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Lot 277
‡Joseph R. Radcliffe MacCulloch (1893-1961) The Crown, Chelsea; Belgrave Square Two, both signed McCulloch (lower right), the former dated 1945 (lower right) and inscribed The Crown/Chelsea SW3 (lower left), the latter inscribed and dated Belgrave/Square 1944 (lower left) Pastel, pencil and bodycolour; Charcoal, pastel and bodycolour 43.8 x 29.3cm; 27 x 45.8cm (2)
Lot 77
‡Frank O. Salisbury (1874-1962) Study for 'King Peter of Serbia Retreating Across the Albanian Mountains, 1915'Pastel 57.4 x 76.6cm Unframed Provenance: By descent from the artist A study for the monumental oil exhibited at the Royal Academy in 1919 (sold, Christie's, London, 15 March 2012, lot 156).
Lot 346
‡Diana Armfield RA, PS, NEAC (b.1920) Sunflowers in the South of France Signed with initials DMA (lower left) Black chalk and white pastel 21.9 x 27.3cm Provenance: The Collection of Tom Coates NEAC, RP, RWS and Mary Jackson NEAC, RWS Exhibited: London, Bankside Gallery, Drawing Matters, 1995
Lot 669
‡John Keane (b.1954) Car; Home Two, each signed, dated and numbered 12/75 John Keane 1994 (in pastel lower right) Each screenprint with woodblock and collage Both 125.5 x 99cm (sheet) (2) Provenance: Both with Flowers East, London, where purchased by the present private collector, December 1994
Lot 543
* MARION HARVEY (SCOTTISH 1886 - 1971),OLD FAITHFULpastel on paper, signedimage size 45cm x 64.5cm, overall size 64cm x 84cmFramed and under glass.Note: Marion Rodger Hamilton Harvey was a very accomplished animal painter born in Ayr in 1886. She lived and worked in Glasgow and specialised in dog and horse painting. Marion often worked in Kirkcudbright and enjoyed close friendships with Hornel, Taylor and King and the four became known as the “Close Coterie”. She exhibited frequently at the Royal Scottish Academy, the Royal Glasgow Institute of Fine Arts, the Society of Women Artists, the Royal Scottish Society of Watercolour Painters as well as the Walker Art Gallery in Liverpool. Her works are in many collections worldwide but most notably in the collections of HM The Queen and late Queen Mother. Her work occasionally surfaces at auction with the highest price recorded for a pastel by the artist of US$7000 (currently £5184) for a slightly smaller work than "Old Faithful".
Lot 559
* PETER HOWSON OBE (SCOTTISH b. 1958),UNTITLEDpastel on paper, signedimage size 30cm x 23cm, overall size 49cm x 41cmFramed and under glass.Note: This picture has recently been authenticated by Peter Howson (05.10.21).Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues.
Lot 605
* PETER BEVAN (BRITISH 1946 - 2018),COILA'S BARDpastel on paper, signed, titled label versoimage size 52cm x 43cm, overall size 77cm x 67cm Mounted, framed and under glass.Label verso: Art Lovers' Cafe, Glasgow. Note: Peter Bevan trained as a Painter at the Royal College of Art in London from 1968 - 1971 and taught Fine Art at the Glasgow School of Art from 1973 - 2003. He has been an Artist in Residence in Scotland, India, Japan, China and USA. Inspired by the life and works of the poet, Robert Burns, he made two solo Shows, “Love and Liberty” 2009 and “Portraits of the Poet” 2010 commissioned by Compass Gallery, Glasgow. A permanent outdoor sculpture, “Paisley Date Palms” was installed in the garden of House for an Art Lover, Bellahouston Park, Glasgow in 2009.Note 2: Coila, the Muse of Lowlands poets, is invoked in Robert Burns' 1785 poem 'The Vision'; he describes how after a hard working day in the fields, the spirit of the Muse of Coila appeared to him and crowned him as the Poet of Kyle in Ayrshire and showed him how the nature and history of the region would inspire his work.
