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Alfred Von Wierusz-Kowalski

(1849 -  1915 ) Wikipedia® : Alfred Von Wierusz-Kowalski
von WIERUSZ-KOWALSKI Alfred  The Coach Journey

Palais Dorotheum
Oct 19, 2017
Find artworks, auction results, sale prices and pictures of Alfred Von Wierusz-Kowalski at auctions worldwide.
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Variants on Artist's name :

Kowalski-Wierusz Von Alfred

Kowalski Alfred

 

Artworks in Arcadja
235

Some works of Alfred Von Wierusz-Kowalski

Extracted between 235 works in the catalog of Arcadja
Alfred Von Wierusz-Kowalski - Sunny Farm Day, Courtship, Zaloty

Alfred Von Wierusz-Kowalski - Sunny Farm Day, Courtship, Zaloty

Original
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Starting price:

Price: Not disclosed
Lot number: 399
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Description:
Alfred Von Wierusz-Kowalski (1849-1915), oil on panel, Sunny Farm Day, Courtship, Zaloty signed lower right: A. Wierusz-Kowalski, 16" x 25 5/8", Provenance: Estate of Stanislaw and Anita Milewski of Manchester, Connecticut Documentation: Letter from Joel Zakow Art Restoration, who sold the painting to Stanislaw and Anita Milewski, stating that they purchased the painting from Rafael Gallery in Manhattan. *
Alfred Von Wierusz-Kowalski -  The Coach Journey

Alfred Von Wierusz-Kowalski - The Coach Journey

Original
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Gross Price
Lot number: 1253
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Description:
Alfred von Wierusz-Kowalski (Suwalki 1849–1915 Munich) The coach journey, signed A. Wierusz-Kowalski, handwritten dedication on the stretcher \“Geschenk von Fraeulein Emilie Fritschler 15. Mai 1909\” [Gift of Ms Emilie Fritschler, 15 May 1909], oil on canvas, 44 x 58 cm, framed, (GG) Provenance: Van Ham Fine Art Auctioneers, Cologne, 17 May 2013, lot 770; Private Collection, Belgium. Specialist: Gautier Gendebien
Alfred Von Wierusz-Kowalski - The Requisition

Alfred Von Wierusz-Kowalski - The Requisition

Original 1875
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Gross Price
Lot number: 1149
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Description:
Alfred von Wierusz-Kowalski (Suwalki 1849–1915 Munich) The requisition, signed, inscribed and dated Alfred W. Kowalski 1875, München, oil on canvas, 58.5 x 79.5 cm, framed, (Rei) Provenance: Private Collection, San Gabriel, California, by c. 1912; Thence by descent – Private Collection, California; Sotheby’’’’’’’’s New York, 3 November 2015, lot 91; European Private Collection. Certificate by Eliza Ptaszynska, Suwalki-Museum, March 2017 available.
Alfred Von Wierusz-Kowalski - Country Wedding

