Galerie Kornfeld . Bern Auktionen
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Beauty, Shared: a Collector’S Vision Beauty, Shared: a Collector’S Vision
Beauty, Shared: A Collector’s Vision Beauty, Shared: A Collector’s Vision dickinson 2. dickinson Introduction “BEAUTY SHOULD BE SHARED FOR IT ENHANCES OUR JOYS. TO EXPLORE ITS MYSTERY IS TO VENTURE TOWARDS THE SUBLIME.” (JOSEPH CORNELL) We are delighted to offer for sale a private collection of paintings, drawings and sculpture at two venues concurrently in May; our new gallery space at 980 Madison Avenue, and our stand at TEFAF New York Spring. Beauty Shared: A Collector’s Vision evokes the pleasure of collecting. This collection has been driven by passion and knowledge over some thirty-five years. The diversity of objects reflects the distinctive taste of the connoisseur, who selected each piece due to a personal affinity with it. We aim to augment an already discerning group of works by capturing some of the ambience of the domestic setting, whilst enhancing each individual artwork. Many artists have been acquired in depth, such as Cornell, Ossorio, Johnson, and Dubuffet, whereas others were acquired as one-offs. Most of these objects have been lived with and loved over several decades. This catalogue is a visual story of one private collector’s journey. We are honoured to be entrusted with these beautiful works and look forward to presenting them to the collectors of today. Emma Ward Managing Director 4. dickinson Beauty, Shared: A Collector’s Vision 5. “I WAS NEVER WILLING TO SELL ‘A’ PAINTING. I WOULD MISS IT TOO MUCH. SELLING THE ENTIRE COLLECTION IS A DIFFERENT STORY. I DON’T KNOW HOW TO EXPLAIN IT, BUT AS MUCH AS I WOULD SUFFER IF I SOLD ONE OR TWO PAINTINGS, I AM ABLE TO SELL THE ENTIRE COLLECTION WITHOUT PAIN.” (THE COLLECTOR) 6. -
Paul Klee Born 1879 in Münchenbuchsee, Switzerland
This document was updated January 5, 2021. For reference only and not for purposes of publication. For more information, please contact gallery. Paul Klee Born 1879 in Münchenbuchsee, Switzerland. Died 1940 in Muralto, Switzerland. EDUCATION 1898 Royal Academy of Fine Arts, Munich SOLO EXHIBITIONS 2020 Mapping Klee, Zentrum Paul Klee, Bern, Switzerland, May 21 – October 4, 2020 Paul Klee: Late Klee, David Zwirner, London, March 6 – April 18, 2020 Klee in North Africa: 1914, Tunisia | Egypt, 1928, Museum Berggruen, Staatliche Museen zu Berlin, March 3 – July 26, 2020 2019 Paul Klee / Roland Kollnitz – Balance, Beck & Eggeling International Fine Art, Vienna, September 19 – November 7, 2019 [two-person exhibition] Paul Klee: 1939, David Zwirner, New York, September 10 – October 26, 2019 Beyond Laughter and Tears: Klee, Chaplin, Sonderegger, Zentrum Paul Klee, Bern, Switzerland, August 23, 2019 – May 24, 2020 [two-person exhibition] Paul Klee and Anni Albers, San Francisco Museum of Modern Art, San Francisco, March 22 – August 4, 2019 [two-person exhibition] Paul Klee – Equilíbrio Instável, Centro Cultural Banco do Brasil, São Paulo, February 13 – April 29, 2019 [itinerary: Centro Cultural Banco do Brasil, Rio de Janeiro, May 14 – August 12, 2019; Centro Cultural Banco do Brasil, Belo Horizonte, August 27 – November 18, 2019] 2018 Paul Klee, The Berggruen Collection from The Metropolitan Museum of Art, National Gallery of Canada, Ontario, Canada, November 16, 2018 – March 17, 2019 [collection display] Paul Klee. Alle orgini dell’arte, Museo delle Culture (MUDEC), Milan, Italy, October 31, 2018 – March 3, 2019 Paul Klee. Animality, Zentrum Paul Klee, Bern, Switzerland, October 19, 2018 – March 17, 2019 Paul Klee. -
Die Jahre 2003–2005 Galerie Kornfeld · Bern Die Jahre 2003–2005
