Heinrich Mathias Ernst Campendonk Paintings & Artwork for Sale | Heinrich Mathias Ernst Campendonk Art Value Price Guide

Dec. 05, 2024
Heinrich Campendonk (1889 Krefeld - Amsterdam 1957) – Weidenbaum (Willow tree)
Est: €12,000 - €15,000
Oil on cardboard. (19)06. C. 36 x 29.5 cm. Dated lower left.
Karl & Faber
Nov. 29, 2024
Heinrich Campendonk ”Kirchgang”
Est: €30,000 - €40,000
”Kirchgang”
Grisebach
Nov. 29, 2024
Heinrich Campendonk Hirtin mit Kühen
Est: €40,000 - €60,000
Hirtin mit Kühen On the reverse lower right with the estate stamp confirmed by Edith Campendonk: NACHLASS HEINRICH CAMPENDONK
Grisebach
Nov. 29, 2024
Heinrich Campendonk ”Zwei Kinderköpfe”
Est: €30,000 - €40,000
”Zwei Kinderköpfe”
Grisebach
Nov. 21, 2024
Campendonk, Heinrich (1889-1957). Sitzender Mann mit Katze auf dem Schoß.
Est: €60 - €80
Campendonk, Heinrich (1889-1957). Sitzender Mann mit Katze auf dem Schoß. Woodcut, 23,6x13,1 cm., printed captions below, from Das Kunstblatt, 1919. = Engels 44. Moreau, L.A. (1882-1948). (A boxer sitting in the corner of a boxing ring). Lithograph, 33,5x25,5 cm., signed "Luc Albert Moreau" and "18/30" in pencil, on Japanese. - AND 4 others: 2 other lithographs by the same (1x signed in pencil) and 2 woodcuts by G. MARCKS, both bookillustrations and later impressions.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 18, 2024
Heinrich Campendonk (1889 Krefeld - Amsterdam 1957) – Sitzender weiblicher Akt in Landschaft mit Bauernhaus
Est: €1,200 - €1,500
Holzschnitt auf feinem Japanbütten. (1920/21). Ca. 22 x 22 cm (Blattgröße ca. 30 x 26,5 cm). Eines von nur 10 handgedruckten Exemplaren der Vorzugsausgabe auf diesem Papier (Gesamtauflage 130). Signiert unten links. Blatt 3 des Portfolios „Bauhaus-Drucke. Neue Europäische Graphik. 3te Mappe: Deutsche Künstler“, herausgegeben vom Staatlichen Bauhaus, Weimar, mit dem Trockenstempel. Söhn 51 a (von c); Söhn HDO 103-3; Peters (Bauhaus-Mappen) III/3. Papierbedingt mit leichten Griffknicke und Knickspuren. Am rechten unteren Blattrand schwache Spuren von entfernter Beschriftung. Verso an den Blattecken montiert bzw. mit Resten alter Montierung, dies leicht nach recto durchschlagend und durchdrückend. Sonst insgesamt in guter Erhaltung. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber
Nov. 18, 2024
Heinrich Campendonk (1889 Krefeld - Amsterdam 1957) – Exlibris Paul Multhaupt
Est: €1,000 - €1,500
Holzschnitt auf feinem Japanbütten. (Ca. 1921/22). Ca. 14 x 9,5 cm (29,5 x 21 cm). Auflagenhöhe unbekannt. Signiert unten rechts, bezeichnet „Probedruck“ unten links. Söhn 57. 1921 kehrt Heinrich Campendonk nach zehn Jahren in Oberbayern in seine Heimatstadt Krefeld zurück, wo ihm der Industrielle, Kunstsammler und Mäzen Paul Multhaupt (1884-1933) ein Haus zur Verfügung stellt. Multhaupt und Campendonk waren freundschaftlich verbunden. Für das Exlibris wählt Campendonk die Darstellung des Perseus mit dem Haupt der Medusa. Im Passepartoutausschnitt schwach gebräunt, vereinzelte winzige Fleckchen, geringfügige Griffknickchen, am linken Blattrand punktuell fest montiert, dadurch mit kleinen Quetschfalten und schwacher Bräunung. Insgesamt in guter Erhaltung. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber
Oct. 23, 2024
HEINRICH CAMPENDONK (1889-1957). Sitzender Harlekin (Sitting Harlequin). Im
Est: $8,000 - $12,000
HEINRICH CAMPENDONK (1889-1957). Sitzender Harlekin (Sitting Harlequin). Image: 14 7⁄8 x 11 ½ in. (377 x 290 mm.) Sheet: 20 x 14 5⁄8 in. (506 x 372 mm.).
Christie's
Oct. 17, 2024
HEINRICH CAMPENDONK Der Hirt mit der Grossen Ziege.
Est: $12,000 - $18,000
HEINRICH CAMPENDONK Der Hirt mit der Grossen Ziege. Color woodcut on Japan paper, 1920. 320x250 mm; 12⅝x9⅞ inches, full margins. Edition of approximately only 12. Signed in pencil, lower left. Söhn 47b.
