GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL Dr. Alexandra Henze Triebold – Marc Triebold Wettsteinstrasse 4 - CH 4125 Riehen/Basel Tel. +41/61/641 77 77 - Fax: +41/61/641 77 78 www.henze-ketterer-triebold.ch - www.henze-ketterer.ch

The in Modern Art

Ernst Ludwig Kirchner: Badende Frauen und Kinder. Oil on canvas 1925/32. Gordon 825. 130 x 110 cm. Obj. Id: 64907

th rd 27 November 2015 – 23 April 2016

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

THE NUDE IN MODERN ART 27 th November 2015 – 23 rd April 2016

The term “nude” originally referred to the act of posing as a naked for the purpose of artistic study of the human form. Today the term is used to describe any form of representation of the naked human being, and not least those very first nude depictions in early cultures, typical examples being the Venus figurines, which were mostly highly stylized statuettes – in stone, bone, ivory or clay – of naked, obese women with – in spite of their closed posture – extremely exaggerated and detailed sexual attributes. These figurines were undoubtedly fertility symbols. One outstanding and famous example is the so-called Venus of Willendorf.

Nude depiction reached one of its first zeniths in Greek and Roman antiquity. Since the end of the Archaic period the athletic male body had been idealized and immortalized in stone and painted on dishes and bowls and other vessels. Around 350 BC the sculptor of Athens created the now world-famous sculpture of , the first monumental depiction of a naked female body to be viewable from all sides. It even became one of the most venerated works of Greek antiquity, indeed it was a revolution in western art. Praxiteles did not depict the inflexible ideal but rather captured the moment. He knew how to compose the various parts of the body harmoniously and he attached equal importance both to a realistic overall impression and to perfect proportions. He also knew that the goddess had hitherto been depicted naked only in much smaller statues and never larger than life size. Having been commissioned by the citizens of Kos to create a sculpture of the goddess Aphrodite, Praxiteles decided to make two versions: a traditional version, fully draped, and a revolutionary version, completely nude. By all historical accounts, the courtesan Phryne had stood model for this second version. A scandal of the first order! While the citizens of Kos decided in favour of the draped version, Praxiteles succeeded in selling the nude version to the citizens of near-by Knidos, where it was installed in a sanctuary to the goddess. At first it caused quite an outrage, but then it was soon accepted and ultimately held in unbounded admiration. Even during Greek antiquity, the Aphrodite of Knidos was copied numerous times. More and more representations of the female nude were carved into stone – and also painted, albeit much later – but these nude representations always remained tied to some theme or other – one needed a pretext – right up until the 19 th century.

Hardly any nude representations have been handed down from the Middle Ages and it was not until the that they again grew in number, primarily as studies in proportion, depictions drawn or painted from antique sculptures or from dead or – in rare cases – living models. Here, too, a theme was always needed as a pretext: deities, heroes, biblical or allegorical figures could always be depicted naked. Particularly popular, among the female nudes, were Aphrodite, the goddess of love, beauty and fertility, and Eve, the mother of mankind. It was not until the inception of French Impressionism that the representation of the naked could be exempted from the need for a certain given theme. The subject matter itself was now a theme in its own right. As the models were often well known, their depictions did not always meet with approval and – as in the very beginning, back in Praxiteles' day – triggered heated discussions. The representation of the nude was now elevated to an independent genre. Artists painted both male and female nudes in their studios and en plein air . The triumphant march of the nude as a genre in its own right had now begun. As an expression of inner moods and feelings, the nude became one of the German Expressionists' most favourite and most frequent motifs. No matter in what pose, whether standing, seated, kneeling, reclining with arms and legs outstretched or bent, whether in the studio or outdoors, at rest or in motion, as bathers or dancers, naked men and women populated the creative fantasies of these artists and inspired them to depict them in every conceivable medium of expression: , prints, watercolours, oil and sculptures – and even photographs. These versatile activities, in which young girls, women friends, the artists' own life companions and their fellow artists all stood model, soon led to a special kind of nude : the Expressionists of the artists' group “Brücke” developed what came to be called “quarter-hour nudes”, a technique that marked and revolutionized their mode of representation. The models were not allowed to sit in the same pose for longer than 15 minutes, which meant that the artists had to capture what they saw with just a few dashes and strokes. This led to a fast and

2 sketchy way of working. Details could not be elaborated and any shading was replaced by a “nervous” zigzag hatching. These sketches were then completed in detail and colour later, in the artist's own studios, entirely from memory.

