Marianne von Werefkin, born Marianna Wladimirowna Werewkina (10 September [O.S. 29 August] 1860 – 6 February 1938), was a Russian-German-Swiss Expressionist painter.
Marianne von Werefkin was born in the Russian town of Tula as the daughter of the commander of the Ekaterinaburg Regiment. She had her first private academic drawing lessons at the age of fourteen. In 1880, she became a student of Ilya Repin, the most important painter of Russian Realism. Her progress was dealt a setback by a hunting accident in 1888 in which she accidentally shot her right hand which remained crippled after a lengthy period of recovery. By practicing persistently she finally managed to use drawing and painting instruments with her right hand again.
In 1892 she met Alexej von Jawlensky, who desired to be her protégé, and in 1896 she, Jawlensky, and their servant moved to Munich. Werefkin studied with other Russians in Munich at an art school directed by the Slovenian Anton Ažbè.[1]
For the sake of Jawlensky's painting, Werefkin interrupted her painting for almost ten years.
She began painting again in 1906. In 1907 she created her first expressionist works; in these she followed Paul Gauguin's and Louis Anquetin's style of "surface painting", while also showing the influence of Edvard Munch. She and Jawlensky spent in 1908 several periods working with Kandinsky and Münter after their discovery of the picturesque rural town of Murnau near Munich, where Gabriele Münter owned a house. The four artists frequently painted together in open air in and around Murnau.
At her Munich apartment, Werefkin initiated a Salon which soon became a center of lively artistic exchange between members of the German and Russian avant-garde who would later be founders of the Neue Künstlervereinigung München (New Association of Artists in Munich, NKVM) and Blaue Reiter.[1] The NKVM, founded in 1909, became a forum of exhibitions and programming. At the first touring exhibition of NKVM, Werefkin exhibited Washerwomen (1909) and The Storm (1907). The simplified form and psychological content of works relate to the sources Werefkin admired at this time including the artist Paul Gauguin, Japanese woodcuts and the expressive works of the Nabis in France.[2]
Werefkin also founded the “Lukasbruderschaft” of which also Kandinsky was a member.[3]
The two principals of Blaue Reiter, Kandinsky and Marc, met each other at Werefkin and Jawlensky's home on New Year's Eve in 1911.[1] After a few years Wassily Kandinsky and Franz Marc distanced themselves from NKVM and formed the Der Blaue Reiter (Blue Rider). The group was founded by a number of Russian emigrants, including Wassily Kandinsky, Alexej von Jawlensky and a number of native German artists, such as Franz Marc, August Macke and Gabriele Münter. Werefkin began exhibiting together with Blaue Reiter in 1913.
At the outbreak of the First World War, Werefkin and Jawlensky immigrated to Switzerland, near Geneva. They later moved to Zurich. By 1918, they had separated, and Werefkin moved alone to Ascona, on Lago Maggiore where she painted many colorful, landscapes in an expressionist style. In 1924 she founded the artist group "Großer Bär" (i.e., Big Bear, Ursa Major).
In her later years, she painted posters. Her friends "Carmen" and "Diego Hagmann" protected her from poverty.
Marianne von Werefkin died in Ascona on 6 February 1938. She was buried in the Russian graveyard in Ascona.
Property from a Private Collection, Switzerland Marianne von Werefkin 1860-1938 Ohne Titel (Untitled) signed M.W. (lower left) tempera on card laid down on board 71.4 by 70.5 cm. 28⅛ by 27¾ in. Framed: 88.5 by 88.5 cm. 34⅞ y 34⅞ in.
MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Romantic landscape with riders. Circa 1915. Oil and tempera on panel. Monogrammed lower right: MW. 56.5 × 74.4 cm. Provenance: - With Galerie & Edition Schlégl, Zürich. - Bühler collection, Landhaus Waldbühl, Uzwil, acquired on 20.12.1972 from the above gallery. "It is a joy to me that children and simple people love and understand my pictures more than those with the wrong training. My pictures are intended for the simple. But they also have the ability to win over schooled people to pure human feeling...You have to fight with my pictures. They are not a wall decoration, they are a strict language that awakens the conscience...I only speak when something needs to be said...People who have never been in conflict with the original truth of being. How can they grasp the tragedy of being something they are used to calling a "work of art". My pictures are serious, and if you have little nervous system, you can’t easily chew sandwiches in front of them." (Werefkin, November 18, 1928, in: Fäthke, Munich 2001, p. 188). When the First World War broke out in 1914, Werefkin and Jawlensky fled to Switzerland, where they initially settled in St. Prex. The present work was probably created in this small community on Lake Geneva. Werefkin, as an important member of the Blue Rider group, is at the same time oriented towards Symbolist painting and is inspired by the colorful works of Gauguin, the Nabis, van Gogh, Edvard Munch and Ferdinand Hodler. The work coming to auction is an excellent example of Werefkin's unique understanding of art and combines various biographical and artistic elements. As a refugee in St. Prex, which served as only a temporary haven, he lived together with Jawlensky, two maids and Jawlensky's child (whose mother was one of the maids), in an unusually small apartment. With a pension halved due to the war and Jawlensky complaining about the overall situation, the period must have been difficult for Werefkin. She conveys the pervasive mood and calamity of war in her paintings of this time in a fantastically striking way. In "Romantic Landscape with Riders" Werefkin succeeds in constructing a kind of oxymoron – an apocalyptic fairytale world in which both the dark and the joyful find space. The atmospheric hilly landscape is lined with trees and at the center sits a fairytale castle in the far distance. It impresses, among other things, with its high-contrast colors that are applied in a vibrant manner to the wooden background. The decision to use non-naturalistic colors reflects the shared desire of Werefkin and other symbolists to free color from its purely descriptive function in painting. Instead, the goal is to merge the external world with the artist's subjective perception. In this way, Werefkin deepens the personal, human connection that permeates her work. Particularly notable and characteristic of the artist is the choice of a twisted perspective strongly reminiscent of Edvard Munch's paintings. The curved color areas that all flow into the middle reinforce the feeling of being swallowed up by the landscape. One special detail that offers possibilities for interpretation is the depiction of two riders in the picture. The rider, as the principal symbol of the "Blue Rider" artist group, stands for freedom per se. It represents constant movement and the search for new artistic forms of expression. Two pairs of riders can be seen in the work. The small pair of riders at the top left, standing on the highest hill, are at the beginning of their journey. The second couple, possibly the very same but shown in the future, gallop on their horses down the street towards the castle, not knowing how long the journey will take. Whether it is Werefkin and Jawlensky themselves, who are always restlessly looking for new artistic stimulation despite difficult circumstances, or perhaps the four horsemen of the apocalypse who announce the end of the world, is up to the viewer. ------------------------------------------------- MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Romantische Landschaft mit Reitern. Um 1915. Öl und Tempera auf Holz. Unten rechts monogrammiert: MW. 56,5 × 74,4 cm. Provenienz: - Galerie & Edition Schlégl, Zürich. - Sammlung Bühler, Landhaus Waldbühl, Uzwil, am 20.12.1972 in obiger Galerie erworben. "Dass Kinder und einfache Menschen meine Bilder mehr lieben und begreifen als falsch geschulte, ist mir eine Freude, für die Einfachen sind ja meine Bilder bestimmt. Aber sie haben auch die Fähigkeit verschulte Menschen dem reinen menschlichen Empfinden zu gewinnen…Mit meinen Bildern muss man kämpfen. Sie sind nicht ein Wandschmuck, sie sind eine strenge Sprache, die das Gewissen weckt…Ich rede nur, wenn was zu sagen ist…Menschen, die nie mit der Urwahrheit des Seins in Conflikt gestanden sind. Wie können sie die Tragik des Seins erfassen in einer Sache, die sie gewohnt sind, als "Kunstwerk" zu bezeichnen. Meine Bilder sind ernst, und wenn man nur wenig Nervensystem hat, kann man nicht gut vor ihnen Sandwiches kauen." (Werefkin, 18.11.1928, in: Fäthke, München 2001, S. 188). Als 1914 der Erste Weltkrieg ausbricht, flüchten Werefkin und Jawlensky in die Schweiz, wo sie sich vorerst in St. Prex niederlassen. In dieser kleinen Gemeinde am Genfersee entsteht auch das vorliegende Werk. Werefkin, als Bestandteil der Gruppe des Blauen Reiters, orientiert sich gleichzeitig an der Malerei des Symbolismus und wird