Swann Auction Galleries
Sep. 12, 2024
Heinrich Campendonk: Badende
Est: CHF15,000 - CHF15,001
Heinrich Campendonk (Krefeld 1889 - 1957 Amsterdam) Badende Gouache, gehöht, auf Papier, aufgezogen auf Postkarte / Gouache, heightened, on paper, mounted on postcard Wohl 1920 13,8x9 cm / 13.8x9 cm Signatur / Signature Unten rechts vom Künstler monogrammiert "C". Auf der Rückseite vom Künstler signiert "Campendonk" Monogrammed "C" by the artist lower right. Signed "Campendonk" by the artist on the reverse Provenienz / Provenance Nachlass Klee, durch Erbschaft an Felix Klee Privatsammlung Schweiz Klee estate, by inheritance to Felix Klee Private Collection Switzerland Zustand / Condition Mit leichten Gebrauchspuren, vor allem die Ränder etwas abgegriffen. Die Rückseite der Postkarte mit Kleberesten. Die Gouache in schöner Erhaltung With slight signs of use, especially the edges slightly worn. The back of the postcard with adhesive residue. The gouache in fine condition Erläuterungen / Comments Die folgenden vier Nummern stammen alle aus derselben Provenienz. Wohl Anfang 1980er Jahre hat Felix Klee einmal eine Mappe mit verschiedenem "Material" weggegeben, die dann in einem Berner Antiquariat landete. Dort wurden Postkarten an Lily und Paul oder Felix Klee von einem Berner Sammler identifiziert (vgl. etwa auch Lose 1529, 1530, 1578). Vier Karten aus der Mappe stammten von Heinrich Campendonk. Am 25. April 1988 hat der Sohn des Künstlers, Herbert Campendonk, deren Echtheit schriftlich bestätigt. Die Postkarte ist gehört stilistisch und motivisch in eine Gruppe von Ölgemälden, die 1920 entstanden sind, vgl. dazu etwa "Die Badenden" (Firmenich 845/846) oder "Sitzender Akt" (Firmenich 847). Ein sehr schön ausgearbeitetes Blatt, als Collage auf eine Unterlage montiert. The following four numbers all come from the same provenance. Probably in the early 1980s, Felix Klee once gave away a folder with various "material", which then ended up in an antiquarian bookshop in Bern. There, postcards addressed to Lily and Paul or Felix Klee were identified by a Bernese collector (cf. also lots 1529, 1530, 1578). Four cards from the portfolio were from Heinrich Campendonk. On 25 April 1988, the artist's son, Herbert Campendonk, confirmed their authenticity in writing. In terms of style and motif, the postcard belongs to a group of oil paintings created in 1920, cf. for example "Die Badenden" (Firmenich 845/846) or "Sitzender Akt" (Firmenich 847). A very beautifully executed sheet, mounted as a collage on a support. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 10:00 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Galerie Kornfeld Auktionen AG
Sep. 12, 2024
Heinrich Campendonk: Melkerin
Est: CHF15,000 - CHF15,001
Heinrich Campendonk (Krefeld 1889 - 1957 Amsterdam) Melkerin Gouache auf Postkarte aufgezogen / Gouache mounted on postcard Wohl 1919 11,7x7,9 cm, Darstellung; 13,9x9 cm, Postkarte / 11.7x7.9 cm, illustration; 13.9x9 cm, postcard Signatur / Signature Auf der Rückseite vom Künstler signiert "Campendonk" Signed "Campendonk" by the artist on the reverse Provenienz / Provenance Nachlass Klee, durch Erbschaft an Felix Klee Privatsammlung Schweiz Klee estate, by inheritance to Felix Klee Private Collection Switzerland Zustand / Condition Die Postkarte mit Bräunung im Papier und Gebrauchsspuren. Die Gouache in sehr schöner Erhaltung The postcard with browned paper and traces of use. The gouache in very fine condition Erläuterungen / Comments Die folgenden vier Nummern stammen alle aus derselben Provenienz. Wohl Anfang 1980er Jahre hat Felix Klee einmal eine Mappe mit verschiedenem "Material" weggegeben, die dann in einem Berner Antiquariat landete. Dort wurden Postkarten an Lily und Paul oder Felix Klee von einem Berner Sammler identifiziert (vgl. etwa auch Lose 1529, 1530, 1578). Vier Karten aus der Mappe stammen von Heinrich Campendonk. Am 25. April 1988 hat der Sohn des Künstlers, Herbert Campendonk, deren Echtheit schriftlich bestätigt. Tiere nehmen im Werk Heinrich Campendonks eine herausragende Stellung ein. Die Interaktion Mensch-Tier kommt auch in vielen Darstellungen zum Ausdruck. So steht die hier angebotene Postkarte wohl in Zusammenhang mit dem Gemälde "Melkerin" von 1919, das sich heute im Märkischen Museum in Witten befindet (Firmenich 795). Ein sehr schön komponiertes Blatt. Die Postkarte ist an Paul Klee in München adressiert. The following four numbers all come from the same provenance. Probably in the early 1980s, Felix Klee once gave away a folder with various "material", which then ended up in an antiquarian bookshop in Bern. There, postcards addressed to Lily and Paul or Felix Klee were identified by a Bernese collector (cf. also lots 1529, 1530, 1578). Four cards from the portfolio are by Heinrich Campendonk. On 25 April 1988, the artist's son, Herbert Campendonk, confirmed their authenticity in writing. Animals occupy a prominent position in Heinrich Campendonk's work. The interaction between man and animal is also expressed in many of his depictions. The postcard offered here is probably related to the painting "Melkerin" from 1919, which is now in the Märkisches Museum in Witten (Firmenich 795). A very beautifully composed sheet. The postcard is addressed to Paul Klee in Munich. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 10:00 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Galerie Kornfeld Auktionen AG
Sep. 12, 2024
Heinrich Campendonk: Reitender
Est: CHF12,000 - CHF12,500
