Lot 92
Image du cadre
Raumbeispiel
92
Max Liebermann
Die Wochenstube - Schweinekoben, 1888.
Oil on canvas
Estimation:
€ 60,000 / $ 66,000 Résultat:
€ 162,500 / $ 178,750 ( frais d'adjudication compris)
Die Wochenstube - Schweinekoben. 1888.
Oil on canvas.
Eberle 1888/7. Signed in lower left. Verso of stretcher with several hand-written numbers and two old labels. 66 x 80.5 cm (25.9 x 31.6 in).
[FS].
Excellent painting of museum quality and with a consistent provenance.
PROVENANCE: Aloys Mayer, Wiesbaden/Amsterdam (acquired from the artist in 1890).
Private collection Gera (inherited from aforementioned).
Private collection Hamburg (heir of aforementioned, obtained from him as present in 1980).
Public ownership GDR (confisctaed from possession of aforementioned, 1980).
Nationalgalerie Berlin (fiduciary storage from 1980 to 1999, with inventory number on stretcher).
Private collection Hamburg (restituted in 1999).
Nationalgalerie Berlin (permanent loan from aforemenetioned ownership, 2000-2012).
Liebermann-Villa on Wannsee, Berlin (permanent loan from aforemenetioned ownership, since 2012).
EXHIBITION: Gurlitts Berliner Kunstsalon, Berlin 12 February, 1888.
Liebermann exhibition on occasion of the artist's 60th birthday, Frankfurter Kunstverein, Frankfurt a. M. 1907 (cat. no. 24, erroneously dated "1886" in catalog, verso of the stretcher with the label that is typographically inscribed "No. 865").
Max Liebermann und Emil Nolde. Gartenbilder, Liebermann-Villa am Wannsee, Berlin 2012.
LITERATURE: Georg Malkowsky: Aus der Hauptstadt - Neue Bilder (Die deutschen Luft- und Lichtmaler in Gurlitts Kunstsalon), in: Die Gegenwart XXXIII (1888) [9], p. 142.
Georg Voß: Eine Ausstellung der Hellmaler, in: Kunst für Alle, year III (1888) [12], p. 188.
Franz Hermann Meissner: A German Revolutionary Max Liebermann - A study, in: The Art Journal, New Series, London, August 1893, pp. 225-230, illu. 228 ("The Farmer's Wife").
Gustav Pauli, Max Liebermann, des Meisters Gemälde in 304 Abbildungen, Klassiker der Kunst XIX, Stuttgart/Leipzig 1911, illu. on p. 82, note on pp. 245, 256.
Erich Hancke, Max Liebermann. Sein Leben und seine Werke, with 303 illustrations, Berlin 1914, p. 240, pp. 243 f., 534.
Hans Rosenhagen, Max Liebermann, Bielefeld/Leipzig 1927, p. 54, illu. 27 on p. 30.
Katrin Boskamp, Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866-1889, Hildesheim et al. 1994, cat. no. 238, illu. 17.
"As far as the light atmoephere is concerned, this work can be considered as one of the artist's best." (Quote from the art historian Georg Voß: Eine Ausstellung der Hellmaler, in: Die Kunst für Alle. Year III 1888 [12], p. 188).
Oil on canvas.
Eberle 1888/7. Signed in lower left. Verso of stretcher with several hand-written numbers and two old labels. 66 x 80.5 cm (25.9 x 31.6 in).
[FS].
Excellent painting of museum quality and with a consistent provenance.
PROVENANCE: Aloys Mayer, Wiesbaden/Amsterdam (acquired from the artist in 1890).
Private collection Gera (inherited from aforementioned).
Private collection Hamburg (heir of aforementioned, obtained from him as present in 1980).
Public ownership GDR (confisctaed from possession of aforementioned, 1980).
Nationalgalerie Berlin (fiduciary storage from 1980 to 1999, with inventory number on stretcher).
Private collection Hamburg (restituted in 1999).
Nationalgalerie Berlin (permanent loan from aforemenetioned ownership, 2000-2012).
Liebermann-Villa on Wannsee, Berlin (permanent loan from aforemenetioned ownership, since 2012).
EXHIBITION: Gurlitts Berliner Kunstsalon, Berlin 12 February, 1888.
Liebermann exhibition on occasion of the artist's 60th birthday, Frankfurter Kunstverein, Frankfurt a. M. 1907 (cat. no. 24, erroneously dated "1886" in catalog, verso of the stretcher with the label that is typographically inscribed "No. 865").
Max Liebermann und Emil Nolde. Gartenbilder, Liebermann-Villa am Wannsee, Berlin 2012.
LITERATURE: Georg Malkowsky: Aus der Hauptstadt - Neue Bilder (Die deutschen Luft- und Lichtmaler in Gurlitts Kunstsalon), in: Die Gegenwart XXXIII (1888) [9], p. 142.
Georg Voß: Eine Ausstellung der Hellmaler, in: Kunst für Alle, year III (1888) [12], p. 188.
Franz Hermann Meissner: A German Revolutionary Max Liebermann - A study, in: The Art Journal, New Series, London, August 1893, pp. 225-230, illu. 228 ("The Farmer's Wife").
Gustav Pauli, Max Liebermann, des Meisters Gemälde in 304 Abbildungen, Klassiker der Kunst XIX, Stuttgart/Leipzig 1911, illu. on p. 82, note on pp. 245, 256.
Erich Hancke, Max Liebermann. Sein Leben und seine Werke, with 303 illustrations, Berlin 1914, p. 240, pp. 243 f., 534.
Hans Rosenhagen, Max Liebermann, Bielefeld/Leipzig 1927, p. 54, illu. 27 on p. 30.
Katrin Boskamp, Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866-1889, Hildesheim et al. 1994, cat. no. 238, illu. 17.
"As far as the light atmoephere is concerned, this work can be considered as one of the artist's best." (Quote from the art historian Georg Voß: Eine Ausstellung der Hellmaler, in: Die Kunst für Alle. Year III 1888 [12], p. 188).
92
Max Liebermann
Die Wochenstube - Schweinekoben, 1888.
Oil on canvas
Estimation:
€ 60,000 / $ 66,000 Résultat:
€ 162,500 / $ 178,750 ( frais d'adjudication compris)