Alexej von Jawlensky 1864–1941 Rote Wolke, 1910 Öl auf Karton unten rechts signiert A. Jawlensky rückseitig signiert, datiert und bezeichnet A. Jawlensky 1910. Eine rote Wolke für rote schöne Lisa A. Jawlensky. 33 x 42,5 cm
"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: "The Prayer" by Alexej von Jawlensky was painted in 1923. The work is a prime example of Expressionism, specifically influenced by German Expressionism and abstract spiritualism. "The Prayer" is part of his "Meditations" and "Abstract Heads" series, which are notable for their spiritual and introspective quality.
"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.
Jawlensky, Alexej von (1864-1941) ‘w.T. (Large Woman's Head)’ 1956, colour lithograph/poster (presumably for the Fricker Gallery), signed in stone lower left, PM 53.8x49.6cm, SM 71.5x52.7cm, small crease, slightly spotty Jawlensky, Alexej von (1864-1941) "o.T. (Großer Frauenkopf)" 1956, Farblithographie/Plakat (wohl für die Galerie Fricker), u.l. i. Stein sign., PM 53,8x49,6cm, BM 71,5x52,7cm, kleine Knickspur, leicht fleckig
Alexej von Jawlensky (1864-1951) Still life, 16 February 1931 Watercolor on paper Signed on the bottom right Dated on the bottom left 17 x 12,5 cm Provenance: - Jan & Carin Kron Collection, Harnosand, Sweden - Private collection, Sweden Alexej von Jawlensky (1864-1951) Still life, 16 février 1931 Aquarelle sur papier Signé en bas à droite Daté en bas à gauche 17 x 12,5 cm Provenance : - Jan & Carin Kron Collection, Harnosand, Suède - Collection particulière, Suède
Alexej von Jawlensky (1867 Moscow - 1941 Wiesbaden) Untitled, 26 March 1931 [Blue Vase with Red Flowers], watercolour on finely textured wove paper, 21.1 cm x 15.8 cm sheet dimensions, signed, dated 26.III.31, verso inscribed by an unknown hand, slightly wavy, minimal foxing in the margins, mounted in the upper margin on the verso, expertise enclosed. The painting was presented to the Alexej von Jawlensky Archive S.A. in November 2023. We would like to thank Angelica Jawlensky Bianconi, Muralto, for the confirmation and the inclusion in the catalogue raisonné.
Property from a Private French Collection Alexej von Jawlensky 1864 - 1941 Meditation signed A.J. (lower left) and dated 35 (lower right); signed and inscribed 1935 VI N. 5 J (on the reverse) oil on linen-finish paper laid down on cardboard 19 x 12,3 cm; 7½ x 4⅞ in. Executed in June 1935. __________________________________________________________________________ Provenant d'une Collection Particulière Française Alexej von Jawlensky 1864 - 1941 Meditation signé A.J. (en bas à gauche) et daté 35 (en bas à droite); signé et inscrit 1935 VI N. 5 J (au dos) huile sur papier marouflé sur carton 19 x 12,3 cm; 7½ x 4⅞ in. Exécuté en juin 1935.
Monogrammed 'A.J.' lower left in black and dated '36' lower right. Dated 'IV.1936' in black India ink on the card and inscribed 'N 10.' verso, inscribed "A.Jawlensky IV. 1936" and "N.10" in black ink by Lisa Kümmel, and titled in blue ink by the artist. Alongside his renowned "Abstract Heads" and the "Meditations" that followed from them, with his flower still lifes Alexej von Jawlensky began the final major phase is his oeuvre. While prior to 1934 they tend to crop up only sporadically in his output, in the second half of the 1930s the artist accorded them more or less the same status as his other works. Similar to his "Variations", which he produced during World War I, and which took as their starting point the view from one and the same window in his house in St. Prex, for his floral still lifes Jawlensky chose as his theme the flower vases standing on the window sill of his studio. Bordering on an abstract composition, he varied the basic formal pattern in these small-sized still lifes of flowers over and over again - taken together they intimate the notion of a serial principle. Our fine still life with blooming azaleas in a pink vase stands out for the bright triad of red, blue and green tones. Characteristic for these works is the reduction of the theme to simple shapes, and the use of typical vertical brushstrokes. In the floral still lifes Jawlensky sets out, as he wrote in a letter of 1937 to Galka Scheyer, to reproduce what he saw and also what his soul discerned (see M. Jawlensky, Pieroni-Jawlensky, & A. Jawlensky, Alexej von Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. 3, 1934 - 1937, p. 13).
