XXIV Daxer & Marschall 2017 Recent Acquisitions, Catalogue XXIV, 2017 Barer Strasse 44 | 80799 Munich | Germany Tel. +49 89 28 06 40 | Fax +49 89 28 17 57 | Mob. +49 172 890 86 40 [email protected] | www.daxermarschall.com 2 Paintings, Oil Sketches and Sculpture, 1760-1940 My special thanks go to Simone Brenner and Diek Groenewald for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Paolo Antonacci, Helmut Börsch-Supan, Thomas le Claire, Sue Cubitt, Eveline Deneer, Roland Dorn, Christine Farese Sperken, Stefan Hammenbeck, Kilian Heck, Gerhard Kehlenbeck, Rupert Keim, Cathrin Klingsöhr-Leroy, Isabel von Klitzing, Anna-Carola Krausse, Marit Lange, Bjørn Li, Philip Mansmann, Verena Marschall, Sascha Mehringer, Werner Murrer, Hans-Joachim Neidhardt, Max Pinnau, Klaus Rohrandt, Annegret Schmidt-Philipps, Anastasiya Shtemenko, Gerd Spitzer, Talabardon & Gautier, Niels Vodder, Vanessa Voigt, Diane Webb, Gregor J. M. Weber, Wolf Zech. Our latest catalogue Oil Sketches, Paintings and Unser diesjähriger Katalog Oil Sketches, Paintings and Sculpture, 2017 Sculpture, 2017 comes to you in good time for this erreicht Sie pünktlich zum Kunstmarktereignis des Jahres, TEFAF, The year’s TEFAF, The European Fine Art Fair in Maas- European Fine Art Fair, Maastricht, 9. - 19. März 2017. tricht. TEFAF is the international art market high point of the year. It runs from 9 to 19 March 2017. Der Katalog präsentiert Werke, die unseren qualitativen und ästhetischen Maßstäben gerecht werden. Um den wissenschaftlichen Anspruch zu The artworks featured in this catalogue satisfy the garantieren, haben wir Rat und Unterstützung einschlägiger Experten ein- rigorous standards we set ourselves and we have geholt. sought the advice and support of eminent experts in order to ensure a high level of scholarship. Aus dem diesjährigen Angebot ist eine Gruppe von Werken Lovis Corinths besonders hervorzuheben. Freude machen mir auch die Selbstporträts As a special highlight, this year’s catalogue showcases an important group der Maler Max Liebermann, Lovis Corinth und Wilhelm Trübner. Eine of works by Lovis Corinth. It is a rare pleasure to be able to present self-por- Gruppe von Arbeiten Johan Christian Clausen Dahls sowie eine der sel- traits by Max Liebermann, Lovis Corinth and Wilhelm Trübner. Romantic tenen Nordlandschaften Peder Balkes setzen einen Schwerpunkt in der painting is strongly represented, with a particularly fine selection of works Romantik. Eine echte Trouvaille ist die Gruppe von acht Arbeiten Giuseppe by Johan Christian Clausen Dahl and a rare, northern Norwegian seascape De Nittis’ – sieben davon aus der Sammlung Dieterle, Paris – beschrieben by Peder Balke. A series of eight works by Giuseppe De Nittis – seven are und bearbeitet von der Expertin für den Maler, Frau Prof. Farese Sperken, from the Dieterle Collection in Paris – is a real trouvaille. Professor Farese Bari. Die bedeutende in Silber gegossene Skulptur Galatea Max Klingers ist Sperken, the De Nittis expert, has examined and authenticated them. Her sicherlich ein Höhepunkt des Kataloges. comments are published in the catalogue. Max Klinger’s highly important silver sculpture, Galatea, is almost certainly one of the high points of this Viele Werke kommen direkt aus privaten Sammlungen und waren lange year’s selection. nicht mehr auf dem Markt. Mancher Empfänger des Kataloges wird daher zunächst nach jenen Gemälden suchen, mit deren Verkauf er uns beauf- Many of the works being sold come directly from private collections and tragt hat. Es wird ihn freuen, sie sorgfältig recherchiert und gut präsen- have not changed hands for years. Some readers who begin to leaf through tiert zu finden – die Voraussetzung für einen erfolgreichen Verkauf auf dem the catalogue to find the paintings they have entrusted to the gallery for internationalen Kunstmarkt. Die Professionalität und die attraktiven Kon- sale will note the methodical research the gallery has put into describing ditionen von Daxer&Marschall machen unsere Kunden unabhängig von and presenting these paintings – the essential preconditions to a successful den Unwägbarkeiten des Auktionsmarktes. Sprechen Sie mit uns. sale. Our terms are attractive and ensure a measure of protection from the unpredictability of the auction market. If you would like our advice on any Der Katalog erscheint in englischer Sprache. Auf www.daxermarschall. aspect of selling or collecting, please get in touch. com finden Sie die deutschsprachigen Texte und können sich jederzeit über unser aktuelles Angebot informieren. This catalogue is being published in English only. The German texts are available on www.daxermarschall.com, where you can also obtain images Wir freuen uns darauf, Sie auf der TEFAF, Stand 337, oder in der Münchner and full descriptions of the artworks currently available. Galerie zu