Christie's /Jun 23, 2016
€75,989.74 - €101,319.66
Artworks in Arcadja517
Some works of Alexej Von JawlenskyExtracted between 517 works in the catalog of Arcadja
Auction: Sotheby's -Mar 2, 2017 - LondonLot number: 172
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PROPERTY FROM A PRIVATE EUROPEAN COLLECTION Alexej von Jawlensky HEILANDSGESICHT: MONDLICHT (VERHEISSUNG) (SAVIOUR'S FACE: MOONLIGHT (ANNUNCIATION)) 1864-1941 signed with the initials A.J. (lower left); inscribed Verheissung on the reverse oil on linen-finished paper laid down on board 37.9 by 26.8cm., 15 3/8 by 10 1/2 in. Painted in 1922. Dr Guido Bagier, Germany (acquired directly from the artist) Galerie Wilhelm Grosshennig, Düsseldorf Karl Ströher, Darmstadt (acquired from the above 1953) Thence by descent to the present owner Los Angeles, Los Angeles Museum; Portland, Museum of Art & Spokane, Grace Campbell Memorial Building, The Blue Four, 1926-27, no. 34 (titled Holy Head Moonlight) Seattle, University of Washington, Henry Art Gallery, The Blue Four, 1927, no. 9 (titled Holy Head: Moonlight) Hollywood, Braxton Gallery, The Blue Four, 1930, no. 46, (titled Holy Head: Moonlight) Darmstadt, Landesmuseum, Kunst unserer Zeit, Sammlung K. Ströher, 1954, no. 84, illustrated in the catalogue Wiesaden, Nassausischer Kunstverein, Neues Museum, Kunst unserer Zeit. Sammlung Karl Ströher, 1954, no. 95, illustrated in the catalogue Darmstadt, Landesmuseum, Sammlung Karl Ströher, 1965-66, no. 48, illustrated in the catalogue Darmstadt, Landesmuseum, Bildnerische Ausdrucksformen 1910-1960, Sammlung Karl Ströher, 1970, n.n., illustrated in the catalogue Clemens Weiler, Alexej von Jawlensky, Cologne, 1959, no. 265, illustrated p. 246 Dr Erika Pohl, Ursula Ströher & Gerhard Pohl, Karl Ströher, Sammler und Sammlung, Ferpicloz, 1982, illustrated p. 125 Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, Alexej von Jawlensky, Catalogue raisonné of the Oil Paintings 1914-1933, London, 1992, vol. II, no. 1123, illustrated p. 332 Dating to 1922, Heilandsgesicht: Mondlicht (Verheissung) is a superb example of Alexej von Jawlensky’’’’’’’’s series of Saviour’’’’’’’’s Faces. The present work depicts Christ’’’’’’’’s face as an icon with his eyes closed. Features, such as eyes, nose, mouth and hair are articulated with few lines, reducing the representation to its absolute essence. The palette is predominantly composed of cool tones and the expression of calm and serenity is amplified by bringing the face into close up. Looking to Jawlensky’’’’’’’’s œuvre, this work marks a radical departure in style from the powerful vibrant colours of the artist’’’’’’’’s Munich years, and towards a paler palette with delicate and translucent application of paint. Such stylistic transition is closely connected to the traumatic experience of the artist’’’’’’’’s expulsion from Germany in 1914, which forced him into exile in Switzerland. Having been forced to desert his social circle and living in straitened circumstances, the artist’’’’’’’’s outlook on life and creative motivations changed. In his art, Jawlensky began to work in a new kind of serial painting, that was to become characteristic for the remainder of his career. Jawlensky concentrates on few subjects: the view from his window in Saint Prex and the human face. However, the sheer extent of each series is impressive demonstrating his urge to experiment, and revealing the full potential that lay in formal and chromatic variants. The artist’’’’’’’’s fascination with the human face became dominant from 1917. Following from his series of Mystical Heads, the characteristics of the Saviour’’’’’’’’s Face series are the angel-like, and strongly symmetrical faces in frontal representation, formally reminiscent of Russian icons. The rigorously geometric elements in the present work foretell the artist’’’’’’’’s future development towards stronger abstraction. The wisdom sign as represented in the work marks a spiritual conception of art and the work may reflect Jawlensky’’’’’’’’s preoccupation at this time with questions of the divine-human relationship and life after death. In Saint Prex, Jawlensky read books on Indian yogis, which appear to have had an impact on his painting. Stylistically, Jawlensky no longer uses his distinctive black outlines but resorts to fine outlines in