Attributed to Alexei von Jawlensky, Russian, German, 1864 to 1941, oil painting on canvas depicting an Expressionist portrait. Signed with initials, lower right. Framed. Alexej Georgewitsch von Jawlensky, surname also spelt as Yavlensky, was a Russian Expressionist painter active in Germany. He was a key member of the New Munich Artist's Association, The Blue Rider group and later The Blue Four. He met Kandinsky and was greatly influenced by his use of color as form. Jawlensky became affiliated with the German Expressionists. He traveled in Germany and France before World War II. He soaked up the work of the Post Impressionists and the Fauves, as well as early Picasso and Matisse. He was an important part of an international circle of modernists who collectively changed the face of art in the early 20th century. One of a kind artwork.
Alexej von Jawlensky 1864 - 1941 Kopf I, from Köpfe(Rosenbach 18) signed in pencil and numbered 17 lithograph on Japan paper sheet: 18½ by 12¾ in. 471 by 325 mm. Executed in 1922; this impression is number 17 from the total edition of 100, published by Nassauischer Kunstverein.
"The Prayer" by Alexej von Jawlensky, Unsigned Offset Lithograph. Paper size is 31.5 x 23.75 inches, with an image size of 26.5 x 20 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details:
"Crown of Thorns (No Text)" by Alexej von Jawlensky, Unsigned Offset Lithograph. Paper size is 27.5 x 23.5 inches, with an image size of 15.5 x 12 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details:
ALEXEJ VON JAWLENSKY (1864-1941). Variation mit Haus und Gartenzaun. oil on linen-finish paper laid down on cardboard 14 ½ x 10 7⁄8 in. (36.8 x 27.5 cm.).
LANDSCHAFT MIT ROTEM DACH – WASSERBURG, UM 1906 Öl auf Malpappe. 48,9 x 52,4 cm. Rechts unten signiert „A. Jawlensky“. Der im russischen Kaiserreich geborene Künstler zählt als Maler des Expressionismus zum Umfeld der Künstlergemeinschaft „Der Blaue Reiter“. 1896 zog er zusammen mit Marianne von Werefkin nach München und wohnte in Schwabing in der Giselastrasse, danach war er zeitweise in Paris. Das Jahr 1905 verbrachte er wieder in Deutschland. In und um Füssen im Allgäu malte er eine Reihe bunter Bilder. In dieser Zeit könnte auch das vorliegende Gemälde entstanden sein. Provenienz: Museum Wiesbaden, 1952. Galerie Wilhelm Grosshennig, Düsseldorf, 1961. Anmerkung: Auf der Rückseite des Gemäldes alte Aufkleber: Galerie Neue Kunst Hans Goltz, München. Gegenstand: Gemälde, Künstler: Jawlensky, Titel: Häuser; Gemäldegalerie Wiesbaden, Inv.Nr. 880; M 389. Literatur: Das Gemälde abgebildet in: Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, Volume One 1890-1914, The Alexej von Jawlensky Archive, Abb. S. 136, Nr. 145 (Kopie beigegeben). Clemens Weiler, Alexej Jawlensky, Köln 1959, Nr. 514, Abb. S. 262. Ausstellungen: 1954, Wiesbaden, Neues Museum, Nr.10. 1956/57, Wiesbaden, Städtisches Museum, Kunstwerke aus Galeriebesitz, Nr.24. 1961, Düsseldorf, Wilhelm Grosshennig. 1979, Wasserburg, Ganserhaus, Nr.8, Abb. S.32. (1411741) (18) Alexej von Jawlensky, 1864 Torschok – 1941 Wiesbaden LANDSCAPE WITH RED ROOF – WASSERBURG, CA. 1906 Oil on card. 48.9 x 52.4 cm. Signed “A. Jawlensky” lower right. Provenance: Museum Wiesbaden, 1952. Galerie Wilhelm Grosshennig, Düsseldorf. Notes: Old labels on the reverse of the painting: Galerie Neue Kunst Hans Goltz, Munich. Gegenstand: Gemälde, Künstler: Jawlensky, Titel: Häuser; Gemäldegalerie Wiesbaden, inv. no. 880; M 389. Literature: The painting is listed in: Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, Volume One 1890-1914, The Alexej von Jawlensky Archive, p. 136, no. 145 (copy enclosed). C. Weiler, Alexej Jawlensky, Köln 1959, no. 514, ill. p. 262. Exhibitions: 1954, Wiesbaden, Neues Museum, no.10. 1956/57, Wiesbaden, Städtisches Museum, Kunstwerke aus Galeriebesitz, no.24. 1961, Düsseldorf, Wilhelm Grosshennig. 1979, Wasserburg, Ganserhaus, no.8, ill. p.32.
