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267

Hermann Max PechsteinDas blaue Kleid: Bildnis Frau Dr. PlietzschÖl auf Leinwand. 100,6 x 78,1 cm.

In Modern Art

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Hermann Max PechsteinDas blaue Kleid: Bildnis Frau Dr. PlietzschÖl auf Leinwand. 100,6 x 78,1 cm. - Bild 1 aus 3
Hermann Max PechsteinDas blaue Kleid: Bildnis Frau Dr. PlietzschÖl auf Leinwand. 100,6 x 78,1 cm. - Bild 2 aus 3
Hermann Max PechsteinDas blaue Kleid: Bildnis Frau Dr. PlietzschÖl auf Leinwand. 100,6 x 78,1 cm. - Bild 3 aus 3
Hermann Max PechsteinDas blaue Kleid: Bildnis Frau Dr. PlietzschÖl auf Leinwand. 100,6 x 78,1 cm. - Bild 1 aus 3
Hermann Max PechsteinDas blaue Kleid: Bildnis Frau Dr. PlietzschÖl auf Leinwand. 100,6 x 78,1 cm. - Bild 2 aus 3
Hermann Max PechsteinDas blaue Kleid: Bildnis Frau Dr. PlietzschÖl auf Leinwand. 100,6 x 78,1 cm. - Bild 3 aus 3
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Köln
Hermann Max Pechstein
Das blaue Kleid: Bildnis Frau Dr. Plietzsch

Öl auf Leinwand. 100,6 x 78,1 cm. Gerahmt. Oben links schwarz monogrammiert und datiert 'HMP 1921' (HMP ligiert) sowie rückseitig schwarz signiert 'HMPechstein', betitelt 'Bildniß Frau Dr. Pl.' und zweifach datiert '1921', bzw. '21'. - Mit einzelnen kleinen Retuschen.

Soika 1921/61

Provenienz
Mica Plietzsch, Köln; Kunsthandel Wolfgang Werner KG, Bremen (ca. 1974, mit rückseitigem Etikett auf dem Zierrahmen); seitdem Privatsammlung Rheinland

Ausstellungen
Selm 1989 (Schloß Cappenberg), Max Pechstein, S. 18 mit Farbabb.

Literatur
Graphisches Kabinett Kunsthandel Wolfgang Werner, Deutsche Kunst 1900 - 1940, Bremen 1974, o. Kat. Nr., o. S. mit ganzseitiger Farbabb. ("Das blaue Kleid (Bildnis M. P.)")

Das Porträt, die künstlerische Auseinandersetzung mit dem Menschen, interessiert den Maler Max Pechstein von Anfang an. Schon in den frühesten Jahren seiner Laufbahn entstehen Selbstbildnisse, Darstellungen von Freunden und Bekannten.
Spätestens ab 1917, nach Pechsteins Entlassung aus dem Kriegsdienst, wird das Porträt zu einer zentralen Ausdrucksform seines Schaffens - eine besondere Werkgruppe von zentraler Relevanz für das Oeuvre des Künstlers, der nicht nur Bernard S. Myers eine herausragende künstlerische Qualität beimisst. Über die Bildnisse der Jahre 1917 bis 1921 hält er fest: „Monumental in their conception of form, expressive in their capture of the sitter's character and mood in the inward-turning sense of the school generally, these half-length studies are blocked in with bold, assured strokes and conscious deformations that intensify their meaning. In some ways these portraits, especially the studies of himself, are among the finest things that Pechstein did: very personal in style, they differ considerably from other Expressionist portraits.” (vgl. Bernard S. Myers, Expressionism. A Generation in Revolt, London 1963, S. 145).
Unser Porträt der Mica Plietzsch belegt eindrucksvoll Pechsteins scharfes Auge und das Talent seine präzisen Beobachtungen fein nuanciert ins Bild zu übersetzen. Es sind Gestik, Mimik und Attribute wie das geknäulte Taschentuch in den Händen, auch der leicht entrückte Blick minimal aus dem Bild herausschauend, über die der Künstler versucht, die Persönlichkeit des Modells und herrschende Stimmung gleichermaßen einzufangen. Seine subtil psychologisierende Darstellung kontrastiert er höchst reizvoll mit klaren Konturen, einem souveränen breiten Pinselstrich und leuchtender Farbigkeit in Rot, Grün und Violett.
Max Pechstein und der fünf Jahre jüngere Kunsthistoriker Dr. Eduard Plietzsch waren ein Leben lang miteinander verbunden und unterhielten einen lebendigen Briefwechsel. Mica Plietzsch war wie ihr Gatte Eduard eng mit Pechstein befreundet (s. Vergleichsabb.).
Es wird dem direkten persönlichen Verhältnis von Maler und Modell geschuldet sein, dass sich in unserem repräsentativen Bildnis eine ganz unmittelbare Nähe transportiert, welche die außerordentliche formale Qualität dieses wichtigen und bemerkenswerten Gemäldes in der unvermittelten Wirkung auf den Betrachter noch zu steigern vermag.