Both the artists around Ernst Ludwig Kirchner and the master himself made the “Bathers” – i.e. nude depictions in the open air – one of their favourite themes. They would make regular excursions from Dresden to the neighbouring Moritzburg Lakes, and later from Berlin to the island of Fehmarn, with its typical round-shaped rocks on its beaches, against or on which their models – their life companions and girlfriends – would lean or sit. The image of the human being in nature was to accompany Kirchner all his life, for even after he began a new life in Davos, Switzerland, he constantly depicted nudes dancing in the forests and in mountain streams. These depictions were certainly inspired by the famous “Bathers” of Cézanne and the works of Gauguin and the Fauves in France. The beginning of the last century had seen the rapidly growing spread and popularity – in Germany too – of the Life Reform Movement, which campaigned for healthier eating habits and styles of dressing, and for a back-to-nature lifestyle in general, a campaign that did not fail to leave its mark on the artists of the “Brücke”, for they now turned their backs on conventional and chose a free world for free artists and free models. Its most obvious outward expression was and nudism, which the “Brücke” artists captured in all its different facets on paper and canvas and in sculpture.

Kirchner remained true to this thematic complex all his life and even later, in Davos, he drew, painted and photographed his life companion Erna and their women friends who came to visit them, either on their own or together, either outdoors or indoors, again and again and always in the nude. Two important oil paintings and numerous drawings, prints and watercolours from all periods of his oeuvre testify in the forthcoming exhibition, “The Nude in Modernity”, to this artistic preference of Kirchner's. But other “Brücke” artists too – Erich Heckel, Otto Mueller, Emil Nolde, Hermann Max Pechstein and Karl Schmidt-Rottluff – will also be represented in the exhibition with outstanding examples of this genre, together with a wonderful sculpture by Kirchner's friend and “pupil” Hermann Scherer. In order to round off the theme and to permit the viewer to form a picture of what went before and what came after the “Brücke”, the exhibition also shows an impressive work by Odilon Redon from 1910 and works by the group's successors Theo Eble, George Grosz, Karl Hartung, Berthold Müller-Oerlinghausen and Christian Rohlfs.

We cordially invite you to the forthcoming exhibition. The vernissage will take place exceptionally on Friday , 27 th November 2015, between 12.00 noon and 7.00 pm. If you cannot make it, you are of course welcome to visit the exhibition at any time within its duration.

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 exhibitions “In Search of 0.10 – The Last Futurist Exhibition of ” and “Black Sun” with works by Kazimir Malevich and Vladimir Tatlin are being shown there until 10 th January 2016, after which date you will be able to visit an exhibition of the museum's collection.

Finally, we should like to draw your attention to our forthcoming presentations at the following art fairs: we shall be showing a selection from our gallery's programme at art KARLSRUHE from 18 th to 21 st February 2016, at TEFAF in Maastricht from 11 th to 20 th March 2016 and at Art Cologne from 14 th to 17 th April 2016 .

We are looking forward very much to the pleasure of welcoming you and your friends to the forthcoming exhibition at our gallery and/or to our stands at the aforementioned art fairs.

Alexandra Henze Triebold (Translation by John Brogden)

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

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George Grosz George Grosz

Selbstportrait mit Akt - Selfportrait with Nude . Artist with Nude Model Oil on canvas 1937. Oil on Bristol board 1940 72 x 58 cm. Signed and labelled «pinxit» Signed on the lower left side. 59,7 x 46,7 cm on the verso. Obj. Id: 80034 Obj. Id: 66723

Ernst Ludwig Kirchner Berthold Müller-Oerlinghausen

Interieur mit badender Frau im Tub. Erwartung (Sitzender Jüngling) . Coulored chalks and charcoal circa 1933. Bronze 1952. On satin chamois drawing paper. Henze 254. Height: 73-77 cm. 36 x 50 cm. Width: 53-54 cm. Exemplar # 2. With the estate-stamp on the verso. Obj. Id: 66603 Obj. Id: 79844

