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Georg Muche, Ohne Titel - Bild 1 aus 3
Georg Muche, Ohne Titel - Bild 2 aus 3
Georg Muche, Ohne Titel - Bild 3 aus 3
Georg Muche, Ohne Titel - Bild 1 aus 3
Georg Muche, Ohne Titel - Bild 2 aus 3
Georg Muche, Ohne Titel - Bild 3 aus 3
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Georg Muche, Ohne Titel
Öl auf Holz. 18,2 x 24,2 cm. Unter Glas gerahmt. Rückseitig signiert 'Georg Muche'. - In farbfrischer Erhaltung.

Droste M 3

Provenienz
Vom Vorbesitzer Kuno Kallnbach direkt vom Künstler erworben (1980er Jahre); Sammlung Kallnbach, Tann/Rhön; seitdem in Familienbesitz

Ausstellungen
Lindau 1978 (Städtisches Museum), Georg Muche. Zeichnungen und Aquarelle 1913 - Bauhaus - 1978, Kat. Nr. 2; Kassel 1986 (Staatliche und Städtische Kunstsammlungen, Neue Galerie), Georg Muche_Leise sagen, Kat. Nr. 2 mit Farbabb. S. 42; Gera 2019 (Haus Schulenburg, Henry van de Velde Museum), Georg Muche - Diaphane Malerei, S. 15 mit Farbabb.

Die vier angebotenen Werke aus der Früh- und Spätzeit von Georg Muche (Lots 187, 188, 271, 272) stammen von Kuno Kallnbach aus Tann/Rhön, dem bedeutendsten Sammler von Werken des Bauhauskünstlers. Die beiden 1913 entstandenen Arbeiten gehören zu den frühesten Versuchen Muches in gegenstandsloser Malerei und stehen ganz unter dem Eindruck des Futurismus und des Kubismus.
"Zu den frühesten abstakten Gebilden von 1913 in Kallnbachs Sammlung stellen sich gegenständliche Assoziationen eines Kopfes in kubistischer Simultanität von Enface und Profil weniger leicht ein, als der vorherrschende Eindruck schwebender Räumlichkeit sich durchdringender, überlagernder, von einander lösender Farbflächen [Lot 187]. Das andere Gemälde [Lot 188] enthält in nuce sowohl die strenge Geometrie der glasfensterartigen Malereien von 1915 und der Gitterbilder seit 1916 bis 1920 als auch den schwebenden Lichtraum der Leuchtperdendikel und der Schöpfungsgleichnisse um 1916 [vgl. Lempertz Auktion 1134, 31. Mai 2019, Lot 280]."
Es verwundert nicht, dass Herwarth Walden auf den jungen Künstler aufmerksam wird, der 1914 von München nach Berlin übersiedelt und in den Folgejahren mehrfach in dessen Galerie "Der Sturm" ausstellt. Muches weitere Entwicklung führt ihn noch in den 1920er Jahren als Meister am Bauhaus weg von der Abstraktion und hin zu einer lyrischen Gegenständlichkeit.
Georg Muche, Untitled
Oil on wood. 18.2 x 24.2 cm. Framed under glass. Signed 'Georg Mche' verso. - Colour-fresh condition.

Droste M 3

Provenance
Acquired by the previous owner directly from the artist (1980s); Collection Kallnbach, Tann/Rhön; thenceforth in family ownership

Exhibitions
Lindau 1978 (Städtisches Museum), Georg Muche. Zeichnungen und Aquarelle 1913 - Bauhaus - 1978, cat. no. 2; Kassel 1986 (Staatliche und Städtische Kunstsammlungen, Neue Galerie), Georg Muche_Leise sagen, cat. no. 2 with col.ill. p. 42; Gera 2019 (Haus Schulenburg, Henry van de Velde Museum), Georg Muche - Diaphane Malerei, p. 15 with col.ill.

The four works offered here from Georg Muche's early and late period (lots 187, 188, 271, 272) come from the Bauhaus artist's most extensive collection, from Kuno Kallnbach from Tann/Rhön. The two works created in 1913 are among Muche's earliest attempts at non-objective painting and are entirely influenced by Futurism and Cubism.
“With the earliest abstract figures from 1913 in Kallbach's collection, representational associations of a head in cubist simultaneity of enface and profile arise less easily than the predominant impression of floating spatiality of interpenetrating, overlapping, detached areas of colour [Lot 187]. The other painting [lot 188] contains in nuce both the strict geometry of the stained-glass window-like paintings from 1915 and the grid paintings from 1916 to 1920, as well as the floating light space of the luminous perpendiculars and the parables of creation from around 1916 [see Lempertz Auction 1134, 31.5.2019, lot 280].”
It is not surprising that Herwarth Walden became aware of the young artist, who moved from Munich to Berlin in 1914 and exhibited several times in his gallery 'Der Sturm' in the following years. In the 1920s, Muche's further development as a master at the Bauhaus led him away from abstraction and towards a lyrical representationalism.
Georg Muche, Ohne Titel
Öl auf Holz. 18,2 x 24,2 cm. Unter Glas gerahmt. Rückseitig signiert 'Georg Muche'. - In farbfrischer Erhaltung.

