woodcut on paper, 39,0 x 28,2 cm, watermark Imperial Orb (M. 53), a very fine, rare lifetime Meder b impression

Price: Please contact me

Albrecht Dürer & Johannes Nagel

 

RICHARD MÜLLER
1874 – 1954

DETAILS

Dalmatian, 1906

Oil on canvas, 56 x 87 cm

Monogramed and dated upper left: RM/06

Price: Please contact me

PROVENANCE
Eduard Staffel, Witzenhausen (a friend of the artist)
thence by descent
Private collection, Germany

LITERATURE
Franz Hermann Meißner, Das Werk Richard Müllers, Dresden 1921, pp. 134-136, plate 43.
Corinna Wodarz, Symbol und Eros. Die Bildwelten Richard Müllers (1874–1954) mit dem Katalog des Gesamtwerks [= calatalogue raisonné], Göttinger Beiträge zur Kunstgeschichte, vol 1, Göttingen 2002, no. M 1906.03.

- one of the artist's masterpieces
- incredibly precise brushwork
- psycholigically profound and life-like portrait of a dog
- never offered on the art market before

Richard Müller was a fascinating German artist with extraordinary skills. At the young age of 14 he started to work at the Royal Saxon Porcelain Manufactory in Meissen just outside of Dresden. In 1890, at only 16, he was admitted, as one of the youngest students ever, to the Academy of Fine Arts in Dresden. Richard Müller was a shooting star of his time. He received numerous prices including a gold medal at the Paris Exposition and was appointed to a professorship at the Dresden Academy. There he was helping to establish the Neue Sachlichkeit (New Objectivity) movement and was the teacher of Otto Dix and Georg Grosz. Müller's work has been largely forgotten, until relatively recently, because of his ambiguous role during the Nazi era. In 1933 he became a member of the Nazi party and president of the Dresden Academy of Fine Arts. In the same year he supported Otto Dix's dismissal from the Academy. But only two years later Müller was excluded from the Nazi party and expelled from the Academy himself because of "subversive tendencies" in his art . After the war Müller remained in Dresden during the years of Communist rule and suffered for his supposed complicity with the Nazis. He was not allowed to exhibit his work and lived as an artistic and social outcast.

This fascinating portrait of a Dalmatian unites a masterly painting technique that approaches photo-realism with a deep psychological understanding that vibrantly brings to live the represented creature.

REMBRANDT HARMENSZ. VAN RIJN
1606 – 1669

DETAILS

The Descent from the Cross by Torchlight

Etching and drypoint

1654

Plate: 21 x 16,3 cm; Sheet: 21,9 x 17 cm

The New Hollstein (Hinterding/Rutgers) 286/I (of IV)
White/Boon 83

Price: Please contact me

PROVENANCE
Wilhelm Eduard Drugulin (1825 – Leipzig – 1879), Lugt 2612
Sotheby, Wilkinson and Hodge, London, 11 June 1866, lot 1360
Dr. August Sträter (1810 – Aix-la-Chapelle – 1897), Lugt 787
H.G. Gutekunst, Stuttgart, 18 May 1898, lot 719: „Impression of extraordinary beauty, with rich
burr, in perfect condition, with margins. From the Drugulin collection. Very rare“.
There acquired by Keppel.
Atherton Curtis ( New York 1863 – Paris 1943), Lugt 94
Gutekunst und Klipstein, Bern, 28 April 1955, lot 94: „Impression of extraordinary beauty, with rich
burr, especially in Christ's beard and to the back of the man supporting the corpse; deep black
impression on white paper, thereby particularly favourably emphasizing the character of a night
scene. In excellent condition, with at least 3 mm margins all around the platemark“.
There acquired by Dr. Louis Karl (owner of Karl & Faber), Munich.
Private collection „P“, not listed in Lugt.

This is the most beautiful impression on the market, with rich burr and at least 3 mm margins all
around the platemark. The condition is impeccable.

The Descent from the Cross by Torchlight is one of Rembrandt's most dramatic prints. The
composition is ingenious. The focus of attention is led not to the centre but to the upper left. The
whole movement of the scene starts there with the grisly detail of the nail through Christ's right
foot. A man is hammering it out of the foot to finally detach Christ from the cross. Next to him
stands a man who holds the torch, the only source of light. Typically for Rembrandt he thought
through in detail how the removal from the cross would work. Two men on a ladder are carefully
lowering the large cloth in which Christ is wrapped. The man seen from behind is holding the
corpse and one can feel the full weight of the body he is bearing. An almost magically illuminated
hand comes out of the gloom to the right, as another man comes to his assistance. The foreground is
dominated by the bier, which is the destination for Christ's body and where the movement through
the composition initiated at the upper left will come to an end. One of the main characters, Joseph
of Arimathea, who is draping the sheet, is in the shadow and can be seen only upon closer
examination. The same is true for Rembrandt's signature and the date, which the artist has almost
hidden in the drapery of the sheet.

Richard Seewald & Johannes Nagel

RICHARD SEEWALD
1889 – 1976

DETAILS

Still-life with laurel and Dante's Divine Comedy, 1928
Oil on panel, 69,9 × 49,7 cm
Signed upper right: Seewald
Signed, titled and dated in red chalk on the reverse:
Seewald „Stilleben mit Lorbeer“ 1928

Price: Please contact me

  • exemplary still-life of the Neue Sachlichkeit (New Objectivity) movement
  • probably the best surviving work of the artist
  • one of the very rare works as the artist burnt 150 of his paintings
  • from the collection of August Sander, one of the most important photographers of the early twentieth century

PROVENANCE
August Sander, Cologne
Thence by descent until 2021
Grisebach, Berlin, Sander Collection, 10 June 2021, lot 658

EXHIBITION
Richard Seewald 85 Jahre. Bilder, Zeichnungen, Graphik 1912-1973. Munich, Galerie Wolfgang Ketterer, 1973/74, cat. no. 12, ill.
Zeitgenossen. August Sander und die Kunstszene der 20er Jahre im Rheinland. Cologne, Josef-Haubrich-Kunsthalle and Kiel, Kunsthalle, 2000, cat. no. 487, ill. p. 121
Los progresistas de Colonia. August Sander y su círculo de amigos. 1920-1933. Valladolid, Museo de Pasión, Sala Municipal de Exposiciones, 2012/13, unnumbered, ill. p. 61

A note on the provenance:
August Sander (17 November 1876 – 20 April 1964) was the most important German portrait photographer of the early twentieth century. He also built an extraordinary art collection of Neue Sachlichkeit (New Objective) paintings.