Hermann Max Pechstein
Das blaue Kleid: Bildnis Frau Dr. Plietzsch

Oil on canvas. 100.6 x 78.1 cm. Framed. Monogrammed and dated 'HMP 1921' (HMP joined) in black upper left and signed 'HMPechstein', titled 'Bildniß Frau Dr. Pl.' and dated twice '1921', resp. '21' in black verso. - Isolated minor retouches.

Soika 1921/61

Provenance
Mica Plietzsch, Cologne; Kunsthandel Wolfgang Werner KG, Bremen (approx. 1974, label verso on decorative frame); in private possession since, Rhineland

Exhibitions
Selm 1989 (Schloß Cappenberg), Max Pechstein, p. 18 with colour illus.

Literature
Graphisches Kabinett Kunsthandel Wolfgang Werner, Deutsche Kunst 1900 - 1940, Bremen 1974, n. cat. no., n. p. with full-page colour illus. ("Das blaue Kleid (Bildnis M. P.)")

From the very beginning of his career, painter Max Pechstein was interested in portraiture as the artistic examination of humanity. Even in the earliest years of his work as an artist he created self-portraits and depicted friends and acquaintances.
The portrait became his central form of expression at the very latest from 1917 onwards, after Pechstein was discharged from military service: Portraits formed a special work group of central relevance to the artist's oeuvre, to which not only Bernard S. Myers attests a quite exceptional artistic quality. The latter described Pechstein's paintings created between 1917 and 1921 as “monumental in their conception of form, expressive in their capture of the sitter's character and mood in the inward-turning sense of the school generally, these half-length studies are blocked in with bold, assured strokes and conscious deformations that intensify their meaning. In some ways these portraits, especially the studies of himself, are among the finest things that Pechstein did: very personal in style, they differ considerably from other Expressionist portraits.” (cf. Bernard S. Myers, Expressionism. A Generation in Revolt, London, 1963, p. 145).
Our portrait of Mica Plietzsch provides an impressive testament to Pechstein's keen eye and his prowess in translating his precise observations into painting in nuanced ways. The artist aimed to capture both his sitter's personality and the atmosphere in the room through gestures, facial play and attributes like the scrunched-up handkerchief in her hands, as well as through his subject's slightly other-worldly gaze, which extends beyond the frame. He appealingly contrasted his subtly psychological depiction with clear contours, masterful thick brush marks and a vivid colour scheme featuring red, green and violet.
Max Pechstein and art historian Dr. Eduard Plietzsch, who was 5 years his junior, were life-long friends and regularly exchanged letters. Mica Plietzsch, like her husband Eduard, was a close friend of Pechstein's (see comparative illus.).
It is presumably due to the direct personal relationship between painter and sitter that our representative portrait transports an immediate closeness able to further heighten the extraordinary quality of this important and striking painting in terms of the unexpected impact it has on the viewer.
Hermann Max Pechstein
Das blaue Kleid: Bildnis Frau Dr. Plietzsch

Öl auf Leinwand. 100,6 x 78,1 cm. Gerahmt. Oben links schwarz monogrammiert und datiert 'HMP 1921' (HMP ligiert) sowie rückseitig schwarz signiert 'HMPechstein', betitelt 'Bildniß Frau Dr. Pl.' und zweifach datiert '1921', bzw. '21'. - Mit einzelnen kleinen Retuschen.

Soika 1921/61

Provenienz
Mica Plietzsch, Köln; Kunsthandel Wolfgang Werner KG, Bremen (ca. 1974, mit rückseitigem Etikett auf dem Zierrahmen); seitdem Privatsammlung Rheinland

Ausstellungen
Selm 1989 (Schloß Cappenberg), Max Pechstein, S. 18 mit Farbabb.

Literatur
Graphisches Kabinett Kunsthandel Wolfgang Werner, Deutsche Kunst 1900 - 1940, Bremen 1974, o. Kat. Nr., o. S. mit ganzseitiger Farbabb. ("Das blaue Kleid (Bildnis M. P.)")