inspiriert durch die farbgewaltigen Werke von Gauguin, den Nabis, van Gogh, Edvard Munch und Ferdinand Hodler. Das zur Auktion kommende Werk ist ein fantastisches Beispiel für Werefkins einzigartiges Kunstverständnis und vereint verschiedene biografische wie künstlerische Aspekte. Als Geflüchtete in St. Prex, ein Ort, der offensichtlich nur als Zwischenstation diente, und indem sie zusammen mit Jawlensky, zwei Dienstmädchen und dem Kind Jawlenskys (die Mutter ist eines der Dienstmädchen) in einer ungewohnt kleinen Wohnung, mit einer aufgrund des Krieges halbierten Pension und einem über die Gesamtsituation jammernden Jawlensky lebte, muss für Werefkin schwierig gewesen sein. Diese Grundstimmung und das Unheil des Krieges transportiert sie auf eine fesselnde Weise in ihre Gemälde dieser Zeit. Werefkin gelingt es in "Romantische Landschaft mit Reitern" eine Art Oxymoron zu konstruieren – eine apokalyptische Märchenwelt, in der sowohl das Düstere als auch das Freudige Platz findet. Die stimmungsvolle Hügellandschaft, die von Bäumen gesäumt wird und in dessen Mitte in weiter Ferne das Märchenschloss sitzt, überzeugt unter anderem durch kontrastreiche Farben, die in vibrierender Manier auf den Holzuntergrund aufgetragen sind. Die Entscheidung, nicht-naturalistische Farben zu verwenden, zeigt das gemeinsame Bestreben von Werefkin und anderen Symbolisten, die Farbe von ihrer rein beschreibenden Funktion in der Malerei zu befreien. Stattdessen wird danach gestrebt, die äussere Welt mit der subjektiven Wahrnehmung des Künstlers zu verschmelzen. Auf diese Weise vertieft Werefkin die persönliche, menschliche Bindung, die ihr Werk durchzieht. Besonders speziell und für die Künstlerin exemplarisch ist die Wahl der verdrehten Perspektive, die in ihrer Anwendung stark an die Gemälde Edvard Munchs erinnert. Durch die geschwungenen Farbflächen, die alle in die Mitte münden, verstärkt sich das Gefühl, von der Landschaft verschlungen zu werden. Ein wunderbares Detail, welches ebenfalls grosse Interpretationsfläche bietet, ist die Darstellung der Reiter in dem Bild. Der Reiter als etabliertes Hauptsymbol der Künstlergruppe "Der Blaue Reiter" steht für Freiheit per se. Er repräsentiert die ständige Bewegung und die Suche nach neuen künstlerischen Ausdrucksformen. Auf dem Werk sind zwei Reiterpaare zu sehen; das Reiterpaar oben links, ganz klein auf dem höchsten Hügel stehend, steht am Anfang seiner Reise. Das zweite Paar, womöglich dasselbe, aber in der Zukunft, galoppiert auf seinen Pferden die Strasse entlang in Richtung des Schlosses, ohne zu wissen, wie lange der Weg noch dauert. Ob es sich dabei vielleicht um Werefkin und Jawlensky selber handelt, die trotz schwieriger Umstände stets rastlos auf der Suche nach neuer künstlerischer Stimulation sind, oder vielleicht doch um die vier apokalyptischen Reiter, die den Untergang der Welt ankündigen, sei den Betrachtenden selbst überlassen.
MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Street café. Gouache and tempera on paper. Inscribed by an unknown hand lower right on the backing board (transcription of the original dedication). 34 × 25 cm Provenance: - Collection of Dr Friedberger, received directly from the artist as a gift in 1921. - Private collection, Switzerland, acquired from the above collection and thence by descent. Our thanks to Olivier Masson for his expert assistance. ------------------------------------------------- MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Strassencafé. Gouache und Tempera auf Papier. Unten rechts auf dem Unterlagekarton durch fremde Hand bezeichnet (Übertragung der Originalwidmung). 34 × 25 cm Provenienz: - Privatbesitz Dr. Friedberger, 1921 direkt von der Künstlerin als Geschenk erhalten. - Privatbesitz Schweiz, von Obigem erhalten und durch Erbschaft an die heutigen Besitzer. Wir danken Olivier Masson für die wissenschaftliche Unterstützung.
WEREFKIN, MARIANNE VON 1870 Tula/Sowjetunion - 1938 Ascona Title: Auf dem Balkon. Date: 1910. Technique: Gouache on paper. Mounting: Mounted on card. Measurement: 35 x 48cm. Notation: Signed, titled and dated verso upper centre: Werefkín 1910. Frame/Pedestal: Framed. Provenance: - Galleria Castelnuovo Trudi Neuburg-Coray, Ascona (label) - Private collection Germany Exhibitions: - Galleria Castelnuovo Trudi Neuburg-Coray, Ascona 1967 Literature: - Exhib. cat. Marianne von Werefkin, Galleria Castelnuovo Trudi Neuburg-Coray, Ascona 1967, cat. no. 19, ill. - Werefkin founded the pioneering artists' group "Der Blaue Reiter" together with Jawlensky, Münter, Marc and Kandinsky - Impressive work with narrative power, but also abstract play of colours and lines - Created during one of the most exciting phases of the artist's life Estimated shipping costs for this lot: Germany: 36,97 Euro plus 7,03 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance Explanations to the Catalogue Marianne von Werefkin Russia Modern Art 1910s Framed Group of Figures Works on paper Gouache
MARIANNE WEREFKIN (1860-1938) Grüner Berg (Kaunas) tempera, chalk and pen and ink on cardboard 40.4 x 29.2cm (15 7/8 x 11 1/2in). Executed in Kaunas in 1910
Marianne von Werefkin (Tula 1870 - 1938 Ascona) Gespräch Farbkreide / Colour chalk Um 1909-12 56x74,5 cm / 56x74.5 cm Werkverzeichnis / Catalogue Raisonné Die Arbeit ist im Werefkin-Archiv, Wiesbaden, von Dr. Bernd Fäthke, registriert The work is registered in the Werefkin Archive, Wiesbaden, by Dr. Bernd Fäthke Provenienz / Provenance Auktion Galerie Widmer, St. Gallen, 24. April 2015, Los 31 Privatsammlung Schweiz Auction Galerie Widmer, St. Gallen, 24 April 2015, lot 31 Private collection Switzerland Ausstellungen / Exhibitions Zürich 1969, Galerie Chichio Haller, Marianne von Werefkin, Kat. Nr. 17, reprod. Ascona 1972, Galleria Castelnuovo, Marianne von Werefkin, Kat. Nr. 32, reprod. Murnau/Ascona 2002/2003, Schlosshof Murnau/Museo comunale d'arte moderna, Marianne von Werefkin in Murnau, Kat. Nr. 49, reprod. Ascona 2008, Museo comunale d'arte moderna Ascona, Marianne Werefkin e l'ambiente culturale di Ascona Moskau/Ascona, 2010/2011, Galleria Tretyakov/Museo comunale d'arte moderna Ascona, Artisti russi in Svizzera: Marianne Werefkin, Kat. Nr. 89, reprod. Zurich 1969, Galerie Chichio Haller, Marianne von Werefkin, cat. no. 17, reprod. Ascona 1972, Galleria Castelnuovo, Marianne von Werefkin, cat. no. 32, reprod. Murnau/Ascona 2002/2003, Schlosshof Murnau/Museo comunale d'arte moderna, Marianne von Werefkin in Murnau, cat. no. 49, reprod. Ascona 2008, Museo comunale d'arte moderna Ascona, Marianne Werefkin e l'ambiente culturale di Ascona Moscow/Ascona, 2010/2011, Galleria Tretyakov/Museo comunale d'arte moderna Ascona, Artisti russi in Svizzera: Marianne Werefkin, cat. no. 89, reprod. Zustand / Condition Auf festem Velin. Leicht stockfleckig. Am oberen und am unteren Rand mit zwei hinterlegten Einrissen. Rückseitig mit Resten einer Museumsmontierung On strong wove paper (papier vélin). Slightly foxed. Two backed tears at upper and lower margin. With remnants of a museum mount on the back Erläuterungen / Comments Um 1909 schuf Marianne von Werefkin verschiedene Kompositionen mit Menschen im Gespräch. Bekannt ist, dass sie immer einen Skizzenblock bei sich hatte, um mit spontanen, schnellen Strichen rasch ein spannendes Motiv festzuhalten. Dieses konnte sie dann später in Ruhe im Atelier ausführen Around 1909 Marianne von Werefkin created various compositions with people in conversation. It is known that she always had a sketchpad with her in order to quickly capture an exciting motif with spontaneous, quick strokes. She could then execute this later at her leisure in the studio. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 16.06.2023; 17:40 h (MEST / CET) For further information visit our Website (www.kornfeld.ch)
Inscribed in black ballpoint pen from the nephew of the artist on the reverse: Marianne von Werefkin Skizze aus dem Nachlaß meiner Tante Bestätigt Alexander v. Werefkin. On the cardboard backing a label of Galleria Castelnuovo, Ascona
WEREFKIN, MARIANNE VON 1870 Tula/Sowjetunion - 1938 Ascona Title: Glasbläserei bei Nacht. Date: Ca. 1916. Technique: Mixed media on vellum. Matted. Measurement: Mat window: 33.5 x 25.5cm. Notation: Inscribed lower left: illegibly. Additionally with colour details. Verso there is another drawing. Frame/Pedestal: Framed. An expertise by Bernd Fäthke, Wiesbaden, dated 28.6.2006 is available for this work. Provenance: - Galerie Michael, Wilhelmshaven - Private collection Hesse. Explanations to the Catalogue Estimated shipping costs for this lot: Germany: 31,93 Euro plus 6,07 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 84,03 Euro plus 15,97 Euro VAT additional shipping insurance
Gouache, opaque white, Indian ink and pencil on writing paper (squared on the reverse). (Ca. 1920s). Ca. 21.5 x 17.5 cm. With a handwritten confirmation of authenticity by Fritz Stöckli, founder and first president of the Fondazione Marianne von Werefkin, Ascona, on the reverse: “Skizze von Marianne von Werefkin. Freundlich überreicht mit herzlichem Dank für wertvolle Mitarbeit (...). Basel. 2. Juli 58. F. Stöckli”.
