oil on canvas signed lower left 39,5 x 25,7 in framed As one of the most famous painters of the new Objectivity movement Ernest Neuschul knew how to meaningfully potray even the most mundane everyday tasks, such as doing the laundry. In this piece the radiant hues of red and green capture the attention of the viewer, alongside the reflection of the light in the shimmering black hair and in the glaringly white sheets.
NEUSCHUL, Ernest, (Hungarian, 1895-1968): Untitled, (Smiling Children), Oil/Canvas, 18.25'' x 24.75'', signed lower left, framed, 24" x 31", inscription on stretcher verso and dated London, 24th September, 1957.
oil on canvas signed lower left 34,3 x 26,4 in framed The work is a very beautiful neo-objective still life by one of the most famous painters of the New Objectivity. The widely travelled Ernest Neuschul was extremely successful, especially in the 1920s and early 1930s.
oil on canvas signed lower left 34,3 x 26,4 in framed The work is a very beautiful neo-objective still life by one of the most famous painters of the New Objectivity. The widely travelled Ernest Neuschul was extremely successful, especially in the 1920s and early 1930s.
ERNEST NEUSCHUL* (Aussig 1895 - 1968 London) Girl with red pearl necklace oil/canvas, 75,8 x 50,6 cm monogrammed EN ESTIMATE € 3000 - 6000 STARTING PRICE € 3000 Ernst Neuschul, later Ernest Neuschul and from 1946, Ernest Norland was a German-Czech painter. In the Weimar Republic, Neuschul was one of the most important representatives of New Objectivity. Against his father's will, Neuschul wanted to study at the Art Academy in Prague, but then worked in Prague as a house painter and attended the courses at the Academy as an external student. He went to Vienna, where he attended the k.k. Graphische Lehr- und Versuchsanstalt. He escaped the threat of conscription by moving to Kraków in 1916, where he continued his studies at the art academy. He took lessons from the Art Nouveau artist Józef Mehoffer. In 1918, Neuschul went to Prague, where he studied at the Academy of Fine Arts with Franz Thiele. In August 1918, he met the Dutch-Javanese dancer Takka-Takka, real name Lucie Lindemann (1890-1980), who became his wife in 1922 and then his most important model. In 1919, Neuschul had his first solo exhibition of 39 works at Weinert's Salon, Prague. He shared an apartment with Takka-Takka in Berlin-Charlottenburg. Inspired by her, Neuschul dealt with East Indian dance and wrote screenplays for experimental films with Asian myths. Neuschul designed dance costumes for his wife (Kursaal Luzern). 1922 in Rome, first solo exhibition. From August 1922, Takka-Takka and Ernest Neuschul went on tour through Europe, the USA and Canada as a Javanese dancer couple under the name "Yoga-Taro" (connoisseurs of yoga). He used the trips of the tour for drawing, painting, photography and exhibitions. Between the dance engagements, he and Takka-Takka lived in Paris, Berlin or Aussig, where exhibitions of his works also took place. An anti-Semitic article against his work appeared at the first exhibition in his hometown. In January 1926, the couple's last appearance took place in the Winter Garden in Berlin. Neuschul became a member of the Novembergruppe (November group) in Berlin. Here he made the acquaintance of the painters Ludwig Meidner and Arthur Segal. 1927 brought the big breakthrough. He successfully participated in eight exhibitions, six in Berlin. His work is honoured in 48 surviving press articles. In the same year, he received a contract with the Berlin gallery Neumann-Nierendorf. In 1929, he became a member of the Reich Association of Visual Artists in Germany. In 1931, Neuschul took over the chair for drawing and painting at the Charlottenburg Municipal Art School. The self-portrait “The Agitator” from 1932 shows Neuschul as an anti-fascist fighter. In 1933, Neuschul became the last chairman of the Novembergruppe before it was banned. At his last exhibition in February 1933, in the "Haus der Künstler" (House of Artists) in Berlin, the works on display were confiscated. Flight to Czechoslovakia. Takka-Takka and his later second wife Christl Bell saved his works in his Berlin studio and brought them to Ústí. In 1934, Neuschul married Christl