Lyonel Feininger s Nature Notes in and around Weimar

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GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL Dr. Alexandra Henze Triebold Marc Triebold Wettsteinstrasse 4 - CH 4125 Riehen/Basel Tel. +41/61/641 77 77 - Fax: +41/61/641 77 78 www.henze-ketterer.

1 GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL Dr. Alexandra Henze Triebold Marc Triebold Wettsteinstrasse 4 - CH 4125 Riehen/Basel Tel. +41/61/ Fax: +41/61/ ghkt@artgalleries.ch s Nature Notes in and around Weimar A Prelude to the Bauhaus Centenary : Stadtkirche, Weimar I. Charcoal on hand-made paper, 1929, signed on the lower left.. 37,5 x 29 cm. From June 27th to July 4th 2018 we will be participating in Masterpiece London. From July 22nd to August 6th 2018 our gallery will be closed for our gallery summer holidays.

2 GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL Dr. Alexandra Henze Triebold Marc Triebold Wettsteinstrasse 4 - CH 4125 Riehen/Basel Tel. +41/61/ Fax: +41/61/ ghkt@artgalleries.ch s Nature Notes in and around Weimar A Prelude to the Bauhaus Centenary 8 th June until 29 th September 2018 Almost a hundred years have gone by since the Bauhaus was founded in Weimar in 1919 which means that the coming year will be the Bauhaus s first centenary year, during which a multitude of exhibitions, art projects, events and all kinds of activities will be taking place not only in the erstwhile locations of its relatively short lifetime first Weimar, then Dessau and finally Berlin, where even new museum buildings are to be opened but also in the whole of Germany and even farther afield. The idea behind these celebratory activities is to show where and how the Bauhaus has developed and influenced architecture, urban planning, product design, the visual arts, typography, photography, dance and a great many other creative fields, and all under the sign of the Gesamtkunstwerk. Thus the focus will not be just on the historical context of the Bauhaus but also on its influence on subsequent generations of artists. Consequently, the exhibitions will be showing more than just artefacts from the Bauhaus era. Visitors attention will also be drawn to new cultural centres and venues that have been developed and built in the spirit of the Bauhaus. The cycle of exhibitions will begin in Weimar in the spring of 2019 with an opening ceremony celebrating the founding of the Bauhaus. This exhibition in the new Bauhaus Museum in Weimar, which houses the oldest Bauhaus collection worldwide, will be devoted to the theme of the influence of the Bauhaus on modernism. In the summer of 2019 the Bauhaus Archive/Museum for Design in Berlin will be showing outstanding classics of Bauhaus design, some of them now world-famous, which illuminate the relationship between the unique and the edition, between the original and the copy. The exhibition mounted by the Bauhaus Foundation in Dessau, which will be opening at the new Bauhaus Museum in Dessau in the autumn of 2019, will be showing objects that today are an indispensable part and parcel of our lives and surroundings and reflect the influence of the Bauhaus legacy on the everyday culture of the present day. Our own exhibition on s Nature Notes in and around Weimer may be seen as a prelude to the centenary celebration of the founding of the Bauhaus, a school of art and design that has left its mark on all creative generations ever since. Bauhaus founder Walter Gropius s innovative idea behind the Bauhaus in Weimar later in Dessau and then in Berlin was to unite fine art and applied art by affording a new generation of skilled and dedicated artists and designers the opportunity to revolutionize everyday life and to create, through art and design, a new and better world. To this end Gropius placed master craftsmen in charge of the school s workshops, in which students were able to practice experimentation and design, the distinction between theory and practice being waived almost entirely. The artists engaged by Gropius as teachers included such renowned personalities as, Johannes Itten, Josef Albers, Paul Klee (from 1921), Wassily Kandinsky (from 1922) and Oskar Schlemmer (from 1921). Using educationally adapted, reoriented and experimental methods, the Bauhaus taught its students how to work with different materials, such as glass, wood, clay and metal, and gave them training in the performing arts and in typography, photography and commercial art, to name only a few of the creative crafts taught at the school. Practice and theory, experimentation and teaching were virtually inseparable entities. The many different workshops offered the students an enormous range of possibilities. Even today, art colleges all over the world employ Bauhaus-influenced teaching and training methods, beginning with

