Deutsche Kunst- und Antiquitätenmesse [Hrsg.]: Die Weltkunst (5.1931)

DIE WELTKUNST

7


(Fortsetzung von Seite 3)
Sammlung Han Coray
yir'terland: Baoule-Gouro, Senoufo, Dan usw.
on diesen Stämmen finden wir Masken (Ab-
^•dung Seite 3) und Figuren, z. T. hervor-
ta9ender Art, — von den Qouro auch eine
. erie von Webspulen-Haltern mit den be-
annten sehr reizvollen Köpfen.
Außer der Elfenbeinküste treffen wir noch
b^sken der Mendi (Liberia), Arbeiten der
■ a 9 a, darunter eine Maske (Nr. 506), die zu
er> Hauptstücken der Sammlung gehört, und
Us Kamerun an. Von diesem leßteren Ge¬

biet ist neben einer beachtlichen Ekoi-Kopf-
plasfik (Nr. 760) eine ausdrucksstarke Maske
des Graslandes bemerkenswert.
Es ließen sich noch mancherlei Notizen zu
dieser Sammlung Coray machen. Besondere
Beachtung würden z. B. die Elfen bein-
Schnifeereien verdienen. Doch müssen wir
uns an dieser Stelle mit diesem einigermaßen
summarischen Hinweis begnügen und mit dem
Ausdruck der Hoffnung schließen, daß diese,
soweit wir sehen, umfänglichste Sammlung
afrikanischer Kunstwerke in europäischem
Privafbesiß einmal vollzählig zur Ausstellung
gebracht werden möge.



JSarlhcoining Sales

whole art world reads the
«WELTKUNST»
, of the WORLD * Le MONDE des ARTS
Of^ogue of the year 1929, when the first pari
le c°llection was Ient permanenily fo the
ft Mhaus Zürich. The guality of the objects
^kp'gue and the condition absolutely impec-
Ißf e> and the value is naturally all the grea-
Rütschi was able to discover most im-
ant proveniences, as Cardon Brussels,

The H... Collecti on
On September 1 rsi Paul Cassi-
? r’ Berlin, and Theodore Fischer, Lu-
ft .rt!e> sell By auction the colleciion H.,
rJiP*0’ ™ Luzerne. The collector has gafhe-
j| n modern pictures as well as old ones, al-
ß °ugh the original starting point was modern
] Mting. As to guantity there seems io be
more stress on modern art and some
5 °rks seem to be added there only for the
cake of completing. But old masters also are
I 0||ected with delicate taste and much know-
Td9e of the matter. There mighi be found
Certain distanf Connection between these
ft and modern päinlings, the barock period
se'ng preferred for the first and the expres-
lQnisis for the latter. The guality is through-
M first rate.
Among the old pictures there is on first
Jaee a Madonna by Rogier van der Weyden,
l?'o further Madonnas, out of the suite of three,
l?‘ng in the collections Mancet, Caen, and
j dntingfon, New York; this madonna (repro-
p.ced in our July 19th issue) is according to
J'edländer the finesi and smoofhest and la-
>st. The rest belongs to the barock period.
i|'ere is Tinforetfo with a “Young Man in
Mck” and iwo smaller pictures with religious
penes. Greco is represented by the beauti-
"Jesus in the House of Simeon” (repro-
^■Uced in our July 19th issue) and the St. Fran-
’s (about 1590). There is a greater number
? Rubens’ works; a Portrait of a man, an
Jlegory on Inspiration and two Sketches.
Draying youth by Van Dyck is, according to
ll°de, a study to the picture “Christ blessing
ue children”, in possession of fhe Duke of
örlborough. There must be mentioned yet an
i, Ouisit drawing by Rembrandt, "Man on a
h°rse”.
B Modern päinlings are represented by a
50|'traif of a young woman from the Goya
^ool (reproduced in our July 19th issue), by
b°rks of Daumier, by a very characteristic
I Mel of Degas (Dancer), by a charming pic-
jM of Toulouse-Lautrec (Le Coiffeur). There
ft an atiractive portrait of a girl by Renoir
IjSS'ide a landscape and a still-life, a still-
p M and a sketch (bathers) by Cezanne. The
uMst line is represented with a still-life by
kMgue only. There are to be seen many
'Mn works by Edvard Munch: “Karl Johann-
jhr9ße in Oslo”, “Moonlight”, etc. and a most
Mresting portrait of Kokoschka by himself.
jj The Collection consisis in a considerable
in pläsiic works too; among oihers "Ra-
ft^oil” (bronze) by Daumier, “The Wave” by
ft Hin, — a dancer by Degas, — a portrait
t sf by Renoir. The splendid Torso (l’Action
f chainee) by Maillol is a much known work
extremly impressing (reproduced in our
j V 19th issue). Not less important are the
I) ulptures by German artists. Barlach’s mo-
tt, Mntal wood sculptures, Gaul’s bronze ani-
and Renee Sintenis’ varied and exira-
jj]T'narily charming works are each worth a
l|/M in a museum. At last stucco heads by
tftq Mr and bronzes by Fiori and Kolbe close
e cafalogue.
it, The Collection has been on view in Berlin
a July and will be on view in Luzerne in
Wj]PUs^- One hopes the result of the auction
li)l duly do justice to fhe guite unusual gua-
M contained there.
^he Rütschi Collection
I Jour days later the Gallery Fischer,
ftMeme, will seil by a further auction the
ZjM Part of the famous colleciion of A. Rütschi,
6|u.MM dead in 1929. Rütschi was the most
Ijl ''Usiastic collector, the most generous
oMcenas, Switzerland possessed, and she is
iVft.Mj i° bim many extremely valuable gifis
ty he used fo make to museums. The ex-
fi0'enily illusirated cafalogue of this collec-
Of*J coniainig enamel and Goldsmifh’s works
e middle age and renaissance was newly
k rected by Otto von Falcke basing on the