Bell, a painter and until 1933 a restorer of paintings at the Kaiser Friedrich Museum in Berlin (now Bode Museum). In 1935, Neuschul received an invitation to Moscow from the Moscow Artists' Association. In September, Ernest Neuschul and Christl travelled to Moscow with 40 works. Good contacts developed with Russian and other Moscow-based artists through the Club of Foreign Workers. The Pravda reported very positively on his solo exhibition at the Museum of New Western Art in Moscow. He portrayed Josef Stalin and Georgi Dimitrov. In 1936, Neuschul became a member of the Moscow Union of Artists and the Union of Soviet Artists. He turned down a chair at the Academy of Fine Arts in Kharkov. Shortly before the start of the second Stalinist purges, Andrei Bubnov, the People's Commissar for National Education and victim of the Stalin trials, advised Neuschul to leave Moscow. In 1937, Neuschul's last exhibition took place in his hometown: two of his works were cut up and swastikas smeared on them. In November, Neuschul left Ústí for good and moved to Prague with his family. Neuschul became a member of the Oskar-Kokoschka-Klub and gave lectures on degenerate art. He portrayed President Edvard Beneš three times. Neuschul was on the Nazi black list; from the Czech side, as a German, he was threatened with extradition to the “Third Reich”. Neuschul was able to prepare for emigration to England through Wenzel Jaksch, a member of the German Social Democratic Workers' Party in the Czechoslovak Republic (DSAP) and his connection to the British Labor Party. His mother, who did not want to leave Prague because of his sick brother, was later murdered in Auschwitz with the family members who remained in Prague. The family initially lived in Mumbles in Wales. Neuschul became a member of the Free German Cultural Association in England, the Free German Artists Association. 1964 Moved to London. Stylistically, Neuschul made a change from Expressionism to New Objectivity. At first, women were his preferred subject, but gradually socially critical subjects found their way into his range of motifs. In Moscow, however, Neuschul was given to understand that he should not paint the workers in their current precarious situation, but rather idealizing them, in the style of socialist realism. He refused. After the war he continued to abstract his style, but like other emigrants who had left Germany forever, such as B. George Grosz, he could no longer continue his old success. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographys 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
ERNST NEUSCHUL* (Aussig 1895 - 1968 London) Couple, 1962 oil/canvas, 55,5 x 76 cm monogrammed EN, dated 1962 verso dated 1962 and numbered 12 ESTIMATE € 3000 - 6000 STARTING PRICE € 3000 Ernst Neuschul, later Ernest Neuschul and from 1946, Ernest Norland was a German-Czech painter. In the Weimar Republic, Neuschul was one of the most important representatives of New Objectivity. Against his father's will, Neuschul wanted to study at the Art Academy in Prague, but then worked in Prague as a house painter and attended the courses at the Academy as an external student. He went to Vienna, where he attended the k.k. Graphische Lehr- und Versuchsanstalt. He escaped the threat of conscription by moving to Kraków in 1916, where he continued his studies at the art academy. He took lessons from the Art Nouveau artist Józef Mehoffer. In 1918, Neuschul went to Prague, where he studied at the Academy of Fine Arts with Franz Thiele. In August 1918, he met the Dutch-Javanese dancer Takka-Takka, real name Lucie Lindemann (1890-1980), who became his wife in 1922 and then his most important model. In 1919, Neuschul had his first solo exhibition of 39 works at Weinert's Salon, Prague. He shared an apartment with Takka-Takka in Berlin-Charlottenburg. Inspired by her, Neuschul dealt with East Indian dance and wrote screenplays for experimental films with Asian myths. Neuschul designed dance costumes for his wife (Kursaal Luzern). 