3 an introductory course, in which great importance is attached to versatile, comprehensive training, and followed by participation in various workshop courses. was appointed to the teaching and training staff by Walter Gropius in May From then until 1925 he was in charge of the printmaking workshop. His woodcut Cathedral graces the title page of the Bauhaus manifesto of The very first publication of the Weimar Bauhaus, in 1921, was a portfolio containing twelve woodcuts by Feininger. Later, in 1926, he moved with the Bauhaus to Dessau, where he remained released at his own request from all teaching duties until Born in New York in 1871, was a late-comer to painting, having for many years been a caricaturist. From 1906, when Feininger first travelled to Weimar in order to visit his future second wife, he would often take a stroll in and around Weimar and make drawings and sketches of nature, which he called his Nature Notes. They were a kind of visual diary, which he kept in a file and later used for his paintings. The drawings and sketches are lovingly executed, abstracted renderings of urban Weimar and its surrounding countryside, impressions of what the artist saw captured on small sheets of paper. A longer period of stay in the region was taken between 1913 and 1914 and then again from 1919, when he was appointed to the Bauhaus teaching staff. Feininger was fascinated not only by the architecture of Weimar, with its magnificent churches, its towers, its streets with their historical buildings and bridges, but also by its surrounding open countryside that inspired him to make these small-format sketches with such matured dexterity. Feininger captured not only Weimar but also many of the surrounding, idyllically situated villages. Feininger s Nature Notes may be seen as preliminary sketches on the spot, the initial capture of what he has seen, whether landscape or architecture, very often with human figures as well. He produced a multitude of drawings on paper the sheets rarely exceeding a format of 20 cm in pencil, charcoal, pen and ink or coloured chalk. They served him as a kind of treasure trove, as an archive on which he could draw again and again, even years later. Drawing exactly what he saw, capturing what took place in nature at first hand, was the beginning of an artistic process that culminated in a composition painted in oil or a woodcut pulled from a carved block of wood. Thus the drawings and sketches were Feininger s artistic capital. While the first of these works are known to date from 1887, Feininger did not produce them continuously until sometime between 1906 and The development of Feininger s style in the various phases of his oeuvre is mirrored in his Nature Notes. They were his source material for experimentation, which he used as a means of developing his innovative artistic and stylistic strategies. From their accompanying notes and correspondence we learn of Feininger s passion and enthusiasm for the cycling tours he would make daily from Weimar in all directions to the outlying villages. Feininger would also make several drawings of his favourite motifs viewed from different perspectives, rapidly capturing them in their entirety with extreme economy of line and perspectival distortion and creating cubistically simplified architectural forms with only a suggestion of hatched shading. Feininger never ceased to impress upon his students at the Bauhaus that nature study at first hand was the most fundamental aspect of all artistic endeavour. Feininger first developed ideas of form on the spot, in front of his chosen subject, as small-format drawings on paper, which he would then use as the starting points for his oil paintings and prints. Thus it was that Feininger s famous Thuringian motifs, realized over the course of many years, had their origins in the Nature Notes made in and around Weimar decades before. This exhibition would not have been possible without the kind support of The Lyonel Feininger Project, New York. Alexandra Henze Triebold

Strandszene mit Badenden Crayon and pencil on paper, 1911.

Id: 80423 Dorfstrasse Pencil on paper, 1915. 20 x 16,2 cm.

Id: 80417 Ernst Ludwig Kirchner Strasse in Dresden Pencil, on

With the estate-stamp on the verso. Obj.

Obj. Id: 80375 Dorfstrasse, Niedergrunstedt Crayon on paper, 1913.