GALERIE KORNFELD BERN DIE JAHRE 2003–2005 GALERIE KORNFELD · BERN DIE JAHRE 2003–2005 1 Emil Nolde Priesterinnen Öl auf Leinwand 1912 Siehe Seite 104 2 DIE JAHRE 2003 –2005 REVIEW OF THE YEARS 2003 –2005 GALERIE KORNFELD · BERN 3 Galerie Kornfeld · Bern Laupenstrasse 41 CH-3008 Bern Postadresse: Postfach 6265, 3001 Bern Telefon +41 (0)31 3814673 Telefax +41 (0)31 3821891 e-mail [email protected] homepage www.kornfeld.ch Öffnungszeiten: Montag bis Freitag 9–12 und 14–18 Uhr Samstag 9–12 Uhr Kommanditgesellschaft: Dr.phil.h.c.Eberhard W.Kornfeld, Komplementär Christine E.Stauffer, Komplementärin Wolf von Weiler, Kommanditär Jürg Kunz, Kommanditär Yvonne E.Kaehr, Kommanditärin Unsere Niederlassung in Zürich: Galerie Kornfeld · Zürich Titlisstrasse 48 CH-8032 Zürich Telefon +41 (0)44 2510360 Telefax +41 (0)44 2510361 Öffnungszeiten: Nur teilweise geöffnet, bitte Kontakte über Bern © Copyright 2006 by Galerie Kornfeld & Cie., Bern Photos: Eduard Rieben, Bern Photolithos: Prolith AG, Bern Satz, Druck und Einband: Stämpfli Publikationen AG, Bern Printed in Switzerland 4 Inhaltsverzeichnis 6 Sechs Generationen seit 1864 7 Vorwort 8 Unsere Tätigkeitsgebiete 9 Fotos 17 Druckgraphik und Handzeichnungen des 15. bis 19. Jahrhunderts 34 Spezialauktion Sammlung Heumann, Chemnitz 43 Gemälde, Skulpturen, Aquarelle, Zeichnungen und Druckgraphik des 19. und 20. Jahrhunderts 194 Käthe Kollwitz Sammlung Lotar Neumann 211 Schweizer Kunst des 19. und 20. Jahrhunderts 234 Die Geschichte der Graphik von 1430 bis 1990 in ausgewählten Beispielen – Ausstellung und Lagerkatalog Herbst 2003 268 Wie erhalten Sie Auktionskataloge? 269 Die Bibliothek 270 In unserem Hause erarbeitete und publizierte Werkverzeichnisse und Bücher Werkverzeichnisse in Arbeit 276 Auktionsbedingungen 5 Tradition, Kennerschaft, Diskretion seit 1864 Die Ahnen 1864–1951 Die Aktiven seit 1951 H.G. -
Impressionist & Modern
Impressionist & Modern Art Lot 3201 – 3261 Auction: Friday, 8 December 2017, 4.00 pm Preview: Wed. 29 November to Sun 3 December 2017 Editing: Fabio Sidler Jara Koller Tel. +41 44 445 63 41 Tel. +41 44 445 63 45 [email protected] [email protected] The condition of the works are only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. Impressionist & Modern Art 3201 MAX LIEBERMANN (1847 Berlin 1935) Study to Simson and Delilah. Reverse: Deli- la, seated to the right. Circa 1906. Black chalk and watercolour on paper. Signed lower right: MLiebermann. 19 x 27cm. We thank Margreet Nouwen for the friendly assistance and for confirming the authenticity of the work, October 2017. Provenance: - Galerie Kornfeld, Bern, 19/20 June 2003, lot 629. - Galerie Kornfeld, Bern, 15 June 2006, lot 496. - Private collection, Switzerland, bought at the above auction. Literature: Friedländer, Max J.: Max Lie- bermann als Radierer, in: Zeitschrift für bildende Kunst, year 28 (1916/17), book 9, p. 229-236 (with ill. of the reverse). CHF 800 / 1 200 (€ 710 / 1 070) 3202 MAX LIEBERMANN (1847 Berlin 1935) Trainer with dogs. 1913. Charcoal on paper. Signed lower right: MLiebermann. 29 x 35 cm. We thank Margreet Nowen for the friendly assistance and for confirming the authen- ticity of the work, October 2017. Provenance: Private collection, Switzer- land. Exhibition: (presumably) Berlin 1916, Liebermann als Zeichner, Galerie Paul Cas- sirer zu Berlin, February - March 1916, no. 346-349 (one of them); this exhibition was travelling to Bremen, March - April 1916. -
2 Work List Histories of a Collection. 1933-1945
List of Works: Histories of a Collection. 1933–1945 Karl Hofer (1878–1955), The Black Rooms (Version II), 1943 The backdrop is reminiscent of the musical interlude that bridges two acts of a play while the set is being changed. There is nothing casual about the atmosphere of the scene, however. On the contrary: the drumming conveys a high degree of tension. The first version of the picture was painted in 1928 and bore the title “The Drummer”. This could be a reference to Adolf Hitler, who had been casting himself as drumming up support for the national cause since 1919. When the first version was destroyed in the artist’s studio during an air raid in 1943, Hofer immediately set about painting a second version. The replacement became a metaphor for the “black years” of National Socialism. In 1943 the dark vision of the picture became a reality. More than ever the colour black symbolises mourning and obliteration. Acquired in 1953 from the artist by the State of Berlin PROLOGUE: AN EXCHANGE OF PICTURES WITH ITALY Carlo Carrà (1881–1966), Houses Beneath Hills, 1924 Acquired 1932 Felice Casorati (1883–1963), The Mother, 1923/24 Acquired 1932 Giovanni Colacicchi (1900–1992), Sunny Street, 1931 Acquired 1932 Giorgio de Chirico (1888–1979), Serenade, 1909 Acquired 1932 Giorgio de Chirico (1888–1979), Portrait of Brother Andrea, 1909/10 Acquired 1932 Achille Funi (1890–1972), Saint Sebastian, 1925 Acquired 1932 Achille Funi (1890–1972), Publius Horatius Murders His Sister, 1932 Acquired 1932 Giuseppe Montanari (1889–1976), The Death of Christ, 1932 Acquired 1932 Alberto Salietti (1892–1961), Woman with Headscarf, 1927 Acquired 1932 Gino Severini (1883–1966), Composition: The Dove, c. -