Lot 767
CHARLES WEBSTER HAWTHORNE (AMERICAN 1872-1930)Portrait of a Young Girl,pastel on paper58 x 48 cm (23 x 19 in.)CONDITIONObserved in frame. The work appears in age-appropriate condition. Visible creasing to the sheet, in three horizontal lines. Inspection under UV light shows no signs of restoration.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 210
MIKHAIL CHEMIAKIN (RUSSIAN B. 1943)New York City,1983pastel on paper113 x 75.5 cm (44 1/2 x 29 3/4 in.)signed, dated and inscribed NY lower rightCONDITIONObserved in frame, the pastel appears in good condition. The sheet with minor waviness. Pin holes visible along the top and lower edge. Otherwise, no significant issues to report.framed dimensions: 144 x 107.5 cm (56 3/4 x 42 3/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 116
ALEKSEI KORIN (RUSSIAN 1865-1923)Still Life with Apples,1912pastel on paper46.5 x 50cm (18 1/4 x 19 3/4 in.)signed and dated lower leftKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 273
FIVE DRAWINGS BY LEONID LAMM (RUSSIAN 1928-2017)comprising: a) Smile Eve, 1960, marker, colored pencil, pen and ink on paper, 29.21 x 21.59 cm (11 1/2 x 8 1/2 in.), monogram and dated lower right in marker b) Meanness, Ugliness, Filthiness, 1971, oil pastel, pen and ink on paper, 27 x 20 cm (10 5/8 x 7 7/8 in.), monogrammed and dated lower right in pen c) Satan, 1974, colored pen on paper, 21.59 x 31 cm (8 1/2 x 12 1/4 in.), initialed and dated lower left, titled lower right, titled on verso in pen d) Eve, 1974, watercolor and pencil on paper, 30 x 21 cm (11 3/4 x 8 1/4 in.), monogramed, dated and titled in pencil lower right e)Apocalypse, pastel, pen and ink on scratchboard, 30 x 40 cm (11 3/4 x 15 3/4 in.), monogram and dated lower leftCONDITIONUnframed, the group appears in good condition.a) The work appears in good condition, the sheet is laid down. With no apparent issues visible to the naked eye.b) The work appears in good condition, the sheet is laid down. With no apparent issues visible to the naked eye.c) The work appears in age-appropriate condition, the sheet is hinged by the upper left and right corners. Scattered surface soiling, wear to the perimeter a horizontal crease along the top edge measuring the length of the paper. Creasing to the lower left corner.d) The work appears in age-appropriate condition. Lifting and curling to the perimeter, most notably along the right edge. The sheet was laid down fully at some point, but with age the adhesive has loosened, now the sheet is partially laid down.e) The work appears in good condition. The sheet is partially laid down. No apparent issues visible to the naked eye, with no significant issues to report.unframed Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 52
PAIR OF CHINESE FAMILLE ROSE ' GINGER JARSeach of bulbous form with conforming covers with pointed finials, decorated with native bird, foliate and floral motifs, the foot rim and rim with pastel geometric design, all against a white ground,the interior of each lid with maker's mark in red overglaze; height including cover: 32 cm (12 5/8 in.)CONDITIONThe pair appears in good condition. Scattered firing imperfections to each of the bodies. Minor chipping to the motifs. Rubbing resulting in a roughness to the rim of the lid. Inspection under UV light shows repainting to one of the covers along with variant fluorescence to each of the bodies.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 106
NIKOLAI ROERICH (RUSSIAN 1874-1947)Lake Hympola,1917tempera and pastel on board39.8 x 43.5 cm (15 3/4 x 17 1/4 in)signed with monogram and dated 1917 lower left On verso, Inscribed: #154 cat, with label with inscriptions in Louis Horch's hand, miscellaneous inscriptionsPROVENANCECollection of the Roerich Museum, New York, 1923–1935Collection of Nettie and Louis Horch, from 1935Collection of Dr. Carlos Giro, New York, 1957-2003Private Collection, USAEXHIBITEDThe Nicholas Roerich Exhibition: New York, Kingor Galleries; Boston, Boston Art Club; Buffalo, Albright Art Gallery; Chicago, Art Institute; St Louis, City Art Museum; San Francisco, Museum of Art; Omaha, Fine Arts Society; Kansas, City Art Institute; Cleveland, Museum