Heinrich Campendonk (Krefeld 1889 - 1957 Amsterdam) Reitender Gouache auf Postkarte, gefirnisst / Gouache on postcard, varnished 1918 14x9 cm / 14x9 cm Signatur / Signature Auf der Rückseite vom Künstler in Schwarz signiert "Campendonk", sowie in Bleistift datiert "XII 1918" Signed and dated "Campendonk / XII 1918" by the artist on the reverse Provenienz / Provenance Nachlass Klee, durch Erbschaft an Felix Klee Privatsammlung Schweiz Klee estate, by inheritance to Felix Klee Private Collection Switzerland Zustand / Condition Alle vier Ecken mit Reissnagellöchlein. Im Papier gebräunt, die Darstellung in schöner Erhaltung All four corners with pin-holes. The paper browned, the image in fine condition Erläuterungen / Comments Die folgenden vier Nummern stammen alle aus derselben Provenienz. Wohl Anfang 1980er Jahre hat Felix Klee einmal eine Mappe mit verschiedenem "Material" weggegeben, die dann in einem Berner Antiquariat landete. Dort wurden Postkarten an Lily und Paul oder Felix Klee von einem Berner Sammler identifiziert (vgl. etwa auch Lose 1529, 1530, 1578). Vier Karten aus der Mappe stammten von Heinrich Campendonk. Am 25. April 1988 hat der Sohn des Künstlers, Herbert Campendonk, deren Echtheit schriftlich bestätigt. Zum Jahreswechsel 1918 schreibt Hinrich Campendonk ans Ehepaar Klee. Motivisch lehnt er sich an zwei Ölgemälde an, die im selben Jahr entstanden sind. "Reitender Knabe" (Firmenich 730) und "Penzberger Reiter" (Firmenich 735). Spannend ist der Heiligenschein, der aus dem profanen Reitermotiv zur Weihnachtszeit eine fast sakrale Arbeit macht. The following four numbers all come from the same provenance. Probably in the early 1980s, Felix Klee once gave away a folder with various "material", which then ended up in an antiquarian bookshop in Bern. There, postcards addressed to Lily and Paul or Felix Klee were identified by a Bernese collector (cf. also lots 1529, 1530, 1578). Four cards from the portfolio were from Heinrich Campendonk. On 25 April 1988, the artist's son, Herbert Campendonk, confirmed their authenticity in writing. Hinrich Campendonk wrote to Mr and Mrs Klee at the turn of the year 1918. His motif is based on two oil paintings created in the same year. "Reitender Knabe" (Firmenich 730) and "Penzberger Reiter" (Firmenich 735). The halo, which transforms the profane equestrian motif into an almost sacred work at Christmas time, is fascinating. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 10:00 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Galerie Kornfeld Auktionen AG
Sep. 12, 2024
Heinrich Campendonk: Akt vor dem Spiegel
Est: CHF7,200 - CHF9,000
Heinrich Campendonk (Krefeld 1889 - 1957 Amsterdam) Akt vor dem Spiegel Bleistiftzeichnung auf Postkarte / Pencil drawing on postcard Wohl 1912 14x9 cm / 14x9 cm Signatur / Signature Auf der Rückseite vom Künstler signiert "Campendonk" Signed "Campendonk" by the artist on the reverse Provenienz / Provenance Nachlass Klee, durch Erbschaft an Felix Klee Privatsammlung Schweiz Klee estate, by inheritance to Felix Klee Private Collection Switzerland Zustand / Condition Die Postkarte mit leichten Gebrauchsspuren und Bräunung im Papier. Rechts mit kleinen Flecken. Zeichnung in schöner Erhaltung The postcard with light signs of use and browning to the paper. With small stains on the right. Drawing in fine condition Erläuterungen / Comments Die folgenden vier Nummern stammen alle aus derselben Provenienz. Wohl Anfang 1980er Jahre hat Felix Klee einmal eine Mappe mit verschiedenem "Material" weggegeben, die dann in einem Berner Antiquariat landete. Dort wurden Postkarten an Lily und Paul oder Felix Klee von einem Berner Sammler identifiziert (vgl. etwa auch Lose 1529, 1530, 1578). Vier Karten aus der Mappe stammten von Heinrich Campendonk. Am 25. April 1988 hat der Sohn des Künstlers, Herbert Campendonk, deren Echtheit schriftlich bestätigt. Die Zeichnung auf der am 7. März 1913 aufgegebenen Postkarte ist wohl ins Jahr 1912 zu datieren. Vgl. etwa "Akt und Schildkörte vor Arkaden" (Firmenich 189). Es ist eine sehr kraftvolle Darstellung eines Aktes vor einem Spiegel. Die Postkarte ist an Lily Klee in München adressiert. The following four numbers all come from the same provenance. Probably in the early 1980s, Felix Klee once gave away a folder with various "material", which then ended up in an antiquarian bookshop in Bern. There, postcards addressed to Lily and Paul or Felix Klee were identified by a Bernese collector (cf. also lots 1529, 1530, 1578). Four cards from the portfolio were from Heinrich Campendonk. On 25 April 1988, the artist's son, Herbert Campendonk, confirmed their authenticity in writing. The drawing on the postcard posted on 7 March 1913 can probably be dated to 1912. Cf. for example "Akt und Schildkörte vor Arkaden" (Firmenich 189). It is a very powerful depiction of a nude in front of a mirror. The postcard is addressed to Lily Klee in Munich. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 9:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Galerie Kornfeld Auktionen AG
Sep. 07, 2024
Campendonk, Heinrich
Est: -
Campendonk, Heinrich 1889 Krefeld - 1957 Amsterdam, nach. Stillleben mit Wein und Fisch. Mischtechnik auf Papier, auf Träger montiert und hinter Glas gerahmt. Verso bezeichnet "Heinrich Campendonk". Größe ca. 32 x 10 cm, Rahmen ca. 52 x 31 cm. Campendonk, Heinrich 1889 Krefeld - 1957 Amsterdam, after. Still life with wine and fish. Mixed media on paper, mounted on support and framed behind glass. Inscribed "Heinrich Campendonk" verso. Size approx. 32 x 10 cm, frame approx. 52 x 31 cm.
Auktionshaus Sieglin GmbH
Jun. 06, 2024
Heinrich Campendonk (1889 Krefeld - Amsterdam 1957) – Mariä Verkündigung (Virgin Annunciation)
Est: €150,000 - €200,000
Watercolour, indian ink and pencil on firm wove paper. 1919. c. 37 x 35 cm. Signed and dated lower right.
Karl & Faber
Jun. 06, 2024
Heinrich Campendonk (1889 Krefeld - Amsterdam 1957) – Das Schaufenster (The shop window)
Est: €150,000 - €200,000
Watercolour, gouache and pencil on light cardboard. (19)19. C. 33.5 x 39 cm. Signed with the artist's monogram and dated lower right.