Alexej von Jawlensky (Kuslowo 1864 - 1941 Wiesbaden) Variation: Winter Öl auf Leinwandpapier, auf Karton aufgelegt / Oil on canvas paper mounted on cardboard 1915 36x27,1 cm / 36x27.1 cm Signatur / Signature Unten links monogrammiert "A.I.". Rückseitig bezeichnet "Kleine Variation Nr. 68 A Jawlensky / Winter" 1915 / 36x27,1 Öl a. Malpapier ul.m." Monogrammed "A.I." lower left. Inscribed on the reverse "Kleine Variation Nr. 68 A Jawlensky / Winter" 1915 / 36x27.1 Oil on painting paper ul.m." Werkverzeichnis / Catalogue Raisonné Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, Bd. 2, 1914-1933, London 1992, Nr. 687 Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. 2, 1914-1933, London 1992, no. 687 Provenienz / Provenance Nachlass des Künstlers, durch Erbschaft an Privatsammlung Schweiz Estate of the artist, by inheritance to Private collection Switzerland Literatur / Literature Clemens Weiler, Alexej Jawlensky, Köln 1959, Kat. Nr. 603. Abb. S. 66 Clemens Weiler, Alexej Jawlensky, Cologne 1959, cat. No. 603, ill. p. 66 Ausstellungen / Exhibitions München 1964, Städtische Galerie im Lenbachhaus, Alexej Jawlensky, Kat. Nr. 84 Lausanne 2013, Fondation de l'Hermitage, Fenêtres, De la Renaissance à nos jours, Dürer, Monet, Magritte, Kat. Nr. 106 Munich 1964, Städtische Galerie im Lenbachhaus, Alexej Jawlensky, cat. no. 84 Lausanne 2013, Fondation de l'Hermitage, Fenêtres, De la Renaissance à nos jours, Dürer, Monet, Magritte, cat. no. 106 Zustand / Condition Reissnagellöcher in den oberen Ecken. Minimale Abreibungen auf der Bildoberfläche und an den Rändern. Schön in der Erhaltung Tear nail holes in the upper corners. Minimal rubbing on the surface of the image and in the margins. Good condition Erläuterungen / Comments Die "Variationen über ein landschaftliches Thema" bilden eine spannende Werkgruppe im Œuvre von Jawlensky. Die meisten entstanden im "Exil" in Saint-Prex am Genfersee, wohin der Künstler nach dem Ausbruch des Ersten Weltkrieges 1914 mit Marianne von Werefkin geflüchtet war. Die ikonischen Variationen entstanden direkt am Fenster des Wohn- und Arbeitshauses – immer mit dem gleichen Blick von derselben Stelle auf den Weg, der zwischen den Bäumen hindurch zum See führte. Stets leicht variiert, spürt man die Jahreszeiten oder wechselnden Wetter- und Lichtverhältnisse, auch gespiegelt im persönlichen Empfinden des Künstlers. Betrachtet man die ganze Reihe, die über mehrere Jahre entstanden ist, könnte man sogar von den Anfängen konzeptioneller Kunst sprechen. Im Schaffen am gleichen Motiv findet Jawlensky zu einer radikalen Veränderung seiner Formensprache und einem eigenen Zugang zur Abstraktion. Er setzt die 1914 begonnene Werkgruppe auch in Ascona fort, bis 1921 finden sich die Variationen im Œuvre; Jawlensky hat also die Aussicht aus dem Zimmerfenster in Saint-Prex "mitgenommen" und frei bearbeitet. Das hier angebotene Gemälde ist eines der schönen "Wintergemälde" in eher zurückhaltenden Farben. Der Künstler hat es bis zu seinem Tod behalten, durch Erbschaft blieb es bis heute in Familienbesitz. The "Variations on a Landscape Theme" form an exciting group of works in Jawlensky's oeuvre. Most of them were created in "exile" in Saint-Prex on Lake Geneva, where the artist had fled with Marianne von Werefkin after the outbreak of the First World War in 1914. The iconic variations were created directly at the window of the house where he lived and worked - always with the same view, from the same spot, of the path that led through the trees to the lake. Always slightly varied, one senses the seasons or the changing weather and light conditions, also reflected in the artist's personal feelings. Looking at the entire series, created over several years, one could even speak of the beginnings of conceptual art. Working on the same motif, Jawlensky found a radical change in his formal language and his own approach to abstraction. He continued the group of works he had begun in Ascona in 1914, and the variations can be found in his oeuvre until 1921; Jawlensky thus "took" the view from the room window in Saint-Prex and worked on it freely. The painting offered here is one of the beautiful "Winter Paintings" in rather restrained colours. The artist kept it until his death and it has remained in the family through inheritance. