Karl Hofer – Hans Purrmann – Christian Rohlfs

Home , Christian Rohlfs, Eduard Bargheer, Hans Purrmann, Karl Ernst Osthaus, Max Peiffer Watenphul, Museum Folkwang

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Figures, Still-lifes and Southern Landscapes between Impressionism, Expressionism and New Objectivity

th th 12 May till 26 August 2017

Galerie Henze & Ketterer & Triebold Riehen/ Basel Zweigstelle der Galerie Henze & Ketterer AG Wichtrach/ Bern Kunst von der klassischen Moderne bis in die Gegenwart Galerie - Kunsthandlung - Kunstbuchhandlung -Verlag - Archive Ausstellungen - Ankauf - Verkauf - Kommission - Schätzung Beratung bezüglich Dokumentation Echtheit Konservierung Versicherung Transport Konzeptionelle und organisatorische Betreuung von Kunstausstellungen und Kunstsammlungen Dienstag-Freitag 10 - 12 + 14 – 18 Uhr - Samstag 10 - 16 Uhr

Karl Hofer – Hans Purrmann – Christian Rohlfs Figures, Still-lifes and Southern Landscapes between Impressionism, Expressionism and New Objectivity

12th May to 26th August 2017

Karl Hofer and Hans Purrmann belonged to the same generation, having been born in Karlsruhe in 1878 and in Speyer in 1880 respectively, while Christian Rohlfs – born in Niendorf near Leezen in 1849 – was already a generation older. Nonetheless, as we shall see below, there were a great many parallels in their lives and in their artistic developments.

Hofer, Purrmann and Rohlfs all enjoyed a full academic training. They learnt their “craft” the traditional way, attended a diversity of painting classes and were students of the leading artist- teachers at the renowned academies of their time. In 1897 Karl Hofer enrolled at the Karlsruhe Academy, where he became a master pupil of Hans Thoma in 1901. Only a year later, in 1902, he transferred to the Royal Academy of Fine Arts in Stuttgart, where he was a master pupil of Leopold von Kalckreuth. Hans Purrmann attended the Arts and Crafts College, likewise in Karlsruhe, from 1897 until 1899, and later, until 1905, the Academy of Fine Arts in Munich, where he studied, first under Gabriel von Hackl and then under Franz von Stuck, together with Paul Klee, Wassily Kandinsky and Rudolf Levy. Christian Rohlfs enrolled at the Grand Ducal Art College in Weimar in 1870, where he studied successively under the history and figure painter Paul Thumann, the genre painter Ferdinand Schauss and the Belgian nude painter Alexandre Struys. He later became one of Max Thedy's students until finally completing his training and becoming a fully fledged artist in 1884.

The works of all three artists manifest the influence of the French Impressionists, not least through the typical Impressionist style of their early years. Sojourns in Paris, visits to exhibitions and also direct contact with the painters of the French avant-garde clearly left their mark on the work of all three artists. History tells us that Hofer first stayed in Paris in 1899. This was followed by a further stay in 1900, when he made the acquaintance of Julius Meier-Graefe. He later resided in the French capital between the years of 1908 and 1913. Hofer's work manifests the influence of Paul Cézanne more than any other Impressionist painter. Purrmann moved to Paris in 1905 after having seen works of the Impressionists at the German National Gallery and the Salon Cassirer in Berlin. He made the acquaintance of Pablo Picasso and also that of Henri Matisse, with whom he founded the so-called “Académie Matisse” in 1908 – with Matisse as the teacher and Purrmann as the massier, the person responsible for organization and administration. It was during this time that Purrmann's work was decisively influenced by the French Impressionists, and not least by Matisse. Inspiration also came from Cézanne, Renoir and Seurat, whose works Purrmann also collected. The artist remained in Paris until 1914, returning to Germany upon the outbreak of the First World War. By 1888, the works of Christian Rohlfs were also showing signs of a formal dissolution in the Impressionist sense, a development that Rohlfs saw confirmed only a short time later in the works of Monet, Pissarro and Sisley, which were on exhibition at the Grand Ducal Academy in Weimar in 1890, as the artist himself had noted in writing. Some time later – at the Folkwang Museum in Hagen after 1903 – Rohlfs became familiar with the works of Renoir, Signac, Gauguin and van Gogh, and also Munch, who were also to exercise a decisive influence on his style.