of Art; Indianapolis, Herron Art Institute; Minnesota State fair; Milwaukee, Art Institute; Detroit, Institute of Art, and more cities, 1920-1923Roerich Museum, New York, 1923-1935 (permanent exhibition)LITERATUREChristian Brinton, The Nicholas Roerich Exhibition, New York, 1920, no.154 (nos. 152-172 listed collectively as: Rocks and Cliffs - Ladoga Series)Roerich, New York: Corona Mundi, 1924, illustrated on pl. [22] and titled: Lake of Hympola. FinlandRoerich Museum Catalogue, New York, 1930, p. 16, nos. 151-164 (listed collectively as: Rocks and Cliffs - Ladoga Series)N. Roerich, Agni Publishing, Gallery of Art Academy, Art Center Kunstberatung. Samara-Moscow-Zurich, 2011. Vol 2, pg. 458 (illustrated)LOT NOTESWhen Nicholas Roerich published a monograph of 62 of his works in 1924, he chose to include two landscapes from his stay in Karelia (1917-1919). One of the two is the present work, painted in 1917, a landscape of Lake Hympola (Hymppelä in Finnish). His choice suggests that Roerich held this painting in particularly high regard and it remains one of the best representations of what was a prolific period in his artistic career.The calm waters and vibrant blues of this work betray none of the turmoil that surrounded Roerich's personal life during this time. He was suffering from chronic pneumonia and had just fled from Russia to escape the violence and chaos of the Revolution. He settled in the Lake Ladoga area, living on the Yhinlahti estate with his family, and painted almost 100 works in 1917 alone. That year was marked by struggle. Letters to friends reveal a lingering sense of detachment and depression, and more than one of his Karelia landscapes lack the life that he was so desperately seeking.This painting was a breakthrough, proof that Roerich could retaliate against adversity by immersing himself in waters and rock formations that had stood the test of time. He grounds himself on a ledge, inviting the viewer to sit with him and gaze across the lake, past the distant mountain range and cloud formations. The vast distance between the brown rock in the foreground and the deep blue horizon is not unlike Roerich's own journey from sickness and strife to hope and a renewed sense of purpose. In the middle, the rocks display an intense battle between the elements, full of conflicting twists and turns. But, despite the cool Northern light, tiny flecks of deep golden yellow peak out from the icy blues, signs of warmth in a desolate landscape.Roerich exhibited most of the works painted in 1917-1918 in his personal exhibitions in Stockholm (November, 1918), as well as Copenhagen and Helsinki (1919) and later London (1920. The present work was almost certainly among them, even though we are unable to identify it in the exhibition catalogs as the titles of the Karelia landscapes kept changing at the time.We would like to thank Gvido Trepša, Senior Researcher at Nicholas Roerich Museum, New York, for providing catalogue information.CONDITIONObserved out of frame, the painting appears in age-appropriate condition. Minor rubbing and wear to the perimeter resulting from the framing technique. Inspection under UV light shows no apparent sign of restoration.framed dimensions: 48.5 x 52 cm (19 1/8 x 20 1/2 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 691
PAIR OF MEISSEN FIGURAL SWEETMEAT DISHESa pair of dishes modelled as a gentleman and the other a lady, each dressed in period clothing with floral and pastel patterns, the baskets imitating wicker accented gilt, the interior decorated with Deutsche Blumen, each atop a rocaille base with gilt detailing, each marked with factory mark in blue underglaze, the lady with incised model number H.167, the gentleman with incised model number 166 in paste, each stamped with numerals 137 all under base; height of each: 20 cm (7 7/8 in.)CONDITIONThe pair appears in good condition. Scattered chips to the floral sprays. A hairline crack visible to the interior of the gentleman's dish, 3 cm (1 1/8 in.) long. Inspection under UV light shows repainting and repair to the handle of the same dish. Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 268