Richard Seewald, draughtsman, painter and illustrator, was born in Arnswalde on 4 May 1889. In 1909 Seewald began to study architecture at Munich Polytechnic (now Technical University) but soon turned to painting, in which he was self-taught. In 1911 he had his first exhibition at the Galerie Thannhauser in Munich. Seewald was a member of The "New Secession", which was founded in Munich in December that same year, and soon also joined the "Deutscher Künstlerbund". Seewald began to illustrate books such as "Robinson Crusoe", "Penthesilea" and his own first book, "Tiere und Landschaften". At the age of only thirty-five, Seewald was appointed to a teaching position at the Werkschule in Cologne in 1924.
The cultural and political changes that were taking place in Germany made Richard Seewald decide in 1931 to settle at Ronco sopra Ascona in Switzerland, where he joined the artist's group "Der Große Bär" and became a honorary citizen in 1939. A convert to Catholicism by that time, Richard Seewald received commissions for frescoes in churches and other ecclesiastical buildings. Seewald did not return to Germany until 1948 and was not reintegrated in the cultural life of his native country until 1954.
Appointed professor at the Munich Fine Art Academy, Richard Seewald left four years later after differences of opinion with the board of governors. On his wife's death, Richard Seewald burnt about one hundred and fifty of his pictures as well as hundreds of sketches, designs and letters. In the late 1960s Seewald frescoed the arcades of the Munich Hofgarten and designed windows for the Herz-Jesu-Kirche [Church of the Sacred Heart] in Munich-Neuhausen among others. Richard Seewald died in Munich on 29 October 1976.

This is an exemplary work of the Neue Sachlichkeit (New Objectivity) movement, which was a reaction against Expressionism. Our still-life is carefully composed and balanced in beautiful order. The everyday objects are depicted with calm precision. This is characteristic for the painters of the New Objectivity who intended to make visible the magic of the normal world as it presents itself to us when we really look at it. An edition of Dante's divine commedy which is prominently placed on the chair  points to a meaning beyond the beautifully arranged objects in the present to a fantastic vision of the after-life.

Richard Seewald & Johannes Nagel

PABLO PICASSO
1881-1973

DETAILS

Minotaure aveugle guidé par une petite Fille au Pigeon, 1934

From La Suite Vollard

Etching and aquatint, on Montval paper with watermark Vollard

Signed lower right in pencil by the artist: Picasso

Plate: 226 x 313 mm; sheet: 340 cm x 450 mm.

From the edition of 260 (there was also an edition of 50 with wider margins)

Catalogue raisonné:
Georges Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Nr. 224
Bernhard Geiser et Brigitte Baer, Picasso Peintre-Graveur, Nr. 436/B/d

Price: Please contact me

 

Eugène-Victor-Ferdinand Delacroix
1798-1863

DETAILS

Massacre of the Innocents, after Peter Paul Rubens
with pencil inscription ‘eugène delacroix’ and ink number ‘503’ (verso)
graphite, point of the brush and brown ink, watermark figure on a globe with letters VDL, 23.2 x 32.2 cm

PROVENANCE
The artist’s studio estate (L. 838a).
Unidentified collector’s mark ‘C.R.’ (L. 630, twice).

Price: Please contact me

The present drawing, executed in Delacroix’s characteristic style and technique, was
drawn after an engraving by Paulus Pontius (1603-1658) which in turn depicts Rubens’
celebrated and monumental picture in the Alte Pinakothek Munich in reverse.
The painting shows the gruesome execution of all male infants in Bethlehem on King Herod’s
commend. Delacroix chose to zoom in on a group of women protecting their children,
focusing the viewer’s attention to the personal drama of these mothers. With controlled
brushwork and carefully applied pools of wash, Delacroix brings this exceptionally
emotionally charged moment to life. He paid particular attention to the mother at top left,
who is worked up with carefully applied graphite. The infants shown at right furthermore
display Delacroix’s great skill with the brush; the particularly lose brushwork gives them an
almost calligraphic quality which brings the work of traditional Chinese art to mind. As is the
case with many other drawings by the artist after Rubens, Delacroix treated the original
composition with some liberty; the infant at lower right, for example, appears at left of the
mother holding an infant in the print by Pontius.

Delacroix & Johannes Nagel

ALBRECHT DÜRER
1471-1528

DETAILS

The Assumpton and Coronaton of the Virgin,
from: The Life of the Virgin
woodcut, 1510, from: The Life of the Virgin, on
laid paper, watermark Tower with Crown and
Flower (Meder 259), a good and even
impression of the Latn text editon of 1511
31 x 22.5 (sheet size)
Bartsch 94; Meder, Hollstein 206; Schoch
Mende Scherbaum 184

Price: Please contact me

PROVENANCE
Stein’s Buchhandlung, Nuremberg (L. 5546).

Dürer & Johannes Nagel

LORENZO PASINELLI
1629 - 1700

DETAILS

Two embracing putti
Oil on paper, 23,5 x 25,2 cm

Price: Please contact me

PROVENANCE
Private Collection, Paris


I am grateful to Prof. Daniele Benati for confirming the attribution to Lorenzo Pasinelli based on high resolution images.

Lorenzo Pasinelli was a native of Bologna. There he studied under Simone Cantarini, one of Guido Reni’s most talented pupils and our family's name-giving ancestor. Cantarini had developed a more fluid, free manner in his later career, and his light brushwork would influence Pasinelli’s own expressive style. After Cantarini died in 1648, Pasinelli worked three years under Flaminio Torri before setting out alone, establishing his own successful workshop as one of Bologna’s leading masters. He subsequently worked in Mantua and Rome, and received prestigious international commissions from Leopold I, Holy Roman Emperor (1640-1705) and Hans-Adam I, Prince of Liechtenstein (1662-1712) among others.Pasinelli painted this refined and characteristic composition of two putti in monochrome oil. This technique played an important role in the artist's creative process and working methods. His monochromes were initially conceived as an intermediary stage in the creation of finished paintings. But as collectors and patrons were very interested in these studies, Pasinelli recognized their great commercial potential. So it is very well possible that our sheet was not intended as a preparatory sketch but as a highly attractive work for collectors.

PABLO PICASSO
1881-1973

DETAILS

Tête sur fond noir, 1953

Lithograph on Arches wove paper, image: 695 by 543 mm., sheet: 698 by 560 mm.
Cut on all edges

Executed in 1953 in an edition of 50.

Catalogue raisonné:
Georges Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Nr. 742; Mourlot 241

Price: Please contact me

 

Pablo Picasso & Johannes Nagel

 

PABLO PICASSO
1881-1973

DETAILS

Le Repos du sculpteur et le modèle au masque
from the "Suite Vollard"
27 March 1933

Etching on „Vergé de Montval“ with watermark „Picasso“, Plate: 26,7 x 19,4 cm
Bloch 159; Baer 312/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

 

Pablo Picasso & Johannes Nagel

 

PABLO PICASSO
1881-1973

DETAILS

Le Repos du sculpteur devant un nu à la draperie
from the "Suite Vollard"
27 March 1933

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 26,7 x 19,4 cm
Bloch 160; Baer 313/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

 

PABLO PICASSO
1881-1973

DETAILS

Le Repos du sculpteur devant des chevaux et un taureau
from the "Suite Vollard"
31 March 1933

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 19,4 x 26,7 cm  
Bloch 166; Baer 319/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

 

Pablo Picasso & Johannes Nagel

 

PABLO PICASSO
1881-1973

DETAILS

Le Repos du sculpteur IV
from the "Suite Vollard"
4 April 1933

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 19,4 x 26,7 cm  
Bloch 174; Baer 327/B.d.
Edition of 260

Price: Please contact me

PROVENANCE
Ambroise Vollard, Saint-Denis, 1865-1939, Versailles
His estate
Henri Marie Petiet, Saint-Prix, Seine-et-Oise, 1894-1980
His estate (with the dry stamp, Lugt 5462)

 

Johannes Nagel

Mixed tape/cluster, 2020

porcelain

64 × 48 × 42 cm (25 ¼ × 18 ⅞ × 16 ½ inches)