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Karl Hartung

Liegende mit über dem Kopf verschränkten Armen . Bronze circa 1948/49. Krause 411. One of 6 + 1 exemplars. Width: 78 cm. With stamps on the bottom: „HARTUNG“, „ ӿ“ and „N“. Obj. Id: 67509

Christian Rohlfs Emil Nolde

Weiblicher Akt liegend . Akt mit wippenden Beinen . Watercolour 1916. Etching 1908. not in Vogt. On paper. Monogrammed and dated Schiefler-Mosel R 096. on the lower right side. 49,7 x 64,5 cm. On heavy wove paper.One of at least 15 exemplars. Labelled "weibl. Akt liegend No 36 / Lange" Signed on the lower right side and with pencil on the verso. titled in the lower middle by Ada Nolde. Obj. Id: 67917 30,6 x 47,4 on 45,5 x 61 cm. Obj. Id: 76708

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Karl Hartung Karl Hartung

Liegende nach Links mit erhobenem Arm Liegende nach Links (Liegende) . (Liegende plastisch) . Charcoal circa 1949. Charcoal circa 1948. On waxed vellum. Signed on the lower right side. On waxed vellum. Signed on the lower right side. 61 x 86,5 cm 43 x 61 cm. Obj. Id: 76744 Obj. Id: 76741

Karl Hartung

Liegende mit erhobenem Haupt . Bronze circa 1948. Krause 405. One of 6 + 1 exemplars. Width: 45 cm. With stamps on the bottom: „HARTUNG“, „ ӿ“ and „N“. Obj. Id: 79088

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Ernst Ludwig Kirchner

Paar am Strand . Coloured chalk circa 1908. On heavy drawing paper. 36,5 x 46 cm. Verso: «Nächtlicher Park» watercolour 1916 as well as with the estate-stamp. Obj. Id: 67697

Ernst Ludwig Kirchner Ernst Ludwig Kirchner

Liegendes Paar . Nacktes Liebespaar . Pencil 1908. Carpenter’s pencil 1909. On imitated chamois Japan paper. 34 x 44 cm. On grey-green heavy handmade paper. With the estate-stamp on the verso. 34,5 x 42,9 cm. Obj. Id: 77475 With the estate-stamp on the verso. Obj. Id: 66588

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Otto Mueller Ernst Ludwig Kirchner

Mädchen auf dem Kanapee . Große nackte Liegende . Lithography 1921-1922. Etching 1930. Karsch 146 II. WVZ-Nr. Dube R 605. On heavy etching board. On light grey paper. Signed on the lower right side One of 3 previously known prints by the artist. and numbered "VIII/XXX" on the lower left side. 24,5 x 34,2 on 32,5 x 50 cm. 28,8 x 39,5 on 43,5 x 56 cm. With the estate-stamp on the verso. Obj. Id: 76669 Obj. Id: 65569

Ernst Ludwig Kirchner

Schreitender Akt im Freien (Frauenakt) . Black chalk circa 1933. On firm brownish paper. Signed on the lower right side. 49 x 35,6 cm. With the handwritten registration number «KSM 5» in brown ink on the verso . With a started study «Weiblicher Akt» in black chalk on the verso. Obj. Id: 67330

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Ernst Ludwig Kirchner

Badende Frauen und Kinder . Oil on canvas 1925/32. Gordon 825. Signed on the lower left side. 130 x 110 cm. Withe the estate-stamp on the verso. Obj. Id: 64907

Ernst Ludwig Kirchner Ernst Ludwig Kirchner

Zwei Akte im Gespräch . Zwei Akte im Walde . Coloured chalk circa 1925. Coloured chalk circa 1925. On yellow paper. 46 x 35,7 cm. On yellow paper. 45,5 x 36 cm. With the estate-stamp on the verso. With the estate-stamp on the verso. Obj. Id: 79604 Obj. Id: 79605

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Ernst Ludwig Kirchner Ernst Ludwig Kirchner

