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This item WAS NOT SOLD. Auction date was 2002 Jun 24 @ 07:00UTC-8 : PST/AKDT
MAX BECKMANN
(1884-1950)
Grosses Frauenbild (fünf Frauen)
(five women)
signed and dated “Beckmann/B. 35” (lower center)
oil on canvas
215.3 x 110 cm (843⁄4 x 431⁄4 in.)
painted in 1935
Estimate: £5,500,000–8,000,000
$8,000,000–12,000,000
Provenance
The Artist’s Studio, New York
Mathilde “Quappi” Beckmann, New York, (by descent from the above)
Catherine Viviano Gallery, New York (on consignment from the above)
Acquired from the above by the present owner in 1965
Exhibited
New York, Buchholz Gallery (Curt Valentin), Exhibition, May 10-June 4, 1938, no. 9 (as The Party)
New York, Buchholz Gallery (Curt Valentin), Paintings by Max Beckmann, April 28-May 17, 1941, no. 13 (as The Party)
Chicago, The Arts Club, Max Beckmann: Exhibition, January 2-12, 1942, no. 19
Karlsruhe, Badischer Kunstverein, Max Beckmann - Das Porträt, Gemälde, Aquarelle, Zeichnungen, August 26-November 17, 1963, no. 5 (illustrated in colour)
New York, Catherine Viviano Gallery, Twelve Paintings of Women by Max Beckmann, February 7-March 4, 1967, n.n. (illustrated; as The Party (Quappi with Four Women)
Literature
The Artist’s Handlist, Berlin, 1935
Doris Brian, ArtNews 40, 1941, p. 26, no. 7 (illustrated)
“Exhibition in the Buchholz Gallery”, New York Times, May 3, 1941
Benno Reifenberg and Wilhelm Hausenstein, Max Beckmann, Munich, 1949, no. 345
Erhard Göpel, “Max Beckmann als Porträt-Maler: Die Ausstellung im Badischen Kunstverein in Karlsruhe,” Die Weltkunst 21, November 1963, p. 14
(illustrated, p. 15; Naïla incorrectly identified as The Rumanian)
Margort Ortwein Clark, Max Beckmann, Sources of Imagery in the Hermetic Tradition, Ph.D diss., Washington University, 1975, pp. 305-306 (illustrated, no. 45, p. 459)
Erhard and Barbara Göpel, Max Beckmann, Katalog der Gemälde, Bern, 1976, vol. I, p. 278, no. 415; vol. II, pl. 142 (illustrated)
Mathilde Beckmann, Mein Leben mit Max Beckmann, Munich, 1983, p. 219
Carla Schulz-Hoffmann and Judith Weiss, eds., Max Beckmann Retrospective, exh. cat., The St. Louis Art Museum, 1984,
pp. 322-323, 354 and 460
Fritz Erpel, Max Beckmann, Leben in Werk die Selbstbildnisse, Berlin, 1985, p. 61
Siegfried Gohr, “Piero della Francesca: Vorbild für die modernen Maler” in ART - Das Kunstmagazin 10, October 1992, p. 32 (illustrated in colour)
Klaus Gallwitz and Ursula Harter, eds., Max Beckmann, Briefe, Munich, 1996, vol. III, 1937-1950, pp. 141 and 552
Stephan Reimertz, Max Beckmann und Minna Tube: Eine Liebe im Porträt, Berlin, 1996, p. 151
Max Beckmann and Paris, exh. cat., The Saint Louis Art Museum and Kunsthaus, Zurich, 1996, p. 215
Christian Lenz, “Max Beckmanns Bildnisse von Minna,” Minna Beckmann-Tube, exh. cat., Staatsgalerie moderner Kunst, Munich, 1998, pp. 27-28 (illustrated, p. 29)
Max Beckmann sieht Quappi, exh. cat., Emden Kunsthalle, Düsseldorf, 1999, p. 38 (illustrated)
<p>Following the confident strides of his Paris yearsin the 1920s as Germany’s most celebrated painter, Beckmann spent the 1930s in relative isolation and retreat. With the rise to power of the National Socialist Party in 1933, the artist was dismissed from his teaching position in Frankfurt and fled the increasingly virulent attacks against his newly branded “degenerate” art for the anonymity of Berlin. Residing in the fashionable Tiergarten district with his beloved second wife Quappi, Beckmann experienced an immensely creative period, in the company of a few old friends, loves, and acquaintances, until he was forced to leave Germany in 1937.
As if in defiance of these limiting circumstances, Beckmann engaged in the most ambitious figural compositions of his career, striking in their monumentality, expressive content and sheer mastery of form and colour, of which the present work may be counted. Painted in 1935, just a year after Beckmann’s fiftieth birthday, Grosses Frauenbild achieves a remarkable vitality in its lively portrayal of the five most important women in the artist’s life. Conceived in sumptuous colour and bold dramatic forms, it is at once a powerful psychologically nuanced portrait of distinct personalities and a bold synthesis of artistic ideas that Beckmann had long sought to unite in his claim for international recognition on the modern scene.