VLADIMIR YANKILEVSKY (RUSSIAN 1938-2018)Composition from The Space of Experience series,1988pastel on paper50 x 65 cm (19 3/4 x 25 5/8 in.)signed and dated lower rightPROVENANCESotheby's New York, April 15, 2008, lot 216EXHIBITEDGraphics by Vladimir Yankilevsky, House of Architects, Moscow, 1988Retrospective: Vladimir Yankilevsky, Eduard Nakhamkin Fine Arts, New York; San Francisco, 1988LITERATUREVladimir Yankilevsky. Moment of Eternity,(St. Petersburg: Palace Editions, 2007) exhibition catalogue, p. 31 CONDITIONObserved in frame, the work appears in good condition. The sheet is laid down, with a slight waviness to the sheet visible to the naked the eye. With no significant issues to report otherwise.framed dimensions: 76.2 x 92 cm (30 x 36 1/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 64
Johannes Grützke (1937 Berlin - 2017 ebenda) (F)Der Sieger, Gouache und Kreide auf Papier, 97 cm x 71 cm Passepartoutinnenmaß, signiert, 71 datiert, Papier gewellt, minimal zerkratztFreudig mit erhobener Rechten wie zum Gruß, den Lorbeerkranz locker über die linke Schulter geworfen rückt der "Sieger" dem Betrachter geradezu distanzlos entgegen. Johannes Grützke, einer der eigenwilligsten und zugleich talentiertesten Skandalkünstler der Berliner Kunstwelt, sagte über sich: "Ich bin ein Klassiker, stehe wie ein Denkmal auf dem Podest und warte nur auf den Avantgardisten, der mich hinunterwirft." Mit dieser Selbstironie habe er sich selbst immer wieder ins Bild gesetzt, "wenn kein Modell verfügbar war", so Grützke. Johannes Grützke, wurde am 30. September 1937 in Berlin geboren und studierte von 1957 bis 1964 an der Berliner Hochschule der Bildenden Künste. 1962 nahm der Maler, Zeichner, Grafiker und Medailleur an der Sommerakademie von Oskar Kokoschka in Salzburg teil. 1976 bis 1977 lehrte er als Gastdozent an der Hochschule für Bildende Künste in Hamburg und unterrichtete 1987, in Nachfolge seines ehemaligen Lehrers Oskar Kokoschka, an der Sommerakademie in Salzburg. Darüber hinaus gehörte er 1990 zu den Gründungsmitgliedern des Künstlersonderbundes in Deutschland. In seiner unbeirrt gegenständlichen Kunst, die er handwerklich souverän beherrschte, setzte er sich in den 1970er Jahren gegen den internationalen Trend der Abstraktion, die sich vor allem gegen den verordneten Sozialistischen Realismus richtete, für die figürlich-realistische Malerei ein. Zu seinen bedeutendsten Werken zählt der monumentale Figurenfries deutscher Parlamentarier in der Frankfurter Paulskirche von 1991. Johannes Grützke (1937 Berlin - 2017 ibid) (F)The winner, gouache and chalk pastel on paper, mat inner dimensions 97 cm x 71 cm, signed, dated 71, paper cockled, slightly scratchedWith his right hand raised in a joyful greeting and a laurel wreath draped loosely over his left shoulder, the ''victor'' stands as if directly before the beholder. Johannes Grützke, one of the most idiosyncratic and talented scandal artists of the Berlin art world once said of himself, ''I'm a classic, like a monument on a pedestal waiting for someone from the avant garde to topple me.'' With this same sense of irony, he often depicted himself as the subject of his own works, ''when no model was available''. Johannes Grützke was born on 30th September 1937 in Berlin and studied at the Berlin Hochschule der Bildenden Künste from 1957 to 1964. The painter, draughtsman, printmaker and medal caster participated in Oskar Kokoschka's summer academy in Salzburg in 1962. From 1976 to 1977 he held a position as a visiting professor at the Hochschule für Bildende Künste in Hamburg and later took over from his former teacher Oskar Kokoschka at the summer academy in Salzburg. He was also among the founding members of the Künstlersonderbund in Germany, an organisation founded to support artistic proponents of realism. In the 1970s his style of representational art, which he mastered with an exceptionally high level of craftsmanship, went against the international trend towards abstraction, which was directed above all against the prescribed art form of Socialist Realism. His most important works include the monumental figural frieze of German parliamentarians in St. Paul's Church in Frankfurt from 1991.
