Sale: 560 / Evening Sale, Dec. 06. 2024 in Munich Lot 14


14
Gabriele Münter
Blauer Kegelberg, Um 1930.
Oil on canvas
Estimate:
€ 150,000 - 250,000

 
$ 165,000 - 275,000

+
Blauer Kegelberg. Um 1930.
Oil on canvas.
With two estate stamps and inscribed “L. 341” in chalk and “92” in blue by a hand other than that of the artist on the reverse. Stretcher with a label with the partly handwritten, partly stamped estate number “L 341” and a label with the stamped number “1337”. 45 x 38 cm (17.7 x 14.9 in).
The work is registered in the artist's estate under the number L 341.

• Münter transforms the landscape genre into a modern, highly abstract color painting.
• Blue is the spiritual color of the Blue Rider.
• Quintessence of Münter's deep fascination with the “Blue Land”.
• Currently, Münter is honored at the Tate Modern, London, and with a solo exhibition in the Thyssen-Bornemisza collection in Madrid
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Accompanied by a written authentication issued by the Gabriele Münter and Johannes Eichner Foundation, Munich, dated October 1, 2013. The work will be included in the catalogue raisonné of paintings by Gabriele Münter.

PROVENANCE: From the artist's estate.
Private collection, Southern Germany.
Private collection, Berlin
Private collection, Hesse (from the above in 2013, Ketterer Kunst).

EXHIBITION: Galerie Gunzenhauser, Münter - Frühe Ölbilder, Munich, until April 30, 1971.

LITERATURE: Ketterer Kunst, Munich, A 409 Modern Art, June 6, 2013, lot 339.

Called up: December 6, 2024 - ca. 17.26 h +/- 20 min.

This painting combines everything that Murnau meant to Gabriele Münter. "Der blaue Berg" (The Blue Mountain) was created in 1930. Around this time, following a challenging personal period, she returned to her “Russen-Haus” (the “Russian House”), which she had bought in 1909 when she was with Wassily Kandinsky. The place provided the setting for an artistic breakthrough and a brief period of personal fulfillment. However, breaking up with Kandinsky in 1914 and the disappointed hope of a reunion led to difficult years. Only through her relationship with Dr. Johannes Eichner, whom she met in Berlin at the end of 1927, the artist regained personal balance. It was Eichner who encouraged her to return to this special place. Hence, “Blauer Berg” can be understood as a welcome picture. She turned to the mountain motif that spread out right in front of her house, choosing this cone-shaped mountain and placing it prominently in the center of the picture. In this 'welcome picture,' she consciously revisited compositions of the 'Blue Rider' period and the early days in the Blue Land. The view over the Murnau Marshes to the mountains has always been a central motif for the artist. In the painting “Blauer Kegelberg,” Gabriele Münter adopts an abstract composition. Münter reduces the landscape to distinct planes of color. There is no staffage, such as trees or houses. She presents the solid, calm landscape clearly and concisely. It may also represent a return to her roots in her early days in Murnau when she was deeply involved with reverse glass painting and the emotional impact of these rural votive pictures. In this two-dimensional representation, Münter attempted to capture the scene and the spiritual essence of nature and her emotions. The mighty blue that recurs in variations in the distance not only represents the typical hue of the mountains in the so-called 'Blue Land' but can also be associated with the meaning that Kandinsky formulated in his essay 'The Spiritual in Art': “This gift of deepening we find in the blue [..]. The deeper the blue becomes, the more it calls man into infinity, awakening a longing for the pure and, ultimately, the transcendental. It is the color of the sky as we imagine it from the sound of the word heaven” (quoted from: W. Kandinsky, Concerning the Spiritual in Art, Munich 1912, p. 77). [EH]




Buyer's premium, taxation and resale right compensation for Gabriele Münter "Blauer Kegelberg"
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 19 % is levied to the sum of hammer price and premium. As an exception, the reduced VAT of 7 % is added for printed books.

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.