Peytel, Finoelst, Diucatel-Paris, Trivulzio-
Milan. The objects are divided into three
parts: enamel works from Limoges and
from the Maas region, and the Gold-
smith’s works of the middle age and renais-
sance.
One of the most valuable objects of the first
division is a Limoges religuary boxe (repro-
duced in our August 2nd issue), from the se-
cond guarter of the 13th Century, represenf-
ing the matyrdom of Thomas a Beckett; an-
other a little earlier work with the same sub-
ject coming from fhe Collection Trivulzio,
shows a parficuliarly fine condition of gilding


Loango (Franz. Kongo), Fetischfigur
Fetiche — Fetish
Collection Han Coray, Lugano
Ausstellung — Exposition —• Exhibition:
München, Museum f. Völkerkunde

and polish. One will easily realise the extra-
ordinary value of fhose things by looking back
on the Sotheby sale, last year, which contai-
ned similar objects, which attained prices as
£ 9.000 and £ 4.800.
Let us meniion a beautiful shrine with
saintsi in relief on blue ground, coming from
fhe colleciion Ducatel, Paris. Some striking
ciboria, crucifixes, chandeliers, and a Statuette
of the Virgin sitting on a throne, are com-
plefing the concret impression of Limoge’s
arfistic activity during fhe 13fh Century.
Among the Roman Goldsmifh’s works a
sitting Virgin in wood with silver decorum,
probably a work from the Alpine region, ex-
oells above many oihers. The Maas region
is very abundanfly represented by the God-
froid atelier of the later 12th Century with an
arm religuary, crucifications, and several
smaller works. Besides a beautiful crucifix
there are two extraordinarily fine book bind-
ings of gospel manuscripfs dafing from the
middle of the llth Century (reproduced in our
August 2nd issue). Principle pieces of the
gothic group are the excellently executed
head religuary of St Janarius in natural size
and a silver cup, about four inches high, with
exguisit enamel Ornaments, called fhe monkey
cup which is mentioned already 1464 among
the Medici treasures. Each religuary and each
altar crucifix, each calice and each ritual in-
sirument are executed with an admirable ar-
tistic perfeefion, some shrines showing de-
signs which remind of Schongauer prints.
The works of the renaissance follow, not
in the bast shadowed by the preceding ob-
jects of art. There is a precious silver house-
altar containing a wonderful pietä group;
crosses, monstrances all still cling somehow
to the gothic style. Many excellent Gold-
smith’s works come from Germany too, from
a church in East Prussia, for instance. —
This Collection Rütschi is so much known
fhai the sale will be met with enormous in-
ferest and curiosify. It will be on view in Zü-
rich for the first half of August, in Luzerne
for the second.