In this painting, Beckmann stages an imaginary gathering of the five monumental figures in his life whose radiant beauty and sophistication are equaled only by their luxuriant evening attire. The drawn lavender curtain divides the vertical format and separates the three great loves of the artist’s life from the two towering figures to the left of the scene, his devoted patrons and lifelong friends. Like so many of Beckmann’s “passing shows… in which the women act out their parts to the bitter or happy end”, the curtain appears to be raised to reveal the hidden tensions behind the scenes of actors in a real-life drama staged on Beckmann’s behalf (Stephan Lackner, Memories of a Friendship, Miami, 1969, p. 59).
In the center of the group is Mathilde “Quappi” Beckmann-Kaulbach, a young violinist whom the artist married in Frankfurt in 1925 (fig. 1).
Her image dominated Beckmann’s work in his remaining years, inspiring sixteen portraits and numerous other depictions. In velvety black silhouette, she firmly holds between her salmon pink gloves an oversized fan, which appears to echo, in its animate folds, the competing energies of the women in the group. Her arms crossed in front of her lend dignity and a self-protective air to her otherwise youthful beauty and coquettish charm.
To the left and behind Quappi in partial shadow is Käthe Rapoport von Porada, a young aristocrat whom Beckmann met in 1922, and who was considered “the most beautiful girl from Berlin” (fig. 2). A collector, friend and ardent supporter, “Rappo” was rumoured to be infatuated with the artist whose affections he claimed he did not return. Pressed against the back wall and wedged behind the imposing diagonals of the staircase, Käthe’s towering form remains hidden while her long protruding neck and forlorn gaze communicate her complete isolation.
In elegant profile to the left of the frame is Lilly von Schnitzler, the artist’s chief patron and an important member of Frankfurt society (fig. 3). She appears in a brilliant yellow evening gown and sumptuous ermine wrap which distinguish her social status and position. Her regal bearing is accentuated in the subtly delineated arch of her exposed back and the slight lift of her chin. A steadfast supporter of Beckmann’s work throughout the war years, Lilly recalled receiving a Beckmann painting every year for twenty years as a birthday gift from her husband (Lilly von Schnitzler, “Das Entstehen einer Beckmann-Sammlung” in Blick auf Beckmann, Munich, 1962, p. 176).
Emerging in deep shadow from the dark folds of her hooded fur-lined cloak is the mysterious Naïla, known as Dr. Hildegard Melms, a political scientist with whom Beckmann had an affair in Frankfurt in 1923. Her steely gaze and sensual attire suggest a strongly erotic presence, while she captivates the viewer with her long black glove pointing ominously outside the frame. Naïla’s distinctive features are recognizable in numerous paintings, prints and drawings that span the artist’s career (fig. 4). Cast as Hecate, Diana, Helen, or herself, she consistently personifies for Beckmann the “femme fatale behind whose sensuous charms there lurks the terror of the abyss” (Spieler, op. cit., p. 199).
Gracefully kneeling to the right of the frame on a magnificently raised pedestal is the independent Minna Beckmann-Tube, the artist’s first wife whom he divorced in 1925 but from whom he sought a deep and lasting friendship (fig. 5). Set apart from the women Beckmann had known in Frankfurt, Minna’s presence, in her luminous blue dress and tranquil repose, offsets the highly charged interplay above. She studies the reflected image in the mirror that almost certainly contains the discernible features of a self-portrait of the artist. Christian Lenz has made this suggestion in the catalogue of his 1984 Beckmann exhibition, an assertion that is supported by the striking resemblance to Beckmann’s own image in early photographs (see above fig. 6) at the time of his first marriage (See Christian Lenz, Max Beckmann: Retrospective, exh. cat., St. Louis Art Museum, 1984, p. 323).
The remarkable affinities shared with Picasso’s masterpiece, Les Demoiselles d’Avignon, further illuminate the significance of Grosses Frauenbild not only as an incisive group portrait but also as a complex figural composition that rivals the most radical formal statement in modern art (fig. 7). Beckmann’s longheld fascination and secret rivalry with Picasso lasted throughout his life. As Barbara Buenger acknowledges, “Picasso was the artist who most intrigued Max Beckmann in his maturity. He repeatedly acknowledged in open and discreet ways, both through borrowed motifs, attitudes, and figural ideas and, more generally, through Beckmann’s assimilation of Picasso’s emphatic way of coloring and defining forms” (Barbara Buenger, Max Beckmann’s Artistic Sources, Ann Arbor, 1981, p. 345). In the present work, the distinct placement and poses of Beckmann’s five women recall the famous brothel scene – the foregrounded squatting figure, the backside of the woman to the left of the frame who draws the curtain open, the crossed arms of the central figure, and the most virulent primal energies of the masked figure on the right transposed to the shadowy form of Naïla. Referenced as well is the theatrical staging and simultaneity of views that, in Picasso’s cubist disjunctures, situate the viewer both inside and outside the scene. Beckmann’s painting suggests a masterful alternative to this spatial effect through the traditional mirror motif, which reprises the artist’s role as observer and participant in his own “World Theater.”