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 16:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Alexej von Jawlensky (Kuslowo 1864 - 1941 Wiesbaden) Selbstbildnis Öl auf Malkarton, auf Sperrholz aufgelegt / Oil on cardboard mounted on plywood 1912 54x50 cm, ohne Holzleiste; 56x50 cm, mit Holzleiste / 54x50 cm, without wood strip; 56x50 cm, with wood strip Signatur / Signature Unten rechts vom Künstler signiert "A. Jawlensky" Signed "A. Jawlensky" by the artist lower right Werkverzeichnis / Catalogue Raisonné Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, Bd. 1, 1890 - 1914, London 1991, Nr. 475 Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. 1, 1890 - 1914, London 1991, no. 475 Provenienz / Provenance Nachlass des Künstlers Privatsammlung Schweiz Estate of the artist Private collection Switzerland Literatur / Literature Clemens Weiler, Alexej Jawlensky, Köln 1959, Kat. Nr. 131, Abb. S. 236 Clemens Weiler, Alexej Jawlensky, Köpfe, Gesichter, Meditationen, Hanau 1970, Abb. Nr. 8, S. 149 Jürgen Schultze, Alexej Jawlensky, Köln 1970, Abb. Nr. 10, S. 30 Richard Hamann, Jost Hermand, Expressionismus, Deutsche Kunst und Kultur von der Gründerzeit bis zum Expressionismus, Bd. 5, Berlin 1975, Abb. S. 50 Clemens Weiler, Alexej Jawlensky, Cologne 1959, cat. No. 131, ill. p. 236 Clemens Weiler, Alexej Jawlensky, Köpfe, Gesichter, Meditationen, Hanau 1970, ill. no. 8, p. 149 Jürgen Schultze, Alexej Jawlensky, Cologne 1970, ill. no. 10, p. 30 Richard Hamann, Jost Hermand, Expressionismus, Deutsche Kunst und Kultur von der Gründerzeit bis zum Expressionismus, vol. 5, Berlin 1975, ill. p. 50 Ausstellungen / Exhibitions Frankfurt am Main 1947, Frankfurter Kunstkabinett, Alexej Jawlensky, Kat. Nr. 22 München 1947, Haus der Kunst, Der Blaue Reiter, Kat. Nr. 40 Wiesbaden 1954, Neues Museum, Alexej Jawlensky, Kat. Nr. 31 Düsseldorf/Hamburg 1957, Kunstverein für die Rheinlande und Westfalen/Kunstverein, Alexej Jawlensky, Kat. Nr. 39 Stuttgart/Mannheim 1958, Württembergischer Kunstverein/Städtische Kunsthalle, Alexej Jawlensky, Kat. Nr. 38 Wiesbaden 1964, Städtisches Museum, Alexej Jawlensky, Kat. Nr. 15, Abb. auf Titelseite München 1964, Städtische Galerie im Lenbachhaus, Alexej Jawlensky, Kat. Nr. 60 Bonn 1971, Museum Städtische Kunstsammlungen, Alexej Jawlensky, Kat. Nr. 22 Villingen-Schwenningen 1972, Beethovenhaus, Alexej Jawlensky, Kat. Nr. 25, Abb. 21 München/Baden-Baden 1983, Städtische Galerie im Lenbachhaus/Staatliche Kunsthalle, Alexej Jawlensky, Kat. Nr. 111, Abb. S. 216 Wien/Graz 1987, Österreichische Galerie Neues Belvedere/Kunsthaus, Malerei des Deutschen Expressionismus, Abb. S. 271 Essen 1990, Folkwang Museum, Van Gogh und die Moderne, Kat. Nr. 169, Abb. S. 382 Amsterdam 1990/91, Rijksmuseum Vincent Van Gogh, Vincent Van Gogh en de moderne kunst, Kat. Nr. 130, Abb. S. 327 Frankfurt am Main 1947, Frankfurter Kunstkabinett, Alexej Jawlensky, cat. no. 22 Munich 1947, Haus der Kunst, Der Blaue Reiter, cat. no. 40 Wiesbaden 1954, Neues Museum, Alexej Jawlensky, cat. no. 31 Düsseldorf/Hamburg 1957, Kunstverein für die Rheinlande und Westfalen/Kunstverein, Alexej Jawlensky, cat. no. 39 Stuttgart/Mannheim 1958, Württembergischer Kunstverein/Städtische Kunsthalle, Alexej Jawlensky, cat. no. 38 Wiesbaden 1964, Städtisches Museum, Alexej Jawlensky, cat. no. 15, illustration on title page Munich 1964, Städtische Galerie im Lenbachhaus, Alexej Jawlensky, cat. no. 60 Bonn 1971, Museum Städtische Kunstsammlungen, Alexej Jawlensky, cat. no. 22 Villingen-Schwenningen 1972, Beethovenhaus, Alexej Jawlensky, cat. no. 25, ill. 21 Munich/Baden-Baden 1983, Städtische Galerie im Lenbachhaus/Staatliche Kunsthalle, Alexej Jawlensky, cat. no. 111, ill. p. 216 Vienna/Graz 1987, Österreichische Galerie Neues Belvedere/Kunsthaus, Painting of German Expressionism, ill. p. 271 Essen 1990, Folkwang Museum, Van Gogh and Modernism, cat. no. 169, ill. p. 382 Amsterdam 1990/91, Rijksmuseum Vincent Van Gogh, Vincent Van Gogh en de moderne kunst, cat. no. 130, ill. p. 327 Zustand / Condition In den pastosen Stellen teilweise minime Farbverluste. Wunderschön und farbfrisch in der Erhaltung Minimal loss of colour in the impasto areas. In overall good condition Erläuterungen / Comments "Im Jahr 1912 entwickelte Jawlensky das weiter, was er in Prerow begonnen hatte. Nun entstanden die meisten jener starken und gewaltigen Köpfe, die Zeugnisse ablegen von der elementaren Gefühlswelt, in