Precipice Dedicated, signed and dated on lower right: meinem Freund Dr. [not legible] M.V.Werefkin 1923. On the reverse a label of Galerie Michael Haas, Berlin
Marianne von Werefkin (Tula 1860 - 1938 Ascona) o.T. (Berge am Lago Maggiore bei Ascona). Farbige Kreiden u. Pinsel in Tusche auf PM Fabriano Bütten. Um 1917. 25 x 33,8 cm, im Passepartout freigestellt. Unter Glas gerahmt. Mit einer Expertise von Dr. Bernd Fäthke vom Werefkin-Archiv-Wiesbaden vom 01. Mai 1996. - Provenienz: Erben von Anita Brockmann, einer Freundin Werefkins in Ascona. - Werefkin erhielt als Tochter eines Generals zehn Jahre lang Privatunterricht von dem berühmten realistischen Maler Ilja Repin, durch den sie 1892 Alexej Jawlensky kennenlernte. Beide arbeiteten fortan zusammen. 1896 übersiedelten sie nach München, eine Zeit, in der Werefkin fast zehn Jahre lang die Malerei ruhen ließ, um sich der Förderung von Jawlenskys Talent zu widmen. Während eines fast einjährigen Aufenthalts in Paris und Südfrankreich 1905/06 begann Werefkin erneut zu malen. In ihren neuen Bildern brach sie mit der naturalistischen Malweise ihrer russischen Zeit und nahm Einflüsse des Symbolismus, von Edvard Munch und Ferdinand Hodler, in ihr Werk auf. "Eine eigenwillige Farb- und Formensprache bildet sich heraus, die von der Ikonografie menschlicher Gefühlssituationen und Bedingtheiten geprägt wird." (Lenbachhaus.de) - Zurück in Deutschland arbeiteten Jawlensky, Werefkin, Kandinsky und Münter zusammen in Murnau, gründeten die "Neue Künstlervereinigung München" und später den "Blauen Reiter". Bei Ausbruch des Ersten Weltkriegs verlor Werefkin große Teile ihres Vermögens und floh mit Jawlensky, Helene Nesnakomoff und deren gemeinsamen Sohn Andreas in die Schweiz. Sie mieteten sich zunächst in St. Prex am Genfer See ein, 1917 in Zürich, ab 1918 in Ascona. Hier kam es 1921 zur endgültigen Trennung zwischen Jawlensky und Werefkin, die bis zu ihrem Tod 1938 in Ascona lebte und arbeitete und dort mit den Vorbesitzern vorliegender Arbeit, der Familie Brockmann, befreundet war. - In Ascona entwickelte sich Werefkins Kunst in zwei Richtungen: eine eher mystische und visionäre und eine, die menschliche und soziale Fragen behandelte. Gerade erst in der Schweiz und in ihrem neuen Zuhause angekommen erarbeitet sie sich ihr Umfeld. Für die vorliegende Arbeit hat sie sich in die Einsamkeit der Berge um Ascona zurückgezogen und dort eine eigene faszinierende Sicht auf ihre Umgebung entdeckt. Die massiven Berghänge, in Rot und Blau getaucht, münden schwunghaft direkt in den See. Dahinter erheben sich weiße, zackige Berggipfel, die in den tiefblauen Himmel ragen. Der dunkle See, ein windgepeitschter Baum im Vordergrund und ein beinahe in Seenot gebrachtes Segelboot verdeutlichen die machtvolle Gewalt der Natur vor Ort, ein Platz, der Werefkins neue Heimat werden und sie fortan in ihren Werken inspirieren sollte. Schaetzpreis €12000
After Marianne von Werefkin (Russian/German/Swiss: 1860-1938) impressionist oil painting on canvas of couples embracing in a forest landscape setting. Initial signed to lower right. Measures: 27-3/4" W x 23-7/8" H. Frame: 35-1/4" W x 31-3/8" H. Recommended Third Party Packing & Shipping Options Will Be Provided On All Winning Bidders' Invoices. Please Feel Free To Contact Either The UPS Store and/or Pakmail Shipping Directly For Both Domestic & International Quotes.
Marianne von Werefkin (Tula 1870 - 1938 Ascona) Schlafzimmer Öl, Tempera und Bleistift auf Papier / Oil, tempera and pencil on paper Wohl 1915 24,8x33,5 cm / 24,8x33,5 cm Signatur / Signature Rückseitig auf der Malpappe von der Künstlerin in Feder in Tinte signiert "Marianne v. Werefkin" Signed on the reverse of the painting cardboard by the artist in pen and ink "Marianne v. Werefkin" Provenienz / Provenance Privatsammlung Ascona Privatsammlung Schweiz Private collection Ascona Private collection Switzerland Literatur / Literature Rudolf Koella, Die Leben des Han Coray, Zürich 2002, pag. 101/102 Brigitte Rossbeck, Marianne von Werefkin - Die Russin aus dem Kreis des Blauen Reiters, München 2010, pag. 157 Ausstellungen / Exhibitions Zürich 1916, Galerie Corray, Katalog der Eröffnungsausstellung, Kat. Nr. 18 Zurich 1916, Galerie Corray, Katalog der Eröffnungsausstellung, cat. no. 18 Zustand / Condition In sehr schöner Erhaltung, gefirnisst, von der Künstlerin auf ein zweites Papier und auf Karton aufgelegt. An den vier Ecken mit kleinen Löchlein, wohl von Reissnägeln. Auf der Rückseite der Malpappe mit teilweise beschädigtem Etikett, beschriftet von Han Coray "Marianne v. Werefkin" und dem Titel "Schlafzimmer". Zusätzlich mit dem Etikett des Papeterie- und Rahmengeschäfts "Jean Egli, Morges" In very nice condition, varnished, mounted by the artist on a second paper and on cardboard. With small holes at the four corners, probably from tacks. On the back of the painting cardboard with partly damaged label, inscribed by Han Coray "Marianne v. Werefkin" and the title "Schlafzimmer". Additionally with the label of the stationery and frame shop "Jean Egli, Morges" Erläuterungen / Comments Marianne von Werefkin lebte im Exil in Saint-Prex am Genfersee, als dieses Bild noch 1915 oder zu Beginn 1916 entstanden ist In einem Privatarchiv existiert ein Brief von Han Corray an Werefkin und Jawlensky, in dem er die beiden Künstler einlädt, an der Eröffnungsausstellung seiner Galerie im Dezember 1916 teilzunehmen. In der Ausstellung wurden insgesamt 13 Arbeiten von Werefkin gezeigt. Das Werk dürfte im Besitz der Künstlerin geblieben sein, bis sie es in späteren Jahren an einen Sammler in Ascona verkaufte. Wir danken Rudolf Koella und Brigitte Rossbeck für die Informationen Marianne von Werefkin was living in exile in Saint-Prex on Lake Geneva when this picture was painted in 1915 or early 1916 A letter from Han Corray to Werefkin and Jawlensky exists in a private archive, inviting the two artists to take part in the opening exhibition of his gallery in December 1916. A total of 13 works by Werefkin were shown in the exhibition. The work probably remained in the artist's possession until she sold it to a collector in Ascona in later years. We thank Rudolf Koella and Brigitte Rossbeck for the information Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 17. September 2021; 17:55 h (MEST / CET) For further information visit our Website.