1922 in Rome, first solo exhibition. From August 1922, Takka-Takka and Ernest Neuschul went on tour through Europe, the USA and Canada as a Javanese dancer couple under the name "Yoga-Taro" (connoisseurs of yoga). He used the trips of the tour for drawing, painting, photography and exhibitions. Between the dance engagements, he and Takka-Takka lived in Paris, Berlin or Aussig, where exhibitions of his works also took place. An anti-Semitic article against his work appeared at the first exhibition in his hometown. In January 1926, the couple's last appearance took place in the Winter Garden in Berlin. Neuschul became a member of the Novembergruppe (November group) in Berlin. Here he made the acquaintance of the painters Ludwig Meidner and Arthur Segal. 1927 brought the big breakthrough. He successfully participated in eight exhibitions, six in Berlin. His work is honoured in 48 surviving press articles. In the same year, he received a contract with the Berlin gallery Neumann-Nierendorf. In 1929, he became a member of the Reich Association of Visual Artists in Germany. In 1931, Neuschul took over the chair for drawing and painting at the Charlottenburg Municipal Art School. The self-portrait “The Agitator” from 1932 shows Neuschul as an anti-fascist fighter. In 1933, Neuschul became the last chairman of the Novembergruppe before it was banned. At his last exhibition in February 1933, in the "Haus der Künstler" (House of Artists) in Berlin, the works on display were confiscated. Flight to Czechoslovakia. Takka-Takka and his later second wife Christl Bell saved his works in his Berlin studio and brought them to Ústí. In 1934, Neuschul married Christl Bell, a painter and until 1933 a restorer of paintings at the Kaiser Friedrich Museum in Berlin (now Bode Museum). In 1935, Neuschul received an invitation to Moscow from the Moscow Artists' Association. In September, Ernest Neuschul and Christl travelled to Moscow with 40 works. Good contacts developed with Russian and other Moscow-based artists through the Club of Foreign Workers. The Pravda reported very positively on his solo exhibition at the Museum of New Western Art in Moscow. He portrayed Josef Stalin and Georgi Dimitrov. In 1936, Neuschul became a member of the Moscow Union of Artists and the Union of Soviet Artists. He turned down a chair at the Academy of Fine Arts in Kharkov. Shortly before the start of the second Stalinist purges, Andrei Bubnov, the People's Commissar for National Education and victim of the Stalin trials, advised Neuschul to leave Moscow. In 1937, Neuschul's last exhibition took place in his hometown: two of his works were cut up and swastikas smeared on them. In November, Neuschul left Ústí for good and moved to Prague with his family. Neuschul became a member of the Oskar-Kokoschka-Klub and gave lectures on degenerate art. He portrayed President Edvard Beneš three times. Neuschul was on the Nazi black list; from the Czech side, as a German, he was threatened with extradition to the “Third Reich”. Neuschul was able to prepare for emigration to England through Wenzel Jaksch, a member of the German Social Democratic Workers' Party in the Czechoslovak Republic (DSAP) and his connection to the British Labor Party. His mother, who did not want to leave Prague because of his sick brother, was later murdered in Auschwitz with the family members who remained in Prague. The family initially lived in Mumbles in Wales. Neuschul became a member of the Free German Cultural Association in England, the Free German Artists Association. 1964 Moved to London. Stylistically, Neuschul made a change from Expressionism to New Objectivity. At first, women were his preferred subject, but gradually socially critical subjects found their way into his range of motifs. In Moscow, however, Neuschul was given to understand that he should not paint the workers in their current precarious situation, but rather idealizing them, in the style of socialist realism. He refused. After the war he continued to abstract his style, but like other emigrants who had left Germany forever, such as B. George Grosz, he could no longer continue his old success. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographys 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
NEUSCHUL, Ernest, (Hungarian, 1895-1968): Untitled, (Smiling Children), Oil/Canvas, 18.25" x 24.75", signed lower left, framed, inscription on stretcher verso and dated London, 24th September, 1957.
