Property from the Descendants of Herman Spertus Albert Bloch 1882 - 1961 Der Tänzer Sacharoff (The Dancer Sacharoff) signed with the initials AB (lower right); signed Bloch (on the stretcher); titled and dated Jan. 1912 (on the reverse) oil on canvas 41 ½ by 26 ¼ in. 105.4 by 66.7 cm. Executed in 1912.
Albert Bloch (1882-1961 Kansas) "Pierrot" Pastel Drawing, 1908. Pastel on heavy cardboard. Drawing used as the cover of Reedy's Mirror Magazine, Thursday March 5, 1908. A rare drawing by the only American artist associated with Der Blaue Reiter (The Blue Rider) depicting commedia dell'arte character Pierrot, the sad clown, playing a flute. Inscribed "To Mrs Adele M. Ballard with the best of wishes Albert Bloch April- 1908" at lower left corner. Painting comes with handwritten letter to Mrs Ballard of Seattle, Washington on Albert Bloch letterhead dated May 31, 1908. Letter includes 5 pages of correspondence and pen drawing of man smoking a pipe. Artwork measures 20x8.5". Framed with overall dimensions of 28.5x17". Loose in frame, some wear at corners, overall great condition.
Oil on canvas. (1917/1925). Ca. 76 x 72.5 cm. With conjoined monogram on the lower edge, almost in the centre. Monogrammed several times on the reverse and inscribed “Munich 1917 Repainted Lawrence 1925”. • One of the few surviving paintings from the early period • Work by the only American member of the “Blaue Reiter” • Influenced by Kandinsky, Marc, Klee and Campendonk The authenticity of this work has been kindly confirmed by Professor David Cateforis, University of Kansas, USA.
ALBERT BLOCH (1882-1961) Head of a Clown signed with the artist's monogram (lower right) oil on canvas 11 x 8 1/16 in (28 x 20.5 cm) Painted circa 1911
Albert Bloch American (Missouri), 1882-1961 The Old Mansion Ink on paper Signed, titled, and dated 1922 lower right. Naïve style street scene with figures and animals in the road before a mansion set behind trees in the distance. Matted behind glass, painted wooden frame with paperwork on the piece and the artist attached to verso.
Tusche und Bleistift auf festem, chamoisfarbenem Velin. 1914. Ca. 46,5 x 34,5 cm. Datiert unten links „14 Februar 1914“. Vereinzelte schwache Fleckchen, kleine Knickspuren an den Blattecken, obere rechte Ecke mit winzigem Nadellöchlein, geringfügige Griffknicke. Insgesamt in guter Erhaltung. Taxation: regelbesteuert (VAT: Regular Taxation)
”Charikleia in Memoriam” Monogrammed upper left: AB. Monogrammed, dated, titled and inscribed in grey-green brush on the reverse: from / Lawrence / 1958 "CHARIKLEIA IN MEMORIAM" (M. V. L. - NOV. 1879: JUNE 1958) Bloch, Albert
BLOCH, ALBERT 1882 St. Louis, MO/USA - 1961 Lawrence, KS/USA Title: Hügelige Landschaft. Date: 1932. Technique: Aquarell auf Velin. Mounting: 40 x 40cm. Auf Karton aufgezogen (57 x 57,5cm). Notation: Monogrammiert und datiert unten links: AB (ligiert) 1932. Frame/Pedestal: Rahmen. Die Authentizität dieses Werkes wurde von Herrn Prof. David Cateforis, Lawrence, KS/USA, bestätigt. Wir danken Herrn Prof. Cateforis für die ausführliche wissenschaftliche Unterstützung. Provenienz: Walter Bloch, USA; Privatsammlung USA. Ausstellungen: Busch-Reisinger Museum, Harvard University Cambridge, MA/USA, 1955, Nr. 1 (Aufkleber).
BLOCH, ALBERT 1882 St. Louis/Missouri - 1961 Lawrence/Kansas Title: Blumenstück. Date: 1915. Technique: Oil on canvas. Measurement: 56 x 38,5cm. Notation: Monogrammed lower centre: AB (ligated). Frame/Pedestal: Framed. The authenticity of this work was confirmed by Prof. David Cateforis, Lawrence, KS/USA. We thank Prof. Cateforis for the detailed scientific support. Provenance: - W.K. Bixby, Saint Louis, USA (according to the artist's workbook) - Artist's estate - Private collection USA Exhibition: - Galerie Der Sturm, Berlin 1916 (verso remains of a label) Literature: - Artist's workbook, no. 55 (ill.).
