DOI issue:
Nr. 27 (5. Juli)
DOI Page / Citation link: https://doi.org/10.11588/diglit.44978#0317
7
Jgjirg. V, Nr. 27 vom 5. Juli 1931
DIE WELTKUNST
luck, as several of bis works are burnt in ihe
time, three pictures by Blechen, one by
Schinkel and many olhers are lost. Among
ihe “Nazarener” works by Cornelius, Over-
beck, Veit Schnorr, Schadow, Peschei, Was-
man, among ihe “Neudeutschen” pictures by
Koch, Schwind, von Rohden, Fries, Lukas,
Rottmann and oihers were burnt. Out of the
ierrible experience of this terrific loss to
German Museums pariiculary of the Berlin
Museum, one might only learn io be cautious
in giving art treasures away, which Goethe
too though only right.
JtLngUsh Supplement
The Portrait of German Renaissance
Auction >Sale NTem es in Munich
Old Venetian Masters at Munich
the Prince
is the very fine portrait of
in the world
|j- signed pictures
Philipus Veronesis p»
Düsseldorf
mention a bronze Buddha, Kambodja abouf
1600, for 3600 M., a silber jug, 14 th Century,
for 3200 M.
The fourth day passed calmly aceording
to the matter which contained hardly anything
sensational.
Brightly coloured enamel works seem Io
have belonged to Nemes’ preferance; Drey,
a very active buyer again, acquired a Triptich
by Penicaud for 14 600 M., S. Meller got a
crucification (Limoges) for 8400 M. Asiatic
potteries contained among others a Meso-
Th e
Munich,
loss a
and an
of living arlists.
the whole desiroyed exhibition shows how
exfraordinarily important precisely this show
was. Contemporary French painters and
sculptors as Vlaminck, Utrillo, Derain, Dufy,
Paul Klee, Toter Katarakt, 1930
Ausstellung — Exposition — Exhibition :
und Kunstverein f. Rheinlande u. Westfalen
beautifully composed. Exfraordinarily repre-
senlaiiv
Doria.
The
“Holy
(about
Family
several
is splendidly presented with the impeccable,
magnificent “Portrait of a Venetian Counsel”,
ihe lyrical Cariani with ihe portrait of a
young man. Works by the Bassano, Bordone,
Meldolla families lead ihe-18th Century where
Tiepolo’s “Death of Hyacinthus” is the finest
piece besides very good Guardis, Canalettos,
Bellottos which with Tiepolo’s “Christ and the
Adultress” are of an extraordinary beauty.
These few works may give a vague Impres-
sion of the richness offered by this delightful
exhibition.
. Collec-
contemporary Germans were
Marcello”
“the
Gollection Hubert Wilm
German Sculptures of the
12 fh t o 18 th Century
Munich offers incessantly new exhibitions
the imporfance of which is more than local.
In June and July the Collection of the painter
and etcher Dr. Hubert Wilm is on view in the
“Kunstverein”.
A catalogue of this Collection has
published two years ago by Prof. Baum, who
revised the new catalogue too, to which the
Kunstverein joined many excellent repro-
ductions.
135 figures in wood, stone and clay begin
with romantic sculptures of the 12th Century
and end with a "Mourning Maria” by Franz
Schwanthaler (1762—1820).
Seven centuries of German sculpture have
been gathered in this collection which has
been dealt with in Wilm’s published books
about the Gothic figure etc. The Collection is
not restricted on a special subject, but takes
the beautiful where it is found. Naturally
Southern Bavarian works are in the fore-
ground. And' it is very impressing to see,
what a vigorous and productive race those
Nether Bavarians are.
Besides wood and clay plastics the col-
lection contains children’s toys, bronzes, silver
and glass. Beautiful gobelins form a fine
Supplement.