ERNEST NEUSCHUL* (Aussig 1895 - 1968 London) Family oil/burlap, 86,5 x 112 cm monogrammed EN ESTIMATE € 1600 - 3000 STARTING PRICE € 1600 Ernst Neuschul, later Ernest Neuschul and from 1946, Ernest Norland was a German-Czech painter. In the Weimar Republic, Neuschul was one of the most important representatives of New Objectivity. Against his father's will, Neuschul wanted to study at the Art Academy in Prague, but then worked in Prague as a house painter and attended the courses at the Academy as an external student. He went to Vienna, where he attended the k.k. Graphische Lehr- und Versuchsanstalt. He escaped the threat of conscription by moving to Kraków in 1916, where he continued his studies at the art academy. He took lessons from the Art Nouveau artist Józef Mehoffer. In 1918, Neuschul went to Prague, where he studied at the Academy of Fine Arts with Franz Thiele. In August 1918, he met the Dutch-Javanese dancer Takka-Takka, real name Lucie Lindemann (1890-1980), who became his wife in 1922 and then his most important model. In 1919, Neuschul had his first solo exhibition of 39 works at Weinert's Salon, Prague. He shared an apartment with Takka-Takka in Berlin-Charlottenburg. Inspired by her, Neuschul dealt with East Indian dance and wrote screenplays for experimental films with Asian myths. Neuschul designed dance costumes for his wife (Kursaal Luzern). 1922 in Rome, first solo exhibition. From August 1922, Takka-Takka and Ernest Neuschul went on tour through Europe, the USA and Canada as a Javanese dancer couple under the name "Yoga-Taro" (connoisseurs of yoga). He used the trips of the tour for drawing, painting, photography and exhibitions. Between the dance engagements, he and Takka-Takka lived in Paris, Berlin or Aussig, where exhibitions of his works also took place. An anti-Semitic article against his work appeared at the first exhibition in his hometown. In January 1926, the couple's last appearance took place in the Winter Garden in Berlin. Neuschul became a member of the Novembergruppe (November group) in Berlin. Here he made the acquaintance of the painters Ludwig Meidner and Arthur Segal. 1927 brought the big breakthrough. He successfully participated in eight exhibitions, six in Berlin. His work is honoured in 48 surviving press articles. In the same year, he received a contract with the Berlin gallery Neumann-Nierendorf. In 1929, he became a member of the Reich Association of Visual Artists in Germany. In 1931, Neuschul took over the chair for drawing and painting at the Charlottenburg Municipal Art School. The self-portrait “The Agitator” from 1932 shows Neuschul as an anti-fascist fighter. In 1933, Neuschul became the last chairman of the Novembergruppe before it was banned. At his last exhibition in February 1933, in the "Haus der Künstler" (House of Artists) in Berlin, the works on display were confiscated. Flight to Czechoslovakia. Takka-Takka and his later second wife Christl Bell saved his works in his Berlin studio and brought them to Ústí. In 1934, Neuschul married Christl Bell, a painter and until 1933 a restorer of paintings at the Kaiser Friedrich Museum in Berlin (now Bode Museum). In 1935, Neuschul received an invitation to Moscow from the Moscow Artists' Association. In September, Ernest Neuschul and Christl travelled to Moscow with 40 works. Good contacts developed with Russian and other Moscow-based artists through the Club of Foreign Workers. The Pravda reported very positively on his solo exhibition at the Museum of New Western Art in Moscow. He portrayed Josef Stalin and Georgi Dimitrov. In 1936, Neuschul became a member of the Moscow Union of Artists and the Union of Soviet Artists. He turned down a chair at the Academy of Fine Arts in Kharkov. Shortly before the start of the second Stalinist purges, Andrei Bubnov, the People's Commissar for National Education and victim of the Stalin trials, advised Neuschul to leave Moscow. In 1937, Neuschul's last exhibition took place in his hometown: two of his works were cut up and swastikas smeared on them. In November, Neuschul left Ústí for good and moved to Prague with his family. Neuschul became a member of the Oskar-Kokoschka-Klub and gave lectures on degenerate art. He portrayed President Edvard Beneš three times. Neuschul was on the Nazi black list; from the Czech side, as a German, he was threatened with extradition to the “Third Reich”. Neuschul was able to prepare for emigration to England through Wenzel Jaksch, a member of the German Social Democratic Workers' Party in the Czechoslovak Republic (DSAP) and his connection to the British Labor Party. His mother, who did not want to leave Prague because of his sick brother, was later murdered in Auschwitz with the family members who remained in Prague. The family initially lived in Mumbles in Wales. Neuschul became a member of the Free German Cultural Association in England, the Free German Artists Association. 1964 Moved to London. Stylistically, Neuschul made a change from Expressionism to New Objectivity. At first, women were his preferred subject, but gradually socially critical subjects found their way into his range of motifs. In Moscow, however, Neuschul was given to understand that he should not paint the workers in their current precarious situation, but rather idealizing them, in the style of socialist realism. He refused. After the war he continued to abstract his style, but like other emigrants who had left Germany forever, such as B. George Grosz, he could no longer continue his old success. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographys 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
Ernest Neuschul (Czech-British, 1895-1968) ▴ Ernest Neuschul (Czech-British, 1895-1968) Railway workers signed 'Ernest Neuschul' l.l., oil on canvas 73 x 100cm Condition Report: Framed: 77 x 104cm Craquelure and light surface dirt with visible stretcher marks. There is a faint 5cm line to the lower right corner where the canvas is very slightly indented, please see images.