Karl & Faber
Jun. 04, 2024
Heinrich Campendonk, Liegender Akt, 1918
Est: €700,000 - €800,000
Signed and dated 'Campendonk 1918' in black lower right. The fascinating painting “Liegender Akt” belongs to the important phase in Heinrich Campendonk’s work which lasted from 1917 to 1920 in the Bavarian town of Seeshaupt. Here, having deliberately chosen to live in seclusion, he reflected on the themes and painting techniques of his friend Franz Marc, which he developed into a personal style featuring gently flowing forms and large, calm fields of intense colour. Campendonk’s move to Seeshaupt on Lake Starnberg in 1916 was preceded by a general and personal new beginning: his friends and fellow painters Macke and Marc had fallen in the war in 1914 and 1916, Kandinsky and Jawlensky had been forced to leave Germany for political reasons and various groups of artists, including “Der Blaue Reiter”, were in the process of breaking up. Only after Campendonk had got over Marc’s death and the circumstances of his life had become more stable did he find the peace of mind to concentrate on his work again and to develop his previously cubist and angular pictorial idiom through softer, round forms. Thematically, he remained attached to representational motifs and repeatedly created compositions featuring a central human figure surrounded by animals and plants. In this sense, he has also developed a reclining female nude on the right in our picture and has placed a cow looking in that direction at her side. Behind the suggestive depiction of a tree on the left, we find another woman with a cow entirely immersed in red. Diagonal lines running across the picture plane define and dynamise the composition. Suggestions of prisms and circles lead in contrary directions and convey a sense of depth. Proceeding from the watercolours of those years, he has selected red, blue, green and yellow as expressively bold primary colours, which he understood how to further intensify by means of brighter spaces defined by light. The two women and animals, who are completely unconnected with one another, seem to hover on top of the canvas, and they transform the painting into a paradisal dream image removed from any sort of temporality. More than almost any other work from this period, “Liegender Akt” mesmerises viewers while nonetheless preventing them from fully grasping its motifs. With this painting, Campendonk began a process of development that would lead him far beyond the principles of “Der Blaue Reiter”.
Kunsthaus Lempertz KG
Jun. 01, 2024
Campendonk, Heinrich | 1889 Krefeld - 1957 Amsterdam, Niederlande
Est: -
Campendonk, Heinrich 1889 Krefeld - 1957 Amsterdam, Niederlande "Frau mit Blume" · 1918. Holzschnitt · 18 x 12,1 cm (Darstellungsgröße). Nicht signiert. Rahmen mit Glas. Literatur: Engels 32.
GAILER Kunstauktionshaus am Chiemsee
May. 25, 2024
UNBEKANNTER MALER (1889-1957)
Est: €250 - €350
Technik: Mischtechnik Maße: 32 x 10 cm Signiert: unsigniert Besonderheit: Rückseitig betitelt "Heinrich Campendonk , Seehaupt" Motiv: Stillleben
Hardt Auctions GmbH
Apr. 20, 2024
RARE Original 1920s Campendonk FARBE Exhibition Poster
Est: $5,000 - $7,000
Campendonk, Heinrich 1889 - 1957 Farbe - Ausstellung im Kaiser-Wilhelm-Museum zu Krefeld Letterpress Print 1928 30.3 x 39.7 in. (77 x 101 cm) Printer: no information Condition Details: (A/A-) tiny tears and minimal creasing in the margins, slight vertical crease on the right. Printed in black-and-white, the rainbow and high lighted green area are all hand-painted. The exhibit featured the most important avant-garde artists of the era, including Kandinsky, Marc, Braque, Picasso, Klee, Nolde, and Thorn-Prikker#Germany #Typography #Art #Color #Rare #Horizontal
PosterConnection Inc.
Apr. 18, 2024
HEINRICH CAMPENDONK Interieur mit Zwei Akten.
Est: $1,500 - $2,500
HEINRICH CAMPENDONK Interieur mit Zwei Akten. Woodcut, 1918. 260x220 mm; 10¼x8¾ inches, full margins. Edition of 100. Signed in pencil, lower left. Published by Euphorion Verlag, Berlin. From Die Schaffenden, with the blind stamp lower left. A very good impression. Campendonk (1889-1957) was born in Krefeld, Germany, where he trained and worked as a painter and graphic designer. He was a member of the avant-garde Der Blaue Reiter group, along with Franz Marc and Wassily Kandinsky, from 1911 to 1912. When the Nazi regime came to power in 1933, he was among the many modernists condemned as degenerate artists, and prohibited from exhibiting. He moved to the Netherlands, where he spent the rest of his life working at the Rijksakademie in Amsterdam, first teaching decorative art, printmaking and stained-glass, then as the Academy Director. While Campendonk was closely aligned with Der Blaue Reiter group for only a short period in the 1910s, his work from this time, which drew inspiration from the Belgian artist James Ensor as well as the Fauves (not unlike Kandinsky's), a combination of otherworldly scenes and folkloric style, was influential on the Surrealist movement. Söhn 36.
Swann Auction Galleries
Mar. 16, 2024
Campendonk, Heinrich: Bauerngang (1918)
Est: €100 - €150
Heinrich Campendonk 1889 Krefeld - 1957 Amsterdam Bauerngang (1918) Woodcut on paper; H 77 mm, W 235 mm
Peter Karbstein - Kunst und Auktionshaus
Feb. 08, 2024
Campendonk, Heinrich
Est: €150 - €250
Campendonk, Heinrich Krefeld, 1889 - Amsterdam, 1957 17,4 x 15,5 cm, R. "Am Tisch sitzende Frau mit Katze und Fisch", 1919. Woodcut on paper. Engels, 42. Private property, Baden-Württemberg.
Nagel Auction
Feb. 08, 2024
Campendonk, Heinrich
Est: €150 - €250
Campendonk, Heinrich Krefeld, 1889 - Amsterdam, 1957 18 x 12,1 cm, R. "Frau mit Blume", 1918. Woodcut on paper. Engels, 32 Private property, Baden-Württemberg.
Nagel Auction
Jan. 30, 2024
HEINRICH CAMPENDONK (1889-1957)
Est: -
Heinrich Campendonk (1889-1957), copy after, ''Jumping Horse'', anonymous copy 1st half 20th century after the original from 1911, oil on canvas, unsigned, 60 x 46 cm, framed 71 x 57 cm
Historia Auctionata
Dec. 11, 2023
Heinrich Campendonk (German, Dutch 1889 - 1957). Sitzender Pierrot [Sitting Clown], 1947.
Est: €8,000 - €12,000
Heinrich Campendonk (German, Dutch 1889 - 1957) Sitzender Pierrot [Sitting Clown], 1947 watercolour and pencil on wove paper signed with initial and dated 'C 47' (lower right) sheet size 26 x 20 cm., frame size 41.5 x 35 cm.