Marianne von Werefkin (Tula 1870 - 1938 Ascona) Burg Aigle Öl und Tempera auf Papier, auf Unterlagekarton aufgezogen / Oil and tempera on paper, mounted on backing board Um 1915 46,8x62,2 cm, Papiergrösse / 46,8x62,2 cm, sheet size Signatur / Signature Unten rechts von der Künstlerin in Pinsel in brauner Tempera monogrammiert "M. W." Monogrammed lower right by the artist in brush in brown tempera "M. W." Provenienz / Provenance Slg. Martha Steffen, Ascona Slg. P. und D. Jenny-Steffen; durch Erbschaft an Privatsammlung Schweiz Collection Martha Steffen, Ascona Collection P. and D. Jenny-Steffen; through inheritance to Private collection Switzerland Ausstellungen / Exhibitions Ascona 1988, Monte Verità, Museo Communale d'Arte Moderna, Centro Culturale Beato Berno, Marianne Werefkin - Leben und Werk, kuratiert von Bernd Fäthke, Kat. Nr. 73, reprod. Ascona 1988, Monte Verità, Museo Communale d'Arte Moderna, Centro Culturale Beato Berno, Marianne Werefkin - Leben und Werk, kuratiert von Bernd Fäthke, cat. no. 73, reprod. Zustand / Condition In sehr schöner, farbfrischer Erhaltung. In den vier Ecken mit kleinen Löchlein, wohl von Reissnägeln, unten rechts Farbverluste im Hellblau In very nice condition, fresh in colours. In the four corners with small holes, probably from tearing nails, colour losses in the light blue at lower right Erläuterungen / Comments Marianne von Werefkin musste, zusammen mit ihrem Partner Alexej von Jawlensky, bei Ausbruch des Ersten Weltkrieges 1914 aus München emigrieren. Sie fanden in Saint-Prex im Gut der Familie Adèle Delarageaz Zuflucht. Eine Schwester von Adèle lebte schon vor 1914 in Russland und es kann angenommen werden, dass durch sie die Bekanntschaft zu den Flüchtenden bestand. Das vorliegende Werk ist während des Aufenthaltes am Genfersee entstanden, wohl anlässlich eines Ausfluges nach Aigle. Die eindrückliche Burganlage ist oberhalb des Rebberges dargestellt. Im September/Oktober 1917 zogen Werefkin, Jawlensky und Familie nach Zürich, bevor sie 1918 in das Castello nach Ascona am Lago Maggiore übersiedelten Die frühere Besitzerin des vorliegenden Werkes, die auch in Ascona wohnhafte Martha Steffen, entwickelte ab ca. 1925 eine enge Beziehung zur Künstlerin und erwarb immer wieder Werke, um sie in einer Zeit besonders grosser finanzieller Not zu unterstützen Marianne von Werefkin, together with her partner Alexej von Jawlensky, had to emigrate from Munich at the outbreak of the First World War in 1914. They found refuge in Saint-Prex in the estate of the Adèle Delarageaz family. One of Adèle's sisters had already lived in Russia before 1914 and it can be assumed that through her they became acquainted with the fugitives. The present work was written during her stay on Lake Geneva, probably on the occasion of an excursion to Aigle. The impressive castle complex is depicted above the vineyard. In September/October 1917 Werefkin, Jawlensky and their family moved to Zurich before moving to the Castello in Ascona on Lake Maggiore in 1918 The former owner of the present work, Martha Steffen, who also lived in Ascona, developed a close relationship with the artist from around 1925 and repeatedly acquired works to support her at a time of particularly great financial need Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 17. September 2021; 17:55 h (MEST / CET) For further information visit our Website.
MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Saint Francis and the wolf. Watercolour and pastel on paper. 24.5 × 33.5 cm. We would like to thank Dr. Bernd Fäthke for confirming the authenticity of the work, April 2021. Provenance: - Swiss private collection. - Auction Koller, Zurich, 27 June 2014, lot 3242. - Private collection, Ticino, acquired at the above auction. - Arttrust Gallery, Melano. - Swiss private collection, acquired from the above gallery on 12 October 2017. Exhibited: Melano 2016, Marianne Werefkin, I colori di un'anima in viaggio, 10 October–10 December 2016 (with ill. in exhib cat. p. 94–95). --------------- MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Heiliger Franziskus und Wolf. Aquarell und Pastell auf Papier. 24,5 × 33,5 cm. Wir danken Dr. Bernd Fäthke für die Bestätigung der Authentizität des Werks, April 2021. Provenienz: - Schweizer Privatsammlung. - Auktion Koller, Zürich, 27. Juni 2014, Los 3242. - Privatsammlung Tessin, an obiger Auktion erworben. - Arttrust Gallery, Melano. - Schweizer Privatsammlung, am 12. Oktober 2017 in obiger Galerie erworben. Ausstellung: Melano 2016, Marianne Werefkin, I colori di un'anima in viaggio, 10. Oktober–10. Dezember 2016 (mit Abb. im Ausst. Kat. S. 94/95).
MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Carnival. Circa 1920. On the reverse: Horse and carriage on a square in a city. Watercolour and gouache on Papier. 20 × 27 cm. The authenticity of the work has been confirmed by Dr. Bernd Fäthke, Wiesbaden, 26 July 2015. Provenance: - Swiss private collection. - Auction Schuler, Zurich, 11 December 2015, lot 3441. - Arttrust Gallery, Melano. - Swiss private collection, acquired from the above gallery on 12 December 2017. Exhibited: Melano 2016, Marianne Werefkin, I colori di un'anima in viaggio, 10 October–10 December 2016 (with ill. in exhib. cat. p. 80/81). --------------- MARIANNE VON WEREFKIN (Tula 1860–1938 Ascona) Karneval. Um 1920. Verso: Pferdegespann auf einem Platz in einer Stadt. Aquarell und Gouache auf Papier. 20 × 27 cm. Die Authentizität des Werks wurde von Dr. Bernd Fäthke bestätigt, Wiesbaden, 26. Juli 2015. Provenienz: - Schweizer Privatsammlung. - Auktion Schuler, Zürich, 11. Dezember 2015, Los 3441. - Arttrust Gallery, Melano. - Schweizer Privatsammlung, am 12. Dezember 2017 in obiger Galerie erworben. Ausstellung: Melano 2016, Marianne Werefkin, I colori di un'anima in viaggio, 10. Oktober–10. Dezember 2016 (mit Abb. im Ausst. Kat. S. 80/81).
Unsigned. With a certificate by Bernd Fäthke, Wiesbaden, dated 25 May 2019 Helene Nesnakomoff (1886-1965), whom Marianne von Werefkin has depicted here twice, was the artist's housekeeper and her only nude model. She had already entered the household of the wealthy von Werefkin family in Lithuania in 1895; that is where Alexei von Jawlensky, who had been Marianne von Werefkin's lover since 1892, met Helene during a visit. Werefkin and Jawlensky moved to Munich one year later, and Helene accompanied the couple as their personal servant. A ménage à trois developed between them, and in 1902 a son was born to Jawlensky and Helene. The two married in Wiesbaden in 1922 after the separation from Werefkin. Helene often posed as a model for both artists, and various portraits of her exist. In these two works the artist has used quick, confident strokes to draw the woman to whom she was tied in such an explosive manner. Helene's seemingly Japanese hairstyle featuring a bun can be recognised in the gouache on the recto of the sheet: it may illustrate Werefkin's interest in Japanese art, which she shared with many fellow artists.
Unsigned. With a certificate by Bernd Fäthke, Wiesbaden, dated 25 May 2019 Helene Nesnakomoff (1886-1965), whom Marianne von Werefkin has depicted here in not just one but two lascivious poses, was the artist's housekeeper and her only nude model. She had already entered the household of the wealthy von Werefkin family in Lithuania in 1895, at the age of nine; that is where Alexei von Jawlensky, who had been Marianne von Werefkin's lover since 1892, met Helene during a visit. Werefkin and Jawlensky moved to Munich one year later, and Helene accompanied the couple as their personal servant. A ménage à trois developed between them, and in 1902 a son was born to Jawlensky and Helene. The two married in Wiesbaden in 1922 after the separation from Werefkin. Helene often posed as a model for both artists, and various portraits of her exist. Interestingly, however, she never served among Jawlensky's numerous nude models. In these two works the artist has used quick, confident strokes to draw the woman to whom she was tied in such an explosive manner. Helene's seemingly Japanese hairstyle featuring a bun can be recognised in the gouache on the recto of the sheet: it may illustrate Werefkin's interest in Japanese art, which she shared with many fellow artists. Together with Jawlensky, she began collecting Japanese woodcuts around 1909; inspiration gathered by both of them from Far Eastern styles is often present in their work.
Werefkin, Marianne von (Tula 1860–1938 Ascona) Kreuzigung. Um 1926. Bleistift auf Papier. Verso mit Stempel: "Albert Furrer, Galerie Chichio Haller, Glockengasse 3, Zürich". Verso auf Rahmenrückwand mit Kopie eines Zertifikats der Galerie Patrik Fröhlich, 13.11.2015. Blattgrösse 25,3x21,3 cm. Gerahmt. -Blatt gebräunt. Lichtrand. Verso in den oberen Ecken an Rückkarton montiert (recto alte Montierung sichtbar). Unterer Rand unregelmässig beschnitten. Oberer Rand mit Abrissspuren eines Skizzenblocks.
Marianne von Werefkin Salle d’attente Lower right with pen and brown India ink monogrammed: M. W Brush and India ink, pencil and opaque white on brown paper 8 x 10 1/2 in.