Monogrammed 'AJ' lower left in red and dated '36' at the right. Dated and numbered "1936 V N. 27" verso in pencil by an unknown hand. German and Swiss customs stamps. We would like to thank Angelica Jawlensky Bianconi, Muralto, for the friendly advice. Monogrammed and dated to 1935 and 1936, the paintings “Meditation” and “Große Meditation” belong to Jawlensky’s last major group of works: the Meditationen. These mark the conclusion of a line of development within his oeuvre that began with his intensely colourful heads and then underwent a progressive chromatic and compositional reduction through the “Mystischen Köpfe” and “Abstrakten Köpfe” from the 1920s. Jawlensky himself saw them as the crowning achievement of his oeuvre and, in their formal concentration, as its quintessence: “My works from the last period have been in very small formats”, he writes, “but the paintings are even more profound and spiritual, spoken exclusively through colour. 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 “Meditationen” of mine” (cited in: “Alexej Jawlensky”, exh. cat. München/Baden-Baden 1983, p. 292). Both works display the characteristic, strict pictorial structure: a framework of horizontal and vertical bars marking the area around the eyes as well as the nose and mouth. The left and right halves of the face are filled in with parallel strokes of colour. Many of the Meditationen created from 1935 onwards are unusually dark and, like the two works coming up for auction, possess that mysterious profundity which Annegret Hoberg sees as the result of Jawlensky’s experience of faith: “For Jawlensky these heads, in their serial sequence, signify […] far more than formal studies of the abstracted human face. For him the human countenance became a medium for the experience of transcendence – the repeatedly varied transformation of the previously discovered fundamental form in his painting, ‘a path to God’” (in: Helmut Friedel/Annegret Hoberg, Der Blaue Reiter im Lenbachhaus München, Munich 2004, no. 87). Like no other group of works by Jawlensky, the “Meditationen” testify to his tremendous will in “writing down” his paintings in spite of the increasingly painful stiffening of his joints.
Monogrammed 'A.J.' below left in red and dated '35' lower right. Dated "V 1935" lower left on the backing card in ink by Lisa Kümmel. Signed, inscribed and numbered 'A. Jawlensky 1935 Mai N 10. J.' verso in ink. We would like to thank Angelica Jawlensky Bianconi, Muralto, for the frienldy advice. Monogrammed and dated to 1935 and 1936, the paintings “Meditation” and “Große Meditation” belong to Jawlensky’s last major group of works: the Meditationen. These mark the conclusion of a line of development within his oeuvre that began with his intensely colourful heads and then underwent a progressive chromatic and compositional reduction through the “Mystischen Köpfe” and “Abstrakten Köpfe” from the 1920s. Jawlensky himself saw them as the crowning achievement of his oeuvre and, in their formal concentration, as its quintessence: “My works from the last period have been in very small formats”, he writes, “but the paintings are even more profound and spiritual, spoken exclusively through colour. 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 “Meditationen” of mine” (cited in: “Alexej Jawlensky”, exh. cat. München/Baden-Baden 1983, p. 292). Both works display the characteristic, strict pictorial structure: a framework of horizontal and vertical bars marking the area around the eyes as well as the nose and mouth. The left and right halves of the face are filled in with parallel strokes of colour. Many of the Meditationen created from 1935 onwards are unusually dark and, like the two works coming up for auction, possess that mysterious profundity which Annegret Hoberg sees as the result of Jawlensky’s experience of faith: “For Jawlensky these heads, in their serial sequence, signify […] far more than formal studies of the abstracted human face. For him the human countenance became a medium for the experience of transcendence – the repeatedly varied transformation of the previously discovered fundamental form in his painting, ‘a path to God’” (in: Helmut Friedel/Annegret Hoberg, Der Blaue Reiter im Lenbachhaus München, Munich 2004, no. 87). Like no other group of works by Jawlensky, the “Meditationen” testify to his tremendous will in “writing down” his paintings in spite of the increasingly painful stiffening of his joints.