Zwei stehende weibliche Akte im Wald . Zwei Akte im Walde . Black and red chalk over pencil 1920. Woodcut 1928. On satin paper. 37,4 x 32,4 cm. With the draft Dube H 603. On satin chamois paper. One of 4 «Vegetation im Park» on the verso, pencil 1913, previously known prints by the artist. 47 x 40,5 cm on titled an d dated «Akte im Walde 1920» as well 55,5 x 43 cm. With the estate-stamp on the verso. as with the estate-stamp on the verso. Obj. Id: 79599 Obj. Id: 67724

Berthold Müller-Oerlinghausen

Drei Lebensalter (Liebespaar dreifigurig, Familie) . Bronze 1976. Henze 582. Height: 21-22 cm. Width: 15-16 cm. Depth: 13-14 cm. Labelled: BMO 1976. Obj. Id: 66622

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Erich Heckel Ernst Ludwig Kirchner

Frauen am Strand . Zwei weibliche Akte . Woodcut, coloured by another hand 1919. Coloured chalk circa 1925. Dube H 320 II. On yellow paper. 48 x 36 cm. On structured Japan paper. Signed and dated. With the estate-stamp on the verso. 46 x 32,6 cm on 71 x 55,7 cm. Obj. Id: 79603 Obj. Id: 76631

Hermann Scherer Ernst Ludwig Kirchner

Liebespaar . Nackte Frauen auf Waldwiese. Pine wood 1924. Pen and ink circa 1927. Height: 66 cm. On satin slightly grey semi-board. Obj. Id: 66310 49 x 38,5 cm. With the Estate-stamp on the verso. Obj. Id: 79609

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Ernst Ludwig Kirchner

Spielende Badende . Oil on canvas 1928. Gordon 926. Signed and dated «28» on the upper right side, monogrammed «K» on the lower left side. 92 x 73 cm. Signed and dated «28» as well as with the estate-stamp on the verso. Obj. Id: 66673

Ernst Ludwig Kirchner Erich Heckel

Drei Nackte Tänzerinnen im Walde. Drei Mädchen am Strand . Etching 1935. Etching (drypoint) 1919. Dube R 641 III. On imitated Japan paper. Dube R 142. On firm Japan paper. One of a few One of 3 previously known prints by the artist. prints by the artist. Signed and dated on the lower 23 x 19,9 cm on 43 x 39,5 cm. right side, titled on the lower left side. With the estate-stamp on the verso. 30 x 24,8 auf 38 x 30 cm. Obj. Id: 79597 Obj. Id: 66905

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Emil Nolde Emil Nolde

Tänzerin . Junger Fürst und Tänzerinnen . Etching (Line and tone etching ) 1922. Etching (Line and tone etching ) 1918. Schiefler/Mosel R 211 I (of II). Schiefler-Mosel R 196 II. On Van Gelder Zonen-Vellum. Signed on the On firm structured van Gelder Zonen-Vellum. lower right side. Titled on the lower middle paper Signed on the lower right side. Titled twice on the margin and labelled "I.1" on the left by Ada Nolde. lower paper margin. 26 x 22 on 58,5 x 44,5 cm. 32,3 x 25 on 64,8 x 50,3 cm. Obj. Id: 75259 Obj. Id: 75295

Ernst Ludwig Kirchner

Nackttänzerin . Lithography 1921. Dube L 413 I. On satin imitated Japan paper. One of 6 previously known prints by the artist. 59,5 x 50,5 on 67,5 x 55,2 cm. With the estate-stamp on the verso. Obj. Id: 79600

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Ernst Ludwig Kirchner George Grosz

Hockender weiblicher Akt nach rechts. Weiblicher Akt, nachdenklich sitzend . Pen and ink circa 1911. Oil and mixed media 1939. On satin chamois paper. 42,5 x 33 cm. With the On chamois vellum. 58,8 x 39,7cm. Verso: estate-stamp on the verso. "Sitzende Nackte", watercolour and with the Obj. Id: 67737 estate-stamp. Obj. Id: 79470

Karl Schmidt-Rottluff Ernst Ludwig Kirchner

Frau mit aufgelöstem Haar . Sitzender Mädchenakt . Woodcut 1913. Etching in dark green 1907. WVZ-Nr. Schapire H 123. Dube R 17 b. On chamois copper printing paper . On Japan handmade paper. Print outside the One of 8 previously known prints by the artist. edition of 100 prints on handmade paper, signed by 22,8 x 17,7 auf 30,3 x 24 cm. With the stamp of th e printer F. Voigt, inadvertently not signed by the his brother Walter Kirchner, with the date 1. 3. 47. artist. 35,7 x 29,9 cm on 55,0 x 45,5 cm. and numbering 264 on the verso. Obj. Id: 75278 Obj. Id: 67963