der er lebte", schrieb Clemens Weiler 1959 in seinem Standardwerk über den Künstler. Alexej von Jawlensky sammelte japanische Holzschnitte. Besonders der für seine Okubi-e-Bilder (Grosskopf-Darstellungen) bekannte Toyohara Kunichika scheint ihn in dieser Zeit stark beeinflusst zu haben. Jawlensky war fasziniert von der japanischen Meisterschaft, Charaktere und Gemütszustände treffend zu erfassen und künstlerisch umzusetzen. Besonders in seiner expressionistischen Phase entstanden unvergleichliche Porträts, in denen es ihm wie kaum einem Künstler seiner Generation gelang, das Innere der dargestellten Person nach aussen gekehrt darzustellen. Clemens Weiler sprach im Zusammenhang mit den Porträts von einer der grandiosesten Schöpfungen des Expressionismus, gemalt mit "wütenden Pinselstrichen". Die ganze Brutalität einer östlichen Welt scheine gepaart mit westlicher Ratio. Die Auseinandersetzung mit den japanischen Grosskopfdarstellungen zieht sich durch sein gesamtes expressionistisches Werk, findet sich aber auch in den Werkgruppen "Mystische Köpfe", "Heilandsgesicht" und den "Meditationen" des Spätwerks. Neben den ikonischen Damenbildnissen aus derselben Zeit entstanden 1912 drei epochale Selbstporträts. In dem sich heute im Museum in Wiesbaden befindenden Bildnis (Jawlensky 477) stellt sich der Künstler fast in der Manier spanischer Porträts des 16. Jahrhunderts dar. Er wirkt auf dem Bild unantastbar, ja entrückt. Das "Herrenbildnis (Selbstbildnis)" (Jawlensky 476), das sich im Belvedere in Wien befindet, wirkt dagegen "impressionistisch" in der Anlage, und der Künstler scheint zurückhaltend und scheu. Nicht so das hier angebotene Gemälde, das nur so vor expressionistischer Kraft und Ausprägung strotzt. Selbstbewusst blickt der Künstler frontal auf sein Publikum. Damit kehrt er die Blickrichtung um: Es ist der Künstler, der seine Welt anschaut, nicht die Betrachtenden das Bild. Sein stechender Blick aus den mit breitem Pinsel in dunklen Farben umrandeten Augen kann mit seiner Direktheit befremden und irritieren. Die leuchtenden Farben lassen den Künstler förmlich im Raum schweben; fast skulptural dominiert und füllt die eindrücklich gemalte "Büste" den Bildraum. Dass Jawlensky das Gemälde bis zu seinem Tod behalten hat, beweist dessen Bedeutung in seinem Œuvre: Es gehört mit Bestimmtheit zu den grossen Schöpfungen des Künstlers. Das Werk befindet sich bis heute in Familienbesitz. "In 1912, Jawlensky continued to develop what he had begun in Prerow. Now he created most of those strong and powerful heads that bear witness to the elementary emotional world in which he lived," wrote Clemens Weiler in his standard work on the artist in 1959. Alexej von Jawlensky collected Japanese woodcuts. Toyohara Kunichika, known for his Okubi-e pictures (depictions of large heads), seems to have had a particularly strong influence on him at this time. Jawlensky was fascinated by the Japanese mastery of capturing characters and emotional states accurately and rendering them artistically. In his Expressionist phase in particular, he created unrivalled portraits in which he succeeded like almost no other artist of his generation in depicting the inner self of the person portrayed turned inside out. In connection with the portraits, Clemens Weiler spoke of one of the most grandiose creations of Expressionism, painted with "furious brushstrokes". The entire brutality of an Eastern world seems to be paired with Western rationality. Jawlensky's preoccupation with Japanese depictions of large heads runs through his entire Expressionist oeuvre, but can also be found in the work groups "Mystische Köpfe", "Heilandsgesicht" and the "Meditationen" of his late work. In addition to the iconic portraits of women from the same period, in 1912 Jawlensy also made three epochal self-portraits. In the portrait now in the museum in Wiesbaden (Jawlensky 477), the artist depicts himself almost in the manner of 16th century Spanish portraits. He appears untouchable, even enraptured in the picture. In contrast, the ""Herrenbildnis (Selbstbildnis)" (Jawlensky 476), which is in the Belvedere in Vienna, appears "impressionistic" in its composition, and the artist seems reserved and shy. Not so the painting on offer here, which bursts with expressionist vigour and expression. The artist looks confidently at his audience from the front. In doing so, he reverses the direction of the gaze: it is the artist who looks at his world, not the viewer at the painting. His piercing gaze, from eyes outlined in dark colours with a broad brush, can alienate and irritate with its directness. The bright colours make the artist seem to float in space; the impressively painted "bust" dominates and fills the picture space almost sculpturally. The fact that Jawlensky kept the painting until his death proves its importance in his oeuvre: it is definitely one of the artist's great creations. The work is still owned by the family today. