Lithograph in colors. With the estate stamp (Lugt 1829 d) on the reverse. Inscribed by Dr. Heinrich Stinnes on the reverse. One of 60 copies. On brownish wove paper. 70 x 50.2 cm. , the full sheet. Printed by Lange, Breslau Academy. [CH] The "Brücke": Expressionism on Paper - The Passion of a German Collector Further works from the collection will be offered in our Evening Sale on Friday, December 6, 2024, and in the simultaneous Online Sale (Auction ends on December 15, 2024).
• In February/March 1928, the “Gypsy Portfolio,” alongside paintings, watercolors, pastels, and lithographs, was presented to the public for the first time in an exhibition at the Galerie Ferdinand Möller in Berlin. • Works from the “Gypsy Portfolio” are regarded as Otto Mueller's most important graphic works. • Copies of this color lithograph have not been offered at international auctions for more than five and ten years, respectively (source: artprice.com) • Part of a Hessian private collection for almost 60 years.. LITERATURE: Florian Karsch, Otto Mueller. Das graphische Gesamtwerk, Berlin 1974, catalogue raisonné no. 166 III (of IV) (illustrated). The "Brücke": Expressionism on Paper - The Passion of a German Collector The Hessian collector recollects his first encounter with Expressionist art to this day: it was shortly after the end of World War II that he was struck by Karl Schmidt-Rottluff paintings on a visit to the Frankfurter Kunstkabinett. The gallery was one of the first in Germany to offer art lovers an opportunity to see works by the artists of the "Brücke" group again, as they had been ostracized as "degenerate" by the Nazis. One of the main reasons behind Hanna Bekker von Rath's decision to open the place on Börsenplatz in Frankfurt in 1947 was to provide a forum for these artists after the dark years of Nazi rule and to reintroduce them to the public. “These works blew me away” is how the collector recalls his initial reaction to the exhibits. He liked Schmidt-Rottluff's rugged, woodcut-like style and subsequently also developed a liking for the other members of the “Brücke”, whose style was so different from what had previously been considered “beautiful”. Together with his wife - who was particularly interested in the works of Otto Mueller and Emil Nolde - he visited many more exhibitions at the Frankfurt Kunstkabinett and other galleries. Nevertheless, it was about more than just admiring them. In 1962, the couple bought their first Expressionist work at auction in Stuttgart - from Roman Norbert Ketterer, the uncle of the current owner of Ketterer Kunst: Ernst Ludwig Kirchner's woodcut "Drei Akte im Wald" from 1933 marked the beginning of the couple's extensive collection of "Brücke" prints. He never had a specific system, says the collector. However, he avoided acquiring pieces that “many others had as well”. He was particularly interested in works produced in small numbers, pieces with a unique feature such as an additional coat of paint, or works that the artist used as trial proofs. But first and foremost, says the collector, “I made my purchases based on my taste”. Further works from the collection will be offered in our Evening Sale on Friday, December 6, 2024, and in the simultaneous Online Sale (Auction ends on December 15, 2024)
From the artist's estate (with the estate stamp on the reverse, Lugt 1829 d). Dr. Heinrich Stinnes Collection, Cologne (with the collector's stamp on the reverse, Lugt 1376 d). Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt a. Main. Private collection, Hesse (acquired from the above in 1962, family-owned ever since)
In February/March 1928, the “Gypsy Portfolio,” alongside paintings, watercolors, pastels, and lithographs, was presented to the public for the first time in an exhibition at the Galerie Ferdinand Möller in Berlin. The motifs are based on numerous sketches the artist made during his travels in the Balkans, as well as to Szolnok on the Tisza in Hungary. The artist was not concerned with a socially critical or even factually realistic view of the social marginalization of this minority, which was already a reality in the mid-1920s. He described his longing for an unspoiled life close to nature, in which people and nature formed a peaceful unity. A profoundly emotional expressionist worldview reflects the romantic and his lost paradise. The execution of the nine color lithographs, each in an edition of 60, was printed by the artist at great expense at the Breslau Academy's printshop Lang in 1927. Various variations, such as changes in the colored background and additional hand coloring, make the portfolio an exceptional work of German Expressionism. [MvL]
Colour-fast print in good condition. The sheet as a whole is slightly wavy in places and minimally creased. In the reverse area of the upper two sheet corners with circular areas of light paper thinning, presumably caused by an earlier mounting. Isolated tiny tears and splits in the left edge of the sheet. With a horizontal crease mark at the bottom sheet edge. With small remnants from an earlier mounting on the reverse of the upper sheet edge.