Hofer, Purrmann and Rohlfs had already attained considerable success prior to the outbreak of the Second World War. They had their own one-man exhibitions, took part in important group exhibitions, won scholarships and prizes and held important academic posts. Having at one time been mere pupils and students, they were now the masters and mentors who were to influence the younger generation. As teachers at the art colleges, they now shared their artistic experience and expertise with multitudes of students. In 1907 Meier-Graefe published an article in “Kunst und Künstler” entitled “New German Romans”, an article that gave Hofer his breakthrough in the German-speaking countries of Europe. There then followed a multitude of exhibitions at the most renowned galleries: Cassirer (Berlin), Tanner (Zürich), Alfred Flechtheim (Frankfurt am Main, later Berlin) and Kunstsalon Ludwig Schames (Frankfurt am Main), as well as such public institutions as Städtische Kunsthalle Mannheim, Kestner Gesellschaft (Hanover), Kunsthaus Zürich, Museum Folkwang (Essen), German National Gallery (Berlin). In 1909 Hofer took part for the first time in the exhibition of the “Berliner Secession”, which had been founded by the German Impressionist Max Liebermann. By 1922 Hofer had already become widely known abroad, with exhibitions at many venues, including Venice and, from 1925 onwards, the Carnegie Institute in Pittsburgh (every year until 1939), where he was also a member of the selecting jury. Since 1902 he had been receiving financial support from the Swiss industrialist and patron Theodor Reinhart, at first in the form of individual financial allowances and then by way of a contractually agreed grant until 1913. It was in this same year that Hofer became a member of the “Free Secession” in Berlin and exhibited in the following year together with Liebermann, Heckel, Kirchner, Pechstein and Schmidt-Rottluff. In 1920 he was appointed to a teaching post, later to a professorship, at the “United State School for Fine and Applied Art in Berlin”. In 1923 he was elected to the Prussian Academy of the Arts, where he entered its Senate in 1929, after having been appointed only a year before to the Board of Directors of the Deutscher Künstlerbund (Association of German Artists). For his part, Purrmann likewise exhibited, as early as 1918, at the Paul Cassirer Gallery in Berlin. Further exhibitions followed at the Pro Arte Gallery in Basel and the Alfred Flechtheim Gallery in Berlin. In 1915 he had been elected associate member of the “New Munich Secession” and frequently took part in its exhibitions. His membership lasted until 1937. In 1919, at the proposal of Liebermann and Slevogt, he became a member of the Prussian Academy of the Arts. Rohlfs, too, exhibited at the Alfred Flechtheim Gallery in Düsseldorf and the Paul Cassirer Gallery in Berlin, but also at other galleries: Neumann in Berlin, Garvens in Hanover, Nierendorf in Berlin, Commeter in Hamburg and Ferdinand Moeller in Berlin. He also had numerous one-man exhibitions at many important public galleries and museums, including the Museum Folkwang in Hagen, the German National Gallery in Berlin, the Municipal Museum of Erfurt, the Christian Rohlfs Museum in Hagen (founded in his honour in 1927 on the occasion of his 80th birthday), the Municipal Museum of Wuppertal, the Kunsthalle Bern, the Basel Art Museum and the Kunsthalle Zürich. Rohlfs took part in group exhibitions of the Berlin Secession and at the Academy of the Arts and the Deutscher Künstlerbund. His acquaintanceship with Karl Ernst Osthaus came about in 1900 through an introduction by Henry van de Velde, at the very time when Osthaus had founded the Folkwang Museum, where Rohlfs then moved into a studio at Osthaus's invitation. In 1902 Rohlfs – still in the capacity of a teacher – took over the directorship of the Weimar Academy and was later granted the title of “Professor”. In 1907 he became a member of the “Separate League of West German Art Lovers and Artists”, which had been founded by Karl Ernst Osthaus. Other memberships followed: the “New Secession” in Berlin and the “Folkwang Association” in Hagen, both in 1911, and the “Free Secession” in Berlin in 1914. In 1922 he was awarded an honorary doctorate by the Technical University of Aachen. In 1924 Christian Rohlfs was granted the freedom of the City of Hagen and membership of the “Prussian Academy of the Arts” in Berlin. A year later he was awarded an honorary doctorate by the Faculty of Philosophy of the University of Kiel and was elected associate member of the State Academy of Art in Düsseldorf.