Alfred Von Wierusz-Kowalski - Country Wedding

Original
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Gross Price
Lot number: 1129
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Alfred von Wierusz-Kowalski
(Suwałki 1849–1915 Munich)Country Wedding, signed A. Wierusz-Kowalski, oil on canvas, 79 x107 cm, framed, (Rei)
Certificate from Eliza Ptaszynska, SuwałkiMuseum, March 2016 available.Provenance:Karl Karcher, Kaiserslautern;Mathilde and Gustav Jacob Adt, Forbach (Moselle);Carlotta Adt, Forbach (Moselle);Private collection, Southern GermanyCompare:Friedrich von Boetticher, Malerwerke des 19. Jahrhunderts, Hofheimam Taunus 1973, Vol. I/2, p.785, no.35Alfred von Wierusz-Kowalski, born in Suwałki in 1849, was one ofthe best known Polish-born painters of the 19th Century MunichSchool. After several years spent enrolled at the academies inWarsaw, Dresden and Prague, Wierusz-Kowalski settled in Munich in1873 to study with the Polish historical painter Józef Brandt atthe Munich Academy. Encouraged by his teacher, he joined the Polishgroup of artists in Munich, finally advancing to become their mostprominent representative. He was appointed professor at the MunichAcademy in 1890. Alfred von Wierusz-Kowalski received innumerableprizes and awards during his lifetime as a painter, for his worksdepicting rural life in Russian Poland and Galicia. Amongstcollectors and art dealers his vividly painted and frequentlycaptivating works were some of the most popular of their time.Around the turn of the century, Wierusz-Kowalskis\’\’\’\’s paintings werereproduced in illustrated magazines, ensuring their popularityamongst a wider audience.The present lot depicts a country wedding and demonstrates allWierusz-Kowalski\’\’\’\’s skill in representing movement. A weddingparty, divided amongst several carriages, are on their way to thechurch, or to the subsequent celebrations. The passengers in thecarriages are happy and relaxed, which is unsurprising in view ofthe joyful occasion and the swift journey along the woodland road.Yet here Wierusz-Kowalski takes a standard genre motif and addsfabulously dramatic details. The wildly galloping horses radiateexceptional vitality, and the substance of the swirling dust abovethe ground appears to the viewer to be almost tangible. As a resultof this temperament, paired with his rapid manner of painting andlucid colours, works by Wierusz-Kowalski are consistently judged tobe sensational.Certificate from Eliza Ptaszynska, Suwałki Museum, March 2016"Alfred Wierusz-Kowalski is the author of the painting. It wascreated between 1890-1990.The composition depicts the peasant weeding procession which isrushing through the woods. On the first cart, which is pulled bytwo grey horses, we can see a coachman. His posture is leaningforward in the scene. Behind him, there is a couple of peasants.The girl(one of the peasants)is smiling. She is dressed in whiteclothes that are decorated with red ribbons. She is tilting to theback from the young man who is leaning towards her, and who isholding her hand. Behind this cart, there is another one. On thesecond cart, we can see a coachman and colourfully- dressedpeasants. The carts are driving on a wide, sandy, forest road whichis led in a slight angle, from the right to the left edge, towardsthe observer. All around, there is darken-shaded forest withsun-brightened part in front of the foreground cart, and justbehind the second cart in the background.This is a diagonal composition. There are elements drawn inperspective; figurative group in the foreground which is dominantthe spectrum of the painting; putting other group in thebackgrounds to elicit the narration of the show. Lastly, thedynamics, the expression and the authenticity of the scene.Harmonized colours, although in the narrow scale, but the richnessof tones; the use of colourful accents- red ribbons, colour used topaint the horses, the girls\’\’\’\’ clothes-all of these adopted tofollow the sight through the surface of the image. The use ofreflections of light- sun beams penetrating crowns of trees,leaving golden spots on sandy road, forest floor, leaves,etc.Formal use of means, the way in which paintbrush is led, preciselydrawn figurative group and concise elements of the landscape andthe background, these are the characteristics of AlfredWierusz-Kowalski\’\’\’\’s works. Nonetheless, the key argument here isthe photograph( presenting this painting) which is left as thepainter\’\’\’\’s legacy.In the archived collection of The Suwałki District Museum, amongseveral dozen of models posing in the artist\’\’\’\’s studio, there isalso a reproduction of Peasant Wedding (Bauernhochzeit).There is no firm statement concerning the date of this work. AlfredWierusz-Kowalski rarely put dates on his works. To determine thedate of creation of a given work means using the comparison or basethe examination on woodcut reproductions presented in the press.Unfortunately, I am not familiar with the woodcut that could be thereproduction of Peasant Wedding (Bauernhochzeit). I cannot recallany other source(for example from literature or archive collection)where I would get the chance to study the painting, except theabove mentioned photograph.The newspaper \“Tygodnik Ilustrowany\”( from 1892 [2], p. 424)presented the picture of Peasant Wedding (Bauernhochzeit)(il.1).The painting was displayed in Glaspalast, sold on auction in 2006(Sotheby\`\`\`\`s). It was reproduced a few times in the press. That wasthe only work, with this title, among others created by the artist.The composition shows a procession of festive-dressed peasantsgoing through winter scenery, coming straight into the observer\’\’\’\’seyesight. However, there are several works of this artist whosetitle relate to the theme of discussed panting. These are the workstitled: Polish Wedding (Polnische Hochzeit), Coming back from theWedding (Heimkehr von den Hochzeit), Cracovian Wedding of Peasants(Krakauer Bauernhochzeit), To the Church-Peasant Wedding(In dieKirche-Bauernhochzeit), Going away to the church in a Festive Day(Kirchenfahrt am Feiertage), Going away to the Church ( Fahrt zurKirche) {Glaspalast, 1905}, To the Wedding, From the Wedding,Coming back from the Church, On the Way to the Church. That is why,it seems risky to connect Peasant Wedding((Bauernhochzeit) with thework of the same title, displayed in 1892 in Glaspalast. There areno information found concerning the description of this painting orits size.Comparative analysis could help to date this painting. \‘TygodnikIlustrowany\’\’\’\’ in 1891(issue 66, the front cover) presented thewoodcut similar to Alfred Wierusz-Kowalski\’\’\’\’s painting called Fromthe Wedding (il.2). It is the same theme, the same pair of greyhorses. It is also the same arrangement of hooves, the angle ofhorse\’\’\’\’s head, the animals drawn in perspective. Although, there isdifferent landscape background, the artist similarly arranged greenplant elements in the foreground: triangular clump of plants in thelower right corner and some higher thickets put on the left side,in the line of running horses.\‘\”Wędrowiec\”(1898/1/p.157) showed Coming Back from the Wedding (il.3) in 1898 (Neumeister Gallery, 2002,;in similar version was shownaround a few times on European auctions, like in Van Ham,2001).Again, the theme is the same just like in Peasant Wedding but herewe have a different season, different landscape and grey horses areswitched in their places. The one, which has its head down, isrunning on the right side. The couple of peasants in the foregroundhas also analogies. In 1896 \“Tygodnik Ilustrowany\”, issue (1896/1/)10, p. 191 presented the woodcut called Courtship (il. 4) with apair of peasants on a low, one-horse sleigh. Their poses, theirfaces, clothes are the same like those from Peasant Wedding. Thereis also a group of paintings, known from archive records, whichshow peasant processions going among trees and bushes. However,they are not dated.Mentioned examples can be multiplied. Nonetheless, it makes nodifference for the sake of argument. Based on comparative analysis,it can be stated that the examined work was created between1890-1900.In 1892 AWK won a golden medal for painting „In Februar\“ („W lutym\“). It was a winter scene with wolfs.In 1899 in Heinemann Gallery painting „Coming back from the Wedding\“ (\“Heimhehr nach dem Hochzeit\“) - 77 x 107 cm – was sold. It wasbought by J. Prowe from Moscow.Eliza PtaszyńskaSuwałki, 25.0"
Alfred Von Wierusz-Kowalski - Sleigh