Lot 4
Christian Rohlfs (1849 Niendorf - 1938 Hagen)Rote Blüten, Farbkreide auf Papier, 23,5 cm x 33 cm Blattmaß, monogrammiert, 33 datiert, partiell Stecknadellöcher, Blatt auf Karton montiert, partiell fleckigProvenienz: Sammlung Haas, EssenChristian Rohlfs wurde am 22. Dezember 1849 in Groß Niendorf geboren. Von 1870 bis 1874 besuchte Rohlfs die Großherzogliche Kunstschule in Weimar. Nach einer krankheitsbedingten Pause wechselte er im Jahr 1876 an die Akademie in Weimar. Dort war er ab 1884 als freischaffender Künstler tätig und wandte sich zunehmend dem Impressionismus zu. 1901 lernte der Künstler Karl Ernst Osthaus kennen, welcher ihn als Lehrer an die Folkwangschule in Hagen holte. Dort konnte er sich sein eigenes Atelier in der Umgebung des Folkwanger Museums einrichten. Bevor Rohlfs sich ab ca. 1880 dem Impressionismus hinwendete, war seine Malweise von dem Naturalismus der Weimarer Zeit geprägt. Die Farbigkeit seiner Bilder nahm in den 1890er Jahren weiter zu, ohne völlig auf die Naturwiedergabe zu verzichten. Nachdem er den Künstler Emil Nolde 1905 in Soest kennenlernte, entwickelte er seinen expressiven Spätstil. 1907 schloss Christian Rohlfs sich dem von Karl Ernst Osthaus geleiteten "Sonderbund westdeutscher Kunstfreunde und Künstler" an. In den darauffolgenden Jahren wurde er 1911 Mitglied der Neuen Sezession, 1914 der Freien Sezession, 1924 der Berliner Kunstakademie und 1925 der Düsseldorfer Kunstakademie. 1929 wurde in Hagen das Christian-Rohlfs-Museum und 2011 das Christian-Rohlfs-Archiv am Osthaus Museum Hagen gegründet. Wie schon in seiner Weimarer Zeit griff Rohlfs in den 1920er Jahren die Blumenmalerei auch aus finanziellen Gründen wieder auf. Schon nach einigen Jahren veränderte er seine Vorgehensweise durch eine exakte Gliederung der Form und ein stellenweises Auswaschen bzw. Verwischen der Farbe. Der Bildraum wird aufgelöst und das Motiv existiert nur noch auf der Fläche, eine Tiefenräumlichkeit wie in der traditionellen Stilllebenmalerei ist obsolet geworden. Seine späten Blumenstücke, zu denen auch die "Roten Blumen" zählen, welche in flüchtigen, aufs Papier geworfenen roten und schwarzen Kreidestrichen, teilweise lasierend und verwischt gezeichnet sind, sind nur noch farbige Erscheinungen einer transparenten Immaterialität und die monochrome Farbsetzung verschließt sich bewusst einer botanischen Bestimmung, auf die der Künstler zuvor so großen Wert gelegt hatte. Christian Rohlfs (1849 Niendorf - 1938 Hagen)Red flowers, chalk pastel in colours on paper, sheet size 23.5 cm x 33 cm, monogrammed, dated 33, with some pin holes, mounted on card, slightly soiledProvenance: Haas collection, EssenChristian Rohlfs was born in Groß Niendorf on December 22nd 1849. From 1870 to 1874 Rohlfs attended the Grand Ducal School of Art in Weimar. After a break due to illness, he transferred to the Academy in Weimar in 1876. There he worked as a freelance artist from 1884 onwards, turning increasingly towards Impressionism. In 1901 the artist met Karl Ernst Osthaus, who brought him to the Folkwang School in Hagen as a teacher. There he was able to set up his own studio in the vicinity of the Folkwang Museum. Before Rohlfs turned to Impressionism in around 1880, his painting style was influenced by the naturalism of the Weimar period. His works became increasingly colourful throughout the course of the 1890s, but never entirely abandoned the reproduction of nature. After meeting the artist Emil Nolde in Soest in 1905, he developed his expressive late style. In 1907 Christian Rohlfs joined the ''Sonderbund westdeutscher Kunstfreunde und Künstler'', led by Karl Ernst Osthaus. In the following years he became a member of the Neue Sezession in 1911, the Freie Sezession in 1914, the Berlin Art Academy in 1924 and the Düsseldorf Art Academy in 1925. In 1929 the Christian-Rohlfs-Museum was founded in Hagen and in 2011 the Christian-Rohlfs-Archive at the Osthaus Museum Hagen. As he had done during his Weimar period, Rohlfs picked up flower painting again in the 1920s for financial reasons. After several years he changed his approach to include a more exact division of forms and a partial smudging of colour. The pictorial space was thus dissolved and the motif existed only on the plane, with the illusion of depth strived for in traditional still life painting becoming obsolete. His later flower paintings, of which ''Red Flowers'' is a fine example, created using fleeting, hastily placed strokes of black and white chalk, partially layered and smudged, are merely colourful manifestations of a transparent immateriality, the monochromatic colour palette of which deliberately occluded the botanical accuracy upon which the artist formerly placed so much value.