12.000,00 € plus VAT

Johannes Nagel

circling the pot, 2023

Porcelain, pewter

75 × 72 × 54 cm (29 ½ × 28 ⅜ × 21 ¼ inches)

13.800,00 € plus VAT

Johannes Nagel

movement/pattern, 2022

porcelain

73 × 44 × 45 cm (28 ¾ × 17 ⅜ × 17 ¾ inches)

12.000,00 € plus VAT

Johannes Nagel

martial cuts, 2022

porcelain

72 × 34 × 35 cm (28 ⅜ × 13 ⅜ × 13 ¾ inches)

8.000,00 € plus VAT

Johannes Nagel

der letzte Schrei, 2021

porcelain, stoneware

67 × 53 × 37 cm (26 ⅜ × 20 ⅞ × 14 ⅝ inches)

12.000,00 € plus VAT

Johannes Nagel

colours cuts, 2022

porcelain

66 × 21 × 22 cm (26 × 8 ¼ × 8 ⅝ inches)

4.400,00 € plus VAT

 

Johannes Nagel

antidote #3, 2021

porcelain, pewter

61 × 40 × 40 cm (24 × 15 ¾ × 15 ¾ inches)

4.000,00 € plus VAT

Johannes Nagel

cuts # 36/ pattern, 2023

porcelain

70 × 29 × 29 cm (27 ½ × 11 ⅜ × 11 ⅜ inches)

6.000,00 € plus VAT

Johannes Nagel

cuts # 35/ gold, 2023

porcelain

4.400,00 € plus VAT

Johannes Nagel

cuts # 37/ dots, 2023

porcelain

64 × 32 × 32 cm (25 ¼ × 12 ⅝ × 12 ⅝ inches)

4.400,00 € plus VAT

Johannes Nagel

silhouette assembled, 2023

Porcelain, pewter

56 × 32 × 26 cm (22 × 12 ⅝ × 10 ¼ inches)

3.600,00 € plus VAT

Johannes Nagel

Silhouette # 38/ pattern, 2023

porcelain

50 × 33 × 31 cm (19 ⅝ × 13 × 12 ¼ inches)

each 3.400,00 € plus VAT

Johannes Nagel

Silhouette #X, 2023

porcelain

57 × 36 × 34 cm (22 ½ × 14 ⅛ × 13 ⅜ inches)

4.000,00 € plus VAT

Johannes Nagel

circle cross, 2018

Porcelain, pewter

59 cm (23 ¼ inches)

3.400,00 € plus VAT

Johannes Nagel

cuts # 38/ blue, 2023

porcelain

63 × 22 × 22 cm (24 ¾ × 8 ⅝ × 8 ⅝ inches)

4.000,00 € plus VAT

DÜRER, PICASSO, REMBRANDT & CERAMICS BY JOHANNES NAGEL until 27 OCTOBER 2023

DÜRER, PICASSO, REMBRANDT & CERAMICS BY JOHANNES NAGEL until 27 OCTOBER 2023

DÜRER, PICASSO, REMBRANDT & CERAMICS BY JOHANNES NAGEL

 

VISIT US UNTIL 27 OCTOBER 2023!

 

Artcurial, Galeriestr. 2b, 80539 Munich, Germany

DELICIOUS! A FEAST FOR THE EYES

 

17 October until 16 December 2022

Artcurial, Galeriestr. 2b, 80539 Munich, Germany

 

An exhibition in cooperation with Artcurial Germany and Galerie Zink Waldkirchen

Mon.-Fri.: 10:00-13:00h and 14:00-18:00h

During the MUNICH HIGHLIGHTS:

Mon.-Fri.: 10:00-18:00h

Sat.: 11:00-17:00h

 

This exhibition celebrates eating and drinking in art. We have assembled great works from the 17th to the 21st century in a wide variety of media – paintings, sculptures, prints, photograps, videos and more. Enjoy the feast for your eyes!

 

SCROLL DOWN FOR PRICES AND DESCRIPTIONS

DELICIOUS! A FEAST FOR THE EYES

ALL WORKS ARE FOR SALE!

SCROLL DOWN FOR PRICES AND DESCRIPTIONS

JAN VAN KESSEL I Antwerp 1626 – 1679

PRICE: Please contact me

DETAILS

Still life with cauliflower, strawberries, artichoke, radish, peaches and plums

Signed and dated lower left: J. v Kessel f. 1661

Oil on canvas, 71 x 59,5 cm

PROVENANCE
Probably Sir Peter Lely, London (1618-1680)
Sotheby's, London, 6 December 1989, lot 58 (hammer GBP 55.000)
Frye & Sohn, Münster
Private collection, Germany

LITERATURE
J. de Maere/M. Wabbes, Illustrated Dictionary of 17th Century Flemish Painters, III vols, Brussels 1994, p. 678 as Jan van Kessel the Elder
Klaus Ertz/Christa Nitze-Ertz, Jan van Kessel der Ältere, Jan van Kessel der Jüngere, Jan van Kessel der Andere, Lingen 2012, no. 10, p. 472 as Jan van Kessel der Andere

Klaus Ertz published the present painting as by Jan van Kessel "der Andere" (circa 1620-ca. 1661).

Daniel Kruger

 

DETAILS

Platter (BMW), 1999
blue-white majolica
ø 33 cm

GILLIS DE BERGH Delft 1606 – after 1669

PRICE: Please contact me

DETAILS

Still life with grapes and a silver Tazza

Oil on panel 70,5 x 58,5 cm.

PROVENANCE
Leonard Koetser, London, New York (by 1964)
Private collection, USA
Sotheby's, New York, 2 June 1989, lot 83
Kunsthandel Pieter de Boer, Amsterdam
European Private collection

PRICE
Please contact me

The array of luxurious objects in this tabletop, including a silver Tazza filled with grapes and an elaborate salt cellar, evokes the prosperity the Dutch enjoyed around the middle of the seventeenth century. The white and grey linen tablecloths are crumpled, which allows the artist to show off his skill in depicting drapery and the sheen of linen through varied effects of light and shade.

Ori Gersht

12.500 Euro + VAT

DETAILS

New Orders 04 Untitled 01, 2018
Archival Pigment Print, 45 × 60 cm
Edition 4/6

Ori Gersht

12.500 Euro + VAT

DETAILS

New Orders 04 Untitled 04, 2018
Archival Pigment Print, 45 × 60 cm
Edition 3/6

JAN VAN DEN HECKE Quaremont 1620 – 1684 Antwerp

PRICE: Please contact me

DETAILS

Fruit still life with grapes, apricots, plums, cherries, quinces and medlars in a basket on a wooden table

Oil on panel, 48,5 x 64,5 cm.

PROVENANCE
Collection M. Dirksen The Hague (according to Gumprecht, but not in his sale Paris 1868)
Collection Hermann Berlin
Collection W. Gumprecht acquired in 1886
his sale, Lepke Berlin 21 march 1928, no. 19 as Frans Ykens
European private collection

EXHIBITION
Ausstellung von Werken der niederländischen Kunst des 17. Jahrhunderts in Berlin , Berlin 1890, no. 334

PRICE
Please contact me

This is a extraordinary beautifully painted fruit still life by the gifted Flemish Baroque painter Jan van der Hecke. He spent some time in Rome and later in Brussels where he worked for Archduke Leopold Wilhelm of Austria, the Austrian governor of the Spanish Netherlands. His still lifes were very sought after by wealthy collectors.