Unsigned. Verso with old information on the artist and the sitter by an unknown hand.The image of Rosalia Leiß is not only an impressive portrait but also a characteristic and captivating work by the Russian artist Marianne von Werefkin, co-founder of the N.K.V.M., which the artists group Der Blaue Reiter later grew out of, and long-time partner of Alexej von Jawlensky.Having personally trained with Ilya Repin and other well-known artists at a young age, she decided to support Jawlensky's work as an artist. She was financially independent on account of a pension from the czar, and she moved to Munich in 1896, together with Jawlensky. They travelled to France together in 1906 in order to study there. Werefkin felt a bond with the art of the Nabis and the work of van Gogh, Gauguin, Bernard and Anquetin, and she would later pass these ideas on to Wassily Kandinsky and Gabriele Münter, with whom she and Jawlensky would become friends in Munich during the following years (Bernd Fäthke, Marianne Werfkin - “des blauen Reiterreiterin”, in: exhib. cat. Marianne Werefkin: Vom Blauen Reiter zum Großen Bären, Städtische Galerie Bietigheim-Bissingen/Museen Böttcher Straße/Paula Modersohn-Becker Museum Bremen 2014, p. 44). Together, but independently, they discovered Murnau as a rural place of refuge - in 1909 Münter would purchase a house there, the so-called “Russian house”. Initially, however, they stayed at an inn during the summer months from 1907 to 1909.Their occupation with local farmers' folk art provided a source from which they drew new artistic impulses in a way that might be compared with how the Brücke artists of Dresden sought their salvation in the tribal art of Oceania and Africa during their search for a pristine naturalness. Kandinsky and his artist friends were particularly fascinated by reverse-glass painting, and works by Werefkin based on this Bavarian form of painting also exist (Fäthke, op. cit., fig. 48, 49). She was additionally interested in the Bavarian farmers themselves and their customs. On the one hand, the image of Rosalia Leiß is defined by the simplicity of its forms; on the other hand, the precisely modelled face of the sitter stands out in contrast to them. The portrait's exceptional interest feeds on this dichotomy: generalised forms reminiscent of the simple two-dimensionality of reverse-glass painting paired with an individual linearity. The tonality in various shades of green is subtly combined with violet. Here Werefkin establishes a complementary contrast between two secondary colours. Rosalia's cool eyes rest on the viewer with a searching gaze that almost seems a little amused. The 74-year-old embodies dignity and self-confidence, not as a simple farmer, but as the “wife of the agriculturalist” Leiß mentioned on the reverse side. The advanced nature of Werefkin's concept of painting becomes obvious through a comparison with Gabriele Münter's painted portrait of the same model from the following year, in which neither psychological depth nor a dialogue with the viewer is pursued (see comparative illus.).“The opening of the first exhibition of the N.K.V.M. took place on 1 December 1909, with 16 artists. It 'then became a major exhibition in Munich', said Jawlensky. […] Jawlensky was represented by eleven works in the exhibition. Werefkin presented six paintings, including 'Schuhplattler', a painting in which she pays tribute to Bavarian customs. […]Werefkin's 'Schuhplattler' and her reverse-glass paintings demonstrate that the Russian painter was committed to supporting Bavarian folk art.” (Fäthke, op. cit., p. 46). Werefkin's 1908 portrait of Rosalia Leiß was not shown at this exhibition of the “Neue Künstlervereinigung München” and instead remained with the family of the sitter.
Watercolor and gouache over pen and ink drawing in blue on gray wove paper Germany, 1908 Marianne von Werefkin (1860-1938) - Russian painter, representative of expressionism and member of the artist group ‘Blauer Reiter’, companion of Alexej von Jawlensky This work is registered in the Archives of expressionist paintings by Dr. Bernd Fäthke, Wiesbaden under the number ‘MWA-0816-G’ Sheet dimensions: 24.5 x 19.4 cm Frame: 51 x 46 cm Very good condition An expressive sheet sized depiction of two ladies in which the artist studies the interplay of colors and shapes with quick brush strokes; the auction record for one of Mariane von Werefkin’s watercolors nowadays lies around €220,000 Estimate by Auctionata Expert: 30,000 Euro This watercolor by Marianne von Werefkin, titled ‘Zwei Damen im Straßencafé’ (Two ladies in a street café), is characterized by colors and shapes. The outlines of the figures are captured with quick brushstrokes, their clothes and faces are designed barely differentiated, just like the furniture of the café that is merely indicated. Condition: The sheet is mounted at two hinges to a support, is matted and framed. The sheet is barely visible toned and overall of very good impression. The sheet dimensions are 24.5 x 19.4 cm, the framed dimensions 51 x 46 cm. Marianne von Werefkin (1860-1938) Originally from a noble family Marianne von Werefkin was born in 1860 as Marianna Vladimirovna Werjowkina in Tula, Russia. She studied at the Moscow Academy form 1883-1887, educated by the painter Ilya Repin, who had given her private lessons in painting before. Repin introduced her to Alexej Jawlensky. In 1896 the couple moves to Munich, where Werefkin staged private saloons where artists such as Else Lasker-Schüler, Gabriele Münter and Wassily Kandinsky were gathered. In her paintings the artist was influenced by the art of Gauguin, Munch and Symbolism. In 1908 Jawlensky and Werefkin spent some time in Murnau together with the befriended artist couple Gabriele Münter and Wassily Kandinsky, this became a productive time. Shortly thereafter they founded the artist group ‘Neue Künstlervereinigung München’ (NKVM). In 1911 Kandinsky left the group and established along with Franz Marc the artist group ‘Blauer Reiter’, which Werefkin and Jawlensky joined in 1912. Werefkin participated in a group exhibition of the NKVM, the ‘Blauer Reiter’ and the ‘Brücke’ artists in the New Secession Berlin. Herwarth Walden also represented Marianne von Werefkin in his gallery ‘Der Sturm’. With the outbreak of World War I Werefkin and Jawlensky migrated to Switzerland. The couple separated in 1920, four years later Werefkin became founding member of the association ‘Der Große Bär’. Marianne von Werefkin lived in Ascona until her death in 1938. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Watercolor and gouache over pen and ink drawing in blue on gray wove paper Germany, 1908 Marianne von Werefkin (1860-1938) - Russian painter, representative of expressionism and member of the artist group ‘Blauer Reiter’, companion of Alexej von Jawlensky This work is registered in the Archives of expressionist paintings by Dr. Bernd Fäthke, Wiesbaden under the number ‘MWA-0816-G’ Sheet dimensions: 24.5 x 19.4 cm Frame: 51 x 46 cm Very good condition An expressive sheet sized depiction of two ladies in which the artist studies the interplay of colors and shapes with quick brush strokes; the auction record for one of Mariane von Werefkin’s watercolors nowadays lies around €220,000 Estimate by Auctionata Expert: 12,000 Euro This watercolor by Marianne von Werefkin, titled ‘Zwei Damen im Straßencafé’ (Two ladies in a street café), is characterized by colors and shapes. The outlines of the figures are captured with quick brushstrokes, their clothes and faces are designed barely differentiated, just like the furniture of the café that is merely indicated. Condition: The sheet is mounted at two hinges to a support, is matted and framed. The sheet is barely visible toned and overall of very good impression. The sheet dimensions are 24.5 x 19.4 cm, the framed dimensions 51 x 46 cm. Marianne von Werefkin (1860-1938) Originally from a noble family Marianne von Werefkin was born in 1860 as Marianna Vladimirovna Werjowkina in Tula, Russia. She studied at the Moscow Academy form 1883-1887, educated by the painter Ilya Repin, who had given her private lessons in painting before. Repin introduced her to Alexej Jawlensky. In 1896 the couple moves to Munich, where Werefkin staged private saloons where artists such as Else Lasker-Schüler, Gabriele Münter and Wassily Kandinsky were gathered. In her paintings the artist was influenced by the art of Gauguin, Munch and Symbolism. In 1908 Jawlensky and Werefkin spent some time in Murnau together with the befriended artist couple Gabriele Münter and Wassily Kandinsky, this became a productive time. Shortly thereafter they founded the artist group ‘Neue Künstlervereinigung München’ (NKVM). In 1911 Kandinsky left the group and established along with Franz Marc the artist group ‘Blauer Reiter’, which Werefkin and Jawlensky joined in 1912. Werefkin participated in a group exhibition of the NKVM, the ‘Blauer Reiter’ and the ‘Brücke’ artists in the New Secession Berlin. Herwarth Walden also represented Marianne von Werefkin in his gallery ‘Der Sturm’. With the outbreak of World War I Werefkin and Jawlensky migrated to Switzerland. The couple separated in 1920, four years later Werefkin became founding member of the association ‘Der Große Bär’. Marianne von Werefkin lived in Ascona until her death in 1938. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good – if a protection as an original work of art or photography is given – starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.