Lot 34
Max Ackermann (1887 Berlin - 1975 Unterlengenhardt/Bad Liebenzell) (F)Ohne Titel, Pastellkreide auf grauem Velin, 49 cm x 37 cm Blattmaß, signiert, 1959 datiert, partiell Stecknadellöcher, montiert, Provenienz: Nachlass Max Ackermann - Peter Strathomeyer, Stuttgart (verso Etikett), verso handschriftlich T I 11 bezeichnet, anbei: Langenfeld, Ludwin (Hrsg.): Max Ackermann. Aspekte seines Gesamtwerkes, Stuttgart 1972, signiert, 1973 datiert" ... ich erkannte, daß der Gegenstand ein Hemmnis für freie Gestaltung wurde. Ich hob die Musik heraus, lauschte auf musikalische Gesetze, bis ich endlich eine Verwandtschaft von Malerei und Musik feststellte." (Max Ackermann: Unveröffentlichtes Tagebuch 1975)Nach seiner Studienzeit an den Kunstakademien in Weimar, Dresden und München zog es Ackermann 1912 nach Stuttgart, wo er den abstrakten Arbeiten von Adolph Hölzel begegnete, die ihn nachhaltig beeinflussten. Nach Zeiten von Lehr- und Ausstellungsverboten, gelang es Ackermann in den 1950er Jahren erfolgreich, in der gegenstandslosen Malerei einen neuen unverwechselbaren Stil zu entwickeln, der das Strukturelle in den Mittelpunkt rückte getragen von der Harmonie der Farbgebung. Bei diesem Blatt handelt sich vermutlich um eine Vorstudie zu dem großformatigen Gemälde "Farbturm" von 1959. Max Ackermann (1887 Berlin - 1975 Unterlengenhardt/Bad Liebenzell) (F)Untitled, chalk pastel on grey wove, sheet size 49 cm x 37 cm, signed, dated 1959, some pin holes, mounted, provenance: Estate of Max Ackermann - Peter Strathomeyer, Stuttgart (labelled on the reverse), hand-written inscription T I 11 on the reverse, with book: Langenfeld, Ludwin (ed.): Max Ackermann. Aspekte seines Gesamtwerkes, Stuttgart 1972, signed by the artist, dated 1973'' . . I realized that the object became an obstacle to free creation. I turned to music, listened for musical laws, until at last I noticed a kinship between painting and music.'' (Max Ackermann: Unpublished Diary 1975)After his studies at the art academies of Weimar, Dresden and Munich, Ackermann moved to Stuttgart in 1912, where he encountered the abstract works of Adolph Hölzel, which had a lasting influence on him. After periods of teaching and exhibition bans, Ackermann succeeded in the 1950s to develop a new distinctive style in non-objective painting, which focussed on the structural, supported by the harmony of colour. This sheet is probably a preliminary study for the large-format painting ''Farbturm'' from 1959.
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