Monogrammed 'A. J.' lower left in black. With “Weiblicher Kopf mit offenen Augen”, one of Alexej von Jawlensky’s extremely rare watercolours depicting this motif is coming up for auction. The light and sometimes transparent tones of blue, yellow, orange and red convey an unaccustomed delicacy of expression compared to the oil paintings from this series. From 1918/19, following the “Mystischen Köpfe”, Jawlensky created the group of “Heiligengesichter”. In these small-format works, he has eliminated every explanatory, secondary element to concentrate exclusively on the face, with its most important features – the mouth, nose and eyes. His formerly intense use of colour also disappeared in this process of abstraction and made way for a transparent tonality. From now on, the eyes perform a central function. Either they are closed tight and appear only in the form of curved lines or, as in the case of our watercolour, they are wide open. In Jawlensky’s work, they thematise vision in the transcendent sense of a recognition of the divine. When Jawlensky writes to Emmy Galka Scheyer, his friend and patron of many years, that the “Heilandgesichter” always “retain a sense of mystery”, this particularly applies to our “Weiblicher Kopf mit offenen Augen”.
Stehender weiblicher Akt Bleistift auf dünnem Skizzenbuchpapier. Um 1910. 30,4 x 24 cm. Unten rechts mit dem braunen Stempel "Alexej von Jawlensky Skizzenbuch", dort wohl von Alexander von Werefkin mit Bleistift bezeichnet "I/13", oben rechts nochmals bezeichnet "13". Weiche, schwingende Konturen liegen mehrfach parallel nebeneinander und implizieren eine Bewegtheit des stehenden Frauenaktes. Die lineare Zeichnung entstand in Jawlenskys Münchner Zeit. In seiner später, um 1920 im Verlag Fritz Gurlitt, Berlin erschienenen Mappe "Akte", basierend auf der Grundlage von um 1912 angefertigten Zeichnungen, findet sich eine vergleichbar elementare Einfachheit der Gestaltung wieder. 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: Nagel, Stuttgart, Auktion 04.12.2013, Lot 702 - 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.