UUUV1V .. ■-
enfirely his work, ihe wife being attributed
io Jörg Breu. There are three works by the
clder Lucas Cranach, one by the younger
Lucas Cranach, one by ihe exfraordinarily
vital Konrad Faber. The portrait of King
Henri VIII. of England atlributed io the
younger Hans Holbein, belongs probably to
his circle or studio only, although ii is
excellent. Neufchatel is represenied with a
very characferistic, very subtile portrait of
a nobleman, Grünewald with his own portrait,
and Dürer witti ihe portrait of a man coming
of the Figdor collection. A great rarity is
an interesting portrait with landscape by
Michael Ostendorfer. Two men, one of fhem
probably the mathematician Appian painied
by Martin Schaffner, one plate with the
family Funk von Senfienau by Bernard Strigel
ought to bc meniioned as being some of fhe
finest models of fhe German Renaissance
porlraits. A very strong and deep impression
remains of those keenly, individual Personali-
ties of an epoch, whose spirit may be our aim
now.
The plastic show with very good works
by Hanak, ihe architectural show with many
Plans, photographs, models, very valuable
documents, have not been preserved.
Bud the most irreparable loss is ihe collec-
tion of German Romantic painters, as well
as of the “Nazarener” and „Neudeutschen”.
Museums of all larger German towns have
sent their best pieces, and now inesiimable
values have been desiroyed.
Among the romantics three famous pic-
tures by Runge, three beautiful works by C.
Friedrich, who seems io have particular bad
After ihe Glaspalast in Munich has been
esiroyed ihe art season must be managed
[Jhely by jhe art galleries. Actually ihe
lc'schmann Gallery, Munich, is showing a
j!rr|ber of German Renaissance porfraiis,
p'ieh af present atiract as much inierest as
Jench or Italian porlraits of the same period.
0?lriiual emanation helped to absolish
"Stacies which prevented the German Re-
_ü|ssance portrait from being as much
^c>'nowledged as ihe works of their neigh-
countries. So ihe interesf at the opening
was very lively and all officials and
v^hert capacities were present. — The re-
^hue of catalogue and entering fee will be
Sed io assisf ihe arlists who suffered such
j. grave damage through the catastrophe of
v’e Glaspalast. Firms as Tiros. Agnew and
c°ns, London — Hermann Ball, Berlin — Paul
Tssirer, Berlin — I. & S. Goldschmidt, Berlin,
lj''d many others sent pictures io this exhibi-
°n which contains about 60 numbers.
I The descripfion of a piciure gives even
. Ss than a phoiograph, only some words
1 ,lsi be said about ihe most striking pic-
] r’es. Let us follow the Order of ihe cata-
j^pUe: There is first, probably the most
JrOuiiful piece, an inferior with a house-
‘‘e by Aldegrever, Dürer’s pupil, who gives
s-, splendid conception of ihe rustic type.
Iree very fine poriraits by Amberger don't
Galerie Flechtheim
The Auction säte of the collection Nemes
was looked forward to with great curiosity,
with some scepiicism too as regards the
financial expectations. So all predictions made
by art collecfors and art dealers were very
different and no result whatsoever could be
altogether surprising. The less so, as every
object was very carefully “valued” and as
there could1 not possibly be a particularly
hard compefifion between the buyers of those
enormous values. The firms F. Muller & Co.,
P. Cassirer and H. Helbing performed the sale
clearly and properly whit-
hout dissimulating tactic of
any sort, so thal the really
satisfying result can give an
impression of the present
state of ihe art market.
Crowds of people came to
the exhibion as well as to the
auction sale ifself, the Mu¬
nich Tonhalle was filled io
ihe last seat, and the whole
event was a social as well
as a Professional meeting.
All famous collectors and
connoisseurs were present,
representatives of German
and Foreign Museums had
come, and of course no art
dealer failed in taking a very
lively inierest. One might
mention some names as Ge
heimrat Friedländer, Zimmer
mann, Waldmann, Schmidt
Degener (Amsterdam), Mar
tin (the Hague), Petrovics
(Budapest), Siren (Stock¬
holm), Parsens (for Cleve-
land and Cansas City,
U. S. A.), renowned collec¬
tors as Abegg (Swifcerland),
Cambö (Barcelona), Feist
(Berlin), Lehmann (New
York), Bondy (Vienna); sci-
entific experis as Veniuri,
Longhi, Graul, Hevesy and
many others; the art dealers
Haberstock, Ball, Graupe,
Benedict, Hinrichsen, 1. & S.