pencil which remain visible through the paint. Individual brush strokes mark out facial features, hair, neck and mouth, which are initially outlined, becoming a cluster of linear paint strokes. Jawlensky's faces become increasingly abstract, no longer depictions of the seen, but lyrical expressions of inward states emanating a mystical radiance, the products of the artist’’’’’’’’s inner vision, more original and innovatory than any of Jawlensky’’’’’’’’s previous work. Following years of exile in Switzerland, Jawlensky moved to Wiesbaden in 1922 where an exhibition of his work organised by his close friend Galka Scheyer had been received favourably the previous year. Jawlensky married Marianne von Werefkin’’’’’’’’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas. This newly found stability seems to be directly reflected in the contentedness of the present work. Between 1924 and 1933 the present work was with Galka Scheyer, a painter, dealer and collector who was instrumental in the foundation of Die Blauen Vier in 1924 (the group which included Wassily Kandinsky, Lyonel Feininger and Paul Klee as well as Jawlensky) and keenly promoted the work of these artists in the United States, encouraging greater recognition for their work outside Europe. In Galka Scheyer’’’’’’’’s care, the work was exhibited in Los Angeles before entering the collection of Dr Guido Bagier, editor of the art magazine Feuer -Monatsschrift für Kunst und künstlerische Kultur, author and film maker. Letters document Jalwenksy’’’’’’’’s desire to have Bagier write a book about him.
Auction: Christie's -Feb 28, 2017 - LondonLot number: 48
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Alexej von Jawlensky (1864-1941) Dunkle Bäume über grünem Hang signed 'A. jawlensky.' (lower left); dated and inscribed '1910 N.1' (on the reverse) oil on board 13 x 17 5/8 in. (33 x 44.8 cm.) Painted in 1910 Painted in 1910, Dunkle Bäume über grünem Hang is a powerful example of the experimental approach to colour that Alexej von Jawlensky achieved in the breakthrough landscapes he created at Murnau. This small, sleepy market town, nestled in the shadows of the Bavarian Alps, had become a haven for Jawlensky and his artistic colleagues Wassily Kandinsky, Gabriele Münter and Marianne von Werefkin during the summer of 1908, with the foursome returning again and again over the following two years to spend extended sojourns in the serene, idyllic setting. During this time, the four artists often worked together in a communal manner, frequently painting the same scenes from different viewpoints, and pursuing similar stylistic experiments in their work. It was Jawlensky who took the lead in guiding the quartet’’’’’’’’s evolution at this time, with both Münter and Kandinsky portraying him as the group’’’’’’’’s mentor in their memoirs. Sharing his knowledge of the French avant-garde with his fellow painters, Jawlensky encouraged them to develop a free and expressive handling of colour and form in their work, inspired by the art of Vincent van Gogh, the Fauves and the Nabis. The drama and natural beauty of the broad expanses of the Murnau moors set against the scenic backdrop of the Alpine peaks provided Jawlensky and his fellow artists with a compelling visual environment, and the sweeping Bavarian landscape featured heavily in their output from this time. Executed in intense, luminous swathes of colour Dunkle Bäume über grünem Hang glows with an emphatic vitality, its mix of rich pigments lending the scene a mysterious atmosphere. The patches of soft pink that punctuate the lapis blue sky create the impression that the artist has captured the scene at either dawn or dusk, just as the light shifts. The soft blush of the sky is echoed in the purple shadows of the rolling green hill, while hints of a delicate golden hue peek through from behind the blades of grass, vividly illustrating Jawlensky’’’’’’’’s use of complementary colours to build his compositions. Perfectly capturing the spirit of the landscape, the artist conveys not only his own sensations of awe before the scene, but also introduces a spiritual dimension to the subject, in which the sweeping vista becomes a portal to a greater understanding and appreciation of nature, a concept the artist would continue to explore throughout the rest of his career.