Droste M 3

Provenienz
Vom Vorbesitzer Kuno Kallnbach direkt vom Künstler erworben (1980er Jahre); Sammlung Kallnbach, Tann/Rhön; seitdem in Familienbesitz

Ausstellungen
Lindau 1978 (Städtisches Museum), Georg Muche. Zeichnungen und Aquarelle 1913 - Bauhaus - 1978, Kat. Nr. 2; Kassel 1986 (Staatliche und Städtische Kunstsammlungen, Neue Galerie), Georg Muche_Leise sagen, Kat. Nr. 2 mit Farbabb. S. 42; Gera 2019 (Haus Schulenburg, Henry van de Velde Museum), Georg Muche - Diaphane Malerei, S. 15 mit Farbabb.

Die vier angebotenen Werke aus der Früh- und Spätzeit von Georg Muche (Lots 187, 188, 271, 272) stammen von Kuno Kallnbach aus Tann/Rhön, dem bedeutendsten Sammler von Werken des Bauhauskünstlers. Die beiden 1913 entstandenen Arbeiten gehören zu den frühesten Versuchen Muches in gegenstandsloser Malerei und stehen ganz unter dem Eindruck des Futurismus und des Kubismus.
"Zu den frühesten abstakten Gebilden von 1913 in Kallnbachs Sammlung stellen sich gegenständliche Assoziationen eines Kopfes in kubistischer Simultanität von Enface und Profil weniger leicht ein, als der vorherrschende Eindruck schwebender Räumlichkeit sich durchdringender, überlagernder, von einander lösender Farbflächen [Lot 187]. Das andere Gemälde [Lot 188] enthält in nuce sowohl die strenge Geometrie der glasfensterartigen Malereien von 1915 und der Gitterbilder seit 1916 bis 1920 als auch den schwebenden Lichtraum der Leuchtperdendikel und der Schöpfungsgleichnisse um 1916 [vgl. Lempertz Auktion 1134, 31. Mai 2019, Lot 280]."
Es verwundert nicht, dass Herwarth Walden auf den jungen Künstler aufmerksam wird, der 1914 von München nach Berlin übersiedelt und in den Folgejahren mehrfach in dessen Galerie "Der Sturm" ausstellt. Muches weitere Entwicklung führt ihn noch in den 1920er Jahren als Meister am Bauhaus weg von der Abstraktion und hin zu einer lyrischen Gegenständlichkeit.
Georg Muche, Untitled
Oil on wood. 18.2 x 24.2 cm. Framed under glass. Signed 'Georg Mche' verso. - Colour-fresh condition.

Droste M 3

Provenance
Acquired by the previous owner directly from the artist (1980s); Collection Kallnbach, Tann/Rhön; thenceforth in family ownership

Exhibitions
Lindau 1978 (Städtisches Museum), Georg Muche. Zeichnungen und Aquarelle 1913 - Bauhaus - 1978, cat. no. 2; Kassel 1986 (Staatliche und Städtische Kunstsammlungen, Neue Galerie), Georg Muche_Leise sagen, cat. no. 2 with col.ill. p. 42; Gera 2019 (Haus Schulenburg, Henry van de Velde Museum), Georg Muche - Diaphane Malerei, p. 15 with col.ill.

The four works offered here from Georg Muche's early and late period (lots 187, 188, 271, 272) come from the Bauhaus artist's most extensive collection, from Kuno Kallnbach from Tann/Rhön. The two works created in 1913 are among Muche's earliest attempts at non-objective painting and are entirely influenced by Futurism and Cubism.
“With the earliest abstract figures from 1913 in Kallbach's collection, representational associations of a head in cubist simultaneity of enface and profile arise less easily than the predominant impression of floating spatiality of interpenetrating, overlapping, detached areas of colour [Lot 187]. The other painting [lot 188] contains in nuce both the strict geometry of the stained-glass window-like paintings from 1915 and the grid paintings from 1916 to 1920, as well as the floating light space of the luminous perpendiculars and the parables of creation from around 1916 [see Lempertz Auction 1134, 31.5.2019, lot 280].”
It is not surprising that Herwarth Walden became aware of the young artist, who moved from Munich to Berlin in 1914 and exhibited several times in his gallery 'Der Sturm' in the following years. In the 1920s, Muche's further development as a master at the Bauhaus led him away from abstraction and towards a lyrical representationalism.

Day Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 100-307
Lose: 400-585
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

Vorbesichtigung
KÖLN
Samstag 24. Mai | 10 – 16 Uhr
Sonntag 25. Mai | 11 – 16 Uhr
Montag 26. Mai – Mittwoch 28. Mai
10 – 17.30 Uhr
Donnerstag 29. Mai | 11 – 15 Uhr

Matinée
Samstag 24. Mai | 11 Uhr
Sebastian Preuss trifft Henrik Hanstein und Isabel Apiarius-Hanstein zum Gespräch über das Erbe Oskar Schlemmers
________________________________________________
MÜNCHEN
In Auswahl
St.-Anna-Platz 3, 80538 München

Dienstag 6. Mai und Mittwoch 7. Mai
jeweils 10 – 17 Uhr
____________________________________________________
BRÜSSEL
In Auswahl
Grote Hertstraat 6, Rue du Grand Cerf, 1000 Brussels

Vernissage | Samstag 26. April, 11 – 17.00 Uhr

Sonntag 27. April | 11 – 17.00 Uhr
Montag 28. April und Dienstag 29. April
jeweils 10 – 17.30 Uhr
__________________________________________________
BERLIN
In Auswahl
Poststr. 22, 10178 Berlin-Mitte

Vernissage Montag 12. Mai | 18 – 21 Uhr

Dienstag 13. Mai und Mittwoch 14. Mai
jeweils 10 – 17 Uhr

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Stichworte: Willem Van De Velde, 15th-18th Century Art