Adams Amsterdam Auctions
Dec. 09, 2023
Campendonk, Heinrich (1889 – 1957)
Est: €150 - €180
Zwei Arbeiten: Bauerngang (Tiere und Bauern) und Landschaft mit Ziegen. Holzschnitt, typographisch verso bez. Bildmaß ca. 8x 23 bzw. 15x 17,7 cm. PP., R.
Dannenberg
Dec. 02, 2023
Campendonk, Heinrich: Die Erschaffung der Tiere
Est: €1,200 - €1,800
Die Erschaffung der Tiere -- Holzschnitt auf dünnem China. 1916. -- 33 x 20 cm (42 x 28 cm). -- Signiert "Campendonk" und bezeichnet "No 7". -- Engels/Söhn 18a (von c). -- -- Früher Handdruck auf China, vor dem Auflagendruck, veröffentlicht in "Der Sturm", 7. Jahrgang 1916/17, Heft 5, auf der Titelseite und vor den späteren Drucken auf Arches. Prachtvoller Druck mit breitem Rand dieses seltenen Blattes. -- -- - 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.
Bassenge Auctions
Dec. 01, 2023
Heinrich Campendonk, Oostende, Circa 1949
Est: €70,000 - €80,000
Unsigned. Stamped on the reverse of the canvas "NACHLASS HEINRICH CAMPENDONK" and inscribed in pencil "Ö Nr. 8 Edith Campendonk". Inscribed on the stretcher "HEINRICH CAMPENDONK OOSTENDE" 1949-50". Heinrich Campendonk had been a professor at Düsseldorf’s academy of art since 1926; in 1934 the Nazi regime dismissed him from his post and his works were denounced as “degenerate”. The artist emigrated to the Netherlands, where he was offered a position at the Rijksakademie in Amsterdam. As a progressive artist he met with rejection among his colleagues at this conservative school, but he enjoyed great admiration from students and loved teaching. Although he was briefly arrested after the German army invaded the Netherlands in 1940 and was later forcibly conscripted to perform guard duty for the German occupation’s security forces, he was able to continue teaching until the end of the war. He additionally designed stained-glass windows for public buildings in the Netherlands. In 1947 the artist began working intensively as a painter again; his work was included in exhibitions in Krefeld and Düsseldorf and he was also offered a position at Düsseldorf’s academy of art. However, he ultimately decided against returning to Germany and he remained deeply troubled by his experience of denunciation for the rest of his life. In his late work he built on his earlier oeuvre in terms of motifs – as had previously been the case, lyrical images of animals and landscape elements from his local surroundings are to be found throughout these works, sometimes in combination with female nudes. This final phase of his oeuvre is defined by a coolness and clarity of colour and form. “Only now have our eyes become open to the beauty of these late works, with their depressive immobilisation seen as a potential and valid expression of the experience of suffering, as a thoroughly artistic attempt to tame life’s power to escape us”, writes Gisela Geiger (in: exh. cat. Heinrich Campendonk. Rausch und Reduktion, Stadtmuseum Penzberg 2007, p. 99). Our two magnificent, large-format paintings, "Akt mit Kühen" and "Oostende" from the period around 1949 fascinate us with their intense luminosity and clearly contoured forms, which reflect his many years working with stained glass. The diverse details of the motifs are poured into crystalline fields of colour and interwoven into dense tapestries of images. Campendonk’s unsurpassed feel for colour, which distinguished his oeuvre from the very beginning, expresses itself in a harmoniously balanced equilibrium of cool and warm tones.
Kunsthaus Lempertz KG
Dec. 01, 2023
Heinrich Campendonk, Akt mit Kühen, Circa 1949
Est: €80,000 - €90,000
Unsigned. Stamped on the reverse of the canvas "NACHLASS HEINRICH CAMPENDONK" and inscribed in pencil "Ö Nr.15 Edith Campendonk". - On the reverse side of the stretcher with the printed label of the Collectie Gemeente Amsterdam, typed with the artist's name, the title of the picture "AKTE" and the owner "e. campendonk-van leckwyck", the format and the inv. no. "B 5384". Inscribed on the upper stretcher "HEINRICH CAMPENDONK 2 NAAKTEN MET KOEIEN (ROOD)". Heinrich Campendonk had been a professor at Düsseldorf’s academy of art since 1926; in 1934 the Nazi regime dismissed him from his post and his works were denounced as “degenerate”. The artist emigrated to the Netherlands, where he was offered a position at the Rijksakademie in Amsterdam. As a progressive artist he met with rejection among his colleagues at this conservative school, but he enjoyed great admiration from students and loved teaching. Although he was briefly arrested after the German army invaded in 1940 and was later forcibly conscripted to perform guard duty for the German occupation’s security forces, he was able to continue teaching until the end of the war. He additionally designed stained-glass windows for public buildings in the Netherlands. In 1947 the artist began working intensively as a painter again; his work was included in exhibitions in Krefeld and Düsseldorf and he was also offered a position at Düsseldorf’s academy of art. However, he ultimately decided against returning to Germany: he remained deeply troubled by his experience of denunciation for the rest of his life. In his late work he built on his earlier oeuvre in terms of motifs – as had previously been the case, lyrical images of animals and landscape elements from his local surroundings are to be found throughout these works, sometimes in combination with female nudes. This final phase of his oeuvre is defined by a coolness and clarity of colour and form. “Only now have our eyes become open to the beauty of these late works, with their depressive immobilisation seen as a potential and valid expression of the experience of suffering, as a thoroughly artistic attempt to tame life’s power to escape us”, writes Gisela Geiger (in: exh. cat. Heinrich Campendonk. Rausch und Reduktion, Stadtmuseum Penzberg 2007, p. 99). Our two magnificent, large-format paintings from the period around 1949 fascinate us with their intense luminosity and clearly contoured forms, which reflect his many years working with stained glass. The diverse details of the motifs are poured into crystalline fields of colour and interwoven into dense tapestries of images. Campendonk’s unsurpassed feel for colour, which distinguished his oeuvre from the very beginning, expresses itself in a harmoniously balanced equilibrium of cool and warm tones.