BLOCH, ALBERT 1882 St. Louis/Missouri - 1961 Lawrence/Kansas Title: "Bernard". Date: 1913. Measurement: 48,2 x 39,3cm. Notation: Monogrammed lower right: AB (ligated). Partly illegiblely inscribed, dated and titled verso: B/Obermenzing 2-VII-13 "Bernard" 1913. Additionally two numeric imprints on the stretcher: 936 und 29. Frame/Pedestal: Framed. The authenticity of this work was confirmed by Prof. David Cateforis, Lawrence, KS/USA. We thank Prof. Cateforis for the kind, detailed scientific support. Provenance: - Artist's estate - Private collection USA.
BLOCH, ALBERT 1882 St. Louis/Missouri - 1961 Lawrence/Kansas Title: "Clouds and Houses" (Häusergruppe). Date: 1917/1925. Technique: Oil on canvas. Measurement: 76 x 72,5cm. Notation: Monogrammed in the lower margin: AB (ligated). Monogrammed once more verso. Here additionally inscribed: Munich 1917 Repainted Lawrence 1925. Frame/Pedestal: Framed. The authenticity of this work was confirmed by Prof. David Cateforis, Lawrence, KS/USA. We thank Prof. Cateforis for his kind, scientific support. Provenance: - Bernard Bloch, USA - University of Kansas, School of Fine Arts (label) - Private collection, USA Literature: - Workbook of the artist, no. 83 (ill., here titled: Häusergruppe).
[*] "Herren & Herren" Feder in Schwarz und Kreide in Blau auf leichtem Karton. Um 1915. 31,8 x 40 cm. Unten mittig innerhalb der Darstellung mit Feder in Schwarz signiert "Albert Bloch", oben mittig betitelt, verso mit Kreide in Blau nochmals signiert, bezeichnet "München" sowie "M 149350". Klofrauen sitzen mit Strickzeug und Bier vor der Herrentoilette. Neben seinen Studien an der St. Louis School of Fine Arts arbeitete Bloch als Illustrator für die satirische Zeitung "The Mirror", seit 1908 lebte er in München, schloss sich hier 1911 dem Künstlerkreis Der Blaue Reiter an und wurde von der Galerie "Der Sturm" ausgestellt. Sein Stil, geprägt von antiakademischer Schlichtheit, zeigt in diesen Jahren besonders Einflüsse von Franz Marc und Paul Klee, aber auch Heinrich Campendonk. Bloch war immer sehr selbstkritisch. Er zerstörte jedes Bild, das er für unvollkommen hielt. Viele seiner Werke fielen in der NS-Zeit der Aktion "Entartete Kunst" zum Opfer, so dass nur wenige frühe Arbeiten des Künstlers erhalten sind. Verso eine weitere Zeichnung des Künstlers, Kopfstudie eines bärtigen Mannes. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Artist: Albert Bloch; Medium: Original oil painting on canvas (Missouri/Kansas) untitled landscape; Era or Year Produced: 1947; Sight Area Approximate Measurement: 18" x 22"; Frame Approximate Measurement: 23" x 27";Signature: Monogram signature center bottom. Note: Heritage, Sotheby's and Christie's New York and London, Cologne, 2 June, 2007, date on stretcher verso. Keywords: Art Paintings Ref: JE13233
Albert Bloch (1882-1961) "The Forgotten Garden"Artist: Albert Bloch; Medium: Original oil painting on canvas (Missouri/Kansas) untitled landscape; Era or Year Produced: 1947; Sight Area Approximate Measurement: 18" x 22"; Frame Approximate Measurement: 23" x 27";Signature: Monogram signature center bottom. Note: Heritage, Sotheby's and Christie's New York and London, Cologne, 2 June, 2007, date on stretcher verso.