Auction: Christie's -Nov 17, 2016 - New-yorkLot number: 1325
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Alexej von Jawlensky (1864-1941) Variation: Nacht II signed with initials 'A.j.' (lower left); signed again, dated and numbered 'A. Jawlensky 1916 N.6.' (on the reverse) oil on linen-finish paper laid down on board 14 1/8 x 10 5/8 in. (35.7 x 27 cm.) Painted in 1916 The Alexej von Jawlensky Archives will include this work in the forthcoming volume of their Von Jawlensky catalogue raisonné. Provenance Galka Scheyer, New York and Los Angeles (acquired from the artist, 1924); Estate sale, U.S. Department of Justice, San Francisco, September 1954, lot 8. Paul Kantor Gallery, Los Angeles (acquired at the above sale). Stanley N. Barbee, Beverly Hills (acquired from the above); sale, Parke-Bernet Galleries, Inc., New York, 9 December 1959, lot 42. Acquired at the above sale by the family of the present owner. Literature C. Weiler, Alexej von Jawlensky, Köpfe, Gesichte, Meditationen, Hanau, 1970, p. 155, no. 1193 (titled Nacht). Exhibited Hagen, Museum Folkwang, Alexej Jawlensky, Gemälde, Aquarelle, Zeichnungen, 1922 (titled Nacht II). Dresden, Galerie Emil Richter, Alexej von Jawlensky, 1922. Kunsthütte zu Chemnitz, Alexej von Jawlensky, 1923, no. 242 (titled Nacht II). Stuttgart, Kunsthaus Schaller, Alexej von Jawlensky, 1923 (titled Nacht II). Oakland Art Gallery, The Blue Four, Feininger, Jawlensky, Kandinsky, Paul Klee, May 1926, no. 3 (titled Night; dated 1915). Los Angeles Museum, The Blue Four, Feininger, Jawlensky, Kandinsky, Paul Klee, October 1926, no. 19 (titled Night; dated 1915). San Diego Museum of Fine Arts, The Blue Four, Feininger, Jawlensky, Kandinsky, Paul Klee, 1927, no. 2 (titled Night; dated 1915). Portland Museum of Art, The Blue Four, Feininger, Jawlensky, Kandinsky, Paul Klee, 1927, no. 77 (titled Night). Seattle, University of Washington Henry Art Gallery, The Blue Four, Feininger, Jawlensky, Kandinsky, Paul Klee, 1927, no. 22 (titled Night). Los Angeles Museum, The Blue Four, Feininger, Jawlensky, Kandinsky, Paul Klee, October 1933, no. 57 (titled Night). Los Angeles, Stendhal Art Gallery; San Francisco Museum of Art and Seattle, Henry Art Gallery, University of Washington, Jawlensky Retrospective Exhibition 1909-1936, 1936-1937, no. 13 (titled Night; dated 1916). New York, Nierendorf Gallery, Homage to Jawlensky, A Retrospective Show, 1909-1938, 1939, no. 27 (titled Depth of Night). Los Angeles, Stendahl Art Gallery, Alexej Jawlensky, 1940 (titled Night).
Auction: Christie's -Jun 23, 2016 - LondonLot number: 202
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Alexej von Jawlensky (1864-1941) Variation: Nacht II signed with the artist's initials 'A.j.' (lower left); signed, dated and numbered by the artist 'A. Jawlensky 1916 N.6.' and further inscribed by Galka Scheyer 'Made in Germany Jawlensky Depth of Night 1916 St Prex' (on the reverse) oil on linen-finish paper laid down on board 14 1/8 x 10 5/8 in. (35.7 x 27 cm.) Painted in 1916
Auction: Christie's -Jun 22, 2016 - LondonLot number: 33
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Lot Description Alexej von Jawlensky (1864-1941) Sitzende Frau signed with the initials 'A.j.' (lower left) oil on board 27 3/8 x 19 1/4 in. (69.5 x 49 cm.) Painted circa 1909 Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance The artist's studio. Otto Henkell, Wiesbaden, until at least 1959. Anonymous sale, Kunstkabinett, Stuttgart, 3-5 May 1962, lot 175. Private collection, Europe, by whom acquired at the above sale, and thence by descent; sale, Christie's, London, 2 February 2010, lot 26. Acquired at the above sale by the present owner. Pre-Lot Text PROPERTY FROM A PRIVATE EUROPEAN COLLECTION Literature C. Weiler, Alexej Jawlensky , Cologne, 1959, no. 53, p. 230 (illustrated). M. Jawlensky, L. Pieroni-Jawlensky & A. Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. I, 1890-1914 , London, 1991, no. 235, p. 192 (illustrated p. 198). Exhibited Dusseldorf, Kunstverein für die Rheinlande und Westfalen, Alexej von Jawlensky , September 1957, no. 13; this exhibition later travelled to Bremen, Kunsthalle, December 1957 - January 1958; and Stuttgart, Württembergischer Kunstverein, February - March 1958, no. 18. View Lot Notes >