WEREFKIN, MARIANNE (Tula 1870 - 1938 Ascona) Allerseelen. Ca. 1930. Tempera on paper, laid on cardboard. With the monogram lower left: MW. 635 x 75 cm. Provenance: Privately owned, Switzerland (purchased directly from the artist in 1933), through inheritance with the present owner. WEREFKIN, MARIANNE VON (Tula 1870 - 1938 Ascona) Allerseelen. Um 1930. Tempera auf Papier, auf Karton aufgelegt. Unten links monogrammiert: MW. 66 x 76 cm. Provenienz: Privatbesitz Schweiz (direkt bei der Künstlerin 1933 gekauft), durch Erbschaft an die heutigen Eigentümer. Marianne von Werefkin betrachtet die Kunst in erster Linie als Quelle der Hoffnung: 'Wir Künstler müssen durch persönliche Leiden zur Versöhnung mit dem Leben durchdringen und es in allen seinen Formen anerkennen. Über dem Zusammensturz unseres Lebens müssen wir den Tempel der Hoffnung und des Glaubens für andere schaffen, das ist unsere Bestimmung.' (zit aus: Bernd Fäthke, Marianne Werefkin - Leben und Werk, München 1988, S. 137) Wie viele andere russische Maler teilt Marianne von Werefkin das Schicksal eines durch das Weltgeschehen gezwungenermassen bewegten Lebens; das prägenste Schicksal ist wohl ihr Verhältnis zu Alexej Jawlensky. Diesen lernt sie 1892 in Russland kennen und wird mit ihm eine Beziehung über 27 Jahre führen. Marianne von Werefkin ist zum Zeitpunkt ihres ersten Treffens in der Malerei weiter fortgeschritten als Jawlensky und so beschliesst sie, den mitttellosen Offizier zu fördern. Sie macht ihn mit ihrem Lehrer Ilija Repin bekannt, der ihn in seiner Malschule ausbildet. 1896, nach dem Tod ihres Vaters mit einer hohen Zarenrente ausgestattet, siedelt sie mit Jawlensky nach München über und wird dort ein Mitglied der 'Lukasbruderschaft' - einer losen Verbindung gleichgesinnter, meist russischer Künstler. 1909 gehörte sie zu den Gründungsmitgliedern der 'Neuen Münchner Künstlervereinigung', schliesst sich 1911 jedoch nicht der Sezession des 'Blauen Reiters', die von Wassily Kandinsky und Franz Marc gegründet wird, an. 1913 stellt sie dennoch ihre Werke mit den Malern dieser Gruppe im ersten Deutschen Herbstsalon aus. 1914 flieht sie gemeinsam mit Jawlensky in die Schweiz, zunächst nach St. Prex, danach nach Zürich. 1918 lassen sie sich endgültig in Ascona nieder. Dort ist sie die treibende Kraft bei der Gründung der Künstlervereinigung 'Der grosse Bär', 1920 stellt sie auf der Biennale in Venedig aus. 1921 trennt sich Jawlensky von ihr und heiratet in Wiesbaden die Mutter seines Sohnes. Marianne von Werefkins Gemälde sind in ihrer Ausdruckskraft und ihrer Art, dem Betrachter unter vielen Schichten symbolisch Geschichten zu erzählen, einzigartig. Eine spannende Mischung verschiedener Einflüsse manifestiert sich darin: zum einen der russischen Peredwischnicki ('Wanderer'), eine sozial engagierte Künstlergruppe, die sich dem sozialistischen Realismus verschrieben hat und die Melancholie der russischen Seele in ihren Werken thematisieren; zum anderen jener des Expressionismus. Eduard Schmid sagt treffend über sie: 'Wie merkwürdig sind doch diese Bilder von Marianne von Werefkin. Sie sind nicht in eine Norm zu bringen und wollte man dies dennoch tun, so würde man am besten zwischen Kirchner und Chagall suchen (…). Ein Spuk in bösen und guten Tagen war ihre Malerei und einer mit bösen und guten Gespenstern.' (Eduard Schmid, Auf Besuch bei Marianne von Werefkin, in: Marianne von Werefkin, Zeugnis und Bild, Zürich 1975 S. 23-24). In ihren Werken schwingt immer eine Ambivalenz zwischen Melancholie und Freude, Trauer und Hoffnung. So beinhaltet gerade das vorliegende Werk 'Allerseelen' all diese Symbolik. Marianne von Werefkin thematisiert hier das römisch-katholische Kirchenfest, an dem die Gläubigen der Verstorbenen gedenken. Es zeigt einen Friedhof, der von hohen Bergen eingebettet ist. Wir sehen einen Priester und zwei Frauen, die ihn gerade betreten, um Kränze niederzulegen. Die Friedhofsmauer erstrahlt in hellem Grün in der vom Mond erleuchteten Nacht. Einem Schiffsrumpf gleich umschliesst die Friedhofsmauer den Platz und die Kirche schützend vor den Wogen der Welt. Gleich einem Schiffsmast ragt der helle, gelbe Kirchturm gen Himmel und strahlt Sicherheit sowie Zuversicht aus. Die bewegte Biographie der Künstlerin hält immer Einzug in ihre Werke, Emotionen wie Schmerz, aber auch Freude, gläubige Zuversicht und Selbstbestimmung vereint sie virtuos zu ausdruckstarken, farbprächtigen Meisterwerken, wie wir im vorliegenden Werk eindrücklich sehen.
Gouache and distemper on paper laid down on board Germany, circa 1910 Marianne von Werefkin (1860-1938) - Russian painter, exponent of Expressionism and member of the artist group ‘Blauer Reiter’, companion of Alexej von Jawlensky Signed with the monogram ‘MW.’ (ligated) lower right Various inscriptions and labels on the reverse, including labels from the Kunstverein Bremen, the Neue Künstlervereinigung München and the Museo Comunale D’Arte Moderna Ascona Paer dimensions: 73.5 x 101.3 cm Black, partly gilt wooden frame: 108 x 134 cm Very good condition Provenance: Gallery Chichio Haller, Zürich; acquired from the above by a private collection (1969); private collection Europa (2013) A typical symbolic and dramatic composition. Works by Werefkin have already been sold for more than €350,000 Estimate by Auctionata Expert: 240,000 Euro Marianne von Werefkin’s (1860-1938) work, ‘In die Nacht hinein ...’ is one of her theatrical works that she created in her important creative period in Murnau. The suite consists of a few paintings that are probably influenced by Shakespeare tragedies that were put on in Murnau. The present work most likely shows a scene from King Lear, which features Werefkin’s typical fairytale and symbolic style of painting. Condition: The painting is in very good condition, showing only minor blemishes to the margins. The paper is somewhat wavy due to mounting upper left; the upper right corner seems to be cut. The frame shows only the lightest sigs of use. The size of the painting is 73.5 x 101.3 cm, the cardboard is 74.3 x 102.5 cm in size, while the frame measures 108 x 134 cm. Exhibitions: Neue Künstlervereinigung München E.V. Turnus 1910–11, Moderne Galerie, Munich, 1–14 September 1910, No. 94 (label on the reverse). XIII Jahrgang, VI Ausstellung, Paul Cassirer, Berlin, January–February 1911, No. 50. Deutscher Künstlerbund. Große Ausstellung, Kunsthalle Bremen, Bremen, 1 February–31 March 1912, No. 234 (label on the reverse). Marianne Werefkin. Gemälde und Skizzen, Museum Wiesbaden, Wiesbaden, 28 September–23 November 1980, No. 35. Marianne Werefkin. Leben und Werk, Ascona, Munich, Hanover, Berlin, Bad Homburg, Hamburg, 1988–1990, No. 45. Literature: Exhibition catalogue, Neue Künstlervereinigung München E.V. Turnus 1910–11, Munich, 1911, p. 37, illustrated; p. 36, No. 94, listed. Exhibition catalogue, Deutscher Künstlerbund. Große Ausstellung, Bremen, 1912, No. 234, listed. Exhibition catalogue, Marianne Werefkin. Gemälde und Skizzen, Wiesbaden, 1980, p. 82, No. 35, illustrated. Exhibition catalogue, Marianne Werefkin. Leben und Werk, Munich, Prestel, 1988, No. 45, illustrated and listed. Marianne von Werefkin (1860-1938) Originally from a noble family, Marianne von Werefkin was born in 1860 as Marianna Vladimirovna Verevkina in Tula, Russia. She studied at the Moscow Academy from 1883-1887, being educated by the painter Ilya Repin, who had given her private lessons in painting before. Repin introduced her to Alexej Jawlensky. In 1896, the couple moved to Munich, where Werefkin headed private saloons where many imporanta artists gathered, including Else Lasker-Schüler, Gabriele Münter and Wassily Kandinsky. In her paintings, the artist was influenced by the art of Gauguin, Munch and Symbolism. In 1908 Jawlensky and Werefkin spent some time in Murnau together with the befriended artist couple Gabriele Münter and Wassily Kandinsky, which became a productive time. Shortly thereafter they founded the artist group ‘Neue Künstlervereinigung München’ (NKVM). In 1911, Kandinsky left the group and established the artist group ‘Blauer Reiter’ along with Franz Marc, which Werefkin and Jawlensky joined in 1912. Werefkin participated in a group exhibition of the NKVM, the ‘Blaue Reiter’ and the ‘Brücke’ artists in the New Secession Berlin. Herwarth Walden also represented Marianne von Werefkin in his gallery ‘Der Sturm’. With the outbreak of World War I, Werefkin and Jawlensky migrated to Switzerland. The couple separated in 1920; four years later Werefkin became the founding member of the association ‘Der Große Bär’. Marianne von Werefkin lived in Ascona until her death in 1938. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good – if a protection as an original work of art or photography is given – starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.