Eberhard W. Kornfeld Und Der Kunsthandel in Bern Marc Fehlmann
Eberhard W. Kornfeld und der Kunsthandel in Bern Marc Fehlmann 1. Einführung Während die Leistungen von einzelnen Berner Kunstsammlern des 19. und 20. Jahrhunderts wie Adolf von Stürler (1802 –1881),1 Hermann (1880 –1962) und Margrit Rupf (1887–1961), 2 Victor Loeb (1910 –1974),3 Jacques Koerfer (1902 –1990) und nicht zuletzt Eberhard W. Kornfeld (*1923) verschiedentlich gewürdigt wurden,4 ist die Geschichte des Berner Kunsthandels noch nicht er- forscht. Wenig ist insbesondere über die Frühzeit des Handels mit Kunst- und Kulturgütern in Bern bekannt,5 aber auch die Situation im 20. Jahrhundert harrt noch immer einer eingehenden Analyse. Dies liegt zum Teil am Umstand, dass sich der Kunsthandel mit seinem Hang zur Diskretion oft «dem auf Do - kumente angewiesenen Zugriff des Historikers»6 entzieht. Methodisch gese- hen vereitelt der Mangel an Quellen den guten Willen zu einer «ausgewoge- nen» historischen Gerechtigkeit, weshalb hier in der Praxis lediglich jene Berner Akteure genannt werden, die durch Archivalien und eigene Publikati - onen sowie eine breite Rezeption fassbar sind. Von diesen ist sicher die 1938 von Jürg Stuker (1914 –1988) gegründete Galerie, das heutige Auktionshaus Stuker, zu nennen.7 Der «König der Antiquare und Antiquar der Könige»,8 wie Stuker wiederholt genannt wurde, galt als «exzellenter Kunsthändler , erfolg- reicher Auktionator […] und Kämpfer des kulturellen und wirtschaftlichen Le- bens».9 Er pflegte enge Beziehungen zur europäischen Aristokratie und ver- trieb im Laufe der Zeit wiederholt Nachlässe und Einzelstücke von Weltrang. Gleichwohl blieb er immer stark auf das Berner Patrimonium ausgerichtet, was seinen Niederschlag unter anderem in seinen Schriften fand.10 Heute hält die Nachfolgefirma vor allem im Handel mit Kunsthandwerk und Antiquitä- ten eine schweizweit bedeutende Position, während im Gegensatz dazu die Dobiaschofsky AG, die seit 1989 den Handel mit Kunst- und Kulturgegenstän- den betreibt,11 wie übrigens die meisten der in den letzten Jahrzehnten in Bern aktiven Kunstgalerien,12 immer eher regional orientiert war. -
Ernst Ludwig Kirchner Edvard Munch
ERNST LUDWIG KIRCHNER EDVARD MUNCH GALERIE THOMAS ERNST LUDWIG KIRCHNER EDVARD MUNCH November 9, 2012 - February 23, 2013 Curated by Dr. Dr. Dieter Buchhart Catalogue texts by Dr. Dr. Dieter Buchhart Prof. Dr. Dr. Gerd Presler Prof. Øivind Storm Bjerke GALERIE THOMAS CONTENTS Foreword 7 Chapter I Exhibited works – PORTRAIT 11 Edvard Munch – Ernst Ludwig Kirchner 23 Dieter Buchhart Chapter II Exhibited works – LANDSCAPE 41 ”What have I got to do with Munch“ 61 Ernst Ludwig Kirchner and Edvard Munch Gerd Presler Chapter III Exhibited works – SELF-PORTRAIT 75 Chapter IV Exhibited works – RETREAT TO THE COUNTRY 89 The Influence of Munch and Kirchner 111 on Post-War Expressionism Øivind Storm Bjerke Chapter V Exhibited works – WOODCUT 119 Chapter VI Exhibited works – FIGURES 143 Biographies in history 162 Exhibited works in order of the chapters 172 Exhibited works in alphabetical order 174 FOREWORD One of our great pleasures as a gallery is the many them, and this very immediacy was part of what made opportunities we have to engage with the works of them so important to the reclusive artists who had Edvard Munch and of course those of Ernst Ludwig sought refuge in their midst. Kirchner, both of whom have been the subject of solo exhibitions at the Galerie Thomas. But this is the first Another overlap is the artists’ shared fascination time that we have exhibited the works of these two with prints, especially woodcuts and lithographs. great artists alongside each other and have explored The creativity and love of experimentation they both exactly how and where they differ and converge here brought to bear on these media gave rise to some in this catalogue.