Goldschmidt, Heilbronner,
Rosenbaum, Fischer (Lu¬
zerne), Pollak (Rome), Loewi
(Venice), Langton-Douglas
(London), Hoogendijk (Am¬
sterdam), briefly all prominents
of arf had come.
The first day was reserved1
only.
poiamian vase with green glazing which
attained 1500 M.
There was little request for porcelaine,
except the Meissen groups, which brought
19 000 M., 5200 M. and 3200 M. Most probably
the condition of the objects was not perfect.
Among the miniatures we mention the
suite of 22 Italian Miniatures and the Persian
illuminated manuscript, having attained 4300
and 4700 M.
Furniture was sold for normal prices, not
containing very great qualities among the
pieces of fhe 17 th and 18 fh Century.
The total result of fhree Millions and a half
cannot be considered as a surprise of eifher
sort as all predictions and calculations were
so vague. But on fhe whole the outlook is
certainly optimisiic if such an enormous col-
lection finds still a sufficiently great number
of buyers. Munich still a centre in art life
was surely well chosen.
1
Alfred Rethel, Studienkopf eines Mönchs
Tete de moine — Head of a monk
Öl auf Pappe, 43 : 46 cm
Ausstellung —• Exposition — Exhibition:
Romantische Malerei in Deutschland und Frankreich
Ludwigs-Galerie (Otto H. Nathan), München
big altar painting by Tinforefto
family of Hieronymus
1550) and the altar painting of
Cornaro” are to be seen besides
porlraits of men. Vincenzo Cetena
Lurgat, Rodin, Maillol, Despiau had exhibiied
their works. — The Italian show contained
collections of the classicists Chirico and
Casorafi and of the Milan circle Novecento.
The Austrians Faistauer, Kokoschka, Kitt,
and Kolig had sent chosen works. z'~"—
tions of Contemporary Germer
to pictures
The attained prices were perfectly
normal: Agnolo Gaddi’s “Annunciation” came
to 6000 M., Giovanni del Biondo’s “Angels with
Saints” to 6900 M. The first big price was
paid for the “Adoration of the King” by Fra
Angelico, which was bought in foreign Com-
mission für 100 000 M., the second for Philippo
Lippi’s Madonna (98 000 M.) bought by Jacques
Weil, Munich. Dr. Meller, Munich, paid for the
Madonna by Girolamo di Giovanni da
Camerino 10 000 M., Helbing bought Tizian's
Gonzaga for an American Collector at the
price of 91 000 M.
The only really striking Sensation was
Greco’s “Angels’ Concert” acquired for
275 000 M. by the Museum of Athens. Dutch
painters were well paid, Rembrandt’s "Fabius
Maximus” and “Saskia”, Frans Hals’ portrait
of a man were adjudiicated at 335 000 M.,
80 000 M. and 86 000 M. Ruysdael, Rubens,
Cranach brought middle prices. — Modern
French paintings by Courbef, Pissarro, Degas
sold very well.
The total result of the first day amounted
to nearly two Millions Mark.
The second day brought a Sensation in the
fact that an abundant collection of textile
fabrics like that of Nemes, still finds
numerous amateurs who are keen buyers.
The relatively highest prices were attained
for a Venetian velvet of the 15 th Century
and a chasuble of the same provenience and
period, with 23 000 M., for two Italian dalmatics
with 30 500 M. and a Dutch chasuble and two
dalmatics with 35 500 M.
The afternoon contained two sensational
prices for fhe Venetian chasuble and for one
from Asia Minor at 19 000 and 18 000 M.
The interesf did not weaken in the least
the fhird day; the stock of fabrics was not
yet exhausted and was well received. Gobe-
lins were less successful, while asiatic carpets
were sold af normal prices. Although the
sculptures were not the best objects of the
collection, it was again conveyed how difficult
it is io seil plastic works on auciions; many
objects were paid under their value, many
rctired, many paid mudi above their value.