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Theo Eble Karl Hartung

Halbakt . Sitzende . Oil on canvas 1923. Bronze 1948. Signed and dated on the lower left side. Krause 400. One of 6 + 1 exemplars. 62,5 x 53,5 cm. Height: 52 cm. With stamps on the bottom: Obj. Id: 67150 „HARTUNG“, „ ӿ“ and „N“. Obj. Id: 76719

Otto Mueller Erich Heckel

Sitzende, von Blattwerk umgeben (helle Kniende am Stein . Fassung) . Woodcut 1914. Lithography 1923. Dube L 258 aA. Karsch 115 I. On wove Japan paper. Signed and dated on the On light Japan handmade paper. lower right side. 50 x 32 on 70 x 56 cm. One of 127 countless exemplars. Signed on the Obj. Id: 76986 lower right side. 30,2 x 21,2 on 39,2 x 29,6 cm. Obj. Id: 75248 15

Ernst Ludwig Kirchner

Sitzender Akt auf Divan . Coloured chalk circa 1924. On satin chamois paper with slanting edge on the top . 36,5 x 50,5 cm. With the estate-stamp on the verso. Obj. Id: 79848

Berthold Müller-Oerlinghausen Erich Heckel

Am Morgen . Stehende . Bronze 1942. Woodcut, watercolours 1912. Henze 181. Height: 85-89 cm. Dube H 234 a I (of II). On light handmade paper. Width: 35-36 cm. Labelled: BMO 1942. Signed and dated on the lower right side. Obj. Id: 66597 Labelled "(4)" on the lower right side. Obj. Id: 80020 16

George Grosz George Grosz

Nackte posierend . Female Nude, Cape Cod . Oil and mixed media 1941. Oil on canvas. 1940. On ripped handmade paper. 60,7 x 47,7 cm. 70 x 56 cm. With the signature stamp and the With the estate-stamp on the verso. estate-stamp on the verso. Obj. Id: 79465 Obj. Id: 79968

Erich Heckel George Grosz

Mädchen vorm Spiegel . Posierende Nackte . Etching 1920. Oil and mixed media 1939. Dube R 145 II. On chamois vellum. Signed and datiert on the On van Gelder Zonen handmade paper. One of a lower right side. 68,2 x 40 cm. few prints by the artist. Signed and dated on the With the estate-stamp on the verso. lower right side. 32,0 x 19,8 cm on 47,0 x 30,8 cm. Obj. Id: 79469 Obj. Id: 75252

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George Grosz George Grosz

Nackte im Boudoir . Nackte, Cape Cod . Watercolour, charcoal and pencil 1942. Oil and mixed media 1940. On chamois semi-board. 49,9 x 39,1 cm. On chamois semi-board. 50 x 39,1cm. With the estate-stamp on the verso. With the estate-stamp on the verso. Obj. Id: 79451 Obj. Id: 79457

George Grosz Otto Mueller

Stehender weiblicher Akt . Zwei Mädchen mit Handspiegel (2) . Mixed media 1939-1940. Lithography 1919. On ripped handmade paper with watermark Karsch 89 b. «CANSON & MONTGOLFIER». 63,3 x 48,2 cm. On chamois vellum. Print 35/60. Verso: Charcoal drawing «Zwei weibliche Akte» and Signed on the lower right side and with the estate-stamp. numbered on the lower left side. Obj. Id: 66796 41,9 x 31 on 53,9 x 44,3 cm. Obj. Id: 75257

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Odilon Redon

La fuite . Oil on canvas 1910. Wildenstein 780. Signed on the lower left side. 66 x 51 cm. Labels on the stretcher, Label 1: «La fuite.... Bruxelles», Label 2: «Galerie Druet, , exposition Odilon Redon 1923, Nr. 29 du catalogue, La fuite 1910». Obj. Id: 67948

All listed artworks are for sale. For information on prices or further information please feel free to contact us.

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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 20