Lot 116
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Raumbeispiel
116
Gabriele Münter
Stillleben mit Sommerblumen, Around 1940/50.
Oil on canvas
Estimate:
€ 50,000 - 70,000
$ 56,500 - 79,100
Stillleben mit Sommerblumen. Around 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)..
Accompanied by ah written confirmation of authenticity issued by the Gabriele Münter and Johannes Eichner Foundation, Munich, dated April 23, 2025. The painting will be included in the catalogue raisonné of paintings by Gabriele Münter.
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).
Called up: June 7, 2025 - ca. 14.21 h +/- 20 min.
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)..
Accompanied by ah written confirmation of authenticity issued by the Gabriele Münter and Johannes Eichner Foundation, Munich, dated April 23, 2025. The painting will be included in the catalogue raisonné of paintings by Gabriele Münter.
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).
Called up: June 7, 2025 - ca. 14.21 h +/- 20 min.
"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]
116
Gabriele Münter
Stillleben mit Sommerblumen, Around 1940/50.
Oil on canvas
Estimate:
€ 50,000 - 70,000
$ 56,500 - 79,100
Buyer's premium, taxation and resale right compensation for Gabriele Münter "Stillleben mit Sommerblumen"
This lot can be purchased subject to differential or regular taxation, artist‘s resale right compensation is due.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 7 % is levied to the sum of hammer price and premium.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.
The artist‘s resale right compensation is VAT-exempt.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 7 % is levied to the sum of hammer price and premium.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.
The artist‘s resale right compensation is VAT-exempt.
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