During the Nazi regime, one of the darkest periods of German history, all three artists suffered the same fate: they were relieved of their offices and dismissed from their posts. Their work was banned as “degenerate” and they were forbidden to exhibit or sell their works and were not even allowed to work as artists. Their works in public institutions were confiscated, some being exposed to ridicule in the exhibition “Degenerate Art” in Munich. Many works were sold abroad in exchange for foreign currency or even destroyed. Karl Hofer was dismissed from his professorship in Berlin as early as 1933 and then, in 1938, debarred from the Prussian Academy of the Arts and the Reich Chamber of Fine Arts. As many 3 as 313 works by Karl Hofer were confiscated from a total of 27 German museums, nine of them being shown in the “Degenerate Art” exhibition in Munich, 39 sold or exchanged and five destroyed. And if that wasn't enough, his studio in Berlin was bombed in an Allied air raid in 1943, resulting in the complete destruction of 150 paintings, 1000 drawings and sketchbooks. But this did not deter Hofer. He immediately began to “repaint” important works, copying and reformulating his motifs with the aid of photographs that had survived the air raid. Hans Purrmann had already been living and working in Florence since 1935, where he had taken over the directorship of Villa Romana in an honorary capacity. He had had to flee from Germany because he could no longer continue working as an artist under the growing intimidation of the National Socialists. His works, too, had been confiscated from German museums: a total of 36 paintings and various prints, all of which have largely disappeared without trace. Two of them were shown in the “Degenerate Art” exhibition. His studio in Berlin was likewise destroyed in an Allied air raid in 1943. Purrmann fled to Castagnola, and later to Montagnola, in Italian-speaking Switzerland, where he made friends with Hermann Hesse. Around 412 works by Christian Rohlfs were removed from public institutions by the National Socialists, fourteen of them being shown in the “Degenerate Art” exhibition in Munich. Rohlfs lived just long enough to suffer his dismissal from the Prussian Academy of the Arts on 7th January 1930, the day before he died.

After the end of the Second World the reception of the works of Hofer, Purrmann and Rohlfs was quickly restored in German-speaking countries. Numerous solo and group exhibitions in important public institutions both at home and abroad testify to the keen interest that has been shown in the works of these three artists right up until the present day. They were all awarded honours and distinctions of various kinds and they all held offices of importance. Hofer was appointed Rector of the University of the Arts in Berlin in 1945. He was able to recruit the painters Max Pechstein and Karl Schmidt-Rottluff as teachers, as well as other persons of renown, including the sculptress Renée Sintenis, the architect Max Taut and the art historian Will Grohmann. When Karl Hofer reached the age of 70 in 1948, he was awarded an honorary doctorate by the Humboldt University of Berlin. The Academy of Fine Arts in Karlsruhe granted him the freedom of the city. In 1952 Hofer was awarded the order Pour le Mérite für Wissenschaft und Künste der Bundesrepublik Deutschland. A year later he received the Commander's Cross of the Order of Merit of the Federal Republic of Germany, followed by the Berlin Art Prize. Purrmann's influence on the intellectual and artistic development of Germany during the immediate post-war period cannot be overestimated, a fact to which his memberships in numerous newly founded artists' groups and societies, such as the Palatinate Secession, clearly testified. In 1949 he was elected honorary member of the Academy of Fine Arts, Munich, and only a year later he was granted the freedom of the City of Speyer. In 1951 he became a member of the Bavarian Academy of Fine Arts and in 1955 he took the place of the late Karl Hofer as the bearer of the order Pour le Mérite für Wissenschaft und Künste der Bundesrepublik Deutschland. He too was a member of the board of directors and a member of the selecting jury of the Deutscher Künstlerbund. In 1957 he was awarded the Art Prize of the Rhineland-Palatinate for Painting. Two years later, in 1959, he was invited to the Villa Massimo in Rome and was honoured in 1961 with the order as Commendatore dell’ordine al merito della Repubblica Italiana. In the same year he was awarded the Stephan Lochner Medal of the City of Cologne and in 1962 he was made Officier de l’Ordre des Arts et des Lettres de la Republique Française. In the same year he was awarded the Bavarian Order of Merit and, in 1962, the Knight Commander's Cross of the Order of Merit of the Federal Republic of Germany. He was also called upon to arbitrate in countless heated disputes between the exponents of the figurative and the abstract. Although Rohlfs died shortly before the outbreak of the Second World War, several of his works were shown at documenta I in Kassel in 1955. A whole exhibition room dedicated to him at the Osthaus Museum in Hagen testifies to the high esteem in which he was held. His works are kept at the most important museums in Germany, and also in the USA.