A very good Madonna from Bäle, about 1490,
was bought by an American Museum for
9500 M.
Very pretty objects of applied art found
inierest with Böhler, Bernheimer, Drey. We
fhe occasion of a fifty years’ exisience |
lirn f*lm Julius Böhler, Munich, for fhe first
}|, . arranged an official exhibition out of
,*r properfy as well as out of oiher firms,
v >ch represenis partly unknown and mainly
yTy imporiani works of 14 th —18 ih Century
Ler>etian painting. Abouf 80 with delicaie
°Wledge elecied examples illusirate the
^velopment of a sole ariistic circle, which
Mr. August L. Mayer, who made fhe caia-
j QUe, says in his preface, has not been only
I ‘eresting to nothern countries for some cen-
lVjf,es, but is winning more and more inierest
h amateurs and connoisseurs. The history
^ Venetian painting much served in funda-
jser|ial works by Tesii, Venturi, A. L. Mayer,
ß brecisely a domain which offers many
Q0Ssibi]ities io ihe explorafing and dis-
}|t Vering gusto. The exhibition maintains this
r^Sls- Besides the exhibiting firm other
b uowned German and foreign firms are re-
esented.
||t /he fewness of the existing examples of
Venetian trecento stamps that period to
V 9reat rarity. An early work by Lorenzo
f|Cneziano is still marked by byzanfine in-
q vjHces which soften away in his later works:
fj ^adonna and a birfh of Christ where Vene-
traditions are dominating as well as in
'■i^erino Veneziano’s beautifully conserved
Madonna”.
i|, Quatrocento is mainly represenied in
I,e. second half of the Century, the early
Sj-Pod enfirely missing. But there are con-
}Qaerable works which contribute all fhe more
" befter knowledge of fhe epoch, particularly
V „ signed pictures
tyj. ■'llllipuj VLIuin.il.
tj, ( “Saini Hierony-
0i,s ' (reproduced in
$1 ,r June, 21 rst issue)
c°Ws influence of
itiJbaccio as well as
Ifg^s Veronese
q uifion, in any case
Of^ry valuable piece
>ht le Venetian circle,
\v0° which some other
rTs may possibly
°n be joined.
p^l’e beginning of the
Century disfingu-
tb. ed ifself by a great
f; J^ber of beautiful
rfraits. There exels
f^Paccio’s wonder-
Oortrait of a lady,
U c°Po de’ Barbari’s
4]/Jrait of Markgraf
Jt^n r* Brandenburg
hav*n9 cerfain
f|9’Ures of nothern in-
jj^Uce, the portrait of
Viy u.ng man by Alvise
for'?r*n’> very typical
ly "im, very vigorous-
hqi^^iuied; less brilli-
Derhaps the head
Vq Q man, attributed by Berenson to Gio-
\venr,i Bellini. Out of Bellini’s closer circle
jltk7riaY mention a "Madonna with Sainis”
•o Jbufed to Francesco Biscolo (by Berenson
l)y pOcetio). The portrait of a young woman
Of] Boccaccio Boccaccino, a beautiful “Rest
^Qhi e escape” by Andrea Previtali, remar-
llir e as io ihe landscape. Some other pic-
Q>. have still the characteristics of the
. ybocento.
rj^lJ'e mature Renaissance is marked by
’s Powerful Personality, who is repre-
ed with six works. The most interesting
berit a masterwork of theMaier years: "Re-
I>raing Hieronymus” from English private
Deriy, has deep, warm colours, and is
The Exhibition of the
burnt „Glaspalast“
fire which desiroyed the Glaspalast,
means besides an enormous material
terrible catastrophe for German art
actual mischief for a terrific number
A retrospective view on
shadow Hans Brosamer’s impressing por-
traits of men, nor ihe four very lively works
of the brothers Barthel Bruyn (reproduced
on page 2 of our June, 14 ih issue). Hans
Burgkmair, ihe 4 th centenary of whose deaih
is now celebrated, is represenied with a
double portrait which is not authentically
’ ” ■r ’ ■ XX - I J
IlOllÖ VZ! --,-
equally the victims of the flames, so the
collections Samberger, Diez, Erler, Her-
terich; so the collections in honour of
Paul Müller and S. L. Wemban containing
many documents of the Munich paysage
intime, with works by Kubierschky and Otto
Sfrüfeel. Ariisfs of the Munich Secession
suffered severe damage. Excellent works by
Liebermann and Zügel were desiroyed too.