4 Strandszene mit Badenden Crayon and pencil on paper, x 20,5 cm. Dated «Mon. Sep » on the upper right. Obj. Id: Dorfstrasse Pencil on paper, x 16,2 cm. Dated «18 IV 15» on the lower centre. Obj. Id: Ernst Ludwig Kirchner Strasse in Dresden Pencil, on satinated paper, x 34 cm. With the estate-stamp on the verso. Obj. Id: Strasse, Weimar 20,4 x 15,8 cm. Dated on the upper right. Obj. Id: Dorfstrasse, Niedergrunstedt Crayon on paper, ,2 x 20,2 cm. Dated «1 VIII 13» on the upper left. Obj. Id: Dorfstrasse Pencil on paper, x 20,5 cm. Dated «29 III 20» at the upper centre. Obj. Id: 80419

Id: 80373 Dorfstrasse, Kromsdorf 16,2 x 20,2 cm.

Id: 80401 Dorfstrasse Pencil on paper, 1920.

Dated on the lower right «11 VI 19». Obj.

Signed and dated «Feininger 1933» on the lower

5 Coudraystrasse, Weimar 16,2 x 20,2 cm. Dated on the upper right. Obj. Id: Dorfstrasse, Kromsdorf 16,2 x 20,2 cm. Dated «23 V 13» on the upper right. Obj. Id: Dorfstrasse Pencil on paper, ,9 x 20,6 cm. Dated on the lower right «11 VI 19». Obj. Id: Häusergruppe mit zwei Personen Watercolour and ink pen on paper, x 31,2 cm. Signed and dated «Feininger 1933» on the lower left. Obj. Id: Gehender Mann; Vollersroda Pencil on paper, circa ,1 x 10,7 cm. Obj. Id: Pencil on paper, ,5 x 21,5 cm. Dated on the lower left « ». Obj. Id: 80392

Ernst Ludwig Kirchner Strassenbild Dresden Woodcut on chamois hand-made paper,

One of 5 known impressions of the print by the artist.

With the stamp of the artist «Unverkäuflich E. L.

Id: 66183 Dorfstrasse Crayon on paper, 1914. 20,3 x 15,9 cm.

6 Ernst Ludwig Kirchner Strassenbild Dresden Woodcut on chamois hand-made paper, ,9 x 12,7 to 21,7 x 17,3 cm. Dube H 63. One of 5 known impressions of the print by the artist. Signed on the lower left and marked «Handdruck» on the lower right. With the stamp of the artist «Unverkäuflich E. L. Kirchner» as well as with the estate-stamp on the verso. Obj. Id: Dorfstrasse Crayon on paper, ,3 x 15,9 cm. Dated «8 VI 14» on the upper right. Obj. Id: Dorfstrasse Wax crayon on paper, ,3 x 15,9 cm. Dated «3 VI 14» on the upper right. Obj. Id: Dorfstrasse 16,5 x 20,8 cm. Dated «7 V 13» on the lower right. Obj. Id: 80412

7 Dated «SAT 6 VI 14» on the lower left. Obj. Id: Dated on the lower right «6 VI 14». Obj. Id: Dated «9 VI 14» on the upper right. Obj. Id: Auf der Brücke (On the bridge) Oil on canvas, x 63 cm. Signed and dated «Feininger 13» on the lower left. Analog image:: Actual condition Loan from private collection. Pencil on paper, circa Obj. Id: Wax crayon on paper, Dated «19 IX 13» on the lower left. Obj. Id: Pencil and wax crayon on paper, Dated «6 VI 14» on the upper right. Obj. Id: 80389

Ernst Ludwig Kirchner An der Berliner Strasse, Dresden Woodcut on ribbed

Dube H 67, one of the 4 known impressions of the print by the artist.

Id: 66300 Niedergrunstedt Pencil and crayon on paper, 1913. 12,6 x 20 cm.

Id: 80403 Klein-Kromsdorf Crayon on paper, 1915. 15,9 x 20,3 cm.

Marked by Julia Feininger «Kl Kromsdorf erster Kompositionsversuch nach einer

Id: 80402 Oberweimar Wax crayon on paper, 1911. 16 x 20,2 cm.

Id: 80371 Häuser Pencil on squared paper, 1920. 16,5 x 20,5 cm. Dated «Sonnab.

Dated «15 V 13» on the upper right. Marked with «TAUBACH» on the upper left.