Kunsthaus Lempertz KG
Dec. 01, 2023
Heinrich Campendonk, Harlekin, Circa 1925
Est: €400,000 - €450,000
Unsigned. Harlequins, street performers and Pierrots have been an established part of modern art’s repertoire of motifs since Picasso’s famous “Les Saltimbanques”. These figures fascinate us through the ambivalence with which they push the entire spectrum of human emotions to extremes, oscillating between visual opulence and anarchy, humour and drama. Heinrich Campendonk possessed a particular affinity for the fantasy world they embody and which certainly bears an air of the unfathomable. Depictions of Harlequins run through his entire oeuvre. This theme is also present in paintings and reverse-glass pictures from the 1920s – as in the case of our splendid composition. The dark background forms a stage in the most literal sense, not just for the depicted figures but, above all, for the colours: the delicate, whitish-grey shading of the basic figurative forms and the intense tones of the scenery’s details shimmer and shine out of the darkness. In 1924 and 1925 Campendonk had great success designing sets for Krefeld’s theatre. This was accompanied by a shift in his artistic oeuvre: the forms become more stable and clear, and a stronger sense of space can be felt. Our work illustrates this in an exemplary manner. The coloured forms are invested with their own intrinsic value, and the dimension of depth is emphasised through the shining colours of the tiles linking the dominant figure in the foreground with the three Pierrots in the background. The same composition, reversed and more strongly simplified, can be found again in the reverse glass painting “Pierrot mit Guitarre” (Firmenich 946, see comp. ill.) – demonstrating how convincing Campendonk found this particular pictorial solution.
Kunsthaus Lempertz KG
Dec. 01, 2023
Heinrich Campendonk, Kind mit Fischen, Circa 1913
Est: €200,000 - €220,000
Unsigned. - Stamped on the reverse "NACHLASS HEINRICH CAMPENDONK" and inscribed "hc A 26a Edith Campendonk" in ballpoint pen. The years between 1911 and 1914 established the course of Heinrich Campendonk’s artistic career. He became a member of the “Blauer Reiter” group in 1911 and moved to the Upper Bavarian village of Sindelsdorf to join Franz Marc as well as August and Helmuth Macke in their artistic refuge; he exhibited his work with them and found his first patrons in the gallerist Alfred Flechtheim and the collector Bernhard Koehler. From 1912 he was represented by the Berlin gallerist Herwarth Walden, who exhibited Campendonk’s work at his “Sturm” gallery multiple times until 1914. When the artist married in 1913, his life initially remained centred around Sindelsdorf. However, the artists’ association would already be dissolved the following year: the beginning of World War I divided its members in terms of physical distance and ideology. Our important gouache “Kind mit Fischen” was created during this tumultuous period. Inspired by Franz Marc, Campendonk was primarily concentrating on the depiction of animals from the countryside around Sindelsdorf. Like Marc, he was striving to elevate the animal from its ordinary existence to a symbolically charged, higher plane. From 1912 his work became intensely shaped by influences from Cubism, Futurism and Orphism. “Kind mit Fischen” is an exemplary demonstration of the independent style that resulted from this. He has transformed the everyday scene into a highly charged mosaic formed out of its pure, powerful coloration. The areas of colour are juxtaposed without contours, and the underlying rhythm and luminous colour contrasts define the composition. In its formal rigour it is comparable to contemporary sheets like “Figur und kleines Fabeltier” (Firmenich 400, Clemens Sels Museum Neuss) and “Gelbweiße Kuh vor Häusern” (Firmenich 402, Kunstmuseum Bonn). This gouache represents a museum-class rarity at a level of quality that is rarely offered for sale on the art market.
Kunsthaus Lempertz KG
Dec. 01, 2023
Campendonk, Heinrich: Frau mit Blume
Est: €500 - €700
Frau mit Blume -- Holzschnitt auf Japan. 1918. -- 18 x 12,1 cm (24,8 x 19 cm). -- Signiert "Campendonk". Auflage 100 Ex. -- Engels/Söhn 32 c, Söhn HdO 311-1. -- -- Die Auflage erschien in der Vorzugsausgabe "Das Holzschnittbuch", herausgegeben von Paul Westheim im Kiepenheuer Verlag, Potsdam 1920. Prachtvoller Druck mit Rand, rechts mit dem Schöpfrand. -- -- -- - 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.
Bassenge Auctions
Dec. 01, 2023
”Kirchgang”
Est: €50,000 - €70,000
”Kirchgang”
Grisebach
Dec. 01, 2023
Female nude with bull and cow
Est: €60,000 - €80,000
On the reverse lower right with the stamp confirmed by Edith Campendonk: estate HEINRICH CAMPENDONK
Grisebach
Dec. 01, 2023
”Zwei Kinderköpfe”
Est: €40,000 - €60,000
”Zwei Kinderköpfe”
Grisebach
Dec. 01, 2023
HEINRICH CAMPENDONK
Est: €180 - €360
HEINRICH CAMPENDONK 1889 Krefeld - 1957 Amsterdam 'MÄDCHEN MIT FRÖSCHEN' (1917) Woodcut on vellum. Print size 23,7 x 8,9 cm, sheet size 28,6 x 21,4 cm (f. 44,5 x 33,5 x 1,5 cm). Below the image typographically inscribed 'H. Campendonk' a. 'Original woodcut'. Verso: With glue residues. Lightly browned, min. dam. at margins. Mounted in a passepartout and framed behind glass. Literature: Engels 25, Söhn HDO III 31608-1. HEINRICH CAMPENDONK 1889 Krefeld - 1957 Amsterdam 'MÄDCHEN MIT FRÖSCHEN' (1917) Holzschnitt auf Velin. DM 23,7 x 8,9 cm, BM 28,6 x 21,4 cm (R. 44,5 x 33,5 x 1,5 cm). Unter der Darstellung typografisch bez. 'H. Campendonk' u. 'Originalholzschnitt'. Verso: Mit Kleberückständen. Leicht gebräunt, an den Rändern min. besch. Im Passepartout montiert und hinter Glas gerahmt. Literatur: Engels 25, Söhn HDO III 31608-1.