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 16:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
"Crown of Thorns" by Alexej von Jawlensky, Unsigned Offset Lithograph. Paper size is 27.5 x 23.5 inches, with an image size of 15.5 x 12 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Rare exhibition poster from the series Collection of European Masters, published for the Kunstsammlung Nordrhein-Westfalen by Achenbach Editions. The museum features temporary and permanent exhibitions of German and international art, offering impressive modern installations and interactive displays. The artists whose works you can see displayed at the museum include Kandinsky and Picasso. The permanent exhibitions include works of expressionist and impressionist painters.
Property from a Private Collection Alexej von Jawlensky 1864 - 1941 Stilleben mit Ruinenlandschaft (Still Life with a Landscape with Ruins) signed A. Jawlensky (lower left) oil on board 53.6 by 49.2 cm. 21⅛ by 18⅜ in. Framed: Executed circa 1911.
Alexej Jawlensky drawing. Head of a Woman. Ink and wash. 35 x 27 cm. Fold through right side. Signed by the artist lower left. About 1912. Morley's Library Label to reverse. Unframed. Alexej Jawlensky (1864-1941) was a Russian expressionist painter active in Germany and France. He was a key member of the New Munich Artist's Association, the Blue Rider group and later The Blue Four.
Oil on textured wove paper, firmly mounted on cardboard by the artist. (19)32. C. 33.5 x 26 cm (cardboard approx. 42 x 31.5 cm). Signed with the artist's monogram lower left, dated lower right. Numbered "N 29" on the reverse.
Carpenter's lead on slightly greyish wove paper, mounted on cardboard. (19)13. C. 35 x 47 cm (cardboard approx. 35.5 x 48 cm). Signed and dated lower right.
JAWLENSKY, ALEXEJ 1867 Twer/Moscow - 1941 Wiesbaden Title: Früchtekorb. Date: Ca. 1926/28. Technique: Watercolour and pencil on postcard. Measurement: 10.5 x 15cm. Notation: Signed upper right: A. Jawlensky. Frame/Pedestal: Framed. Provenance: - Private collection North Rhine-Westphalia Literature: - Jawlensky, Maria/Pieroni-Jawlensky, Lucia/Jawlensky, Angelica: Alexej von Jawlensky - Catalogue Raisonné Volume Four. The Watercolours and Paintings 1890 - 1938 with Addenda to the Catalogue of the Oil Paintings, Munich/London 1998, cat. rais. no. 533, ill. Estimated shipping costs for this lot: Germany: 28,57 Euro plus 5,43 Euro VAT EU: 42,02 Euro plus 7,98 Euro VAT Worldwide: 71,43 Euro plus 13,57 Euro VAT additional shipping insurance Explanations to the Catalogue Alexej Jawlensky Russia Modern Art 1920s Framed Still Life Works on paper Watercolour Fruits
JAWLENSKY, ALEXEJ 1867 Twer/Moscow - 1941 Wiesbaden Title: Landschaft mit Haus und Baum. Date: 1926. Technique: Watercolour and India ink on postcard. Measurement: 10.5 x 16.5cm. Notation: Signed lower right: A. jawlensky. Dated lower left: 2.1.26. Inscribed on verso. Frame/Pedestal: Framed. Provenance: - Private collection North Rhine-Westphalia Literature: - Jawlensky, Maria/Pieroni-Jawlensky, Lucia/Jawlensky, Angelica: Alexej von Jawlensky - Catalogue Raisonné Volume Four. The Watercolours and Drawings 1890 - 1938 with Addenda to the Catalogue of the Oil Paintings, Munich/London 1998, cat. rais. no. 532, ill. Estimated shipping costs for this lot: Germany: 28,57 Euro plus 5,43 Euro VAT EU: 42,02 Euro plus 7,98 Euro VAT Worldwide: 71,43 Euro plus 13,57 Euro VAT additional shipping insurance Explanations to the Catalogue Alexej Jawlensky Russia Modern Art 1920s Framed Landscape Works on paper Watercolour Tree
Signed and numbered. From the portfolio of 6 lithographs, "Köpfe", published in 1922 by the Nassauischer Kunstverein Wiesbaden. Printed by Vereinigte Druckereien, Wiesbaden. Proof 53 of 100 prints on this paper.