Jgjirg. V, Nr. 27 vom 5. Juli 1931
DIE WELTKUNST
luck, as several of bis works are burnt in ihe
time, three pictures by Blechen, one by
Schinkel and many olhers are lost. Among
ihe “Nazarener” works by Cornelius, Over-
beck, Veit Schnorr, Schadow, Peschei, Was-
man, among ihe “Neudeutschen” pictures by
Koch, Schwind, von Rohden, Fries, Lukas,
Rottmann and oihers were burnt. Out of the
ierrible experience of this terrific loss to
German Museums pariiculary of the Berlin
Museum, one might only learn io be cautious
in giving art treasures away, which Goethe
too though only right.
JtLngUsh Supplement
The Portrait of German Renaissance
Auction >Sale NTem es in Munich
Old Venetian Masters at Munich
the Prince
is the very fine portrait of
in the world
|j- signed pictures
Philipus Veronesis p»
Düsseldorf
mention a bronze Buddha, Kambodja abouf
1600, for 3600 M., a silber jug, 14 th Century,
for 3200 M.
The fourth day passed calmly aceording
to the matter which contained hardly anything
sensational.
Brightly coloured enamel works seem Io
have belonged to Nemes’ preferance; Drey,
a very active buyer again, acquired a Triptich
by Penicaud for 14 600 M., S. Meller got a
crucification (Limoges) for 8400 M. Asiatic
potteries contained among others a Meso-
Th e
Munich,
loss a
and an
of living arlists.
the whole desiroyed exhibition shows how
exfraordinarily important precisely this show
was. Contemporary French painters and
sculptors as Vlaminck, Utrillo, Derain, Dufy,
Paul Klee, Toter Katarakt, 1930
Ausstellung — Exposition — Exhibition :
und Kunstverein f. Rheinlande u. Westfalen
beautifully composed. Exfraordinarily repre-
senlaiiv
Doria.
The
“Holy
(about
Family
several
is splendidly presented with the impeccable,
magnificent “Portrait of a Venetian Counsel”,
ihe lyrical Cariani with ihe portrait of a
young man. Works by the Bassano, Bordone,
Meldolla families lead ihe-18th Century where
Tiepolo’s “Death of Hyacinthus” is the finest
piece besides very good Guardis, Canalettos,
Bellottos which with Tiepolo’s “Christ and the
Adultress” are of an extraordinary beauty.
These few works may give a vague Impres-
sion of the richness offered by this delightful
exhibition.
. Collec-
contemporary Germans were
Marcello”
“the
Gollection Hubert Wilm
German Sculptures of the
12 fh t o 18 th Century
Munich offers incessantly new exhibitions
the imporfance of which is more than local.
In June and July the Collection of the painter
and etcher Dr. Hubert Wilm is on view in the
“Kunstverein”.
A catalogue of this Collection has
published two years ago by Prof. Baum, who
revised the new catalogue too, to which the
Kunstverein joined many excellent repro-
ductions.
135 figures in wood, stone and clay begin
with romantic sculptures of the 12th Century
and end with a "Mourning Maria” by Franz
Schwanthaler (1762—1820).
Seven centuries of German sculpture have
been gathered in this collection which has
been dealt with in Wilm’s published books
about the Gothic figure etc. The Collection is
not restricted on a special subject, but takes
the beautiful where it is found. Naturally
Southern Bavarian works are in the fore-
ground. And' it is very impressing to see,
what a vigorous and productive race those
Nether Bavarians are.
Besides wood and clay plastics the col-
lection contains children’s toys, bronzes, silver
and glass. Beautiful gobelins form a fine
Supplement.