Alfred Von Wierusz-Kowalski - Sleigh

Original 1880
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Starting price:

Price:

Net Price
Lot number: 18
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Description:
Sleigh, c.1880
Alfred Wierusz-Kowalski
31.8 x 55 cm
oil, board
Alfred Wierusz-Kowalski (1849 - 1915)
One of the most eminent Polish Painters of the so-called Munich school. He was also alongside with Joseph Brandt and Władysław Czachórski one of the most popular Polish artists active in Munich. He settled there in 1873 just after his studies in Warsaw and Dresden. He studied for a year at the Munich Academy of Fine Arts under the direction of Alexander Wagner and later he moved to the private studio of Brandt. He was noticed early in his career by the critique and the public. His paintings which received medals at numerous exhibitions where sought-after by collectors and German art dealers. In 1890 he was nominated a honorary professor of the Munich Academy. He painted generic and historical scenes. Such themes like horsemen, knights, hunters, horses, wolfs and snow where dominant in his works. After his journey to Africa in 1903 he also undertook oriental themes. His paintings sparsely can be found in collections of Polish museums. His paintings where sold mostly on the German market and turned up in private collections in Germany and the United States. The present upsurge on the Polish art market and rise in interest in art collecting causes that his paintings are slowly drawn back to Poland.
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