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A Stunning Exhibition of Artworks by Renowned Artists in Munich

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A Stunning Exhibition of Artworks by Renowned Artists in Munich

  • Ernst Ludwig Kirchner, Akt vor dem Spiegel (Nude at the Mirror), circa 1915-20
    Estimate £3,000,000–5,000,000
    With its bold colouration and avant-garde approach to a traditional subject-matter, Akt vor dem Spiegel is a powerful example of Kirchner’s painting from his time spent in Berlin and embodies the values proclaimed in Die Brücke programme. Kirchner kept the present work in his own collection until only months before his death, and in 1937 gave it as a Christmas present to his physician and major patron Dr Frédéric Bauer.
  • Max Ernst, Terre de feu, 1956
    Estimate £150,000–200,000
    Imbued with a spirit of optimism, renewed by Europe’s post-war recovery, Ernst returned to Paris and became fascinated with astronomy. The title Terre de Feu is the French name for Tierra del Fuego, an archipelago at the southernmost tip of South America, shared by Chile and Argentina. Dominated by snowy mountains, glaciers and vast expanses of water where the Atlantic and Pacific oceans meet, and nicknamed ‘End of the World’, the idea of this dramatic and remote landscape would certainly have appealed to Ernst’s fantasy and his interest in the celestial world.
  • Lyonel Feininger, The Tall Man, 1909
    Estimate £120,000–180,000
    Executed in 1909, The Tall Man exemplifies the crisp aesthetic and sharp satirical eye that characterises Feininger’s early works. His tilted perspective and scale distortions, often coupled with non-descriptive, radical use of colour, set Feininger at the forefront of the artistic avant-garde of the early twentieth century.
  • Notre-Dame de Paris is a wonderful example of Albert Marquet’s celebrated series of views of the Seine as seen from his studio window. He delighted in the ever-changing environment along the banks of the river and returned to this specific scene throughout his working life. As such, the motif offers an insightful yardstick by which to measure the artist’s maturing style. Painted in 1908, at the height of the Fauve moment, this work demonstrates Marquet’s increasing inclination towards a more discreet and subtle range of colours, selecting to focus instead on the significant architecture and monumentality of the beautiful cathedral.
  • Painted in 1943, Mädchen am Fenster is a remarkable testament to an artist’s resilience and determination in a period of immense uncertainty. Having been denounced as degenerate by the Nazi party in 1937 and removed from his teaching post, Hofer suffered further angst when an air raid in Berlin destroyed copious amounts of his artistic output in 1943. Painted in this pivotal year, and conjuring an atmosphere of reflection and quiet optimism, Mädchen am Fenster provides a powerful and valuable meditation on perseverance.
  • With its strong angular composition and evocative planes of colour, Landschaft reflects the artist’s singular and enduring vision of pastoral harmony. Painted in the small fishing village of Nidden on the Curonian Spit, this work belongs to a series of landscapes that the artist painted over the course of three visits to the quiet resort. The unspoiled and natural surroundings provided enormous inspiration for the artist and he created a body of works without inhibition, honing and developing his painterly technique into the mature style for which he is most celebrated.
  • La vigne en octobre exemplifies Théo van Rysselberghe’s mature style of Neo-Impressionism. The rose hues of the foreground, combined with the dark shades of the trees and the shimmering execution of the sky, create an almost abstract effect of pervading colour, rendered in a mosaic pattern. Reacting against the spontaneous approach of Impressionism, the Neo-Impressionists favoured a precise, methodical application of individual daubs of paint, governed by scientific principles of colour theory. Van Rysselberghe proudly disseminated this movement in his native Belgium, but by 1900, sought to capture a more direct and instinctive depiction of nature. He thus painted with more loosely applied strokes and combined colours with a sense of freedom, a technique which enhanced the imbuement of the gentle movement of light.
  • In Falaises de Normandie, Gustave Loiseau has captured the majesty of the iconic Normandy cliffs with a classically Impressionist palette. The rich aqua waters lap the shoreline under an atmospheric sky of powder blues and subtle purples. Dapples of green, yellow, brown and grey come together to convey the visceral texture of the rocky shore. The work exhibits an extraordinarily rich surface, composed using vigorous brushwork, and as such, it exemplifies the technical virtuosity Loiseau had achieved by the turn of the century.
  • Tappert's involvement with leading German artists, such as Nolde and Pechstein, and Expressionist groups like the Berlin Neue Sezession and Kandinsky's Blaue Reiter influenced his painting tremendously. In the present work, the daring use of colour and striking angularity of the subject create a superb Expressionist painting and perhaps the most successful of Tappert's œuvre.
  • Morris Louis, Sidle, 1962
    Estimate £400,000–600,000
    In Morris Louis’s Sidle, bands of colour cascade down the canvas in vertical stripes. Appearing to pulsate with energy, the work is charged with a vibrant and optic allure that encapsulates the American artist’s innovative practice.
  • Wayne Thiebaud, Fruit Stand, 1963
    Estimate £800,000–1,200,000
    Executed in 1963, Fruit Stand is an early and brilliant example of Wayne Thiebaud’s painterly technique and formidable draughtsmanship. Characterised by a sense of desire and seduction, Fruit Stand offers a captivating exploration into the transient joys, delights and sentimentality of American life in the 1960s.
  • Roy Lichtenstein, Grapes, 1974
    Estimate £1,500,000–2,000,000
    Executed in monochromatic shades of black, white and Egyptian blue, Grapes is an outstanding example of Roy Lichtenstein’s exploration into the genre of still life, as well as his command of line, colour, concept and form. Highly idealised, visually arresting, and innately joyful, the present work delivers a succinct commentary on American consumerism in the 1970s.
  • Tom Wesselmann, Study for Drop Out Nude, 1981
    Estimate £800,000–1,200,000
    Bold, punchy and alluring, Study for Drop Out Nude exemplifies Tom Wesselmann’s iconic Pop art aesthetic. Executed in 1981, the painting belongs to the American artist’s celebrated series of Drop-outs which innovatively employ negative space to invoke the buxom curves of the female form.
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