UUUV1V .. ■-
enfirely his work, ihe wife being attributed
io Jörg Breu. There are three works by the
clder Lucas Cranach, one by the younger
Lucas Cranach, one by ihe exfraordinarily
vital Konrad Faber. The portrait of King
Henri VIII. of England atlributed io the
younger Hans Holbein, belongs probably to
his circle or studio only, although ii is
excellent. Neufchatel is represenied with a
very characferistic, very subtile portrait of
a nobleman, Grünewald with his own portrait,
and Dürer witti ihe portrait of a man coming
of the Figdor collection. A great rarity is
an interesting portrait with landscape by
Michael Ostendorfer. Two men, one of fhem
probably the mathematician Appian painied
by Martin Schaffner, one plate with the
family Funk von Senfienau by Bernard Strigel
ought to bc meniioned as being some of fhe
finest models of fhe German Renaissance
porlraits. A very strong and deep impression
remains of those keenly, individual Personali-
ties of an epoch, whose spirit may be our aim
now.
The plastic show with very good works
by Hanak, ihe architectural show with many
Plans, photographs, models, very valuable
documents, have not been preserved.
Bud the most irreparable loss is ihe collec-
tion of German Romantic painters, as well
as of the “Nazarener” and „Neudeutschen”.
Museums of all larger German towns have
sent their best pieces, and now inesiimable
values have been desiroyed.
Among the romantics three famous pic-
tures by Runge, three beautiful works by C.
Friedrich, who seems io have particular bad
After ihe Glaspalast in Munich has been
esiroyed ihe art season must be managed
[Jhely by jhe art galleries. Actually ihe
lc'schmann Gallery, Munich, is showing a
j!rr|ber of German Renaissance porfraiis,
p'ieh af present atiract as much inierest as
Jench or Italian porlraits of the same period.
0?lriiual emanation helped to absolish
"Stacies which prevented the German Re-
_ü|ssance portrait from being as much
^c>'nowledged as ihe works of their neigh-
countries. So ihe interesf at the opening
was very lively and all officials and
v^hert capacities were present. — The re-
^hue of catalogue and entering fee will be
Sed io assisf ihe arlists who suffered such
j. grave damage through the catastrophe of
v’e Glaspalast. Firms as Tiros. Agnew and
c°ns, London — Hermann Ball, Berlin — Paul
Tssirer, Berlin — I. & S. Goldschmidt, Berlin,
lj''d many others sent pictures io this exhibi-
°n which contains about 60 numbers.
I The descripfion of a piciure gives even
. Ss than a phoiograph, only some words
1 ,lsi be said about ihe most striking pic-
] r’es. Let us follow the Order of ihe cata-
j^pUe: There is first, probably the most
JrOuiiful piece, an inferior with a house-
‘‘e by Aldegrever, Dürer’s pupil, who gives
s-, splendid conception of ihe rustic type.
Iree very fine poriraits by Amberger don't
Galerie Flechtheim
The Auction säte of the collection Nemes
was looked forward to with great curiosity,
with some scepiicism too as regards the
financial expectations. So all predictions made
by art collecfors and art dealers were very
different and no result whatsoever could be
altogether surprising. The less so, as every
object was very carefully “valued” and as
there could1 not possibly be a particularly
hard compefifion between the buyers of those
enormous values. The firms F. Muller & Co.,
P. Cassirer and H. Helbing performed the sale
clearly and properly whit-
hout dissimulating tactic of
any sort, so thal the really
satisfying result can give an
impression of the present
state of ihe art market.
Crowds of people came to
the exhibion as well as to the
auction sale ifself, the Mu¬
nich Tonhalle was filled io
ihe last seat, and the whole
event was a social as well
as a Professional meeting.
All famous collectors and
connoisseurs were present,
representatives of German
and Foreign Museums had
come, and of course no art
dealer failed in taking a very
lively inierest. One might
mention some names as Ge
heimrat Friedländer, Zimmer
mann, Waldmann, Schmidt
Degener (Amsterdam), Mar
tin (the Hague), Petrovics
(Budapest), Siren (Stock¬
holm), Parsens (for Cleve-
land and Cansas City,
U. S. A.), renowned collec¬
tors as Abegg (Swifcerland),
Cambö (Barcelona), Feist
(Berlin), Lehmann (New
York), Bondy (Vienna); sci-
entific experis as Veniuri,
Longhi, Graul, Hevesy and
many others; the art dealers
Haberstock, Ball, Graupe,
Benedict, Hinrichsen, 1. & S.