Hofer, Purrmann and Rohlfs were all able to benefit artistically from their sojourns south of the Alps, where the extraordinary quality of the light inspired their richly coloured, typically southern landscapes. In 1903 Hofer moved to Rome where he remained with his family until 1908. In 1918 he travelled all over Ticino. He loved it so much that by the late twenties he had made it his second home. It was a fruitful time, giving rise to numerous landscape paintings and friendship with Hermann Hesse. 4 Between the years of 1922 and 1928 Purrmann visited Italy regularly, staying in Sorrento, Ischia and Rome. In the 1930s, too, he was very much drawn to southern Europe and visited Siena, Genoa and Trento before finally settling in Florence for a time. The 1950s saw him back in Italy, where he made the acquaintance, on the island of Ischia, of another German-Italian artist: Eduard Bargheer. Purrmann's travels in Italy were strongly mirrored in his artistic work. Rohlfs first visited Ticino in 1927. From 1929 he spent the warm months of every year there, which is clearly reflected in his floral still-lifes and his landscapes. Towards the end of his life, as an artist persecuted in his own country, Rohlfs made Ticino his new home.

All three artists left the world a legacy of writings on art in general and/or on their own lives and experiences as artists. Comprehensive and significant catalogues raisonnés today furnish a solid basis for academic research on their respective oeuvres. Hofer's autobiography, “Aus Leben und Kunst” was published in 1952, followed by his reminiscences “Erinnerungen eines Malers” a year later. His seminal work “Über das Gesetzliche in der bildenden Kunst” was published in Berlin in 1956 (his choice of title is explained below). Right up until his death on 3rd April 1955, Karl Hofer never gave up the constant quest for the permanent and the regular in art, which he solidly expressed in strong forms and colours. He avoided the fortuitous, an approach that led to his ultimate rejection of the ever growing trend towards abstraction. When, at the third exhibition of the Deutscher Künstlerbund, it came to an embittered exchange of views on whether the figurative or the abstract was the supreme form of artistic expression, Hofer was unable to reach any mutual conciliation with Will Grohmann and his fellow artists Fritz Winter, Willi Baumeister and Ernst Wilhelm Nay, who forthwith resigned from the association. Their resignation prompted Hofer to write a refutation of Wassily Kandinsky's manifesto “Über das Geistige in der Kunst” (“Concerning the Spiritual in Art”), which he programmatically titled “Über das Gesetzliche in der bildenden Kunst“ (“Concerning Regularity in Visual Art”). In 1995, his spoken opinions on art, culture and politics between the years of 1945 and 1955 were published under the title “Ich habe das Meine gesagt” (“I always spoke my mind!”) as well as his “Schriften” (“Writings”), both books being published by the Gebrüder Mann Verlag. The catalogue raisonné on his graphic works was published by Ernst Rathenau in Berlin in 1969. The three-volume catalogue raisonné on his paintings, edited by Karl Bernhard Wohlert and Markus Eisenbeis, was published in 2008. 2015 saw the publication of the catalogue raisonné on Hofer's sketchbooks, likewise edited by Markus Eisenbeis, this time in collaboration with Gerd Presler. Purrmann, too, was a fervent writer: in 1961 Erhard and Barbara Göpel published his collected writings, including essays on Matisse, van Gogh, Levy and Cézanne and also on such themes as his own student days, the unity of the work of art, the changes in the arts, his landscapes and still-lifes, and the lost image of man. Several catalogues raisonnés have been published in recent years: Angela Heilmann's catalogue of Purrmann's printed graphics (1981), the two-volume catalogue of his paintings edited by Christian Lenz and Felix Billeter (2004), the catalogue of his watercolours and gouaches, likewise edited by Lenz and Billeter, and, most recently, the catalogue of his drawings edited by Felix Billeter and Pia Dornacher (2014). While Rohlfs was not such an ardent writer, the list of publications on his oeuvre is very long. Particularly worthy of mention are the numerous writings by his wife's nephew Paul Vogt, the long-standing director of the Museum Folkwang in Essen. His publications include the two catalogues raisonnés on Rohlfs' printed graphics and paintings published in 1950 and 1978 respectively.

For all three artists – Hofer, Purrmann and Rohlfs – we today can benefit from the dedicated facilities of a great many archives, whose experts devote themselves to the oeuvres of these artists, documenting them academically, initiating and supporting exhibition projects and in some cases also offering their works on the art market. The recognition of Hofer's life and work, questions of authenticity and the artist's estate are today in the care of the Karl Hofer Committee of the auctioneers Van Ham in Cologne, which was established in 2012. Its members include Gerd Presler, Markus Eisenbeis and Felix Krämer. This is where all pertinent documentation, including the archive of Karl Bernhard Wohlert, is kept. It forms the basis of the work of the committee and the publication of future catalogues raisonnés of Hofer's oeuvre. The committee also promotes the sale of Hofer's works on the art market. It was the work of the artist's son Robert Purrmann and the artist's niece Heidi Vollmoeller that formed, as early as 1950, the starting point of the Purrmann Archive's documentation of the oeuvre of Hans Purrmann. The archive's work has continued in the same spirit right up to the present day. The archive keeps photographs of all known paintings, watercolours, drawings, 5 prints and sculptures. It clarifies questions of dating and provenance and gathers information on exhibitions and publications. This archive has been situated in Munich since 2008, in the immediate vicinity of the four Pinakotheks. Expert opinions are still given by members of the family. The archive is managed by Felix Billeter, who had edited the catalogues raisonnés on Pullmann's works. Established in 2011, the Christian Rohlfs Archive is annexed to what used to be the Christian Rohlfs Museum in Hagen, now the Osthaus Museum. The Osthaus Museum possesses around 700 works by the artist, who, under the patronage of Karl Ernst Osthaus, lived and worked in the museum until the end of his life. This Rohlfs collection is the largest one worldwide. The archive is served by experts of high calibre, including Tayfun Belgin, the director of the Osthaus Museum, and Wilfried Utermann, the renowned Dortmund gallery owner and art dealer.