The Byzantine
Exhibition in Paris
It is the first aftempt of this kind which
makes the Musee des Arts decoratifs to find
some general ouflines of byzantine art, a great
merit of Mr. Dufhuit and the directors of the
museum.
The subject is largely understood, it con-
tains art of Consfantinople as well as of the
neighbouring countries, and makes exchanged
influences obvious.
The exhibition begins with Hellenistic works,
partly executed in Ifaly, parfly influenced by
the Orient, showing roman art of the 4th Cen-
tury in a certain Stagnation of conservativism.
Portrait busts, mostly from the Louvre form a
transiiifion to the austere Constantine Style.
Egyptian sculptures of this period (the lately
aeguired green head of the Victoria Albert
Museum) are still in classic style, while later
on magnificenf sculptures in porphyre show
a much grater stiffness of lines owing to a
certain extent to the hard material. Two im-
portant pieces of the 4th Century, the iorso
from Ravenna and the Caesar from Berlin
are to be seen besides two beautiful prophyr
columns (reproduced in our June 28th issue).
Ivory diptychs with a great number of similar
works have been kindly yielded for the pur-
pose of the exhibition by museums and pri-
vate collectors in Paris, Brescia, Bologna,
Liverpool. Out of 5th Century Roman art and
6th Century Byzantine art the most important
works have been gathered there, which leave
a clear impression of the development in the
art of portrait, a development towards grow-
ing gravity and solemness. The charming
bronze head of Constantinus coming from
Budapest and the big Cameo, out of the Col-
lection Rothschild, are the jewels of the exhi-
bition.
There is a considerable colleciion of Chri-
stian ivory works, from the softer hellenistic
forms to the more austere Christian serious-
ness of the 6th Century one sees beautiful
diptychs from the Louvre, Berlin, and Ravenna,
Pyxides from the museum Cluny, the
Louvre, from Wiesbaden, religious groups
from Sanlieu and Lyon illustrate the late
style, where hard lines, somehow torpid ex-
pressions become dominating. The Collection
of metal works is very large according to its
importance. To early Christian silver plates
and chalices from Antioch fone of which is
reproduced in our June, 28th edifion) are
joined a great number of late discoveries out
of private collections. Some fine Coptic
bronze works from fhe Louvre are undoub-
tedly worth seeing.
The rieh colleciion of all sorfs of fabrics
is very interesting as to the clear distinction
between asiatic and hellenistic provenience
although clearly byzantine elements are not
yet precisely determined, and very offen the
place where fabrics were found are not the
same where they have been made. European
and asiatic motives emerge at unexpected
places as prove many fabrics from fhe Louvre.
In the 9th Century affer the epoch of fhe ico-
noclasts one notices a new movement, a new
creating will; besides smaller objects monu-
mental works are shown, big mosaic pieces,
or the great marble annunciation. Again there
is an extraordinary choice in ivory works,
much more lively composifions too than in the
proceding period. A great number of various
fabrics of that period, of enamel works, metal
works and ceramics, of beautiful ikons up to
the 18th Century coniribute to give an astoni-
shing completeness to this interesting exhibi-
tion, which was very will visited.
Exhibition abusing
of works of art
Now several consecutive events have suffi-
cierdly proved a fact; after the burnt Glas-
palast in Munich the Dutch Pavillion at the
Colonial Exhibition in Paris had io be sacri-
fied in order io convey to the public finally,
with how little sense of responsibiliiy unigue
art treasures are being treaied. Never mind
the parficuliar causes for the catastrophes in
either case, but technical phrases will not be
able io conceal that grave negligences have
been committed; the local responsible Offices
are as guilty as fhose authorities who had
caused foreign museums to send their trea-
sures and who had silenty garanted a safety
for them. Neifher the ideal not even the ma-
terial value can ever be restored; for fhe
apparent indemnities paid by the insurance
Companies are illusory io the concerned mu-
seums; immediaiely after the fire in the Glas-
palast the prices for romantic masters rose.
May these examples suffice to abolish this
kind of exhibitions which in the last years has
turned out to be a vaste abuse. Incessantly
there are retrospective and represenfative ex-
hibitions of antigue art which pretend to be the
greatesi, completesi and most precious of
their kind. All great museums complaini about
their objects wandering consiantly and about
their coming back always somehow damaged.
llndoubtedly some exhibitions have their
merits, give general views and valuable detai-
led informafions, the Burgkmair exhibition, for
exmple, in honour to the fourth centenary
of the master’s deaih, must be duely appre-
ciated and righily so, as in this case any
possibiliiy af damage is excluded.
Bul apart from the local or Professional
Utilities and profits, that sort of shows are be-
coming senseless by the mass of fhe exhibifed
objects. After all only specialisis and insu-
rance Companies are interested. What sense
was there in showing German romanfics