”Murnau - Rote Dächer” (”Rotes Dorf”) Signed lower left: A. Jawlensky. Titled on the reverse with opy pen: 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
”Stilleben” Signed and dated lower left: A. Jawlensky 07. On the reverse with brush in black inscribed: N. 7. there too two labels of the Galerie Stangl and of Galerie Thomas, both Munich
JAWLENSKY, ALEXEJ 1867 Twer/Moscow - 1941 Wiesbaden Title: Meditation. Date: 1935. Technique: Oil on paper with linen embossing. Mounting: Mounted on card. Measurement: 17,5 x 13,5cm. Notation: Monogrammed lower left: A.J. Dated lower right: 35. Additionally signed, dated and inscribed verso centre: A. Jawlensky 1935 N.70 J. Below with dedication: An abscheuliche Lisa. Frame/Pedestal: Craftman's frame. Provenance: - Studio of the artist - Lisa Kümmel, Wiesbaden - Olaf Hudtwalcker, Frankfurt - Private collection Barcelona - Miguel M. de Augustin - Hauswedell and Nolte, Hamburg, auction 9.6.2000, lot 1529 - Ludorff Gallery, Düsseldorf - Private collection North Rhine-Westphalia Literature: - Jawlensky, Maria/Pieroni-Jawlensky, Lucia/Jawlensky, Angelica: Alexej von Jawlensky - Catalogue Raisonné of the Oil Paintings, Vol. III, 1934-1937, Munich 1993, cat. rais. no. 1737, ill. - Late work from his most famous series of works with beautiful, luminous colours - His "Meditations", reduced to the essentials, testify to a mysterious magic and are touching in a special way - Complete provenance Paths to Abstraction From 1914 onwards, Jawlensky pursued his artistic path to abstraction with great determination. Step by step, he reduced the forms of the motif to a basic pattern, within which he constantly transformed and recombined individual components. A central feature of his abstraction is the reduction of forms and the deliberate use of colors to express emotions and spiritual states, rather than to create narrative representations. His works are variations on a theme that he now seeks to develop in the sense of a transcendental expansion. It is a deeply religious art whose aspects go beyond the purely visual. This examination of spirituality and meditation is in line with the philosophical and artistic trends of the time, such as expressionism and symbolism. There is no other subject that illustrates his path to abstraction, via several intermediate stages, more vividly than his series of paintings of the human face. (See fig. 1-3) “Then it became necessary for me to find a form for the face, because I had understood that great art should only be painted with a religious feeling. And I could only bring that into the human face.” (Jawlensky, quoted in exhib. cat. Pinacoteca Communale Casa Rusca, Locarno et al., 1989/90, p. 80) The late work of the “Meditations” Starting from his spiritual and religious impulses and his struggle for the expressiveness of the human face, Jawlensky arrived at his final abstraction of the face in 1934, his fifth cycle of pictures: the small-format heads known as “Meditations”. Most of the works created around 1935/36 are very austere in composition due to the pronounced vertical brushwork and the darker colors, which are almost reminiscent of stained glass windows. The striking facial lines, symbolizing reduced heads of saints, are characteristic of this series. This development can also be traced back to Jawlensky's painful arthritis. Although it physically restricted the artist, his meditations testify to mysterious magic, human maturity and deep radiance. The “Meditations” represent an abstract and spiritual examination of inner feelings and states and capture the artist's aspiration to find access to a higher, inner truth through art. They are less concrete, but aim to express emotions and meditative experiences through form and color. The works are created in a kind of limbo, removed from the plagues of earthly existence, and have a universal, almost iconographic quality. Jawlensky himself regarded them as a kind of completion of his pictorial life's work. In his memoirs, the artist writes: “My last period of work has very small formats, but the pictures are even deeper and more spiritual, just in terms of color. Since I felt that I would no longer be able to work in the future as a result of my illness, I am working like a man possessed on these small meditations [sic!]. And now I am leaving these small but significant works for the future of people who love art.” (Jawlensky, quoted in exhib. cat. Museum am Ostwall, Dortmund 1998, p. 119) The version of a meditation from 1935 offered here, with complete provenance, is a wonderful example of his late work. The genderless face, the highly reduced forms and dark colors convey his meditative message. The head, en face, occupies the entire pictorial space and illustrates Jawlensky's search for a meditative and transcendental dimension of art. Explanations to the Catalogue Alexej Jawlensky Russia Modern Art 1930s Craftman's frame Portrait Painting Oil Woman Estimated shipping costs for this lot: Arrangement after the auction.
Property from a German Private Collection Alexej von Jawlensky 1864 – 1941 Landschaft in Füssen (Frühling) (Landscape in Füssen (Spring)) signed (lower right) oil on cardboard 38 by 49.9 cm. 15 by 19¾ in. Executed circa 1905. The authenticity of this work has kindly been confirmed by the Alexej von Jawlensky Archiv, Murato and it will be included in their forthcoming catalogue raisonné.
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.