Hofer, Purrmann and Rohlfs remained faithful to the figurative tradition all their lives. Initially inspired by the French Impressionists, they then developed a more expressive style before finally, each in his own way, arriving at their own characteristic, personal mode of expression. Hofer was the only one of the three to approach the New Objectivity and Magic Realism of the 1920s in his landscape and figurative paintings. Purrmann developed a more solid style, but never becoming objective and/or realistic. Experiments with abstraction are manifest in the works of all three artists, but they were still representational and more an exception than the rule, except perhaps in the works of Rohlfs, who, with advancing years, broke more and more with the representational, tending towards an abstraction pervaded by a mannerist aesthetic. At the beginning of the 20th century Karl Hofer was living in Rome, where he was strongly influenced by the German-Roman painter Hans von Marées, to whose works his attention had first been drawn by Meier-Graefe. In 1908 Hofer moved to Paris, where he had visited, the year before, a comprehensive retrospective – a good 50 works – of Paul Cézanne. Cézanne's influence was to mark Hofer's early work until well into the 1920s, when the typically Impressionist features of his work gradually waned and he was able to develop his own unmistakable, expressive style. Hofer's greatness lay undoubtedly in his figural work, in which one or two figures would fill the entire picture space, as more or less half-length figures, against an indefinable background that was neither in the artist's studio nor in the midst of nature. A very popular and hence frequently depicted motif is that of a young girl with flowers sitting at a table, a typical example being his “Girl with Amaryllis” of 1936 (Wohlert 1219), which Hofer painted again in a further developed form in 1943. His oeuvre includes a good 50 paintings of young girls sitting with flowers at a table. This young female figure, with her mask-like facial expression that seems be be too heavily made-up, is altogether typical of Hofer's work. She has a round face with a high forehead and a pointed chin and slightly drooping eyelids over two large dark eyes. The eyebrows take the form of two prominent arches that cast shadows over the eyes. The nose is likewise prominent and straight, while the mouth is small and tightly closed. All told, her face seems typically pensive, almost melancholic, and completely expressionless. She is looking past the viewer, ignoring him totally and giving the impression of being completely unapproachable. Wearing a yellow blouse, the “girl” is sitting at a table with a sky-blue, loosely laid tablecloth and embracing a large brown vase in which there are two amaryllis flowers, one red, the other white. The background is painted in a neutral green. Around 1950 Hofer experimented with abstraction, but he soon returned to his figurative mode of expression, albeit in a somewhat changed form. His late oeuvre manifests bolder contours and more richly contrasting colours and his themes, influenced by the war that had only just ended, were apocalyptic and gruesome. The post-war exponents of abstract painting dismissed him as old-fashioned and obsolete, but Hofer went his own way regardless and fearlessly entered the fray, remaining true to the human ideal, the traditionally figural. Backed by the theories expounded upon by Hans Sedlmayr in his book “Art in Crisis. The Lost Centre”, Hofer railed against Baumeister and Nay, who for their part had the support of the art historian Grohmann. It is altogether possible that these disputes were the cause of the strokes that ultimately led to Hofer's death. For his part, Hans Purrmann was to a great extent influenced by Matisse at the beginning of the 20th century. It was with Matisse that Purrmann founded an academy and undertook many of his travels. He also collected Matisse's works. It was not until the end of the 1910s that Purrmann's brushwork became less gestural, although short, quick brush strokes – especially in his depictions of nature – were to remain typical features of his work. Much flatter, on the other hand, were the objects he painted, above all façades and backgrounds, while the contours became stronger, darker and more expressive. This development was perhaps inspired by a visit to Erna Kirchner in the Berlin Studio of the great master of Expressionism, Ernst Ludwig Kirchner. This is clearly visible in a work painted in 1938, “Fountain at the Villa Romana” (Billeter 1938/15). 6 Purrmann had been the director of the Villa Romana since 1935. It was – and still is - a German artists' residence in the cultural city of Florence where artists are invited in turn to stay for a year in order to devote themselves to their painting. Purrmann's picturesque fountain is an architecturally interesting structure featuring a statue in an alcove and surrounded by trees and vases of flowers and plants. The painting is an absolutely typical Purrmann landscape, with its architectural elements and its loose brushwork, especially where the artist depicts flowers and plants. The work is distinguished by its clearly delineated contours, its strong contrast of light and dark and its extremely expressive colourfulness. Rohlfs' Impressionist phase gradually yielded to a preference for Expressionism and it was not long before he was regarded as one of the leading exponents of this movement. It was in his landscapes and still-lifes in particular that he developed his unmistakable style, to which he then adhered throughout his entire life as an artist, though with an ever increasing leaning towards abstraction, using techniques that bore his own personal stamp. It was the work of van Gogh, whom Rohlfs first met at the Folkwang Museum in 1902, that inspired the expressiveness in his paintings. At that time he could already look back upon a “life's work”, which, through this new influence, had now become his “early work”. The inspiration for his graphic work, on the other hand, came from the artists of “Die Brücke”, whose woodcut prints he probably saw for the first time in 1907, likewise in Hagen. Particularly typical of Rohlfs, who during the 1920s gave up oils in favour off watercolour and tempera, were those works, mostly on paper, in which he brushed on strong colours and then wiped, scratched or brushed them off again, creating compositional elements of a markedly parallel structure. Less and less colour and form was the maxim: what was too much was either wiped or brushed away again. The humid haze of a sultry summer evening lies over the scene, even blurring the gaze of the painter, as in his “Snow-covered Mountain by the Lake” of 1935, a water tempera on grained watercolour paper, on which the clearly visible parallel hatching allows the light colour of the paper to shine through.