Ernest Neuschul (Czech-British, 1895-1968) ▴ Ernest Neuschul (Czech-British, 1895-1968) Woman holding a bowl of fruit - said to be his wife, Takka-Takka signed 'Ernest Neuschul' l.l., oil on canvas 87.5 x 70cm Condition Report: Framed: 105 x 88.5cm Craquelure throughout. The canvas has been lined. Retouching to areas including face (her left side). This area to the right looks like it may have a repaired tear. Further retouching to lower part of picture. For a full report under uv light and with additional images please contact the department.
Ernest Neuschul (Aussig 1895 - 1968 London) Bauernpaar bei der Ernte. Öl auf Leinwand. 1936. 85,3 x 100,5 cm. Gerahmt. Signiert u. datiert. Stellenweise leichtes Craquelé. Die Bildränder mit vereinzelten winzigen Retuschen.
Ernest Neuschul (Austrian, 1895-1968) Die traubenpluckerin signed 'Ernest Neuschul' (lower left) oil on canvas 110.2 x 120cm (43 3/8 x 47 1/4in). For further information on this lot please visit the Bonhams website
§ ERNST NEUSCHUL (CZECH 1895-1968) Property from a Private Collection ERNST NEUSCHUL (CZECH 1895-1968) Mutter und Säugling signed with the artist's initials EN (lower left); inscribed, numbered and dated No 86 1954 "Mutter und Säugling" (on the stretcher) oil on canvas 76 x 50.8 cm PROVENANCE: The artist's family, and thence by descent; The artist's Estate Sale, Greenslade Taylor Hunt, Taunton, 1 February 2018, lot 632 Purchased at the above sale by the present owner Ernst Neuschul was a Czech Expressionist artist. He studied in Prague and later Vienna, where he was attracted by the paintings of Klimt and Egon Schiele and the expressionistic works of Oskar Kokoschka. Neuschul avoided conscription at the outbreak of World War I, moving to Poland in 1916. When the war ended he moved to Berlin, joining the Academy of Arts where he won the Rome prize. Whilst in Berlin, Neuschul painted under the post-war influence of the New Objectivity (Neue Sachlichkeit) movement. In 1932 he became Professor of Fine Arts at Berlinâs Academy of Fine Art and was also elected chairman of the Novembergruppe (a group of German Expressionist artists and architects opposed to Fascism). In 1937, with the rise of the Third Reich, Neuschul and his family fled Germany, arriving in London in 1939 and settling in Wales for the duration of the war. Neuschul has had three major retrospective exhibitions: in 1966 in Berlin, titled âFrom the New Objectivity to the New Non-Objectivityâ; in 1989 at the Leicester Museum; and in 2001 in Regensburg.
§ ERNST NEUSCHUL (CZECH 1895-1968) Property from a Private Collection ERNST NEUSCHUL (CZECH 1895-1968) Young woman in a Woollen Pullover signed and dated E Norland 60 (lower right) oil on canvas 62.5 x 52 cm (24 5/8 20 1/2 in) PROVENANCE: The artist's family, and thence by descent; The artist's Estate Sale, Greenslade Taylor Hunt, Taunton, 1 February 2018, lot 636 Purchased at the above sale by the present owner Ernst Neuschul was a Czech Expressionist artist. He studied in Prague and later Vienna, where he was attracted by the paintings of Klimt and Egon Schiele and the expressionistic works of Oskar Kokoschka. Neuschul avoided conscription at the outbreak of World War I, moving to Poland in 1916. When the war ended he moved to Berlin, joining the Academy of Arts where he won the Rome prize. Whilst in Berlin, Neuschul painted under the post-war influence of the New Objectivity (Neue Sachlichkeit) movement. In 1932 he became Professor of Fine Arts at Berlinâs Academy of Fine Art and was also elected chairman of the Novembergruppe (a group of German Expressionist artists and architects opposed to Fascism). In 1937, with the rise of the Third Reich, Neuschul and his family fled Germany, arriving in London in 1939 and settling in Wales for the duration of the war. Neuschul has had three major retrospective exhibitions: in 1966 in Berlin, titled âFrom the New Objectivity to the New Non-Objectivityâ; in 1989 at the Leicester Museum; and in 2001 in Regensburg.