Signed and numbered. From the portfolio of 6 lithographs, "Köpfe", published in 1922 by the Nassauischer Kunstverein Wiesbaden. Printed by Vereinigte Druckereien, Wiesbaden. Proof 53 of 100 prints on this paper.
Monogrammed lower left and dated 'A.J. 36' in red to the right. - Inscribed "A. Jawlensky XII 1936 N. 9" by Lisa Kümmel verso in brown ink. The painting “Grosse Meditation” is signed and dated to 1936 and belongs to the last important group of works by Jawlensky: the “Meditationen”. These form the conclusion of a line of development within his oeuvre that began with the large, intensely colourful heads and then underwent a progressive chromatic and compositional reduction through the “Mystiche Köpfe” and “Abstrakte Köpfe” of the 1920s. Jawlensky himself saw them as the pinnacle of his work and as its quintessence in their formal concentration: “My works from the last period have been in very small formats”, he writes, “but the paintings are even deeper and more spiritual, articulated through colour alone. Because I have sensed that, as a result of my illness, I will no longer be able to paint in the future, I work like a man possessed on these little Meditations of mine” (cited in: exh. cat. München/Baden-Baden 1983, p. 292). The “Grosse Meditation” is unusually dark and displays a reserved palette. A network of brown vertical and horizontal lines mark the nose, closed eyes, mouth and hairline. He has filled in the intervening spaces by mixing in a dark green or red and applying the paint in long, parallel strokes. There are only a few examples from this series of works that so clearly illustrate their proximity to the tradition of Russian Orthodox icon painting. The present Meditation was part of the group of paintings sent to the United States by Galka Scheyer (1889-1945), who was Jawlensky’s agent and friend for many years. She had organised numerous exhibitions for the artist in the preceding years and enabled him to support himself by selling his works. From 1924 she also publicised the work of the “Blue Four” – Kandinsky, Klee, Feininger and Jawlensky – in the United States.
Sitzender Akt im Profil, nach vorne gebeugt Bleistift auf dünnem Skizzenbuchpapier. Um 1910. 30,5 x 24 cm. Oben rechts mit Bleistift (von fremder Hand) bezeichnet "3", unten links gestempelt "Alexej von Jawlensky Skizzenbuch", dort wohl von Alexander von Werefkin numeriert "I/3". Lineare Zeichnung, die Konturen weich und sanft geschwungen, aus Jawlenskys Münchner Zeit. Die elementare Einfachheit der Gestaltung findet sich später in seiner Mappe "Akte" (um 1920) wieder, die allesamt auf der Grundlage von einer Gruppe um das Jahr 1912 entstandener Zeichnungen ausgeführt wurden. Erst 1908/09 hatten sich Jawlensky, Werefkin, Kandinsky, Münter, Erbslöh und Wittenstein zur Neuen Künstlervereinigung München (N.K.V.M.) zusammengefunden; 1910 schloss Jawlensky Bekanntschaft mit August Macke und Franz Marc. Etwa in dieser Phase entstand die vorliegende Aktzeichnung. - Provenienz: Grisebach, Berlin, Auktion 723, 01.05.2022, Lot 2320 Privatsammlung Berlin - 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.