Goldschmidt, Heilbronner,
Rosenbaum, Fischer (Lu¬
zerne), Pollak (Rome), Loewi
(Venice), Langton-Douglas
(London), Hoogendijk (Am¬
sterdam), briefly all prominents
of arf had come.
The first day was reserved1
only.
poiamian vase with green glazing which
attained 1500 M.
There was little request for porcelaine,
except the Meissen groups, which brought
19 000 M., 5200 M. and 3200 M. Most probably
the condition of the objects was not perfect.
Among the miniatures we mention the
suite of 22 Italian Miniatures and the Persian
illuminated manuscript, having attained 4300
and 4700 M.
Furniture was sold for normal prices, not
containing very great qualities among the
pieces of fhe 17 th and 18 fh Century.
The total result of fhree Millions and a half
cannot be considered as a surprise of eifher
sort as all predictions and calculations were
so vague. But on fhe whole the outlook is
certainly optimisiic if such an enormous col-
lection finds still a sufficiently great number
of buyers. Munich still a centre in art life
was surely well chosen.
1
Alfred Rethel, Studienkopf eines Mönchs
Tete de moine — Head of a monk
Öl auf Pappe, 43 : 46 cm
Ausstellung —• Exposition — Exhibition:
Romantische Malerei in Deutschland und Frankreich
Ludwigs-Galerie (Otto H. Nathan), München
big altar painting by Tinforefto
family of Hieronymus
1550) and the altar painting of
Cornaro” are to be seen besides
porlraits of men. Vincenzo Cetena
Lurgat, Rodin, Maillol, Despiau had exhibiied
their works. — The Italian show contained
collections of the classicists Chirico and
Casorafi and of the Milan circle Novecento.
The Austrians Faistauer, Kokoschka, Kitt,
and Kolig had sent chosen works. z'~"—
tions of Contemporary Germer
to pictures
The attained prices were perfectly
normal: Agnolo Gaddi’s “Annunciation” came
to 6000 M., Giovanni del Biondo’s “Angels with
Saints” to 6900 M. The first big price was
paid for the “Adoration of the King” by Fra
Angelico, which was bought in foreign Com-
mission für 100 000 M., the second for Philippo
Lippi’s Madonna (98 000 M.) bought by Jacques
Weil, Munich. Dr. Meller, Munich, paid for the
Madonna by Girolamo di Giovanni da
Camerino 10 000 M., Helbing bought Tizian's
Gonzaga for an American Collector at the
price of 91 000 M.
The only really striking Sensation was
Greco’s “Angels’ Concert” acquired for
275 000 M. by the Museum of Athens. Dutch
painters were well paid, Rembrandt’s "Fabius
Maximus” and “Saskia”, Frans Hals’ portrait
of a man were adjudiicated at 335 000 M.,
80 000 M. and 86 000 M. Ruysdael, Rubens,
Cranach brought middle prices. — Modern
French paintings by Courbef, Pissarro, Degas
sold very well.
The total result of the first day amounted
to nearly two Millions Mark.
The second day brought a Sensation in the
fact that an abundant collection of textile
fabrics like that of Nemes, still finds
numerous amateurs who are keen buyers.
The relatively highest prices were attained
for a Venetian velvet of the 15 th Century
and a chasuble of the same provenience and
period, with 23 000 M., for two Italian dalmatics
with 30 500 M. and a Dutch chasuble and two
dalmatics with 35 500 M.
The afternoon contained two sensational
prices for fhe Venetian chasuble and for one
from Asia Minor at 19 000 and 18 000 M.
The interesf did not weaken in the least
the fhird day; the stock of fabrics was not
yet exhausted and was well received. Gobe-
lins were less successful, while asiatic carpets
were sold af normal prices. Although the
sculptures were not the best objects of the
collection, it was again conveyed how difficult
it is io seil plastic works on auciions; many
objects were paid under their value, many
rctired, many paid mudi above their value.