8 Ernst Ludwig Kirchner An der Berliner Strasse, Dresden Woodcut on ribbed hand-made chamois paper, ,7 x 17,6 to 18,5 x 22,5 cm. Dube H 67, one of the 4 known impressions of the print by the artist. Signed on the lower left. With the estate-stamp on the verso. Obj. Id: Niedergrunstedt Pencil and crayon on paper, ,6 x 20 cm. Dated on the lower left and marked «Niedergrunstedt 14 V 13». Obj. Id: Klein-Kromsdorf Crayon on paper, ,9 x 20,3 cm. Dated «30 IV 15» on the upper right. Marked by Julia Feininger «Kl Kromsdorf erster Kompositionsversuch nach einer Skizze nicht vor der Natur» on the verso. Obj. Id: Oberweimar Wax crayon on paper, x 20,2 cm. Dated and marked «OberWeimar tues 25 IV II» on the upper right. Obj. Id: Häuser Pencil on squared paper, ,5 x 20,5 cm. Dated «Sonnab. d. 24. Apr. 1920» on the lower left. Obj. Id: Taubach 16,5 x 20,5 cm. Dated «15 V 13» on the upper right. Marked with «TAUBACH» on the upper left. Obj. Id: Häuser in Niedergrunstedt 16,2 x 20,2 cm. Dated «28 IV 13». Obj. Id: Lüneburg II Watercolour and ink pen on paper, ,5 x 28,5 cm. Signed, dated and titled on the lower side. Loan from private collection

Id: 80395 Vollersroda Dated «8 V 14» on the

Marked «Vollersroda» on the lower left. Obj.

cm. Dated «Fri 9 V 13» on the lower right.

9 Kirche in Eichelborn 20,2 x 16,2 cm. Dated «10 VII 13» on the upper right. Obj. Id: Eichelborn 15,8 x 20,4 cm. Dated «10 VI 14» on the upper right. Obj. Id: Vollersroda Dated «8 V 14» on the upper right. Marked «Vollersroda» on the lower left. Obj. Id: Kirche von Vollersroda 20,5 x 24 cm. Dated «9 V 13» on the upper right. Obj. Id: Kirche von Vollersroda 16,2 x 20,2 cm. Dated «Fri 9 V 13» on the lower right. Obj. Id: Klein-Schwabhausen Pencil on paper, ,2 x 15,8 cm. Dated «16 IX 13» on the upper right. Obj. Id: Dorfkirche 15,8 x 20,3 cm. Dated «3 VI 14» on the upper right. Obj. Id: 80414

Udestedt Crayon on paper, 1913. 20,2 x 15,8 cm.

Weimar Pencil on paper, 1919. 16 x 20,7 cm.

Id: 80377 Strasse in Weimar Pencil on paper,

Id: 80370 Dächer, Id: 80378 Oberweimar Wax

Marked «Udestedt» on the upper right and dated

Id: 80372 Strasse, Weimar 20,4 x 15,8 cm.

Id: 80376 Dächer, Weimar Crayon on paper, 1913.

10 Udestedt Crayon on paper, ,2 x 15,8 cm. Marked «Udestedt» on the upper centre. Obj. Id: Analog image: St. Kilian, Udestedt Actual condition Marktplatz, Weimar Pencil on paper, x 20,7 cm. Dated «12 VI 19» on the lower right. Obj. Id: Strasse in Weimar Pencil on paper, ,2 x 6 cm. Dated on upper center. Obj. Id: Dächer, Weimar Pencil on paper, x 20,7 cm. Dated «12 VI 19» on the lower right. Obj. Id: Oberweimar Wax crayon on paper, ,2 x 20,2 cm. Marked «Udestedt» on the upper right and dated «OberWeimar 14 V 13». Obj. Id: Strasse, Weimar 20,4 x 15,8 cm. Dated «28 IV 14» on the upper left. Obj. Id: Dächer, Weimar Crayon on paper, Dated on the lower right «Sat 27 IX 13». Obj. Id: 80374

Stadtkirche, Weimar I Charcoal on hand-made paper, 1929. 31 x 25 on 37,5 x 29 cm.

Ludwig Kirchner Sophienkirche Dresden Pencil, partly smoothed, circa 1911. 34,3 x 27,4 cm.