Matías Manuel Sánchez Martín

PRICE: Please contact me

DETAILS

Naturaleza muerta. Pintor fumando en pipa mirando el motivo, 2022
Oil on linen, 81 × 100 cm

SIMON LUTTICHUYS London 1610 – 1662 Amsterdam

PRICE: Please contact me

DETAILS

Still life with a Roemer, a Lemon on a blue plate and two Roses on a draped table

Oil on canvas, 48 x 39,5 cm. cm.

signed with monogram SL

PROVENANCE
Private collection

PRICE
Please contact me

 

Karl Fritsch, Gerry Wedd

7.800 Euro + VAT

DETAILS

Beer mug (skeleton), 2022
silver, synthetic ruby + sapphire, cubic zirkonia

BALTHASAR VAN DER AST Middelburg 1593/4-1657 Delft

PRICE: Please contact me

DETAILS

Fruit still life with a basket on a silver plate with pears, peaches, grapes, chestnuts and a kendi

Oil on panel, 73 x 105 cm.

Signed lower right: B van der Ast

This is a masterpiece by Balthasar van der Ast, one of the pioneers of the still life genre in the Netherlands. The signed fruit still life with quinces, grapes, medlars and walnuts is magnificently composed, masterfully painted and exceptionally well preserved. It is a real feast for the eyes. The prominently placed wicker basket is overflowing with an abundance of fruit, almost toppling over. The painting also conceals a secret. In the right-hand background is a mysterious, dark vessel. After a thorough research, it was finally possible to find out what it was: It is a kendi from Java, a traditional drinking vessel. Since ancient times, it has played an important role in the rituals of daily life in Indonesia. Its uses ranged from serving water or wine, to administering medicine to bedridden sick people, to being placed on altars at religious ceremonies to purify libations or to offer water as a symbol of purity. The kendi on the still life is evidence of the close trade relations with Southeast Asia in the 17th century, to which the Netherlands owed its immense wealth at that time. Only a few years before Balthasar van der Ast painted his still life with kendi in Delft, the Dutch had conquered Jakarta and soon all of Java. The artist was obviously fascinated by the exotic object and probably as unaware of its great importance within Indonesian culture as the traders of the Dutch East India Company, who had it shipped halfway around the world to sell it on at a great profit.


PROVENANCE
Sale J. Domis-Keyser Alkmaar, 2 June 1766, lot 62
Collection Holle, Vienna
His anonymous sale Plach Vienna, 28 December 1869
Collection Gsell, Vienna until 1872
Auction Gsell, 14 March 1872, lot 2 sold to Scharf
Auction Alexandre Scharf, Paris, 18 March 1876, lot 1
Private collection, France
Remained in the family until 2000
Millon & Associés, Paris, 29 November 2000, lot 82
Kunsthandel Pieter de Boer, Amsterdam
Rafael Valls Ltd., London

LITERATURE
Theodor von Frimmel, Lexikon der Wiener Gemäldesammlungen, Munich 1913/1914, Vol. 2 pp. 84, 207.
W. Kloek, review of the exhibition Van der Ast in Burlington Magazine  CLVIII (July 2016), pp. 576-578

PRICE
Please contact me

Balthasar van der Ast was born in Middelburg. His father, Hans, was a widower and when he died in 1609, Balthasar moved in with his older sister Maria, and his brother-in-law, the prominent Dutch painter Ambrosius Bosschaert the Elder. He was trained by Bosschaert as a still life painter. In turn, the three sons of Ambrosius Bosschaert, Ambrosius the Younger, Johannes and Abraham were trained by van der Ast upon the death of their father. Together the group of painters is sometimes referred to as the Bosschaert dynasty.
Van der Ast accompanied the Bosschaert family in their move in 1615 to Bergen op Zoom and in 1619 to Utrecht, where van der Ast entered the Utrecht Guild of St.Luke. Besides the Bosschaerts, his pupils were Anthony Claesz and Johannes Baers. It’s also likely that Jan Davidsz. de Heem was van der Ast’s pupil in Utrecht.
Van der Ast remained in Utrecht until 1632, when he moved to Delft. In 1633 he married Margrieta Jans van Buijeren. They lived in a House at the `Oude Delft until his death in 1657, when he was buried in the famous Oude Kerk.

 

Paul Kooiker

4.500 Euro + VAT

DETAILS

from the series 'Eggs and Rarities', 2018
(Eggs and Rarities)
Archival ink on photo rag paper
92 × 69 cm
Edition 1/3

Ori Gersht

Ori Gersht

Ori Gersht

DETAILS

Falling Bird, 2008

Video, Full HD colour video, Sound

5min 54sec

Karl Fritsch, Gerry Wedd

6.600 Euro + VAT

DETAILS

Beer mug (skull), 2022
silver, greywacky, coromandel, quarz

Circle of WILLEM PIETERSZOON BUYTEWECH Rotterdam 1591/92 – 1624

PRICE: Please contact me

DETAILS

Merry Company
Oil on canvas, 60 x 83 cm

PROVENANCE
Private collection

PRICE
Please contact me

 

WILLIAM HOGARTH 1697 - London - 1764

 

DETAILS

A Midnight Modern Conversation
1733
Etching and engraving, 34,6 x 47,5 cm

Catalogue raisonné:
Paulson 128/III

PROVENANCE
Private collection

PRICE
4.500 Euro

The artist's masterpiece and most famous engraving whose popularity helped spread his fame on the continent. The enormous demand led to the fact that already 14 days after its publication on 1 March 1733, the first copies were already in circulation.

Gerry Wedd

3.700 Euro + VAT

DETAILS

Stormy plate

Cobalt decoration

5 × 46 × 46 cm

Johann Philipp Höfler (1685-1722)

 

DETAILS

GOBELET IN SILVER AND VERMEIL
H.: 11,7 cm / Weight: 262 gr

Estimate: 2.000 - 3.000 €
Artcurial, Paris, 25 November 2022

 

ADRIAEN VAN OSTADE 1610 - Haarlem - 1685

25.000 Euro

DETAILS

The Breakfast
Circa 1647-52
Etching and drypoint, 21,9 x 26,1 cm
Watermark: Initials ‚PD‘ (Laurentius watermark no. 27)

Catalogue raisonné:
Davidsohn 50/VIII (of XI); Godefroy and Hollstein 50/VIII (of XII)

PROVENANCE
Sotheby’s , London, 29/30 June 1987, lot 221
Private collection

The „Breakfast“ is one of Ostade’s very finest etchings, marking the highpoint of his carreer. Impressions showing clearly all the work in the background, as the present one, are very rare.