begrüßen. We look forward to seeing you on Stand 337 at TEFAF, or in our gallery in Munich. Ihr Marcus Marschall, Diek Groenewald und Simone Brenner, München im Februar 2017 7 8 GIUSEPPE DE NITTIS – MY ITALY Eight Works by Giuseppe De Nittis (1846 - 1884) Giuseppe De Nittis is one of the most important suing Paris Commune, so almost three years passed benign, rather than threatening, volcanic plume, is Italian painters of the nineteenth century. He took before he could return to the French capital. This certainly datable to 1871-2. In terms of handling, up his studies at the Istituto di Belle Arti in Naples enforced sojourn was nonetheless to be of critical it is a fine and characteristic example of the work but early on abandoned the academic tradition of importance to his development as a landscape art- De Nittis produced in this twelve-month period of his training. He came into contact with the group of ist. He was to produce what are almost certainly his intense artistic experimentation. The modeling of young Florentine painters known as the ‘Macchiai- most powerful and modern works in his Apulian the foreground in broad strokes of rapidly applied, oli’.1 Following their example, he began to practice home town of Barletta, in Naples and in Portici, a free-flowing paint is also entirely characteristic of plein-air painting. He moved to Paris in 1868 and village at the foot of Vesuvius. These works were his style. quickly made his name in artistic circles. In 1874, small in format and almost all were on panel. They A painting now in the collection of the India- he participated in the Impressionists’ first group show him working highly methodically towards a napolis Museum of Art titled La Strada di Brindisi exhibition staged in the studio of the photographer formal and chromatic synthesis of his techniques [The Road to Brindisi] (Fig. 1) dates from the same Nadar. De Nittis was an influential figure in the as a landscapist. period. It was shown at the Paris Salon in 1872 world of art and letters. Independently wealthy, he Vesuvius was the first subject to attract his in- (listed as no. 1177). It depicts a barren, shadeless acquired an elegant Paris residence which served terest. The volcano was the main focus of his work Apulian landscape in burning sunlight, and is rich as a popular meeting-place for artists and writers, and provided a source of constantly changing mo- in narrative detail – plants, animals, a horse-drawn particularly Degas, Manet, Daudet, Zola and the tifs for a twelve-month period between 1871 and coach and two travelers. Goncourt brothers.2 1872. He made laborious daily ascents and descents In recent years a number of solo exhibitions on horseback, filling a diary with a day-to-day re- have featured De Nittis’s work. One was jointly cord of his impressions. The diary – his taccuino5 staged at the Petit Palais in Paris and the Pinac- – is an animated and entertaining account of his oteca Giuseppe De Nittis in Barletta in 2010, and experiences. It reveals his fascination for shifting a second held at the Palazzo Zabarella in Padua in perspectival effects and the effects of changes in 2013.3 weather and light conditions. He was to produce We are grateful to Professor Christine Farese some seventy studies unmatched in Italian paint- Sperken for the following comments on this group ing of the period. They can be seen as genuine pre- 6 of seven works by De Nittis. cursors of late Impressionism. 4 Fig. 1 Giuseppe De Nittis, La Strada di Brindisi [The Road to De Nittis left Paris for his native Italy in 1870. The first of the oil studies presented here, titled Brindisi], 1872, oil on canvas, 27.6 x 52 cm, Dini and Marini no. This was before the Franco-Prussian War and en- Paesaggio Vesuviano [Vesuvian Landscape] with its 344, Indianapolis Museum of Art, R. Eno collection 1 Macchia, meaning stain or blot, was a term used by 3 Gilles Chazal, Dominique Morel and Emanuela Angiuli Barletta, Palazzo Della Marra, catalogo generale, Bari these Tuscan artists to explain their pictorial technique. (eds.), Giuseppe De Nittis: la modernité élégante, exhib. 2016. The name ‘Macchiaoli’ was originally attributed to them cat, Paris, Petit Palais, Musée des Beaux-Arts de la Ville 5 See Enzo Mazzoccoli and Nelly Rettmeyer (eds.), by a critic as a term of ridicule, and later adopted by the de Paris and Barletta, Pinacoteca Giuseppe De Nittis, Giuseppe De Nittis, Taccuino 1870-1884, Bari 1964. group. Paris 2010; Emanuela Angiuli and Fernando Mazzocca 6 See Christine Farese Sperken, ‘Alle Falde del Vesuvio’, 2 See Piero Dini and Giuseppe Luigi Marini, De Nit- (eds.), De Nittis, exhib. cat., Padua, Palazzo Zabarella, in De Nittis. Impressionista italiano, exhib. cat., Rome, tis. La vita, i documenti, le opere dipinte, catalogue Venice 2013. Chiostro del Bramante, Milan 2004, pp.