Watercolor and gouache over pen and ink drawing in blue on gray wove paper Germany, 1908 Marianne von Werefkin (1860-1938) - Russian painter, representative of expressionism and member of the artist group ‘Blauer Reiter’, companion of Alexej von Jawlensky This work is registered in the Archives of expressionist paintings by Dr. Bernd Fäthke, Wiesbaden under the number ‘MWA-0816-G’ Sheet dimensions: 24.5 x 19.4 cm Frame: 51 x 46 cm Very good condition An expressive sheet sized depiction of two ladies in which the artist studies the interplay of colors and shapes with quick brush strokes; the auction record for one of Mariane von Werefkin’s watercolors nowadays lies around €220,000 This watercolor by Marianne von Werefkin, titled ‘Zwei Damen im Straßencafé’ (Two ladies in a street café), is characterized by colors and shapes. The outlines of the figures are captured with quick brushstrokes, their clothes and faces are designed barely differentiated, just like the furniture of the café that is merely indicated. Condition: The sheet is mounted at two hinges to a support, is matted and framed. The sheet is barely visible toned and overall of very good impression. The sheet dimensions are 24.5 x 19.4 cm, the framed dimensions 51 x 46 cm. Marianne von Werefkin (1860-1938) Originally from a noble family Marianne von Werefkin was born in 1860 as Marianna Vladimirovna Werjowkina in Tula, Russia. She studied at the Moscow Academy form 1883-1887, educated by the painter Ilya Repin, who had given her private lessons in painting before. Repin introduced her to Alexej Jawlensky. In 1896 the couple moves to Munich, where Werefkin staged private saloons where artists such as Else Lasker-Schüler, Gabriele Münter and Wassily Kandinsky were gathered. In her paintings the artist was influenced by the art of Gauguin, Munch and Symbolism. In 1908 Jawlensky and Werefkin spent some time in Murnau together with the befriended artist couple Gabriele Münter and Wassily Kandinsky, this became a productive time. Shortly thereafter they founded the artist group ‘Neue Künstlervereinigung München’ (NKVM). In 1911 Kandinsky left the group and established along with Franz Marc the artist group ‘Blauer Reiter’, which Werefkin and Jawlensky joined in 1912. Werefkin participated in a group exhibition of the NKVM, the ‘Blauer Reiter’ and the ‘Brücke’ artists in the New Secession Berlin. Herwarth Walden also represented Marianne von Werefkin in his gallery ‘Der Sturm’. With the outbreak of World War I Werefkin and Jawlensky migrated to Switzerland. The couple separated in 1920, four years later Werefkin became founding member of the association ‘Der Große Bär’. Marianne von Werefkin lived in Ascona until her death in 1938. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good – if a protection as an original work of art or photography is given – starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.
Tempera and oil on paper, laid down on cardboard, mounted on board Switzerland, 1929 Marianne von Werefkin (1860-1938) - Russian painter, representative of Expressionism and member of the artist group 'Blauer Reiter', companion of Alexej von Jawlensky Signed with the monogram in black oil lower right 'MW' This work is accompanied by a certificate of authenticity by Dr. Bernd Fäthke, Wiesbaden, dated 11.12.2012 Dimensions: 68 x 99 cm Frame: 82 x 113 cm Good condition Exhibition: Marianne von Werefkin, Gemälde und Skizzen (Paintings and Sketches), Museum Wiesbaden, 1980, cat.no. 89, illustr.. Provenance: Private Collection, Zurich; Private Collection, Monaco Significant and large-scale work Marianne von Werefkin created in Ascona; oil paintings by the artist are sold to hammer prices around €350,000 in the international auction market During the common years with her partner Alexej Jawlensky Marianne von Werefkin put her own artistic production aside in order to support and promote her companion. After the outbreak of World War I they moved to Switzerland, finally settling down in the Ticino Ascona at the Lake Maggiore in 1919. There she found inspiration for her paintings which is shown in the work presented here entitled 'The Bridge'. Following the spirit of modern times, her images are characterized by expressive, contrasting colors. They are compositions of bright color fields, clearly outlined by dark contours. The paintings of Gauguin, Munch or Van Gogh certainly influenced Werefkins works that are reminiscent of symbolism as well, merging to an innovative style of painting. Condition: Isolated tiny losses of color. The paper is laid down on cardboard and mounted to a board, fractionally small bubbles are visible. Otherwise overall in very good impression, fresh colors. The image dimensions are 68 x 99 cm, the framed dimensions 82 x 113 cm. Marianne von Werefkin (1860-1938) Originally from a noble family Marianne von Werefkin was born in 1860 as Marianna Vladimirovna Werjowkina in Tula, Russia. She studied at the Moscow Academy form 1883-1887, educated by the painter Ilya Repin, who had given her private lessons in painting before. Repin introduced her to Alexej Jawlensky. In 1896 the couple moves to Munich, where Werefkin staged private saloons where artists such as Else Lasker-Schüler, Gabriele Münter and Wassily Kandinsky were gathered. In her paintings the artist was influenced by the art of Gauguin, Munch and Symbolism. In 1908 Jawlensky and Werefkin spent some time in Murnau together with the befriended artist couple Gabriele Münter and Wassily Kandinsky, this became a productive time. Shortly thereafter they founded the artist group 'Neue Künstlervereinigung München' (NKVM). In 1911 Kandinsky left the group and established along with Franz Marc the artist group 'Blauer Reiter', which Werefkin and Jawlensky joined in 1912. Werefkin participated in a group exhibition of the NKVM, the 'Blauer Reiter' and the 'Brücke' artists in the New Secession Berlin. Herwarth Walden also represented Marianne von Werefkin in his gallery 'Der Sturm'. With the outbreak of World War I Werefkin and Jawlensky migrated to Switzerland. The couple separated in 1920, four years later Werefkin became founding member of the association 'Der Große Bär'. Marianne von Werefkin lived in Ascona until her death in 1938. (cru) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good - if a protection as an original work of art or photography is given - starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.
Watercolor and gouache over pen and ink drawing in blue on gray wove paper Germany, 1908 Marianne von Werefkin (1860-1938) - Russian painter, representative of expressionism and member of the artist group 'Blauer Reiter', companion of Alexej von Jawlensky This work is registered in the Archives of expressionist paintings by Dr. Bernd Fäthke, Wiesbaden under the number 'MWA-0816-G' Sheet dimensions: 24.5 x 19.4 cm Frame: 51 x 46 cm Very good condition An expressive sheet sized depiction of two ladies in which the artist studies the interplay of colors and shapes with quick brush strokes; the auction record for one of Mariane von Werefkin's watercolors nowadays lies around €220,000 This watercolor by Marianne von Werefkin, titled 'Zwei Damen im Straßencafé' (Two ladies in a street café), is characterized by colors and shapes. The outlines of the figures are captured with quick brushstrokes, their clothes and faces are designed barely differentiated, just like the furniture of the café that is merely indicated. Condition: The sheet is mounted at two hinges to a support, is matted and framed. The sheet is barely visible toned and overall of very good impression. The sheet dimensions are 24.5 x 19.4 cm, the framed dimensions 51 x 46 cm. Marianne von Werefkin (1860-1938) Originally from a noble family Marianne von Werefkin was born in 1860 as Marianna Vladimirovna Werjowkina in Tula, Russia. She studied at the Moscow Academy form 1883-1887, educated by the painter Ilya Repin, who had given her private lessons in painting before. Repin introduced her to Alexej Jawlensky. In 1896 the couple moves to Munich, where Werefkin staged private saloons where artists such as Else Lasker-Schüler, Gabriele Münter and Wassily Kandinsky were gathered. In her paintings the artist was influenced by the art of Gauguin, Munch and Symbolism. In 1908 Jawlensky and Werefkin spent some time in Murnau together with the befriended artist couple Gabriele Münter and Wassily Kandinsky, this became a productive time. Shortly thereafter they founded the artist group 'Neue Künstlervereinigung München' (NKVM). In 1911 Kandinsky left the group and established along with Franz Marc the artist group 'Blauer Reiter', which Werefkin and Jawlensky joined in 1912. Werefkin participated in a group exhibition of the NKVM, the 'Blauer Reiter' and the 'Brücke' artists in the New Secession Berlin. Herwarth Walden also represented Marianne von Werefkin in his gallery 'Der Sturm'. With the outbreak of World War I Werefkin and Jawlensky migrated to Switzerland. The couple separated in 1920, four years later Werefkin became founding member of the association 'Der Große Bär'. Marianne von Werefkin lived in Ascona until her death in 1938. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good - if a protection as an original work of art or photography is given - starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.