JACOB SAMUEL BECK Erfurt 1715 - 1778

8.000 Euro

DETAILS

Still life with butter, a white cabbage, meat, fish and garlic
Oil on canvas, 55 x 74 cm

PROVENANCE
Dorotheum, Vienna, 29 June 2022, lot 192

 

Marcel van Eeden

2.400 Euro + VAT

DETAILS

Untitled (Wiad), 2016
nero pencil and coloured pencil on laid paper, 19 × 28 cm

JACOB SAMUEL BECK Erfurt 1715 - 1778

 

DETAILS

Still life with a white cabbage, a goldcrest, a pumpkin, carrots, green beans and a radish
Oil on canvas, 55 x 74 cm

PRICE
8.000 Euro

 

Marcel van Eeden

2.400 Euro + VAT

DETAILS

Untitled (Machinery), 2016
nero pencil and coloured pencil on laid paper, 19 × 28 cm

JACOB GOLE circa 1660 Amsterdam or Paris – Amsterdam 1737

 

DETAILS

The Taste – The Pancake Baker
Circa 1700
After Cornelis Dusart
Mezzotint, 25,3 x 18,1 cm
Watermark: CD GEORGE

Catalogue raisonné:
Hollstein 262/II (of III)

PROVENANCE
E. Fabricius (Lugt 847a and 919bis)

PRICE
2.200 Euro

 

CHRIS BEEKMAN Den Haag 1887 - Blaricum 1964

 

DETAILS

Still life with a cabbage
1914
Oil on canvas, 46 x 53 cm
signed and dated lower right: Christ B. 3.1914

PRICE
Please contact me

This is a wonderfully balanced still life by Chris Beekman from his pointillistic period. Until his monographic exhibition in the Stedelijk Museum „CHRIS BEEKMAN DE STIJL DEFECTOR“ in 2017 the De Stijl painter was largely forgotten. As an anarchist, he was one of the most politically active artists affiliated with the De Stijl movement.

Cornelius Völker

17.000 Euro + VAT

DETAILS

Eingeletes, 2021
Oil on canvas, 130 × 100 cm

Karl Fritsch, Gerry Wedd

6.600 Euro + VAT

DETAILS

Beer mug (Skull II), 2022

silver, cubic zirconia

Circle of CORNELIS DE HEEM 1631 Leiden – Antwerp 1695

 

DETAILS

Still life with, grapes, cherries, apricots and hazelnuts in a stone niche
Öl on panel, 53 x 40 cm

PROVENANCE
Herzog von Sachsen-Hildenburghausen, Thuringia
Private collection

David Bielander

12.000 Euro + VAT

DETAILS

Paul (the psychic octopus) Krake, 2012

bronze, Dimensions variable, 7 kg

Edition 12/25 + I AP

HONORÉ DAUMIER 1808 Marseille – Valmondois 1879

 

DETAILS

„Je n’ai jamais tant ri qu’a l’enterrement de la fille Bourdin…“
1862
Lithograph, 19,8 x 26,4 cm.

Catalogue raisonné:
Delteil 3250/II (of III)

PRICE
2.000 Euro

 

Billy Childish

25.000 Euro + VAT

DETAILS

Falada (the drinker), 2010
Oil and charcoal on canvas, 61 × 46 cm

PRICE
Please contact me

 

Jana Gunstheimer

8.800 Euro + VAT

DETAILS

Kubismus und Alkohol, 2018
charcoal on cotton, 150 × 110 cm

Cornelius Völker

23.000 Euro + VAT

DETAILS

Eingelegtes, 2021
Oil on canvas, 100 × 75 cm

Augsburg, 17th Century

DETAILS

CUP WITH LID IN GILDED SILVER
H.: 15,5 cm / Weight: 350 gr.

Estimate: 3.000 - 4.000 €
Artcurial, Paris, 25 November 2022

Karl Fritsch, Gerry Wedd

6.600 Euro + VAT

DETAILS

Beer mug, 2022

silver, rutilated quarz, aquamarine glass

Breslau, 17th Century

DETAILS

CUP WITH LID IN SILVER AND VERMEIL
H.: 1&,5 cm / Weight: 212 gr.

Estimate: 600 - 800 €
Artcurial, Paris, 25 November 2022

Daniel Kruger

3.500 Euro + VAT

DETAILS

Platter, 2005

porcelain, 10 × 35 × 35 cm

DELICIOUS! A FEAST FOR THE EYES

DELICIOUS! A FEAST FOR THE EYES

DELICIOUS! A FEAST FOR THE EYES

DELICIOUS! A FEAST FOR THE EYES

DELICIOUS! A FEAST FOR THE EYES

 

PAST EXHIBITIONS

“TERRIBLE! BEAUTIFUL!” GROTESQUE AND BIZARRE WORKS FROM SIX CENTURIES

Until 15 July 2022

Artcurial, Galeriestr. 2b, 80539 Munich, Germany

An exhibition in cooperation with Artcurial Germany and Galerie Zink Waldkirchen

Now open until 15 July 2022

Mon.-Fri.: 9:00-13:00h and 14:00-17:00h

Scroll down for all works and descriptions

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!”

ALL EXHIBITED WORKS ARE FOR SALE

FOLLOWER OF ARCIMBOLDO, ITALIAN, 17TH CENTURY

DETAILS

Follower of Arcimboldo, Italian, 17th Century

Allegory of the Four Senses: Sight, Sound, Smell and Taste – Anthropomorphic Rock

Oil on canvas, 40,5 x 40,5 cm

PROVENANCE
Private collection, United Kingdom

PRICE
Please contact me

 

ALBRECHT DÜRER 1471 NÜRNBERG 1528

DETAILS

ALBRECHT DÜRER 1471 Nürnberg 1528

“The Second Knot”. Interlaced Roundel with an Amazon Shield in its Center

Circa 1506/07

Woodcut on laid paper, 27,0 x 21, 3 cm

Catalogue raisonné:
Schoch/Mende/Scherbaum 274/IIa (of c)
Meder 274/II a (of c). With the posthumous monogram, printed circa 1560-80.

PROVENANCE
Sir John Denman Barlow, 2nd Baronet (1898 - 1986), until 1949
Colnaghi, London (with their stock no. C 27102)
E.G. Michel  
Private Collection, Germany

The second knot is from a series of prints known as The Six Knots. Albrecht Dürer created this series after a set of engravings which he assumed were by Leonardo da Vinci (1452–1519). It was the only time that Dürer exactly copied a work by an other artist. He very probably saw it as a contest between the two geniuses south and north of the Alps. Of course Dürer wanted to surpass Leonardo and translated the delicate and complex composition into the much more difficult and coarse technique of the woodcut.

The present knot is an artistic tour de force and a celebration of the pure line. The interlaced lines create a self-contained system of perfect symmetry. For Dürer and other Renaissance artists the drawn line was a symbol for creativity and almost divine artistic virtuosity: „Nulla dies sine linea" (Pliny the Elder).

Dürer's knots probably refer to Pliny's story of the contest between Apelles and Protogenes, the two legendary painters of the Greek antiquity: Once, Apelles visited Protogenes, who was not at home. Apelles painted a single fine line on a panel in his competitor's studio. When Protogenes returned and saw this line, he knew that Apelles visited him. He then drew an even finer line over the first one. When Apelles came again, he drew a third line, this time so exquisitely fine that no other could be drawn. Conceding defeat, Protogenes determined that the panel should remain as it was, to be admired for its artistic virtuosity.

Dürer did not include his monogram in the print, because he did not want to claim ownership of Leonardo's design. After Dürer's death the subsequent owner of the woodblock added the initials, which were likely printed from a separate small block.