Hargesheimer Kunstauktionen Düsseldorf
Nov. 29, 2023
Heinrich Campendonk (1889 Krefeld - Amsterdam 1957) – Interieur mit zwei Akten
Est: €800 - €1,000
Holzschnitt auf chamoisfarbenem Velin. (1918). Ca. 26 x 22 cm (Blattgröße ca. 40 x 30 cm). Eines von insgesamt 125 Exemplaren. Signiert unten links. Im Passepartoutausschnitt schwach gebräunt, minimale Griffknicke und vereinzelte leichte Knickspuren an den Blatträndern, Ecken teils geringfügig bestoßen. Insgesamt in guter Erhaltung. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber - Timed
Nov. 18, 2023
Heinrich Campendonk
Est: €140 - €200
Heinrich Campendonk 1889 Krefeld - 1957 Amsterdam - "Sitzender Mann" - (1919) Holzschnitt/Papier. 23,5 x 13 cm, 28,6 x 21,4 cm. Passepartout. Fleckig außerhalb der Darstellung. - Lit.: Engels 44.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Nov. 11, 2023
Heinrich Campendonk, Interior with two nudes, woodcut
Est: €500 - €1,000
Interior with two nudes, from the portfolio 'Die Schaffenden (The Creators), 1918. Woodcut on vellum. Plate 26 x 22 cm. Signed lower left: Campendonk and with a dry stamp 'Die Schaffenden'. Framed behind glass with passe-partout.
Kunst und Design Auktionshaus Schops Turowski
Jul. 20, 2023
Heinrich Campendonk, Dutch/German (1889-1957), Die Bettler (after Brueghel), 1922, woodcut
Est: $160 - $300
Heinrich Campendonk Dutch/German, (1889-1957) Die Bettler (after Brueghel), 1922 woodcut loose, unframed. Provenance: From a private collector, Indianapolis. From the archives of AskArt: After his studies under Dutch artist Johan Thorn Prikker at the Krefeld "Kunstgewerbeschule", Heinrich Campendonk followed Franz Marc's invitation to the Bavarian village of Sindelsdorf and moved there in 1911. At that time Heinrich Campendonk already found the basic subject of his works: the depiction of harmony between man and beast, Creation, the infinite circle of life and death. He produced paintings, watercolors, gouaches and his first woodcuts. In Sindelsdorf the artist met other members of the "Blauer Reiter" group and participated in one of the group's exhibitions that very same year. Two years later, Heinrich Campendonk also showed his work together with the "Blauer Reiter" at the "Erster Deutscher Herbstsalon" at Herwarth Walden's gallery "Der Sturm" in Berlin. During these years Campendonk's artwork was influenced by Marc, Macke and Kandinsky. A stiff geometrical form language was combined with color in pure complementary contrasts to a dynamic, rhythmic form language. In 1916 Heinrich Campendonk moved to Seeshaupt at the Starnberger See, from where he went on extensive travels. At that point Campendonk's painting was marked by softly flowing forms, large calm areas of intensive light and lyrical, often fairytale-like mood. He also produced works in glass painting. In 1926 Campendonk was appointed professor at the Düsseldorf Art Academy. Campendonk gained acclaim as an artist since the mid-1920s particularly through numerous glass windows he made for churches and public buildings (such as the Düsseldorf parliament building and the Paulskirche and the Essen Münster etc.). When he was dismissed from his teaching profession in 1933, he emigrated to the Netherlands, where he accepted a teaching position for "monumental and decorative art" at the "Rijksakademie van beeldende Kunsten" in Amsterdam. After the end of the war, Campendonk did not return to Germany. He continued to work as a teacher and received numerous orders for glass windows in the Netherlands and Germany. In 1956 Campendonk was awarded the Quellinus Prize by the city of Amsterdam and made knight of the order "De Nederlandse Leeuw".
Ripley Auctions
Jun. 10, 2023
Campendonk, Heinrich: Bauerngang (Tiere)
Est: €900 - €1,200
Bauerngang (Tiere) -- Holzschnitt auf hauchfeinem, gelblichem Japanbütten. 1918. -- 7,9 x 23,4 cm (24,8 x 35 cm). -- Signiert "Campendonk" sowie bezeichnet "16". -- Engels/Söhn 33 a (von c). -- -- Engels/Söhn verzeichnen lediglich 12/15 Handdrucke auf Japan; zwei Auflagendrucke erschienen in "Das Kunstblatt", 1918, und in "Deutsche Graphiker der Gegenwart", 1920; jeweils mit typographischem Text unter der Darstellung bzw. verso. "Die Schrecken des Krieges und die Not der Zeit finden sich als Motiv nicht in einer einzigen seiner graphischen Arbeiten. Dagegen mit einer selten zu beobachtenden Konsequenz die Welt der Tiere und des bäuerlichen Lebensraumes" (Gerhart Söhn, in: Engels/Söhn S. 11). Prachtvoller, tiefschwarzer Druck mit sehr breitem Rand. Handdrucke sind von großer Seltenheit. -- -- - 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.
Bassenge Auctions
Jun. 06, 2023
Heinrich Campendonk, Eidechse, Circa 1919
Est: €40,000 - €60,000
Unsigned. During the winter months of 1911/1912, Heinrich Campendonk was familiarised with reverse-glass painting through the members of the artists association “Der Blaue Reiter”. It was Gabriele Münter who had discovered the folk art of reverse paintings on glass during her stays in the Bavarian town of Murnau, where she had master Heinrich Rambold (1872 - 1953) instruct her in the technique. Besides Münter and Campendonk, Franz Marc also created his first reverse-glass paintings. All of them were fascinated by this way of working with unmixed, luminous colours that had to be applied to the transparent surface of the picture in reverse order. The strictly two-dimensional treatment of the motifs and “naive” disregard for perspective and proportion were equally new. After the end of the First World War and the death of Campendonk’s role model and mentor Franz Marc, he returned to reverse painting on glass in a different – and, especially, more developed – vein. His intense work with woodcuts during the interim would prove to be of decisive significance. For the “Eidechse” offered here, for example, Campendonk first created a pencil drawing in the manner of Marc and then worked with a graphic template, laying it under the glass and tracing its contours with a fine brush. He then filled the interiors of the resulting shapes with opaque, slightly marbleised colours, including different shades of red and a shimmering turquoise, which he further embellished with little golden scales. Among his fine, but limited early work in reverse-glass painting, the colourful “Eidechse” is one of the few images exclusively featuring an animal motif.