As already mentioned, the lives and careers of Hofer, Purrmann and Rohlfs manifested a great many parallels and commonalities, and yet each of them developed his own personal, unmistakable style. While their personal fates and the rhythms of their artistic developments were similar, the results – their oeuvres – were far from being so. Each of them had his own characteristic motifs and techniques and had developed his own particular way of painting. A showing of the works of these three artists together in one exhibition makes absolute sense, for the visitor will then be able to explore the similarities and differences for himself. What these three artists had in common above all else was their love of the landscapes of southern Europe.

Alexandra Henze Triebold (Translated by John Brogden)

Your visit to our gallery could be complemented by a stroll through the wonderful exhibition halls of the Beyeler Foundation, which is located only a few hundred metres away from our gallery in Riehen. The exhibition “Claude Monet” is being shown there until 28th May 2017. The exhibitions “Tino Seghal” and “Wolfgang Tillmans” will then be open to visitors from 22nd May and 28th May respectively. Works from the collection of the Fondation Beyeler may be viewed any time.

We are looking forward very much to the pleasure of welcoming you and your friends to the forthcoming exhibition at our gallery.

For further information on our gallery’s programme and activities please visit our website: www.henze-ketterer-triebold.ch

Kubach-Kropp Christian Rohlfs Stein für das Licht. Drei Enten. Black Swedish Granite 2008. Gouache 1915. 50 x 49 x 13 cm Not in Vogt. On chamois semi-board. Obj. Id: 77430 Monogrammed and dated on the lower right. 49,5 x 63,9 cm. Labelled with red chalk «Buchrade» on the verso. Obj. Id: 67896

Géza Vastagh Löwen in Waldlandschaft. Oil on canvas 1912. Signed and dated on the lower right. 106,5 x 125 cm. Obj. Id: 80267

Eduard Bargheer Emil Nolde Opuntien. Das Meer im Abendrot mit Segler links. Watercolour 1974. Watercolour circa 1943. On light ripped chamois handmade paper. On Japan paper. Signed on the top right. Signed and dated on the lower left. 19,5 x 15,7 cm. 46 x 59 cm. Obj. Id: 80268 Obj. Id: 66240

Eduard Bargheer Opuntien - Feigenkaktus auf Ischia. Tapestry after a Watercolour from 1976, produced in 1979. Handmade Tapestry. 1 of 25 exemplars. With the signature of the artist on the lower right. Size: circa 134 x 193 cm. With a signed certificate of Eduard Bargheer. Obj. Id: 66247