PRICE
Please contact me

 

MICHAEL SAILSTORFER

DETAILS

Maze, 2011
Acryl, Siebdruck und Säure auf kupferbeschichteter Leinwand, 190 × 190 cm

PRICE
35.000 Euro plus VAT

 

PRAGUE SCHOOL, CIRCA 1600

 

DETAILS

Prague School, circa 1600

A satirical allegory on Emperor Rudolf II

Pen and ink, watercolour and gouache on paper with a watermark (eagle in a circle), 27 x 41 cm

Inscribed on the letter attached to the lance: Wir Rudolf (…)/zu allen zeiten (…)
and on the letter held by the figure in the left: Moderare/Cunctis/in rebus

PROVENANCE
Private collection, Germany


Represented is a tournament of two bizarre combatants, cheered on by equally bizarre supporters. The weird knight on the left has a letter attached to his lance which is written by Emperor Rudolf II. He seems to be riding on an object resembling a treasure chest, out of which emerge arms and legs of a man. He has rammed his lance into his opponent. The latter fights back with a huge sword and rides on an empty barrel with a barking dog. From his torso emerge symbols of vice: snakes, bats, a witch and a dragon, dice and playing cards. The knight with the sword is also attacked by storks, a jay and a magpie originating from the imperial fighter. The foreground is crowded with fantastic creatures that seem inspired by Hieronymus Bosch. On the left a human-like figure with butterfly wings holds a sheet of paper with the motto Moderare/Cunctis/in rebus (moderate in all matters). The meaning of this large, allegorical drawing still remains to be deciphered.

PRICE
Sold

 

MATÍAS MANUEL SÁNCHEZ MARTÍN

 

DETAILS

Matías Manuel Sánchez Martín
Bacanal. Fin de semana en la finca, 2022
Oil on linen, 73 × 92 cm

PRICE
Sold

HANS SEBALD BEHAM 1500-1550

 

DETAILS

HANS SEBALD BEHAM 1500-1550
The mask, 1543
engraving on paper, 5,2 x 7,8 cm
Catalogue raisonné:
Bartsch 231; Pauli and Hollstein 235/I (of IV)

PRICE
Sold

 

FOLLOWER OF ARCIMBOLDO, ITALIAN, 17TH CENTURY

DETAILS

Follower of Arcimboldo, Italian, 17th Century

A grotesque giant laying an egg - Anthropomorphic landscape

Oil on canvas, 102,5 x 81,6 cm

PROVENANCE
Private collection, Belgium
S.A. Servaerts, Brussels, May 2001, lot 317
Private collection, France
Raffael Valls, Ltd., London

PRICE
Please contact me

 

GEORG SCHOLZ 1890 – 1945

DETAILS

GEORG SCHOLZ Wolfenbüttel 1890 – 1945 Waldkirch

Vanitas – Three skulls

circa 1930

oil on canvas, 40,5 x 61 cm.
Verso on the stretcher with the stamp of the artist's estate

PROVENANCE
Estate of the artist
Gallery Hasenclever, Munich
Gallery Michael Haas, Berlin
Collection Rüdiger Hurrle, Durbach
Bassenge, Berlin, 12 June 2021, lot 8493

PRICE
Please contact me

EXHIBITION
Berlin, Gallery Michael Haas, Stillleben. gestern und heute, 2015, p. 50
Durbach, Museum für Aktuelle Kunst Sammlung Hurrle, Das Lied der Dinge. Stillleben im Wandel der Kunst, 2018

LITERATURE
Felicia H. Sternfeld, Georg Scholz 1890-1945, Frankfurt am Main 2004, Nr. 91, pp. 383, 487

Georg Scholz is well-known for his socially critical paintings of the 1920s. He was a student of Hans Thoma and Lovis Corinth. Scholz was a leading figure of the Neue Sachlichkeit (New Objectivity). In 1925, he was appointed a professor at the Baden State Academy of Art in Karlsruhe. With the rise to power of the Nazis in 1933, Scholz was dismissed from his teaching position. Declared a Degenerate Artist, his works were among those seized in 1937 and he was forbidden to paint in 1939.The present work is a timeless Vanity and a visionary painting at the same time, given the tragic events that would evolve soon after its creation.

JACQUES CALLOT 1592-1635

DETAILS

JACQUES CALLOT 1592-1635

Small male figure playing a wind instrument, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 6,0 x 8,5 cm

Catalogue raisonné:
Lieure 422/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
1.500 Euro excluding frame

 

KARL FRITSCH

DETAILS

Untitled, 2021
18k gold, iron, rutil quarz

PRICE
9.500 Euro plus VAT

 

JACQUES CALLOT 1592-1635

DETAILS

JACQUES CALLOT 1592-1635

The Drinker: Front View, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 6,0 x 8,5 cm

Catalogue raisonné:
Lieure 411/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
1.500 Euro excluding frame

 

KARL FRITSCH

DETAILS

Untitled, 2021
9k gold, carnelian, synthetic spinell, quarz

PRICE
9.500 Euro plus VAT

 

JACQUES CALLOT 1592-1635

 

DETAILS

JACQUES CALLOT 1592-1635

Masked small figure with a sword in both hands
From the series 'Varie figure gobbi', 1616/circa 1622
Etching on paper, 6,5 x 8,5 cm

Catalogue raisonné:
Lieure 413/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

 

KARL FRITSCH

DETAILS

Untitled, 2021
9k palladium white gold, rutil quarz, pink opal

PRICE
11.200 Euro plus VAT

 

JACQUES CALLOT 1592-1635

DETAILS

JACQUES CALLOT 1592-1635

Small male figure in three-quarter view with outstreched left hand and right hand grasping a sword at hip
From the series 'Varie figure gobbi', 1616/circa 1622
Etching on paper, 6,4 x 9,0 cm

Catalogue raisonné:
Lieure 415/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
1.500 Euro excluding frame

 

KARL FRITSCH

DETAILS

Untitled, 2011
bronze, diamonds

PRICE
4.900 Euro plus VAT

 

JACQUES CALLOT 1592-1635

 

DETAILS

JACQUES CALLOT 1592-1635

Masked, small male figure, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 5,6 x 8,6 cm

Catalogue raisonné:
Lieure 419/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

 

KARL FRITSCH

DETAILS

Untitled, 2021
18k gold, carnelian, smoky quarz, cubic zirkonia

PRICE
16.800 Euro plus VAT

 

JACQUES CALLOT 1592-1635

 

DETAILS

JACQUES CALLOT 1592-1635

The Lute Player, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 5,6 x 8,6 cm

Catalogue raisonné:
Lieure 420/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

 

KARL FRITSCH

DETAILS

Untitled (10), 2018
shibuichi (copper, silver, gold)

PRICE
4.200 Euro plus VAT

 

JACQUES CALLOT 1592-1635

 

DETAILS

JACQUES CALLOT 1592-1635

The Bandy-Legged Man Playing the Guitar, 1616/circa 1622
From the series 'Varie figure gobbi'
Etching on paper, 6,1 x 8,7 cm

Catalogue raisonné:
Lieure 426/I (of II)

The series 'Varie figure gobbi' belongs to Callots most famous works. He created the etchings depicting grotesque, dwarfish figures dancing, drinking, jousting, playing music and singing, during his stay at the Medici court in Florence in 1616. Callot was inspired by the small and hunchbacked people who served as jesters and players for the amusement of the Florentine court. Records in the National Library in Florence show that a troupe of dwarves, who referred to themselves as 'gobbi', was hired by the palace in 1612, in order to cheer up the ailing prince, Cosimo II de Medici.