(Torschok 1864–1941 Wiesbaden) Große Variation: Grüner Schimmer (Large Variation: Green shimmer), 1916, signed and dated A. v. J. 1916, titled and dated on the reverse by Andreas Jawlensky, the artist’s son, further inscribed on the reverse by Lisa Kümmel N. 10. 1916, oil on linen-finished paper laid on cardboard, 52.9 x 38.5 cm, framed Provenance: Redfern Gallery, London Sale Sotheby’s London, 4 December 1974, lot 30 Galerie Gunzenhauser, Munich Private Collection, North Rhine-Westphalia Sale Grisebach, Berlin, 27 May 2011, lot 14 Private Collection, Germany - acquired from the above Exhibited: A Centennial Exhibition of Paintings by Alexej Jawlensky. New York, Leonard Hutton Galleries, 1965, cat. no. 36. Die Künstler des Blauen Reiter und ihre Freunde. Munich, Galerie Gunzenhauser, 1975, cat. no. 17. Alexej von Jawlensky. Das Auge ist der Richter. Essen, Museum Folkwang, 1998, cat. no. 36. Literature: Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, 1914–1933, vol. II, London 1992, no. 836, p. 140, illustrated in colour. “I started trying to express through painting what I felt nature prompting me to say. By means of hard work and tremendous concentration I gradually found the right colours and forms to express what my spiritual self demanded. I painted these colour variations every day, always drawing my inspiration from nature’s mood at the time and form the way I felt inside me.” Alexej Jawlensky, Memoirs, 1937, in: Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, 1914–1933, vol. II, London 1992, p. 12.
ALEXEJ VON JAWLENSKY (1864-1941) Variation: Erleuchtung (Triptychon) oil on linen-finish paper laid down on board Image size: 14 ¼ x 10 5⁄8 in. (36.3 x 27 cm.)
Property from an Important Pennsylvania Collection Alexej von Jawlensky 1864 - 1941 Abstrakter Kopf: Göttliches Leuchten (Abstract Head: Divine Glow) signed with the initials A.J. (lower left); bearing the inscription Av.jawlensky, 1918 (Ascona), A.Kopf 7 "Göttliches Leuchten" (on the reverse) oil on board 16 ¾ by 12 ¾ in. 42.5 by 32.4 cm. Executed in Ascona in 1918.
Oil on paper painting. Attributed to Alexej von Jawlenski, also spelt Yavlensky, 1864 to 1941, Russian expressionist painter active in Germany, key member of the New Munich Artists Association and Der Blaue Reiter group. The artwork depicts a full face portrait of a woman. Signed by the artist with initials in the lower right. The artwork is mounted on board. Golden frame. Collectible Modernist Fine Art, Russian Avantgarde, Portraiture.
"The Prayer" by Alexej von Jawlensky, Unsigned Offset Lithograph. Paper size is 31.5 x 23.75 inches, with an image size of 26.5 x 20 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details:
Alexej von Jawlensky (1864-1941), an oil on board landscape depicting houses, trees and a blooming bush. Signed lower left. was a Russian-German expressionist painter. He was a member of the Blue Rider group of artists. For 30 years he was in a civil marriage with Marianna Veryovkina.
Alexej von Jawlensky 1864 - 1941 Abstrakter Kopf: Ostern (Abstract Head: Easter) signed with the artist’s initials (lower left) and dated 33. (lower right); signed A. Jawlensky, dated 1933 and numbered N.83. (on the reverse) oil on board 42.8 by 32.9 cm. 16 ⅞ by 13 in. Executed in 1933.
"Crown of Thorns (No Text)" by Alexej von Jawlensky, Unsigned Offset Lithograph. Paper size is 27.5 x 23.5 inches, with an image size of 15.5 x 12 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details:
"Crown of Thorns" by Alexej von Jawlensky, Unsigned Offset Lithograph. Paper size is 27.5 x 23.5 inches, with an image size of 15.5 x 12 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details:
Ink on firm cream wove. (1921-1923). Ca. 12 x 10 cm. With an expertise by the Alexej von Jawlensky-Archiv S.A., Muralto, dated 20.12.2021. This work will be included in the Catalogue Raisonné of works by Alexej von Jawlensky. The labels on the backing cardboard mentioned in the expertise are no longer extant, as the backing cardboard was exchanged.
Black ink on firm cream wove. (1921-1923). Ca. 14.5 x 10 cm. With an expertise by the Alexej von Jawlensky-Archiv S.A., Muralto, dated 20.12.2021. This work will be included in the Catalogue Raisonné of works by Alexej von Jawlensky. The labels on the backing cardboard mentioned in the expertise are no longer extant, as the backing cardboard was exchanged.
Oil on linen-textured paper, laid down on Bristol cardboard. (19)36. Ca. 17.5 x 12.5 cm. Monogrammed lower left, dated lower right. According to the Catalogue Raisonné by Lisa Kümmel, the artist's assistant, inscribed on the back of the loose backing card "A. Jawlensky VI. 1936 N. 8." Jawlensky/Pieroni-Jawlensky 1982. With a photo expertise by Maria Jawlensky, Alexej von Jawlensky Archiv, Locarno, dated 30.12.1988.