A very good Madonna from Bäle, about 1490,
was bought by an American Museum for
9500 M.
Very pretty objects of applied art found
inierest with Böhler, Bernheimer, Drey. We
fhe occasion of a fifty years’ exisience |
lirn f*lm Julius Böhler, Munich, for fhe first
}|, . arranged an official exhibition out of
,*r properfy as well as out of oiher firms,
v >ch represenis partly unknown and mainly
yTy imporiani works of 14 th —18 ih Century
Ler>etian painting. Abouf 80 with delicaie
°Wledge elecied examples illusirate the
^velopment of a sole ariistic circle, which
Mr. August L. Mayer, who made fhe caia-
j QUe, says in his preface, has not been only
I ‘eresting to nothern countries for some cen-
lVjf,es, but is winning more and more inierest
h amateurs and connoisseurs. The history
^ Venetian painting much served in funda-
jser|ial works by Tesii, Venturi, A. L. Mayer,
ß brecisely a domain which offers many
Q0Ssibi]ities io ihe explorafing and dis-
}|t Vering gusto. The exhibition maintains this
r^Sls- Besides the exhibiting firm other
b uowned German and foreign firms are re-
esented.
||t /he fewness of the existing examples of
Venetian trecento stamps that period to
V 9reat rarity. An early work by Lorenzo
f|Cneziano is still marked by byzanfine in-
q vjHces which soften away in his later works:
fj ^adonna and a birfh of Christ where Vene-
traditions are dominating as well as in
'■i^erino Veneziano’s beautifully conserved
Madonna”.
i|, Quatrocento is mainly represenied in
I,e. second half of the Century, the early
Sj-Pod enfirely missing. But there are con-
}Qaerable works which contribute all fhe more
" befter knowledge of fhe epoch, particularly
V „ signed pictures
tyj. ■'llllipuj VLIuin.il.
tj, ( “Saini Hierony-
0i,s ' (reproduced in
$1 ,r June, 21 rst issue)
c°Ws influence of
itiJbaccio as well as
Ifg^s Veronese
q uifion, in any case
Of^ry valuable piece
>ht le Venetian circle,
\v0° which some other
rTs may possibly
°n be joined.
p^l’e beginning of the
Century disfingu-
tb. ed ifself by a great
f; J^ber of beautiful
rfraits. There exels
f^Paccio’s wonder-
Oortrait of a lady,
U c°Po de’ Barbari’s
4]/Jrait of Markgraf
Jt^n r* Brandenburg
hav*n9 cerfain
f|9’Ures of nothern in-
jj^Uce, the portrait of
Viy u.ng man by Alvise
for'?r*n’> very typical
ly "im, very vigorous-
hqi^^iuied; less brilli-
Derhaps the head
Vq Q man, attributed by Berenson to Gio-
\venr,i Bellini. Out of Bellini’s closer circle
jltk7riaY mention a "Madonna with Sainis”
•o Jbufed to Francesco Biscolo (by Berenson
l)y pOcetio). The portrait of a young woman
Of] Boccaccio Boccaccino, a beautiful “Rest
^Qhi e escape” by Andrea Previtali, remar-
llir e as io ihe landscape. Some other pic-
Q>. have still the characteristics of the
. ybocento.
rj^lJ'e mature Renaissance is marked by
’s Powerful Personality, who is repre-
ed with six works. The most interesting
berit a masterwork of theMaier years: "Re-
I>raing Hieronymus” from English private
Deriy, has deep, warm colours, and is
The Exhibition of the
burnt „Glaspalast“
fire which desiroyed the Glaspalast,
means besides an enormous material
terrible catastrophe for German art
actual mischief for a terrific number
A retrospective view on
shadow Hans Brosamer’s impressing por-
traits of men, nor ihe four very lively works
of the brothers Barthel Bruyn (reproduced
on page 2 of our June, 14 ih issue). Hans
Burgkmair, ihe 4 th centenary of whose deaih
is now celebrated, is represenied with a
double portrait which is not authentically
’ ” ■r ’ ■ XX - I J
IlOllÖ VZ! --,-
equally the victims of the flames, so the
collections Samberger, Diez, Erler, Her-
terich; so the collections in honour of
Paul Müller and S. L. Wemban containing
many documents of the Munich paysage
intime, with works by Kubierschky and Otto
Sfrüfeel. Ariisfs of the Munich Secession
suffered severe damage. Excellent works by
Liebermann and Zügel were desiroyed too.