Lot Details
Lithograph in colors. With the estate stamp (Lugt 1829 d) on the reverse. Inscribed by Dr. Heinrich Stinnes on the reverse. One of 60 copies. On brownish wove paper. 70 x 50.2 cm. , the full sheet. Printed by Lange, Breslau Academy. [CH] The "Brücke": Expressionism on Paper - The Passion of a German Collector Further works from the collection will be offered in our Evening Sale on Friday, December 6, 2024, and in the simultaneous Online Sale (Auction ends on December 15, 2024).
• In February/March 1928, the “Gypsy Portfolio,” alongside paintings, watercolors, pastels, and lithographs, was presented to the public for the first time in an exhibition at the Galerie Ferdinand Möller in Berlin. • Works from the “Gypsy Portfolio” are regarded as Otto Mueller's most important graphic works. • Copies of this color lithograph have not been offered at international auctions for more than five and ten years, respectively (source: artprice.com) • Part of a Hessian private collection for almost 60 years.. LITERATURE: Florian Karsch, Otto Mueller. Das graphische Gesamtwerk, Berlin 1974, catalogue raisonné no. 166 III (of IV) (illustrated). The "Brücke": Expressionism on Paper - The Passion of a German Collector The Hessian collector recollects his first encounter with Expressionist art to this day: it was shortly after the end of World War II that he was struck by Karl Schmidt-Rottluff paintings on a visit to the Frankfurter Kunstkabinett. The gallery was one of the first in Germany to offer art lovers an opportunity to see works by the artists of the "Brücke" group again, as they had been ostracized as "degenerate" by the Nazis. One of the main reasons behind Hanna Bekker von Rath's decision to open the place on Börsenplatz in Frankfurt in 1947 was to provide a forum for these artists after the dark years of Nazi rule and to reintroduce them to the public. “These works blew me away” is how the collector recalls his initial reaction to the exhibits. He liked Schmidt-Rottluff's rugged, woodcut-like style and subsequently also developed a liking for the other members of the “Brücke”, whose style was so different from what had previously been considered “beautiful”. Together with his wife - who was particularly interested in the works of Otto Mueller and Emil Nolde - he visited many more exhibitions at the Frankfurt Kunstkabinett and other galleries. Nevertheless, it was about more than just admiring them. In 1962, the couple bought their first Expressionist work at auction in Stuttgart - from Roman Norbert Ketterer, the uncle of the current owner of Ketterer Kunst: Ernst Ludwig Kirchner's woodcut "Drei Akte im Wald" from 1933 marked the beginning of the couple's extensive collection of "Brücke" prints. He never had a specific system, says the collector. However, he avoided acquiring pieces that “many others had as well”. He was particularly interested in works produced in small numbers, pieces with a unique feature such as an additional coat of paint, or works that the artist used as trial proofs. But first and foremost, says the collector, “I made my purchases based on my taste”. Further works from the collection will be offered in our Evening Sale on Friday, December 6, 2024, and in the simultaneous Online Sale (Auction ends on December 15, 2024)
From the artist's estate (with the estate stamp on the reverse, Lugt 1829 d). Dr. Heinrich Stinnes Collection, Cologne (with the collector's stamp on the reverse, Lugt 1376 d). Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt a. Main. Private collection, Hesse (acquired from the above in 1962, family-owned ever since)
In February/March 1928, the “Gypsy Portfolio,” alongside paintings, watercolors, pastels, and lithographs, was presented to the public for the first time in an exhibition at the Galerie Ferdinand Möller in Berlin. The motifs are based on numerous sketches the artist made during his travels in the Balkans, as well as to Szolnok on the Tisza in Hungary. The artist was not concerned with a socially critical or even factually realistic view of the social marginalization of this minority, which was already a reality in the mid-1920s. He described his longing for an unspoiled life close to nature, in which people and nature formed a peaceful unity. A profoundly emotional expressionist worldview reflects the romantic and his lost paradise. The execution of the nine color lithographs, each in an edition of 60, was printed by the artist at great expense at the Breslau Academy's printshop Lang in 1927. Various variations, such as changes in the colored background and additional hand coloring, make the portfolio an exceptional work of German Expressionism. [MvL]
Colour-fast print in good condition. The sheet as a whole is slightly wavy in places and minimally creased. In the reverse area of the upper two sheet corners with circular areas of light paper thinning, presumably caused by an earlier mounting. Isolated tiny tears and splits in the left edge of the sheet. With a horizontal crease mark at the bottom sheet edge. With small remnants from an earlier mounting on the reverse of the upper sheet edge.
