Sale: 591 / Day Sale, June 07. 2025 in Munich 
Lot 125000153
Lot 125000153 
125000153
Gabriele Münter
Stillleben mit Sommerblumen, Wohl 1940/50.
Oil on canvas
Estimate:
€ 50,000 - 70,000
$ 54,000 - 75,600
Information on buyer's premium, taxation and resale right compensation will be available four weeks before the auction.
Stillleben mit Sommerblumen. Wohl 1940/50s.
Oil on canvas.
With the estate stamp on the reverse of the canvas. With the estate number “S 35” partly stamped and partly handwritten on a label on the stretcher. With the handwritten estate number “S 35” on the reverse of the canvas. 50 x 40.5 cm (19.6 x 15.9 in).
• With bold, bright colors, strong contours, and appealing, simple designs, Gabriele Münter creates an exceptionally sophisticated and charming composition.
• In the background, the artist refers to her painting “Stilleben mit Ostereiern” (1914, Städtische Galerie im Lenbachhaus, Munich).
• Front and background tell the story of her artistic development: from her time with the group “Blauer Reiter” to her mature later creative years.
• In 1955, Gabriele Münter was one of only seven female artists at the first documenta exhibition.
• In the past three years alone, the artist's works have been part of major international museum exhibitions (Museo Nacional Thyssen-Bornemisza, Madrid; Leopold Museum, Vienna; Royal Academy of Arts, London; and Zentrum Paul Klee, Bern)..
PROVENANCE: From the artist's estate (with the estate stamp on the reverse).
Galerie Vömel, Düsseldorf.
Private collection, Bielefeld (probably acquired from the above in 1974).
Private collection, South Germany (inherited from the above).
EXHIBITION: Ölbilder von Gabriele Münter, Galerie Vömel, Düsseldorf (in cooperation with Galerie Gunzenhauser, Munich), from November 25, 1974, cat. no. 9 (illustrated).
Oil on canvas.
With the estate stamp on the reverse of the canvas. With the estate number “S 35” partly stamped and partly handwritten on a label on the stretcher. With the handwritten estate number “S 35” on the reverse of the canvas. 50 x 40.5 cm (19.6 x 15.9 in).
• With bold, bright colors, strong contours, and appealing, simple designs, Gabriele Münter creates an exceptionally sophisticated and charming composition.
• In the background, the artist refers to her painting “Stilleben mit Ostereiern” (1914, Städtische Galerie im Lenbachhaus, Munich).
• Front and background tell the story of her artistic development: from her time with the group “Blauer Reiter” to her mature later creative years.
• In 1955, Gabriele Münter was one of only seven female artists at the first documenta exhibition.
• In the past three years alone, the artist's works have been part of major international museum exhibitions (Museo Nacional Thyssen-Bornemisza, Madrid; Leopold Museum, Vienna; Royal Academy of Arts, London; and Zentrum Paul Klee, Bern)..
PROVENANCE: From the artist's estate (with the estate stamp on the reverse).
Galerie Vömel, Düsseldorf.
Private collection, Bielefeld (probably acquired from the above in 1974).
Private collection, South Germany (inherited from the above).
EXHIBITION: Ölbilder von Gabriele Münter, Galerie Vömel, Düsseldorf (in cooperation with Galerie Gunzenhauser, Munich), from November 25, 1974, cat. no. 9 (illustrated).
"I depicted the world as it essentially appeared to me.”
Gabriele Münter in retrospect, 1948, article for the magazine “Das Kunstwerk,” quoted from: Karoline Hille, Gabriele Münter. Die Künstlerin mit der Zauberhand, p. 12.
After a long period spent traveling, the artist returned to Munich and Murnau in 1931. The scenic surroundings and her home provided her with a wealth of motifs, among which still lifes continued to hold a special position, as they did throughout her entire oeuvre.
The artist was fascinated with the formal beauty of flowers and interesting objects, which she combined in her paintings with great artistic sensitivity and finesse.