ALBERT BLOCH (American, 1882-1961) Pierrot, 1911 Oil on canvas 26-3/4 x 17-1/2 inches (67.9 x 44.5 cm) Signed upper left: Albert Bloch Dated verso: October / 1911 PROPERTY FROM THE KING COLLECTION, TEXAS PROVENANCE: The artist; Estate of the above; Mrs. Albert Bloch, the artist's wife, Kansas, by bequest from the above; [With] Scott Heffley, Nelson-Atkins Museum of Art, Kansas City, Missouri; Hollis Taggart Galleries, New York; Private collection, Kansas; Hollis Taggart Galleries, New York; Acquired by the present owner from the above, October 2002. EXHIBITED: Hollis Taggart Galleries, New York, "Concerning Expressionism: American Modernism and the German Avant-Garde," May 20-July 31, 1998; El Paso Museum of Art, El Paso, Texas, "Modern American Painting 1907-1936: The Maria and Barry King Collection," September 8, 2013-January 8, 2014, no. 21. LITERATURE: H. Adams, M. Conrads and A. Hoberg, eds. [with] Hollis Taggart Galleries, New York, Albert Bloch: The American Blue Rider, Munich, 1997, pp. 27-28, illustrated; Hollis Taggart Galleries, Concerning Expressionism: American Modernism and the German Avant-Garde, exhibition catalogue, New York, 1998, p. 41, pl. 13, illustrated; P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, pp. 68-70, no. 21, illustrated. The only American artist associated with the German modernist group Der Blaue Reiter (The Blue Rider), Albert Bloch is known for Expressionist figurative paintings infused with spiritual feeling. Throughout his career, Bloch destroyed any paintings that, from his point of view, were unsuccessful. Regrettably, many more early works in German collections were destroyed in the bombings of World War II, while others were banished to Switzerland by the Nazis as "degenerate art." Extant examples of his work from this early period are rare and valuable historical documents. Pierrot, from 1911, is one of Bloch's earliest known surviving Modernist paintings. Born in St. Louis, Missouri, of Czechoslovakian and German-Jewish ancestry, Albert Bloch spent his formative years in the Midwest. He first studied art at the St. Louis School of Fine Arts. Like many of his contemporaries, Bloch earned a living from commercial art, and between 1905 and 1908, he worked as a caricaturist and illustrator for William Marion Reedy's literary and political weekly, The Mirror. Noticing Bloch's artistic talent, Reedy provided him with a monthly stipend to study abroad. At the beginning of 1909, Bloch sailed for Europe. Between 1909 and 1921, Bloch lived and worked mainly in Germany, making brief visits to other countries on the Continent and to America. His decision to settle in Munich, then a thriving art center, rested largely on his language skills--he had learned German from his parents. Although Reedy pressed Bloch to attend classes at the Royal Bavarian Academy in Munich, Bloch never enrolled, preferring instead to take lessons from painters working in the academic style outside the academy. Initially Bloch displayed little interest in the revolutionary aesthetics that had been advanced in European art around the turn of the century, but a 1910 trip to Paris opened his eyes to the works of Vincent van Gogh, Pablo Picasso, and Odilon Redon. The following year, he saw a catalogue of the second exhibition of the Neue Künstlervereinigung München (the New Artists' Union of Munich), which included reproductions of works by, among others, Picasso, Georges Braque, Georges Rouault, and Wassily Kandinsky. Bloch felt an immediate kinship with these artists. He soon met Kandinsky and Franz Marc, both of whom invited him to participate in the first exhibition of Der Blaue Reiter, a group of Modernist artists who broke away from Neue Künstlervereinigung. With his contribution of six canvases, Bloch was the only American represented in the show, which was held in December 1911 at Munich's Thannhauser Gallery. The Blaue Reiter artists had no formal manifesto, but they shared a desire to express emotional and spiritual truth through painting and, in particular, through symbolic use of color. The group, active from 1911 to 1914, represents one current in the broader expressionist impulse that spread through Germany and beyond in the first half of the twentieth century. Bloch established a successful career in Germany and remained there, exhibiting his work through World War I. In 1912, he showed at the second Blaue Reiter exhibition, and he was included in the 1912 Sonderbund Exhibition in Cologne, the most famous exhibition of modernism in Europe at that time. The only painting by Bloch accepted for this show was Duel (fig. 1), a 1912 painting that recalls Edvard Munch's haunting and mysterious figurative works. That same year, Bloch showed at Herwarth Walden's Der Sturm Gallery in Berlin, participating in a small exhibition that featured paintings rejected from the Sonderbund exhibit. Walden, one of the foremost proponents of Modernism in Europe, fashioned this 1912 exhibition as a protest against the Sonderbund show that, he believed, had not adequately represented members of the Blaue Reiter group. Bloch's acclaim also reached the American art world. At Kandinsky's recommendation, Arthur Jerome Eddy, the Chicago collector and tireless promoter of Modernism, began buying Bloch's paintings and eventually added more than twenty-five of them to his collection. In 1915, Eddy's collection of paintings by Bloch composed one-man show at the Art Institute of Chicago; the exhibition also traveled to the St. Louis Art Museum. In 1921, disheartened at what Germany had become after the war, Bloch returned to the United States, where he lived until his death in 1961. Finding himself in dire financial straits, Bloch decided to become a teacher. His first position began in 1922 at the Chicago Academy of Fine Arts, but lasted only one year. From 1923 until his retirement in 1947, Bloch was Professor and Head of the Department of Drawing and Painting at the University of Kansas, Lawrence. Bloch continued to live in Lawrence until his death in 1961. Painted in October 1911 at the start of Bloch's immersion into the Blaue Reiter, "Pierrot treats one of the artist's favorite themes, a figure from the Italian commedia dell'arte that is frequently associated with French art of the early twentieth century. Pierrots, harlequins, and clowns recurred throughout Bloch's oeuvre, alternating with religious scenes, landscapes and cityscapes...In the present canvas, Pierrot's upper body and large hands bend in an awkwardly sentient manner amidst the turbulent brushwork of the background, almost like a plant or similar life form reacting to unseen stimuli. The emotive body recalls the following words used to describe Bloch's figures in 1913: 'misshapen, embryonic creatures...intense postures of love or yearning'" (P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, p 70). Indeed, Bloch's Pierrot encapsulates the fearless and unabashed spirit of one of the most avant-garde, yet obscure American Modernists.