WEREFKIN, MARIANNE (1860-1938) In die Nacht hinein..., signed with a monogram. Gouache and tempera on paper, laid on cardboard, 75 by 102 cm. Executed c. 1910. Provenance: Galerie Chichio Haller, Zurich. Acquired from the above by the family of the previous owner in 1969. Private collection, Switzerland. Private collection, Europe. Exhibited: Neue Künstlervereinigung München E.V. Turnus 1910-11, Moderne Galerie, Munich, 1-14 September 1910, No. 94 (label on the reverse). XIII Jahrgang, VI Ausstellung, Paul Cassirer, Berlin, January-February 1911, No. 50. Deutscher Künstlerbund. Große Ausstellung, Kunsthalle Bremen, Bremen, 1 February-31 March 1912, No. 234 (label on the reverse). Marianne Werefkin. Gemälde und Skizzen, Museum Wiesbaden, Wiesbaden, 28 September-23 November 1980, No. 35. Marianne Werefkin. Leben und Werk, Ascona, Munich, Hanover, Berlin, Bad Homburg, Hamburg, 1988-1990, No. 45. Literature: Exhibition catalogue, Neue Künstlervereinigung München E.V. Turnus 1910-11, Munich, 1911, p. 37, illustrated; p. 36, No. 94, listed. Exhibition catalogue, Deutscher Künstlerbund. Große Ausstellung, Bremen, 1912, No. 234, listed. Exhibition catalogue, Marianne Werefkin. Gemälde und Skizzen, Wiesbaden, 1980, p. 82, No. 35, illustrated. Exhibition catalogue, Marianne Werefkin. Leben und Werk, Munich, Prestel, 1988, No. 45, illustrated and listed. Marianne Werefkin's composition In die Nacht hinein... comes from her suite of exceptionally interesting, valuable theatrical works painted in 1910. The entire suite comprises no more than a few tempera paintings from that milestone period in the history of art when the "Russian baroness" achieved the peak of her influence over the Munich colony of modernist artists, determining to a great extent the visual language and artistic trends of the 20th century. The two years that Werefkin spent in Murnau with Alexei Jawlensky, Vasily Kandinsky and Gabriele Münter led to the creation in 1909 of the Neue Künstlervereinigung, precursor to the celebrated Blaue Reiter group. In die Nacht hinein... , like another tempera composition from the same cycle published in Otto Fischer's 1912 book Das neue Bild, was in all probability inspired by one of the Shakespeare tragedies put on in Murnau and possibly depicts a scene from King Lear. This work has a fairytale atmosphere and an intelligible symbolic message underlying the scene playing out on stage. These qualities, together with the strangeness of the bench seats bereft of an audience, owe much to the tense, mystical lilac-blue colouring of the painting and convey Werefkin's dramatic perception of the world and the meaning which she invested in colour as a means of imbuing her painting with psychological animation.
WEREFKIN, MARIANNE VON (Tula 1860 - 1938 Ascona) Landschaft bei Siena. Watercolour, pastel and goauche on firm paper. Monogrammed lower right: M.W. 34 x 25 cm. Provenance: Private collection, Switzerland. WEREFKIN, MARIANNE VON (Tula 1860 - 1938 Ascona) Landschaft bei Siena. Aquarell, Pastell und Goauche auf festem Papier. Unten rechts monogrammiert: M.W. 34 x 25 cm. Provenienz: Privatsammlung Schweiz.
WEREFKIN, MARIANNE VON (Tula 1860 - 1938 Ascona) Mutter mit Kind. Pastel on paper, laid down on cardboard. Monogrammed lower right: M.W. Also with a dedication on the cardboard backing: mit innigem Dank an Herrn Doktor Wehrlin von Marianne W. 20 x 26.7 cm. Provenance: - Sammlung Dr. Wehrlin, Ascona. - Private collection, Switzerland. WEREFKIN, MARIANNE VON (Tula 1860 - 1938 Ascona) Mutter mit Kind. Pastell auf Papier, auf Karton aufgelegt. Unten rechts monogrammiert: M.W. Zudem mit einer Widmung auf dem Unterlagekarton: mit innigem Dank an Herrn Doktor Wehrlin von Marianne W. 20 x 26,7 cm. Provenienz: - Sammlung Dr. Wehrlin, Ascona. - Privatsammlung Schweiz.
WEREFKIN, MARIANNE VON (Tula 1860 - 1938 Ascona) Heiliger Franziskus und Wolf. Watercolour and pastel on firm paper. 25 x 30 cm. Provenance: Private collection, Switzerland. WEREFKIN, MARIANNE VON (Tula 1860 - 1938 Ascona) Heiliger Franziskus und Wolf. Aquarell und Pastell auf festem Papier. 25 x 30 cm. Provenienz: Privatsammlung Schweiz.
WEREFKIN, MARIANNE (1860-1938) In die Nacht hinein... , signed with a monogram. Gouache and tempera on paper, laid on cardboard, 75 by 102 cm. Executed c. 1910. Provenance: Galerie Chichio Haller, Zurich. Acquired from the above by the family of the previous owner in 1969. Private collection, Switzerland. Private collection, Europe. Exhibited: Neue Kunstlervereinigung Munchen E.V. Turnus 1910-11, Moderne Galerie, Munich, 1-14 September 1910, No. 94 (label on the reverse). XIII Jahrgang, VI Ausstellung, Paul Cassirer, Berlin, January-February 1911, No. 50. Deutscher Kunstlerbund. Große Ausstellung, Kunsthalle Bremen, Bremen, 1 February-31 March 1912, No. 234 (label on the reverse). Marianne Werefkin. Gemalde und Skizzen, Museum Wiesbaden, Wiesbaden, 28 September-23 November 1980, No. 35. Marianne Werefkin. Leben und Werk, Ascona, Munich, Hanover, Berlin, Bad Homburg, Hamburg, 1988-1990, No. 45. Literature: Exhibition catalogue, Neue Kunstlervereinigung München E.V. Turnus 1910-11, Munich, 1911, p. 37, illustrated; p. 36, No. 94, listed. Exhibition catalogue, Deutscher Kunstlerbund. Große Ausstellung, Bremen, 1912, No. 234, listed. Exhibition catalogue, Marianne Werefkin. Gemalde und Skizzen, Wiesbaden, 1980, p. 82, No. 35, illustrated. Exhibition catalogue, Marianne Werefkin. Leben und Werk, Munich, Prestel, 1988, No. 45, illustrated and listed. Marianne Werefkin's composition In die Nacht hinein... comes from her suite of exceptionally interesting, valuable theatrical works painted in 1910. The entire suite comprises no more than a few tempera paintings from that milestone period in the history of art when the "Russian baroness" achieved the peak of her influence over the Munich colony of modernist artists, determining to a great extent the visual language and artistic trends of the 20th century. The two years that Werefkin spent in Murnau with Alexei Jawlensky, Vasily Kandinsky and Gabriele Münter led to the creation in 1909 of the Neue Künstlervereinigung, precursor to the celebrated Blaue Reiter group. Throughout her career Werefkin remained true to expressionism, symbolism and every one of their attendant apocalyptic ideas. Any picture by her that depicts real life, be it a landscape, or genre scene, is essentially just a stage screen, with a different, secret world hidden behind it. The duty of the artist is to capture and portray that world not through any outward resemblance but through a system of "symbols of lines and colours". It was inevitable that Werefkin's interest in the tragic illusions and travesties of the human world, voiced constantly in her Letters, would find its reflection in her art too. It is therefore unsurprising that in 1909 motifs from theatre - inspired in part by her acquaintance, then friendship, with the dancer Alexander Sakharoff - found their way into her arsenal of images. In the summer of 1910, however, it was evidently the productions by touring Berlin theatre companies in honour of the Munich Oktoberfest centenary that spurred her to create a whole cycle of works in tempera depicting outdoor performances. Not far from Munich, and also taking part in this grand festival of theatre, was the little town of Murnau where Werefkin and Jawlensky were often guests of Gabriele Münter. The main summer event there was to be the staging of several Shakespeare plays, ending on 28th August in the garden of Emanuel von Seidl's villa with a performance of A Midsummer Night's Dream inthe presence of the Queen Maria Sophie of Bavaria and Elisabeth of Bavaria, Queen of Belgium. In die Nacht hinein... like another tempera composition from the same cycle published in Otto Fischer's 1912 book Das neue Bild, was in all probability inspired by one of the Shakespeare tragedies put on in Murnau and possibly depicts a scene from King Lear. This work has a fairytale atmosphere and an intelligible symbolic message underlying the scene playing out on stage. These qualities, together with the strangeness of the bench seats bereft of an audience, owe much to the tense, mystical lilac-blue colouring of the painting and convey Werefkin's dramatic perception of the world and the meaning which she invested in colour as a means of imbuing her painting with psychological animation.
Marianne von Werefkin (1860-1938) In die Nacht hinein signed with the monogram (lower right) gouache and distemper on paper laid down on board 29 1/8 x 39 7/8 (74 x 101.3 cm.) Executed circa 1910
Marianne von Werefkin (1860-1938) Bahnhof Prerow (Dünenlandschaft) gouache and distemper on paper laid down on board 22 x 29 in. (56 x 73.5 cm.) Executed circa 1911