Das Porträt, die künstlerische Auseinandersetzung mit dem Menschen, interessiert den Maler Max Pechstein von Anfang an. Schon in den frühesten Jahren seiner Laufbahn entstehen Selbstbildnisse, Darstellungen von Freunden und Bekannten.
Spätestens ab 1917, nach Pechsteins Entlassung aus dem Kriegsdienst, wird das Porträt zu einer zentralen Ausdrucksform seines Schaffens - eine besondere Werkgruppe von zentraler Relevanz für das Oeuvre des Künstlers, der nicht nur Bernard S. Myers eine herausragende künstlerische Qualität beimisst. Über die Bildnisse der Jahre 1917 bis 1921 hält er fest: „Monumental in their conception of form, expressive in their capture of the sitter's character and mood in the inward-turning sense of the school generally, these half-length studies are blocked in with bold, assured strokes and conscious deformations that intensify their meaning. In some ways these portraits, especially the studies of himself, are among the finest things that Pechstein did: very personal in style, they differ considerably from other Expressionist portraits.” (vgl. Bernard S. Myers, Expressionism. A Generation in Revolt, London 1963, S. 145).
Unser Porträt der Mica Plietzsch belegt eindrucksvoll Pechsteins scharfes Auge und das Talent seine präzisen Beobachtungen fein nuanciert ins Bild zu übersetzen. Es sind Gestik, Mimik und Attribute wie das geknäulte Taschentuch in den Händen, auch der leicht entrückte Blick minimal aus dem Bild herausschauend, über die der Künstler versucht, die Persönlichkeit des Modells und herrschende Stimmung gleichermaßen einzufangen. Seine subtil psychologisierende Darstellung kontrastiert er höchst reizvoll mit klaren Konturen, einem souveränen breiten Pinselstrich und leuchtender Farbigkeit in Rot, Grün und Violett.
Max Pechstein und der fünf Jahre jüngere Kunsthistoriker Dr. Eduard Plietzsch waren ein Leben lang miteinander verbunden und unterhielten einen lebendigen Briefwechsel. Mica Plietzsch war wie ihr Gatte Eduard eng mit Pechstein befreundet (s. Vergleichsabb.).
Es wird dem direkten persönlichen Verhältnis von Maler und Modell geschuldet sein, dass sich in unserem repräsentativen Bildnis eine ganz unmittelbare Nähe transportiert, welche die außerordentliche formale Qualität dieses wichtigen und bemerkenswerten Gemäldes in der unvermittelten Wirkung auf den Betrachter noch zu steigern vermag.

Hermann Max Pechstein
Das blaue Kleid: Bildnis Frau Dr. Plietzsch

Oil on canvas. 100.6 x 78.1 cm. Framed. Monogrammed and dated 'HMP 1921' (HMP joined) in black upper left and signed 'HMPechstein', titled 'Bildniß Frau Dr. Pl.' and dated twice '1921', resp. '21' in black verso. - Isolated minor retouches.

Soika 1921/61

Provenance
Mica Plietzsch, Cologne; Kunsthandel Wolfgang Werner KG, Bremen (approx. 1974, label verso on decorative frame); in private possession since, Rhineland

Exhibitions
Selm 1989 (Schloß Cappenberg), Max Pechstein, p. 18 with colour illus.

Literature
Graphisches Kabinett Kunsthandel Wolfgang Werner, Deutsche Kunst 1900 - 1940, Bremen 1974, n. cat. no., n. p. with full-page colour illus. ("Das blaue Kleid (Bildnis M. P.)")

From the very beginning of his career, painter Max Pechstein was interested in portraiture as the artistic examination of humanity. Even in the earliest years of his work as an artist he created self-portraits and depicted friends and acquaintances.
The portrait became his central form of expression at the very latest from 1917 onwards, after Pechstein was discharged from military service: Portraits formed a special work group of central relevance to the artist's oeuvre, to which not only Bernard S. Myers attests a quite exceptional artistic quality. The latter described Pechstein's paintings created between 1917 and 1921 as “monumental in their conception of form, expressive in their capture of the sitter's character and mood in the inward-turning sense of the school generally, these half-length studies are blocked in with bold, assured strokes and conscious deformations that intensify their meaning. In some ways these portraits, especially the studies of himself, are among the finest things that Pechstein did: very personal in style, they differ considerably from other Expressionist portraits.” (cf. Bernard S. Myers, Expressionism. A Generation in Revolt, London, 1963, p. 145).
Our portrait of Mica Plietzsch provides an impressive testament to Pechstein's keen eye and his prowess in translating his precise observations into painting in nuanced ways. The artist aimed to capture both his sitter's personality and the atmosphere in the room through gestures, facial play and attributes like the scrunched-up handkerchief in her hands, as well as through his subject's slightly other-worldly gaze, which extends beyond the frame. He appealingly contrasted his subtly psychological depiction with clear contours, masterful thick brush marks and a vivid colour scheme featuring red, green and violet.
Max Pechstein and art historian Dr. Eduard Plietzsch, who was 5 years his junior, were life-long friends and regularly exchanged letters. Mica Plietzsch, like her husband Eduard, was a close friend of Pechstein's (see comparative illus.).
It is presumably due to the direct personal relationship between painter and sitter that our representative portrait transports an immediate closeness able to further heighten the extraordinary quality of this important and striking painting in terms of the unexpected impact it has on the viewer.

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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24.00 % buyer's premium on the hammer price

(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

 

Some lots:

19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR

 

Some lots:

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

AGB

Conditions of Sale

1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.

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4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
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8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
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13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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