PRICE
Sold

 

ITALIAN, 17TH CENTURY

DETAILS

ITALIAN, 17th Century

Study Head of a Bearded Man

Oil over black chalk on paper, laid down on canvas, 48,5 x 34,8 cm

PROVENANCE
Private collection, Austria

PRICE
Please contact me

 

PAUL KOOIKER

DETAILS

Untitled (hair), 2019
114 × 86 cm
Edition of 3

PRICE
5.500 Euro plus VAT

 

ERNST SCHMITZ 1895 -1917

DETAILS

ERNST SCHMITZ 1859 DÜSSELDORF – MÜNCHEN 1917

The Elderly Couple

Each oil on wood, 18,5 x 14 cm

Each signed and inscribed upper right: Ernst Schmitz / München

PROVENANCE
Hofkunsthandlung Honrath & Van Baerle, Berlin
Their sale Rudolf Lepke, Berlin, 24 November 1903, lots 59 and 61
Galerie Heinemann, Munich, inv. nos. 7379 and 7497
Sold on 23 August 1905 for 4.800 Goldmark to „Robert Lenk, Wien“, according to the database of Galerie Heinemann
[Perhaps the buyer can be identified with the radiologist Dr. Robert Lenk (1885 Königliche Weinberge, Prague – Tel Aviv 1966). As a jew Dr. Lenk was forced to leave Vienna after the annexation of Austria in 1938. In the same year he moved to Haifa in Israel. I could not find any reference to a potential Nazi-related art theft in the relevant databases: Lost Art, DHM database "Sammlung des Sonderauftrages Linz", DHM database "Central Collecting Point München", Fold3, Holocaust Collection, Getty Provenance Index].
Scheublein Art & Auktionen, Munich, 26 June 2015, lot 632

PRICE
Sold

 

JANA GUNSTHEIMER

DETAILS

Gewöhnliches Unglück / Neurotisches Elend, 2014
(Irrige Vorstellungen kausaler Zusammenhänge)
Graphit on paper, each 150 × 120 cm

PRICE
22.000 Euro plus VAT

 

RUDOLF SCHLICHTER 1890-1955

DETAILS

RUDOLF SCHLICHTER (1890-1955)

„Lobsingt und preiset ihn“ - "Praise him"

1950

Pen and ink on paper, 69 x 50 cm

Inscribed lower left: „Lobsingt und preiset ihn“ ("Praise him")

Signed and dated lower right: R. Schlichter 1950

PROVENANCE
Rudolf Schlichter (1890-1955)
By descent in the family, until 2021
Piguet Auction house, Geneva, 17 March 2021, lot 4399

PRICE
1.800 Euro excluding frame

 

Edgar PLANS (*1977)

DETAILS

Idols, 2017
Mixed media on paper, 50 x 70 x 3 cm
Artcurial, Paris, 25 October 2022
Estimate: 30.000 – 50.000 Euro

MARCEL VAN EDEN

DETAILS

untitled (3 skulls)

nero pencil on paper

PRICE
2.800 Euro plus VAT

 

MARCEL VAN EDEN

DETAILS

Untitled
nero pencil on paper

PRICE
3.400 Euro plus VAT

 

Edgar PLANS (*1977)

DETAILS

French Cuisine, 2019
Oil on canvas, 162 x 146 cm
Artcurial, Paris, 25 October 2022
Estimate: 200.000 - 300.000 Euro

 

JANA GUNSTHEIMER

DETAILS

Songs of fear and boredom #4, 2022

watercolor on paper

55,5 × 42,5 cm

PRICE
Please contact me

 

DAN SCHEIN

DETAILS

King Ubu, 2022
Oil on canvas
41 × 51 cm

PRICE
2.500 Euro plus VAT

 

JANA GUNSTHEIMER

DETAILS

Songs of fear and boredom #2, 2022

watercolor on paper

53 × 41 cm

PRICE
Please contact me

 

Edgar PLANS (*1977)

DETAILS

Freemind, 2017
Mixed media on paper, 50 x 70 x 3 cm
Artcurial, Paris, 25 October 2022
Estimate: 30.000 – 50.000 Euro

 

CRISTINA LAMA RUIZ

DETAILS

Conjuro, 2022
Oil on linen, 73 × 92 cm

PRICE
4.700 Euro plus VAT

 

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!” 9 May - 15 July 2022

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!”

“TERRIBLE! BEAUTIFUL!” Until 15 July 2022

„Good artists copy, great artists steal“ (Pablo Picasso) 6 September - 29 October 2021

 

Pablo Picasso
Jana Gunstheimer
Baldur Helgason
Matías Sánchez
Michael Sailstorfer
Dirk Zoete

An exhibition in cooperation with Artcurial Germany and Galerie Zink Waldkirchen

Artcurial, Galeriestr. 2b, 80539 Munich, Germany

6 September - 29 October 2021

Mon.-Fr.: 9:00-13:00 and 14:00-17:00
Weekend openings: 11/12 September and 23/24 October: 12:00-18:00

All works are for sale

Pablo Picasso and Baldur Helgason

Pablo Picasso

Pablo Picasso and Jana Gunstheimer

Pablo Picasso and Matías Sánchez

Dirk Zoete

 

Exhibited works by Picasso:

 

All works are for sale*

Minotaure à la coupe et son amie
1933-34

DETAILS

Etching, 1933-4
On heavy wove paper, plate size: 87 x 145 mm, sheet size: 227 x 315 mm; with full margins.
Signed in pencil, inscribed 'Pour Lacourière' and '2e E. no 2/4'

PROVENANCE
Roger Lacourière, Paris
Sotheby's, London, 6 October 1976, Lot 90
Private Collection
Christie's, New York, 6 November 1996, Lot 331
There acquired by a Private Collection, Switzerland
By descent until 2020

PRICE
Please contact me

LITERATURE
Bernhard Geiser et Brigitte Baer, Picasso Peintre-Graveur, 373 II/II

One of Picasso's rarest prints. Dedicated by the artist to Roger Lacourière, printer of the Suite Vollard. This is the only known proof of this state, although, judging from the inscription in the lower left, there seem to have been originally 4 proofs. There is one proof of the first state in the Museé Picasso, Paris (MP 2406).