Christian Rohlfs Christian Rohlfs Gladiole. Vase mit Blüten. Watertempera 1928. Watertempera 1920/1927. On firm "PM Fabriano"-handmade paper. On structured brownish paper. Monogrammed and dated on the lower right. Monogrammed and dated on the lower right. 65 x 48 cm. 66,5 x 49,7 cm. Obj. Id: 67520 Obj. Id: 67897

Christian Rohlfs Christian Rohlfs Iris in einer Vase. Callas auf rotem Grund (Callas auf Rot). Watertempera and coloured chalk circa 1925/1930. Watercolour 1936. Not in Vogt. On grained chamois semi-board. On semi-board. Monogrammed on the lower right. Monogrammed on the lower right. 61 x 46 cm. 64,5 x 48,5 cm. Obj. Id: 69399 Obj. Id: 67916

Karl Hofer Max Peiffer Watenphul Mädchen mit Amaryllis. Junge Frau mit Federhut. Oil on board mounted on chipboard circa 1936. Pencil and Watercolour 1922. Wohlert 1219. Pasqualucci A 98. Monogrammed CH (ligated) on the top right. On handmade paper. Monogrammed on the lower right. 91 x 71 cm. 53,0 x 39,7 cm. Verso: Head, Watercolour. Obj. Id: 80025 Obj. Id: 75502

Giuseppe Maraniello Rebis. Bronze. 1/8+1 2002. 22 x 47 x 13 cm. 2-pieces. Obj. Id: 62114

Hans Purrmann Christian Rohlfs Weiblicher Akt auf blauem Sessel. Sängerin I (Vier Menschen). Oil on canvas 1918. Tempera on canvas circa 1921. Billeter 1918/18. Signed on the lower left. Vogt 668. 88,5 x 73,5 cm. Monogrammed on the lower right. Obj. Id: 67132 80 x 60 cm. Labelled handwritten on the stretcher "Sängerin I Christian Rohlfs Hagen i./W" on the verso. Obj. Id: 80004

Christian Rohlfs Christian Rohlfs Selbstbildnis mit Frau (Mann und Frau; Köpfe; Gauner. Paar; Zwei Köpfe). Tempera on canvas 1918. Oil on canvas 1921-1922. Vogt/Köcke 615. Vogt 680. Monogrammed on the lower right. Monogrammed and dated on the lower right. 52,3 x 44,3 cm. Signed on the stretcher and 100,5 x 60,5 cm. Titled, signed and labelled on the titled «2 Köpfe» on the verso. stretcher with brush in black "Gauner Chr. Rohlfs Obj. Id: 67939 Hagen/W." on the verso. Label of the Kunsthalle Basel on the frame. Obj. Id: 66026 12

Christian Rohlfs Christian Rohlfs Schneeberg am See. Ghiridone im Schnee. Watertempera 1935. Watercolour and pencil 1937. On firm, rough grained watercolour paper. Vogt 1937/30. Monogrammed and dated on the lower right On firm vellum with the watermark «PM FABRIANO». in red brown. Monogrammed and dated on the lower right 58 x 78,7 cm. Numbered and titled probably by Helene with brown chalk. Rohlfs «Nr. 4 Schneeberg am See» with pencil on the 57,7 x 79,4 cm. top left on the verso. Obj. Id: 67561 Obj. Id: 67560

Christian Rohlfs Christian Rohlfs Blaue Landschaft. Ascona. Fels und Tannen. Watertempera 1931. Watertempera 1918. Vogt 31/26. On grained paper. Vogt 1918/17. On paper. 48,5 x 33,8 cm. Monogrammed and dated on the lower right. Obj. Id: 67915 50 x 71 cm. Labelled by Helene Rohlfs with pencil «6. Blaue Landschaft 1931 Ascona ausstellen F XLIII 7» on the verso. Obj. Id: 67914

Eduard Bargheer Schlucht. Watercolour 1948. On firm paper. Signed and dated on the lower right. 35 x 50 cm. Titled on th verso. Obj. Id: 66205

Daniel Spoerri Christian Rohlfs L' albero dei crani - Schädelbaum. Mondnacht über Dorf und See (Ascona). Bronze 1993. Watertempera and watercolour 1927. 1 of 8 + 1 exemplars (1/5 - 5/5 + I/IV - IV/IV). Vogt 1927/6. Signed and numbered. On structured watercolour handmade paper. 233 x 130 x 50 cm. 74,7 x 54,4 cm. Obj. Id: 73801 Titled and labelled by different hand on the verso. Obj. Id: 66156

Hans Purrmann Blick auf die Boboli-Gärten. Oil on canvas 1943. Billeter 1943/08. Signed "H.Purrmann" on the lower right. 69 x 94 cm Obj. Id: 80033