Gabriele Münter's former partner, Wassily Kandinsky, had developed a keen interest in folk art at an early age in Russia. He passed his fascination on to his partner during their time in Murnau from 1908 onwards. Together, they collected regional reverse glass paintings, folk sculptures, contemporary nativity figures, crucifixes, statues of the Virgin Mary, votive tablets, and wood and clay toys. Due to its naive and original style, frequent use of bold colors, and simple, plain forms, folk art became a signature feature of Münters' still lifes and interior scenes in the years that followed.
The work here shows a small clay bird from Gabriele Münter's private collection (now the Gabriele Münter and Johannes Eichner Foundation, Munich). This is a simple vase with an arrangement of red poppies, white daisies, and the dangling branches of bleeding hearts (Capsella bursa-pastoris), which the artist stylized to look more simple and real. With imaginative ingenuity and compositional sophistication, Münter shows a detail of her painting “Stillleben mit Ostereiern” (Still Life with Easter Eggs, 1914, Städtische Galerie im Lenbachhaus, Munich) in the background. This central theme of a “picture within a picture” can be found in very different forms in several of her still lifes. Münter thus confidently refers to her work and position as an established painter.
Upon closer inspection, an impression of unrelated objects arranged side by side proves unfounded; this is a carefully designed, intricate composition. The later still lifes bear no resemblance to the almost spiritual Madonna depictions from her earlier years in Murnau. Instead, the artist uses the still life genre to formulate her refined and renewed artistic goals: she employs bright, radiant colors, clear, objective formal language, and dark, contouring lines, and despite the simple, reduced, and unsentimental pictorial statement, she shows great attention to detail without pandering to the popular. The result represents great artistic maturity with a decidedly modern message. [CH]
Gabriele Münter in retrospect, 1948, article for the magazine “Das Kunstwerk,” quoted from: Karoline Hille, Gabriele Münter. Die Künstlerin mit der Zauberhand, p. 12.
After a long period spent traveling, the artist returned to Munich and Murnau in 1931. The scenic surroundings and her home provided her with a wealth of motifs, among which still lifes continued to hold a special position, as they did throughout her entire oeuvre.
The artist was fascinated with the formal beauty of flowers and interesting objects, which she combined in her paintings with great artistic sensitivity and finesse.
Gabriele Münter's former partner, Wassily Kandinsky, had developed a keen interest in folk art at an early age in Russia. He passed his fascination on to his partner during their time in Murnau from 1908 onwards. Together, they collected regional reverse glass paintings, folk sculptures, contemporary nativity figures, crucifixes, statues of the Virgin Mary, votive tablets, and wood and clay toys. Due to its naive and original style, frequent use of bold colors, and simple, plain forms, folk art became a signature feature of Münters' still lifes and interior scenes in the years that followed.
The work here shows a small clay bird from Gabriele Münter's private collection (now the Gabriele Münter and Johannes Eichner Foundation, Munich). This is a simple vase with an arrangement of red poppies, white daisies, and the dangling branches of bleeding hearts (Capsella bursa-pastoris), which the artist stylized to look more simple and real. With imaginative ingenuity and compositional sophistication, Münter shows a detail of her painting “Stillleben mit Ostereiern” (Still Life with Easter Eggs, 1914, Städtische Galerie im Lenbachhaus, Munich) in the background. This central theme of a “picture within a picture” can be found in very different forms in several of her still lifes. Münter thus confidently refers to her work and position as an established painter.
Upon closer inspection, an impression of unrelated objects arranged side by side proves unfounded; this is a carefully designed, intricate composition. The later still lifes bear no resemblance to the almost spiritual Madonna depictions from her earlier years in Murnau. Instead, the artist uses the still life genre to formulate her refined and renewed artistic goals: she employs bright, radiant colors, clear, objective formal language, and dark, contouring lines, and despite the simple, reduced, and unsentimental pictorial statement, she shows great attention to detail without pandering to the popular. The result represents great artistic maturity with a decidedly modern message. [CH]
125000153
Gabriele Münter
Stillleben mit Sommerblumen, Wohl 1940/50.
Oil on canvas
Estimate:
€ 50,000 - 70,000
$ 54,000 - 75,600
Information on buyer's premium, taxation and resale right compensation will be available four weeks before the auction.
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