Original oil painting on canvas by Albert Bloch (Missouri/Kansas) untitled landscape, the image measuring 18" x 22", framed measuring 23" x 27", monogram signature center bottom. Reference: Sotheby's and Christie's New York and London, Cologne, 2 June, 2007, date on stretcher verso
Original oil painting on canvas mounted on masonite by Albert Bloch (Missouri/Kansas) entitled "The Blind Man", the image measuring 40" x 36", framed measuring 46.25" x 42.5", monogram signature. Reference: #42, Albert Bloch: The American Blue Rider, Prestel, p.211, the Nelson-Atkins Museum of Art, Kansas City, 26 January-16 March 1997
Two Figures, A Fence and Buildings (House at Night) Circa 1913, Dry point print on paper, sight area 8" by 10.5" and framed at 22.5 by 24.5 inches. Excellent. Reference: #17 Bloch, The University of Kansas Museum of Art, April 1963. Catalogue #82, #78, Albert Bloch: The American Blue Rider.
BLOCH Albert (1882-1951) (?). Huile sur toile "Le tournesol". Monogrammé au dos "AB" pour Albert Bloch (?) et daté (19)21. Ecole américaine. (Au dos, une étiquette de "Raymond & Raymond", Fine Art Publishers, New York). Dim.:80x59.5cm.
Albert Bloch (American, 1882-1961) Blue Landscape Monogrammed and dated "AB 1936" l.l., inscribed and dated on a label affixed to the backing. Watercolor on paper, sheet size 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm), framed. Condition: Mounted to mat board, toning, monogram partially reinforced. Provenance: From the artist to Morton L. Deitch (partner at Stroock & Stroock & Lavan, New York City), by family descent. N.B. We wish to thank Mrs. Anna Francis Bloch for confirming the authenticity of this work.
The Cool of the Evening, 1949 signed with monogram (lower left), and further signed with monogram, inscribed, dated and titled (on the reverse) oil on canvas 24 x 18in (61 x 45.7cm)
Unframed oil on masonite impressionistic view of a rain squall on opposite hill with castle like structure. A road bisects the scene with tall thin trees. Monogrammed "AB" lower right. Back having some framing instructions. SIZE: 18-3/4" x 15-1/4". CONDITION: Good. 9-97301
Unframed oil on masonite impressionistic view of a rain squall on opposite hill with castle like structure. A road bisects the scene with tall thin trees. Monogrammed "AB" lower right. Back having some framing instructions. SIZE: 18-3/4" x 15-1/4". CONDITION: Good. 9-97301
Albert Bloch (1882-1961) Pastorale signed with monogram 'B' (lower center); signed with initial, inscribed, dated twice and titled 'B/Lawrence 1948 "Pastorale" (Fall of '48)' (on the reverse) oil on canvas 20 x 35½ in. (51 x 90 cm.) Painted in Lawrence, Fall 1948
BLOCH, ALBERT (St. Louis 1882 - 1961 Lawrence) Seashore with sailing ship. Oil on canvas. Monogrammed lower right and dated: AB 1916 - 1921. 38 x 56 cm. CHF 6 000.- / 8 000.- € 3 880.- / 5 170.-
Talbild, nachts (Night in the Valley) signed with the monogram (lower left) oil on canvas 253/4 x 301/2in. (66.5 x 77.5cm.) Painted in 1915-1917 PROVENANCE Dr Walter Dexel, Braunschweig, by whom acquired from the artist. Professor Dr Thomas Dexel, by descent from the above. Acquired from the above by the present owner circa 1990. LITERATURE Exh. cat. Albert Bloch: The American Blue Rider, Munich, 1997, pp. 70 & 174-5 (illustrated p. 70). NOTES David Cateforis has confirmed the authenticity of this painting.