Kunsthaus Lempertz KG
Mar. 23, 2023
HEINRICH CAMPENDONK Interieur mit Zwei Akten.
Est: $1,500 - $2,500
HEINRICH CAMPENDONK Interieur mit Zwei Akten. Woodcut, 1918. 260x220 mm; 10 1/4x8 3/4 inches, full margins. Edition of 100. Signed in pencil, lower left. Published by Euphorion Verlag, Berlin. From Die Schaffenden, with the blind stamp lower left. A very good impression. Campendonk (1889-1957) was born in Krefeld, Germany, where he trained and worked as a painter and graphic designer. He was a member of the avant-garde Der Blaue Reiter group, along with Franz Marc and Wassily Kandinsky, from 1911 to 1912. When the Nazi regime came to power in 1933, he was among the many modernists condemned as degenerate artists, and prohibited from exhibiting. He moved to the Netherlands, where he spent the rest of his life working at the Rijksakademie in Amsterdam, first teaching decorative art, printmaking and stained-glass, then as the Academy Director. While Campendonk was closely aligned with Der Blaue Reiter group for only a short period in the 1910s, his work from this time, which drew inspiration from the Belgian artist James Ensor as well as the Fauves (not unlike Kandinsky's), a combination of otherworldly scenes and folkloric style, was influential on the Surrealist movement. Söhn 36.
Swann Auction Galleries
Jan. 08, 2023
Campendonk, Heinrich Bauerngang. 1918. Holzschnitt auf chamoisfarbenem Vélin. 7,8 x 23,2 cm (24,2 x 32,5). Verso typographisch bezeichnet "Campendonk/ Tiere/ Holzschnitt". Punktuell auf Unterlage und unter Passepartout montiert. - Kaum sichtbar in de
Est: -
Klassische Moderne - Expressionismus Campendonk, Heinrich Bauerngang. 1918. Holzschnitt auf chamoisfarbenem Vélin. 7,8 x 23,2 cm (24,2 x 32,5). Verso typographisch bezeichnet "Campendonk/ Tiere/ Holzschnitt". Punktuell auf Unterlage und unter Passepartout montiert. - Kaum sichtbar in den Rändern gegilbt. Prachtvoller Druck mit Rand. Söhn, 33 c. - Erschienen in: Kurt Pfister, "Deutsche Graphiker der Gegenwart". Leipzig 1920. Woodcut on buff wove paper. Verso typographically inscribed "Campendonk/ Tiere/ Holzschnitt". Mounted in spots under mat. - Magnificent impression with margins. Dieses Werk ist regelbesteuert. Auf den Zuschlagspreis fallen 23,95% Aufgeld sowie innerhalb der EU auf den Rechnungsendbetrag 19% Mehrwertsteuer an. This work is regular taxed. There is a 23.95% buyer's premium on the hammer price and inside the European Union 19% VAT on the final invoice amount.
Jeschke Jádi Auctions Berlin GmbH
Dec. 29, 2022
Heinrich Campendonk, 1889-1957, animals, woodcut
Est: €180 - €360
Heinrich Campendonk, 1889-1957, animals, woodcut, approx. 7.8x23.4cm, PP, framed under glass, approx. 30x40cm . German Description: Heinrich Campendonk, 1889-1957, Tiere, Holzschnitt, ca. 7.8x23.4cm, PP, u.Gl., R. ca. 30x40cm
Henry's Auktionshaus
Dec. 08, 2022
Heinrich Campendonk – Angst (Fear)
Est: €20,000 - €25,000
Indian ink, partial wash, on thin Japanese laid paper. (1914/15). Ca. 52.5 x 41 cm. • Large and expressive drawing • From the important Sindelsdorf period • Typical and impressive hand-on-head motif “They (the hands) are meant to attract attention, they are a stylistic device (...). Campendonk was (...) by no means the 'born' draughtsman. His relationship to colour was always much more intense. It is therefore remarkable that the breakthrough to personal expression he sought succeeds in a more graphic medium such as ink brush drawing.” (Gisela Geiger, in: Exhib. cat. Penzberg 2002, p. 79)
Karl & Faber
Dec. 08, 2022
Heinrich Campendonk Bauerngang. 1918. Holzschnitt auf chamoisfarbenem Vélin. 7,8 x 23,2 cm (24,2 x 3
Est: €200 - €300
Heinrich Campendonk Bauerngang. 1918. Holzschnitt auf chamoisfarbenem Vélin. 7,8 x 23,2 cm (24,2 x 32,5). Verso typographisch bezeichnet "Campendonk/ Tiere/ Holzschnitt". Punktuell auf Unterlage und unter Passepartout montiert. - Kaum sichtbar in den Rändern gegilbt. Prachtvoller Druck mit Rand. Online_Moderne und zeitgenössische Kunst Klassische Moderne - Expressionismus Heinrich Campendonk Woodcut on buff wove paper. Verso typographically inscribed "Campendonk/ Tiere/ Holzschnitt". Mounted in spots under mat. - Magnificent impression with margins. Bauerngang. 1918. Holzschnitt auf chamoisfarbenem Vélin. 7,8 x 23,2 cm (24,2 x 32,5). Verso typographisch bezeichnet "Campendonk/ Tiere/ Holzschnitt". Punktuell auf Unterlage und unter Passepartout montiert. - Kaum sichtbar in den Rändern gegilbt. Prachtvoller Druck mit Rand. Söhn, 33 c. - Erschienen in: Kurt Pfister, "Deutsche Graphiker der Gegenwart". Leipzig 1920. Bauerngang. 1918. Holzschnitt auf chamoisfarbenem Vélin. 7,8 x 23,2 cm (24,2 x 32,5). Verso typographisch bezeichnet "Campendonk/ Tiere/ Holzschnitt". Punktuell auf Unterlage und unter Passepartout montiert. - Kaum sichtbar in den Rändern gegilbt. Prachtvoller Druck mit Rand.
Jeschke Jádi Auctions Berlin GmbH