among the terrific number of objefes on view
in the Glaspalast? And the unigue treasures
of Dutch India, which were sent by the Ethno-
graphical Museum Leyden, destroyed now in
Paris, did not need any adveriisement fo be
made known to science.
Dr. Hans Tietze (Vienna)

Burgkmair Century
Nearly all works of the Augsburg painfer
Hans Burgkmair (1473—1531) are gathered for
some weeks in the town where he died
400 years ago. The exhibition, organised with
great generosity by the director of the
Bavarian State Galleries, Geheimrat Dorn-
höffer, contains almost the complete work
of Burgkmair in patntings, designs and ef-
chingisi An illusfrated cafalogue edited as a
memorial book by Dr. Feuchfmayr will be a
remaining document. Museums and private
collectors sent all they possessed to Augs-
burg, and only fhe selfportnait being in Vienna
now, was not sent the preservation of the
picture does not allow so long a journey.
The collecfion is very impressingly exhibited
in the Kafherinenklosfer, from which it receives
a very special, calm, solemn atmosphere.
The Collection begins with the portrait of
Johannes Gailer von Kaiserberg, painfed in
Strasbourg under the influence of M. Schon-
gauer whose pupil Burgkmair was, and leads
with some altarpaintings and small religious
plates to the late beautiful works of the
Johannes and Kreuzaltar.
Burgkmair’s work gives a transition bet-
ween Gothik and Renaissance, a transition
which is very smooth and eguilibrafed and
naiv. Burgkmair was very receptive for any
sort of influences and underwent that of the
south in general on one hand and that of his
contemporaries Dürer, Grünewald, Holbein,
Alfdorfer an the other. But he knew how to
transform these influences very individually.
Some päinlings of Burgkmair’s contempo-
raries, Holbein, Zeitblom, Breu, Apt, are added
to his own pictures, besides fhose of his
fafher, who was his first teacher.
Art of
African Negroes
Ethnograph ical Museum, Munich
The exact title of the extremely interesting
show is: Art of African Negroes and its rela-
tion to high culture. This means a Programm
which extends considerably beyond the limi-
ted sphere of Negroes’ art, although it has
become an important domain for collectors
by now.
The exhibition confines to excelling master
works of African art only, coming mainly from
the Zone of virgin forest, where nature has
excluded sudden changes and sudden move-
ments, where foreign influences entered very


Urua (Belg. Kongo), Sitz
Siege — Seat
Collection Han Coray, Lugano
Ausstellung — Exposition — Exhibition:
München, Museum f. Völkerkunde
slowly. One notices though obvious Persian,
Arabian, Syrian and even Greek influences.
There are figures and masks betraying an
Egyptian element.
However those foreign influences are not
simply accepted but are intimately incorpora-
ted and melfed to new forms. by fhe genuinely
native art; for there is a sfrong Creative
force visible in the native art, applied in
masks, animals, vessels, musical Instruments.
This special show containing about a thou-
sand numbers is one of the most important
private collections of this kind, belonging to
Mr. Han Coray, Lugano.
A few objects have been sent by fhe E t h -
nological Museum for the sake of com-
pleteness, Prof. Dr. L. Schermann, Dr. M.
Küsters, Mr. W. Schmidt helped to make this
show a very striking one.