11 Stadtkirche, Weimar I Charcoal on hand-made paper, x 25 on 37,5 x 29 cm. Signed on the lower left. On the lower center titled «Stadtkirche Weimar I». Dated « » on the lower right. Obj. Id: Analog image: Stadtkirche, Weimar Black and white photography Actual condition Ernst Ludwig Kirchner Sophienkirche Dresden Pencil, partly smoothed, circa ,3 x 27,4 cm. On satin chamois paper. Signed in ink on the lower right. Titled by the artist As well as with the estate-stamp on the verso. Obj. Id: Analog image: Sophienkirche am Postplatz, 1910/1920 Destroyed

Kirche in Gelmeroda Wax crayon on paper, 1913.

Id: 80398 Analgo image: Kirche in Gelmeroda

Dated «13 VI 19» on the upper right. Obj.

Marked «Gaberndorf» on the upper centre. Obj.

12 Kirche in Gelmeroda Wax crayon on paper, ,1 x 15,9 cm. Obj. Id: Analgo image: Kirche in Gelmeroda Actual condition. Gelmeroda Wax crayon on paper, ,3 x 21,6 cm. Dated «13 VI 19» on the upper right. Obj. Id: Kirche in Gelmeroda mit Baum Pencil on squared paper, ,2 x 20,2 cm. Dated «Thurs Jy 31 13» on the upper right. Obj. Id: Gaberndorf 20,2 x 16,2 cm. Dated «3 V 13» on the lower right. Marked «Gaberndorf» on the upper centre. Obj. Id: Analog image: Gaberndorf I Oil on canvas, 1921, 80 x 100 cm. Osthaus Museum, Hagen. Eichelborn 15,8 x 20,4 cm. Dated with «10 VI 14» on the upper right. Obj. Id: 80394

Id: 80385 Weg im Park, Weimar Dated «MON 14 IV

Id: 80381 Weg im Park, Weimar 20,4 x 15,8 cm.

Id: 80384 Im Park, Weimar Crayon on paper, 1914.

Dated «16 V 14 Sat» on the upper right. Obj.

Id: 80415 Baum im Park, Weimar Crayon on paper,

Id: 80379 Baum im Park, Weimar Pencil and crayon

13 Weg im Park, Weimar 15,8 x 20,4 cm. Dated «12 VI 14» on the upper left. Obj. Id: Weg im Park, Weimar Dated «MON 14 IV 13» on the lower left. Obj. Id: Weg im Park, Weimar 20,4 x 15,8 cm. Dated «12 VI 14» on the upper right. Obj. Id: Im Park, Weimar Crayon on paper, ,4 x 18,8 cm. Dated «16 V 14 Sat» on the upper right. Obj. Id: Allee Crayon on paper, ,3 x 15,9 cm. Dated «6 VI 14» on the upper centre. Obj. Id: Baum im Park, Weimar Crayon on paper, Dated «27 IX 13» on the upper right. Obj. Id: Baum im Park, Weimar Pencil and crayon on paper, Dated «27 IX 13» on the lower right. Obj. Id: Weg mit Bäumen Pencil and crayon on paper, ,9 x 20,3 cm. Dated «22 IX 13» on the upper right. Obj. Id: 80382

14 If not specified differently, all exhibited works are for sale. Galerie Henze & Ketterer & Triebold Riehen/ Basel Zweigstelle der Galerie Henze & Ketterer AG Wichtrach/ Bern Kunst von der klassischen Moderne bis in die Gegenwart Dienstag-Freitag Uhr - Samstag Uhr

Art Basel 43 Art Feature, Hall 2.0 Booth G8 14th 17th June 2012

Art Basel 43 Art Feature, Hall 2.0 Booth G8 14th 17th June 2012 GALERIE HENZE & KETTERER AG Kirchstrasse 26 - CH 3114 Wichtrach/Bern Tel. +41/31/781 06 01 - Fax: +41/31/781 07 22 www.henze-ketterer.ch modernart@henze-ketterer.com GALERIE HENZE & KETTERER & TRIEBOLD