Hans Purrmann Max Peiffer Watenphul Brunnen der Villa Romana. Landschaft bei Gaeta. Oil on canvas 1938. Oil on canvas 1931. Billeter 1938/15. Pasqualucci G 0170. Signed on the lower left. 81 x 100 cm. Signed and dated on the top left. Archive-number: 695 62,0 x 77,0 cm. Obj. Id: 79219 Obj. Id: 66088

Giuseppe Maraniello Giuseppe Maraniello Boomerang. Boomerang. Bronze. 1/8+1 2000. Bronze. 1/8+1 2000. 36 x 14 x 20 cm. 2-pieces. 39 x 41 x 25 cm. 3-pieces. Obj. Id: 62110 Obj. Id: 62109

Anna und Wolfgang Kubach-Wilmsen Kubach-Kropp Steinbrief Brasilien. Ein Stein im Anderen. Rose quartz marble 1996. Dark brown marble from Belgium and 36 x 23 x 2 cm. black fossil marble from Marocco 2008. Obj. Id: 68003 37 x 17 x 10 cm Obj. Id: 76527

Eduard Bargheer Kleine Kirche auf Ischia. Watercolour 1940. On handmade paper. Signed and dated. 48 x 63 cm. Obj. Id: 66200

Hans Purrmann Christian Rohlfs Atelierausblick auf den Monte Pincio. Kirche in Allendorf. Oil on canvas 1925. Watertempera circa 1923. Billeter 1925/19. Not in Vogt. On grained watercolour board. Signed "H.Purrmann" on the lower right. Monogrammed on the lower right. 81 x 67 cm. 50 x 35,3 cm. Obj. Id: 80032 Obj. Id: 67904

Hans Purrmann Eduard Bargheer Brunnen in Levanto I. Ischia, Ein Schiff wird entladen. Lithography in Grey 1965. Black chalk 1941. Heilmann 123. Test print of the 1. State in grey. On drawing paper. Signed and dated on the lower right. On handmade paper. Signed. 49,5 x 69,5 cm. 43 x 47 on 50 x 65 cm. Obj. Id: 66201 Obj. Id: 66105

Max Peiffer Watenphul Max Peiffer Watenphul Landschaft bei Ragusa (Dubrovnik). Venedig, Palastfassade. Tempera 1926. Oil on canvas. 1955. Pasqualucci A 0150. Pasqualucci G 0515. On Vellum. Unlabelled. Signed, dated and labelled „Ragusa“ on the lower right. 99 x 51 cm. 44,0 x 59,5 cm. Obj. Id: 76648 Obj. Id: 75549

Max Peiffer Watenphul Südliche Früchte auf schwarzem Grund. Oil on burlap on pavatex 1960. Pasqualucci G 0665. Monogrammed on the lower right. 25,0 x 94,0 cm. Obj. Id: 66093

Karl Hofer Gemüsestilleben. Oil on canvas 1943. Wohlert 1756. Monogrammed and dated "CH42" (ligated, carved) on the lower right. 58,3 x 88,5 cm. Overpainted figur/figures, study on the verso. Obj. Id: 80026

Max Peiffer Watenphul Römische Landschaft mit Aquädukt II. Oil on burlap, mounted on linen 1959. Pasqualucci G 0629. Monogrammed on the lower right. 33,0 x 103,0 cm. Obj. Id: 66092

Max Peiffer Watenphul Max Peiffer Watenphul Landschaft bei Sorrent. Landschaft bei Cefalù. Watercolour over pencil 1963. Watercolour 1954. Pasqualucci A 1066. Pasqualucci A 0796. On heavy pimpled handmade paper. On heavy ripped handmade paper. Monogrammed on the lower right. Monogrammed on the lower left side. 30,7 x 49,0 cm. 34,5 x 47,5 cm. Obj. Id: 67608 With a drawing by another artist on the verso; titled: «Cefalù» (Refers to the representation on the recto). Obj. Id: 67577

Max Peiffer Watenphul Max Peiffer Watenphul Vor Florenz. Landschaft bei Aix-en-Provence. Watercolour over pencil 1950. Watercolour 1953. Pasqualucci A 0696. Pasqualucci A 0766. On ripped handmade paper. Signed, dated and labelled On handmade paper. Monogrammed, dated and labelled on the top in the middle: Firenze. on the top on the left: Aix Provence. 31,5 x 57,3 cm. 42,0 x 50,5 cm. Obj. Id: 67548 Obj. Id: 75611

Hans Purrmann Totenmaske des Künstlers. Gypsum 1966. 1 of 3 Exemplars. 25 x 18 cm. Obj. Id: 80279

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