RefOld13921 RefImp13921 MEINE DREI FRAUEN Öl auf Leinwand. 100 x 81cm. Rechts unten signiert „ENeuschul“.Das Gemälde zeigt drei stehende Frauen in einem nicht näher definierten Raum mit einem Ausblick ins Freie und einer Grünpflanze auf einem Tisch. Zwei der Frauen sind nackt und eine davon trägt ein strenges Kleid, das wie eine Uniform wirkt; in ihrer rechten Hand hält sie einen Faden, an dessen anderen Ende ein blonder Junge steht. Bei diesem dürfte es sich um den Sohn des Künstlers handeln. Die Dargestellten alle mit maskenhaften Gesichtern. Für den Künstler typisches Werk, der in der Weimarer Republik zu den bekanntesten Malern der „Neuen Sachlichkeit“ zählte. (†) (12821029) (18)
Ernest Neuschul (Austrian, 1895-1968) 'Zigeuner' signed 'Ernest Neuschul' (lower right) oil on canvas 98.5 x 107.9cm (38 3/4 x 42 1/2in). For further information on this lot please visit the Bonhams website
Ernst Neuschul (Austrian, 1895-1968) Embrace signed with monogram 'EN' (lower right); dated '1962' (lower left) oil on canvas 76.2 x 55.9cm (30 x 22in). For further information on this lot please visit the Bonhams website
"Familie" Öl auf verso bedruckter Leinwand. 1956. 86 x 112 cm. Unten rechts mit Pinsel in Schwarz monogrammiert "EN", verso auf dem Keilrahmen datiert, zweifach (deutsch/englisch) betitelt und bezeichnet "No. 45", "F5", "R", "17A" und "8" sowie auf Klebeetikett "178". Auf der Rückseite eines Polster- oder Dekorationsstoffes malt Neuschul die junge Familie, unbekleidet, in einer entspannten, intimen Situation. Vor einem geometrisch gestalteten, doch nicht näher definierten Hintergrund liegen beide Eltern dicht beieinander am Boden, ihr kleiner Sohn sitzt in munterer Haltung am rechten Bildrand. Während der Mann zu schlafen scheint, dominieren die aufmerksamen, nur linear angedeuteten Gesichtszüge von Mutter und Kind das Beziehungsgeflecht im Bild. Zarte, helle Pastelltöne mit akzentuierten Schattenpartien, dazu tiefdunkle Kontrastflächen und Konturlinien ergänzen sich zu einer differenzierten, schön ausbalancierten und noch deutlich vom Stil der Neuen Sachlichkeit beeinflussten Komposition. Ernst (später: Ernest) Neuschul studierte in Wien, Krakau und ab 1918 in Prag. Dort begegnete er der holländisch-javanischen Tänzerin Takka-Takka und lebte mit ihr ab 1920 in Berlin. Gemeinsam gingen beide von 1922 bis 1926 als javanisches Tänzerpaar auf Welttournee durch Europa, die USA und Kanada. Hier fand Neuschul zahlreiche Motive für seine Gemälde und Zeichnungen. Ab 1927 wurde er durch die Galerie Neumann-Nierendorf vertreten, 1933 war er letzter Vorsitzender der Novembergruppe. Nach der Beschlagnahme seiner Bilder durch die Nationalsozialisten 1933 floh er nach Aussig und lebte ab 1935 in Moskau. Da er sich nicht an die Kunstdoktrin des Sozialistischen Realismus in der Sowjetunion anpassen wollte, drohte ihm die Verhaftung, er floh 1936 in die Sudeten und emigrierte schließlich 1939 nach London. Viele von Neuschuls Bildern wurden vernichtet, viele sind verschollen. - 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.
