Adolph Von Menzel

Lot 191 Adolph von Menzel Wroclaw 1815 – 1905 Berlin HALBFIGUR EINER DAME IM PROFIL NACH LINKS 1897. Pencil, and stumping, on paper, laid down on cardboard. 16,5 x 10,8 cm (6 ½ x 4 ¼ in.) Monogrammed and dated lower right: A.M. / 97. Accompanied by a certificate by Marie Ursula Riemann-Reyher, Berlin, dated November 2009. - EUR 3.000 – 4.000 US $ 3,890 – 5,180 Exhibitions: Ausstellung von Werken Adolph von Menzels. Berlin, Königliche National-Galerie, 1905, II edition, cat. no. 5935 („Dame in Halbfigur”, 16 x 12 cm) (?)

Adolph von Menzel Wroclaw 1815 – 1905 Berlin „LAUBFROSCH IN DEN GEFILDEN DER SELIGEN“ (LAUBFROSCHQUADRILLE) 1835. Pen and India ink on wove paper (watermark: J Whatman 1833). 25 x 28,6 cm (9 ⅞ x 11 ¼ in.) Monogrammed (joined), inscribed and dated in the image lower right: AM : f : 1835. Titled and inscribed below the image: Laubfrosch in den Gefilden der Seeligen! Zum Trost der Leidtragenden Hinterbliebenen gewidmet. With the stamp Lugt 1969b and the deaccession stamp of the Kupferstichkabinett Berlin on the reverse. EUR 3.000 – 4.000 Provenance: Carl Johann Arnold, Weimar (1905) / Max Liebermann, Berlin / Martha Liebermann, Berlin / Nationalgalerie, Berlin (acquired in 1937 from Martha Liebermann, in 1969 transferred to the Kupferstichkabinett's Collection of Drawings, in 2012 restituted to the heirs of Liebermann) Exhibitions: Ausstellung von Werken Adolph von Menzels. Berlin, Königliche National-Galerie, 1905, edition II, cat. no. 5717 / Ausstellung älterer und neuer Berliner Kunst. Nuremberg, Albrecht-Dürer-Verein, Noris- Halle at the Marientorgraben, 1926, cat. no. 269 / Menzel- Ausstellung, 95 Zeichnungen. Berlin, Galerie J. Casper, 1928, cat. no. 60 ( „Froschquadrille, an Fräulein Arnold“) / Hundert Jahre Berliner Kunst im Schaffen des Vereins Berliner Künstler. Berlin, Verein Berliner Künstler, 1929, cat. no. 1000 Literature and Illustration: Karl-Heinz and Annegret Janda: Max Liebermann als Kunstsammler. Forschungen und Berichte, ed. by Staatliche Museen zu Berlin, vol. 15, 1973, p. 105-149, cat. no. 73, p. 137, ill. / Jörn Grabowski: „Hängt bei Ihnen Liebermann unbeanstandet?“ Max Liebermann und die Nationalgalerie in schriftlichen Quellen der Jahre 1933 bis 1945. Exhibition catalogue: Max Liebermann, Jahrhundertwende. Berlin, Nationalgalerie SMB-PK, 1997, p. 317-324, here p. 322 (entry of 18 Feb. 1937 in the Nationalgalerie's journal of incoming mail re. the acquisition of the Menzel drawings from Martha Liebermann)

Menzel, Adolph von (Breslau 1815 - Berlin 1905) Monk and Priest in a Wine Cellar Oil/canvas, 29,5 x 26,5 cm, up. ri. sign. a. dat. A. Menzel 1838, some craquelure, some rest. - Expert report: Bruno Grimschitz, 8. Feb. 1951. - We are grateful to Dr. Riemann-Reyher and Dr. Claude Keisch, Berlin, for their kind assistance. They consider the painting to be by the hand of Menzel. Probably it is the one mentioned in the catalogue of the Menzel exhibition in 1905 and in Boetticher. - Prov.: Heinrich Glosemeyer, Bremen, bought from his collection in 1959, thence by descent. - After establishing himself as graphic artist M. turned to painting in the 1830s. The painting at hand captivates by the contrast of the somewhat earthy cellarer and the elegant priest who displays his refinement by holding his wine glass by the foot plate, a gesture that was known to M. from Dutch Old Master paintings. He had used the motif before in the lithograph 'The five senses' from 1835.

Adolph Menzel (Breslau, Silesia 1815-1905 Berlin) Soll Ich Offnen?: An elderly man in 16th-Century costume holding a jewel casket signed and dated 'Ad: Menzel Berl: 67.' watercolour and bodycolour, gum arabic 11½ x 9 in. (30.2 x 22.7 cm.) Eugen Possart, bought from the artist on 2 March 1871. H. von Tschudi, Adolph von Menzel: Abbildungen seiner Gemälde und Studien, Munich, 1905, no. 557, as 'Das Schmuckkästchen', the signature and dimensions not recorded. Paris, Palais des Champs-Elysées, Salon, 1868, no. 3119 (as 'Dois-je ouvrir'). Vienna, Künstlergenossenschaft, 1870, number unknown. A characteristic work of Menzel's artistic maturity, the present bodycolour blends psychological insight with a bravura display of technical skill in the representation of rich fabrics. From the start, Menzel conceived this as an image that should tell a story: when it was exhibited at the Paris Salon and then in a show organised by the Vienna Künstlergenossenschaft in 1870, it was described not as the head of a man, but as 'Soll ich offnen?' ('dois-je ouvrir?' at the Salon). Menzel described it more thoroughly in his account book on 2 March 1871, when he recorded its sale to the collector and connoisseur Eugen Possart for 80 Friedrichs d'or, as 'Costüm-Studie 16. Jahr: Graubart mit Kästchen' (Zentralarchiv, Staatliche Museen, Berlin). Possart's grand house in central Berlin, Friedrichsgracht 58, provided a visual testament to his passion for the arts. The grand staircase was ornamented with reliefs and a sculpture group by Possart's friend the sculptor Reinhold Begas. It is not clear when the portrait left Possart's collection; it does not seem to have been examined in the original by Hugo von Tschudi prior to its inclusion in his 1905 catalogue, where details of the signature and size are omitted. In a letter dated 18 September 2011, Dr Marie Ursula Riemann-Reyher confirmed the attribution to Menzel and provided much helpful information regarding the drawing's history and provenance, for which we are grateful.

Adolph von Menzel SELBSTBILDNIS IM KASSELER ATELIER On the reverse autographic letter from the artist to the Maercker family 1847/48 Watercolour in brown and grey over black pen on cardboard 17,5 x 13,7 cm Minister of Justice Maercker family, Halberstadt, received directly from the artist, thence by descent to the current owner Ausstellung von Werken Adolph von Menzels. Berlin, Königliche National-Galerie, 1905, II edition, cat. no. 284, full-page illustration between p. 304 and p. 305 / Adolph Menzel. Sonderausstellung zum Gedächtnis des Meisters. Leipzig, Kunstverein, at Museu