Sitzender weiblicher Akt I -- Lithographie auf H. Antique-Bütten. 1920. -- 48 x 34,5 cm (51 x 38,2 cm). -- Signiert "ajawlensky." (ligiert). Auflage 50 Ex. -- Rosenbach 6 B. -- -- Blatt 3 der Mappe "Akte", einer Folge von acht Lithographien, erschienen in einer Gesamtauflage von 75 Exemplaren im Verlag Fritz Gurlitt, Berlin. Neben den 50 Exemplaren auf Bütten nennt Rosenbach weitere 25 Exemplare auf Japan. Die Lithographie nach einer Kreidezeichnung, die um 1912 entstand. Prachtvoller Druck mit kleinem Rand. Selten. -- -- - 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.
Liegender weiblicher Akt I -- Lithographie auf H. Antique-Bütten. Um 1920. -- 27,4 x 45,4 cm (34,3 x 51,5 cm). -- Signiert "ajawlensky.". Auflage 50 Ex. -- Rosenbach 9 B. -- -- Blatt 6 der Mappe "Akte", einer Folge von acht Lithographien, erschienen in einer Gesamtauflage von 75 Exemplaren im Verlag Fritz Gurlitt, Berlin. Neben den 50 Exemplaren auf Bütten nennt Rosenbach 25 Exemplare auf Japan. Die Lithographie entstand nach einer um 1912 geschaffenen Kreidezeichnung, welche 1967 unter der Nr. 143 und der Bezeichnung "Liegender weiblicher Akt" in der Jawlensky-Ausstellung des Frankfurter Kunstvereins aus der Sammlung Helmut Goedeckemeyer gezeigt wurde. Prachtvoller Druck mit kleinem Rand. Selten. -- -- - 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.
Signed lower left: A. Jawlensky. Titled with indelible pencil on the reverse: Rotes Dorf. There too a label of the Leonard Hutton Galleries, New York, the Ohana Gallery and Redfern Gallery, both London, as well as of Galerie Fricker, Paris
Monogrammed lower left: A.J. On the reverse with pen and black India ink titled and signed: Dem Tempelhüter A. Jawlensky. There presumably by the artist dated in pencil: 1921
(Torschok 1864–1941 Wiesbaden) Orange flowers in blue vase, 1927, signed A. Jawlensky, watercolour, pencil on vellum, 15.6 x 10 cm, framed Provenance: Galerie Ferdinand Möller (label on the reverse) Collection of Josef Haubrich (1889–1961), Cologne Sale, Lempertz, Cologne, 25 May 2013, lot 772 Private Collection, North Rhine-Westphalia – acquired by the present owner Literature: Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky Bianconi, Alexej von Jawlensky, Catalogue Raisonné, vol. 4, The Watercolours and Drawings 1890–1938, London/Munich 1998, no. 569, p. 244 (with colour ill.) “At the time I was painting mostly still-lifes because in them I could more easily find myself. I tried in these still-life paintings to go beyond the material objects and express in colour and form the thing which was vibrating within me, and I achieved some good results.” Jawlensky, Erinnerungen
(TORŽOK 1864 - WIESBADEN 1941) "Variation: Jardin" and on the verso "Landshaft aus St. Prex" 1914 oil on linen-finish paper 37.5x26.2 cm Signed and dated 14 lower left Provenance Galleria Blu, Milan Private collection, Milan Exhibitions "Quarant'anni in Blu" Galleria Blu, Milan, 1997, p. 35 ill. in catalogue This work is accompanied by a certificate of authenticity on photography issued by Archiv Alexej von Jawlensky, Locarno, dated 18-02-2002 IT "Variation: Jardin" e al verso "Landshaft aus St. Prex" 1914 olio su carta effetto tela cm 37,5x26,2 Firmato e datato 14 in basso a sinistra Provenienza Galleria Blu, Milano Collezione privata, Milano Esposizioni "Quarant'anni in Blu" Galleria Blu, Milano, 1997, p. 35 ill. in catalogo Opera accompagnata da certificato di autenticità su fotografia rilasciato da Archiv Alexej von Jawlensky, Locarno, in data 18-02-2002
Alexei Jawlensky 1864 - 1941 Variation: Herbstlicher tag (Variation: Autumnal Day) signed with the initials A.J. (lower left) oil on linen-finish paper laid down on cardboard 14 by 10 ⅝ in. 35.5 by 27 cm. Executed in 1916.
"Looking Within-Rosy Light" by Alexej von Jawlensky, 1987 Unsigned Offset Lithograph. Paper size is 30 x 24 inches, with an image size of 21.75 x 19.25 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Poster created for the Philadelphia Museum of Art. Published by Springdale Graphics.
Alexej von Jawlensky 1864 - 1941 Kopf (hingebend II) (Rosenbach 31) signed in pencil lithograph with hand-coloring on wove paper sheet: 19⅝ by 15¼ in. 500 by 387 mm. Executed in 1922; this impression is one of a small number of trial proofs.