Oil on re-used canvas. Signed EN lower right. Titled to stretcher dated 1959 stretcher 1964 canvas. Numbered to stretcher F80 From the family of the artist by direct descent Image 39.5" x 26"
Oil on canvas Germany, c. 1920 Ernest Neuschul (1895-1968) – German figure and portrait painter Signed lower left ‘Ernest Neuschul’ Verso stamped on the stretcher ‘Akad. Maler ERNEST NEUSCHUL […]‘ Dimensions: 100.5 x 81 cm Frame: 117 x 98.5 cm Provenance: Private property, Norway Expressive portrait of a prisoner behind bars; Ernest Neuschul was an important representative of the New Objectivity movement in the National Socialist period Condition: The canvas is visibly corrugated due to decreasing tension. The edges show a few tiny losses of paint, of which some are caused by the frame. The impasto parts show some craquelure. There are areas of retouching to the lower half, partly visible under inspection from the side. The stretcher measures 100.5 x 81 cm. The frame has a number of marks and measures 117 x 98.5 cm. Ernest Neuschul (1895-1968) Ernst Neuschul studied in Vienna and attended the art academies in Krakow and Prague from 1916 to 1918. Finally, he finished his studies at the Berlin Academy of Fine Arts. In 1919 he became a member of the ‘Novembergruppe’. Neuschul’s works were exhibited at the Great Art Exhibitions in Berlin and at the Berlin Secession. A visiting professor at the Hochschule für Bildende Künste Berlin around 1932, Neuschul was finally forced to flee from the Nazis, passing Prague, Moscow and further cities. In 1939 he finally emigrated to London. Neuschul’s works often show the influence of the New Objectivity movement. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Ernst Neuschul Austrian, 1895-1968 Untitled, 1957 Signed Ernst Neuschul (ll), inscribed Ernst Norland to George Waldes, London, 24th September 57 on the stretcher Oil on canvas 18 1/4 x 24 3/4 inches C
ERNEST NEUSCHUL (Czech, 1895-1968), two children, oil on canvas, signed lower left, inscription to stretcher ''Ernst Norland to Georges Waldes, London, 24th September 57''. 19-1/4''h, 24-1/2''w. Craquelure.
Portrait eines Herrn Öl auf Leinwand. 1934. 71,5 x 57 cm. Unten rechts mit Pinsel in Dunkelrot signiert und datiert. Ernst Neuschul studierte in Wien, 1916-18 an den Kunstakademien in Krakau und Prag und anschließend an der Berliner Hochschule für Bildende Künste. Im Jahr 1919 wurde er Mitglied der "Novembergruppe" und lernte Ludwig Meidner und Arthur Segal kennen. Er nahm an der Großen Kunstausstellung sowie Ausstellungen der Berliner Secession teil und wurde 1932 Gastprofessor an der Hochschule für Bildende Künste in Berlin. Nach der Beschlagnahme seiner Bilder durch die Nationalsozialisten 1934 floh er nach Aussig, lebte 1935 in Moskau und unterrichtete an der Akademie der Bildenden Künste in Charkow. Da er sich nicht an die Kunstdoktrin des Sozialistischen Realismus in der Sowjetunion anpassen wollte, drohte ihm die Verhaftung, er floh wiederum 1936 in die Sudeten und emigrierte schließlich 1939 nach London. Unser Portrait zeigt einen gut gekleideten jungen Mann, den Arm auf einer Stuhllehne abgestützt. Im Stil der Neuen Sachlichkeit ist die Farbwahl zurückhaltend gedämpft, nur der Anzug des Mannes erhält durch die rote Krawatte eine Akzentuierung. Sein Gesichtsausdruck wirkt ebenfalls nachdenklich und leicht introvertiert.
Ernest Neuschul(1895 Aussig/Nordböhmen - 1968 London). Kinderbildnis. Anfang 1930 s. Oil on canvas . Signed lower right. With the artist's address stamp on the stretcher.80,5 x 74,5 cm (31,6 x 29,3 in). Provenienz: Fischer Fine Art Ltd., London (with the label on the stretcher). Ernest Neuschul began training at the Prague, Vienna and Kraków art academies before transferring in 1918 to the Berlin Hochschule für bildende Künste. A member of the November Group", Neuschul made the acquaintance of Ludwig Meidner and Arthur Segal. Ernest Neuschul showed work at the Great Berlin Exhibition, the Berlin Secession and various other Berlin art exhibitions. In 1932 he was a visiting professor at the Berlin Hochschule. Only two years later, however, his work was confiscated and he was forced to flee Germany. Neuschul's paintings are distinguished by a distinctive take on the New Objectivity style that is based on strong light-and-shade contrasts. [NB] Line tacking margins. With smaller retouchings.
Ernst (Ernest) Neuschul 1895 Aussig (Bohmen) - 1968 ést¡ nad Labem Sitzendes Kind. R. u. signiert. Ol auf Holz. 76.5 x 59cm. Rest. - Rahmen min. besch.