 

Taureau et Cheval dans l'Arène
from “Le Chef-d'Oeuvre Inconnu"
1929

DETAILS

Etching on „Vélin de Rives“, Plate: 19,4 x 27,7 cm
Bloch 84, Baer 125/b.1
Edition of 340
Unsigned
Price: SOLD

Peintre ramassant son Pinceau, avec un Modèle au Turban
from “Le Chef-d'Oeuvre Inconnu"
1927-1928

DETAILS

Etching on „Vélin de Rives“, Plate: 19,4 x 27,7 cm
Bloch 88, Baer 129/b.1
Edition of 340
Unsigned
Price: SOLD

Peintre au Travail observé par une Modèle nu
from “Le Chef-d'Oeuvre Inconnu"
1927-1928

DETAILS

Etching on "Vélin de Rives", Plate: 19,4 x 27,7 cm
Bloch 89, Baer 130/b.1
Edition of 340
unsigned
Price: SOLD

Profil de Femme
from "Six Contes fantasques"
30.4.1944

DETAILS

Engraving on „Vergé d'Arches“, Plate: 33,6 x 26 cm
Bloch 364, Baer 693/B.b.5
Edition of 225
Unsigned
Price: upon request

 

Jeune Fille de Profil couronnée de Fleurs
from "Six Contes fantasques"
30.4.1944

DETAILS

Engraving on „Vergé d'Arches“, Plate: 33,6 x 26 cm
Bloch 366, Baer 696/B.b.5
Edition of 225
Unsigned
Price: upon request

 

Jeune Sculpteur au Travail
from the "Suite Vollard"
25.03.1933

DETAILS

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 26,7 x 19,4 cm
Bloch 156, Baer 309/B.d
Edition of 260
Provenance: Henri M. Petiet, with his mark "H.M.P." and blind stamp "H.PETIET EDITEUR PARIS"
Unsigned
Price: upon request

 

 

Le Repos du Sculpteur devant des Chevaux et un Taureau
from the "Suite Vollard"
31.3.1933

DETAILS

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 19,4 x 26,7 cm
Bloch 166, Baer 319/B.d
Edition of 260
Signed in pencil
Price: upon request

Minotaure caressant une Femme
from the "Suite Vollard"
18.5.1933

DETAILS

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 29,9 x 36,7 cm
Bloch 191, Baer 350/B.d
Edition of 260
Signed in pencil
Price: Please contact me

Scène bacchique au Minotaure
from the "Suite Vollard"
18.5.1933

DETAILS

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 29,9 x 36,5 cm
Bloch 192, Baer 351/III/B.d
Edition of 260
Signed in pencil
Price: upon request

Minotaure endormi contemplé par une Femme
from the "Suite Vollard"
18.5.1933

DETAILS

Etching on "Vergé de Montval" with watermark "Picasso", Plate: 19,4 x 26,9 cm
Bloch 193, Baer 352/III/B.d
Edition of 260
Provenance: H.-M. Petiet, with his blindstamp: H. Petiet éditeur Paris (Lugt 2021a)
Unsigned
Price: upon request

Minotaure, Buveur et Femmes
from the "Suite Vollard"
18.6.1933

DETAILS

Etching on "Vergé de Montval" with watermark "Vollard", Plate: 29,8 x 36,5 cm
Bloch 200, Baer 368/IV/B.d
Edition of 260
Provenance: H.-M. Petiet, with his blindstamp: H. Petiet éditeur Paris (Lugt 2021a)
Unsigned
Price: upon request

Femme Torero II
from the "Suite Vollard"
20.6.1934

DETAILS

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 29,7 x 23,7 cm
Bloch 220, Baer 426/B.d
Edition of 260
Unsigned
Price: upon request

 

Minotaure aveugle guidé par une Fillette II
from the "Suite Vollard"
4.11.1934

DETAILS

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 23,9 x 30 cm
Bloch 223, Baer 435/II/B.d
Edition of 260
Unsigned
Price: upon request

Minotaure aveugle guidé par une Fillette III
from the "Suite Vollard"
4.11.1934

DETAILS

Etching on „Vergé de Montval“ with watermark „Vollard“, Plate: 22,6 x 31,2 cm
Bloch 224, Baer 436/IV/B.d
Edition of 260
Signed in pencil
Price: upon request

Minotaure aveugle guidé par Marie-Thérèse au pigeon dans une nuit étoilée
from the "Suite Vollard"
1934

DETAILS

Aquatint and drypoint, on "Vergé de Montval" paper with watermark "Picasso"
Plate: 24,7 x 34,8 cm
Bloch 225, Baer 437/IV/B.d
Edition of 260
Signed in pencil
Price: upon request

 

 

Faune dévoilant une Dormeuse
from the "Suite Vollard"
12.6.1936

DETAILS

Aquatint and engraving on „Vergé de Montval“ with watermark „Vollard“
Plate: 31,6 x 41,7 cm
Bloch 230, Baer 609/VI B.d
Edition of 260
Signed in pencil
Price: upon request

 

Jeune Homme au Masque de Taureau
Faune et Profile de Femme
1934

DETAILS

Etching, Plate: 22,3 x 31,3 cm
Bloch 279, Baer 422/II/C.b
Edition of 50
Numbered 38/50
With signature stamp
Preis: upon request

Femme Torero V
22.6.1934

DETAILS

Etching
Plate: 23,7 x 29,7 cm
Bloch 281, Baer 429/C.b.1
from the edition of 50
Numbered 49/50 and with signature stamp
Price: upon request

 

 

Minotaure embrassant une Femme
1934

DETAILS

Engraving on "Vergé de Montval" with watermark "Picasso", Plate: 39,6 x 24,2
Bloch 283, Baer 431/B.c
Edition of 55
Provenance: Marina Picasso, verso with her stamp and inventory no. (19520)  unsigniert
Unsigned
Price: upon request

 

 

Dances
13.2.1954

DETAILS

Lithograph
Size: 48 x 62 cm
Bloch 750, Mourlot 246
One of 6 artist's proofs aside from the numbered edition of 50
Verso inscribed  'M 246' and marked by Fernand Mourlot 'FM 6/6'
Unsigned
Price: upon request

Le Jeu du Taureau
14.2.1954

DETAILS

Lithograph
Size: 48 x 62 cm
Bloch 751, Mourlot 247
One of 6 artist's proofs aside from the numbered edition of 50
Verso inscribed  'M 247' and marked by Fernand Mourlot 'FM 6/6'
Unsigned
Price: upon request

La Danse des Banderilles
14.2.1954

DETAILS

Lithograph
Size: 48 x 62 cm
Bloch 752, Mourlot 248
One of 6 artist's proofs aside from the numbered edition of 50
Verso inscribed 'M 248' and marked by Fernand Mourlot 'FM 6/6'
Unsigned
Price: upon request

 

 

Toros en Vallauris
13.7.1960

DETAILS

Linocut in colours on „Vélin d'Arches“
Size: 64 x 53 cm
Bloch 1291, Baer 1269/B
Numbered 12/185 and signed in pencil
Price: upon request

 

Femme Torero. Dernier baiser?
12.6.1934

DETAILS

Etching on "Vergé de Montval", Plate: 49,7 x 69,9 cm
Bloch 1329, Baer 425/C
Edition of 50, printed by Lacourière in 1939
Unsigned
Price: upon request

Jeune Fille au Corsage rayé
4.3.1949

DETAILS

Lithograph
Size: 63 x 48 cm
Mourlot 157/2
No edition; there are known only 6 prints for the artist and the printer
Unsigned
Price: upon request

 

L' Étreinte VI.
23.10.1963

DETAILS

Etching, Engraving and Aquatint, Plate: 32 x 42 cm
Bloch 1115, Geiser-Baer 1108/III/B/b/1
From the edition of 50
Numbered 7/50
Signed in pencil
Price: upon request

 

* all works by Picasso are offered by

Marco Pesarese-Kunsthandels GmbH
Ichoring 29
82057 Icking

Director: Marco Pesarese
Registergericht: Amtsgericht München
Registernummer: HRB 264813

VAT-ID (§ 27 a Umsatzsteuergesetz): DE815900979

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