Virtually alone among his contemporaries, Beckmann viewed the tradition of portrait painting as a “major” genre. His repeated attempts to bring a new dignity to figurative art in a modern idiom, expressed in his writings, letters, and, finally, in the works themselves, are masterfully achieved in Grosses Frauenbild. As Reinhard Spieler has offered, “these relationships are not only the cause of guilt and loss of liberty, but also a source of joy, strength and vitality… His image of woman and his painterly technique are in themselves vehicles of a living intensity which holds its own against the motifs of impending violence, destruction, and destabilization” (Spieler, ibid., p. 199).
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<p>As part of the Agreement, the Company will use and otherwise process personal
information on individuals as described in this Paragraph15. By agreeing to be bound by these Standard Terms and Conditions, each bidder consents to processing of personal information as described in this Paragraph15. Where the personal information concerns an individual who is an employee, agent or other representative of the bidder, the bidder undertakes to bring this Paragraph15 to the attention of the relevant individual and to ensure all relevant consents are given and maintained.
<p>The personal information the Company will process includes the following:
<p> (i) name and contact details of bidders and employees, agents or representatives
of bidders (including absentee bidders);
<p> (ii) account and financial details of bidders;
<p> (iii) details of each bidder’s use of auction and related services provided by the Company.
<p>The Company will use personal information for the following purposes:
<p> (i) providing auction and related services (including billing and payment collection services, customer care, technical and record maintainance, notification of changes to services, improvement and development of services, arrangements for absentee bidding and related services);
<p> (ii) record-keeping for up to six years following termination of the Agreement;
<p> (iii) operation and enforcement of the terms and conditions of the Agreement;
<p> (iv) credit checks on prospective bidders;
<p> (v) transferring our business to a purchaser;
<p> (vi) in relation to resolution of legal and regulatory matters, including:
<p> (1) compliance with laws and applicable regulations, orders of courts and other competent tribunals;
<p> (2) co-operation with the police or any government or regulatory body;
<p> (3)investigation of claims that use of any service that the Company provides infringes any rights or breaches any law, rule, regulation or order.
<p>The Company will disclose personal information to the legal advisors of any person claiming that any bidder’s use of services provided by the Company infringes any right or breaches any law, rule, regulation or order. Where a breach of the Agreement is suspected, personal information may be disclosed or passed to other parties as needed to assist the Company in recovering payment or otherwise enforcing a term or condition of the Agreement.
<p>The Company may contact bidders with information about products or services offered by affiliates of the Company. The Company will not sell, rent or otherwise transfer personal information to a third party for marketing purposes. Unless the bidder has opted out of receiving marketing information from the Company on the registration or absentee bidder form, the bidder consents to receiving such information from the Company and to processing of his personal information for this purpose. If at any time the bidder no longer wishes to receive such information, he must write to the Company at the Company’s registered office. Implementation of such notice will take place within 30 days of receipt at the correct address.
<p>The Company may transfer personal information between affiliates of the Company, for administration and auction-related purposes, including companies based outside the United Kingdom and the European Economic Area in countries which may not provide an equivalent level of data protection to that provided in the United Kingdom. By agreeing to be bound by these Standard Terms and Conditions, each bidder consents to the transfer of personal information abroad as required by the Company.
<p>16 INFORMATION
<p>If you need further information or have any questions about these Standard Terms and Conditions, the Authorship Warranty or any other provisions applicable to a sale, please call us at +44 20 7318 4010.
<p>
<p>AUTHORSHIP WARRANTY
<p>The Company provides the following limited warranty for each lot offered in the Catalogue. The Standard Terms and Conditions shall fully apply to this warranty.
<p>Definitions: The term “authorship” means the creator, period, culture, source or origin of a work of fine art or other property as identified in the description of the work in the Catalogue. The term “fine art” means a painting, sculpture, drawing, photograph or work of graphic art and prints.
<p>Limited Warranty: The Company warrants the authorship of fine art for a period of five years from the date of the sale by the Company, subject to the exclusions and limitations set forth below. This warranty only covers the original buyer of record from the Company (that is, the registered bidder).
<p>The provisions of Paragraph 3 of the Standard Terms and Conditions fully apply.
<p>Exclusions and Limitations: This Authorship Warranty does not cover:
<p> (i) subsequent owners or assigns of the Property, such as purchasers from, or donees of, the original buyer, and heirs, successors, beneficiaries and assigns;
<p> (ii) fine art created prior to 1870, unless the Property is determined to be counterfeit (a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty, which is materially less than the purchase price paid;
<p> (iii) any description which states that there is a conflict of specialist opinion on the authorship of the Property;
<p> (iv) any description which on the date of sale was consistent with the generally accepted opinions of specialists, scholars or other experts, despite the later discovery of new information;
<p> (v) descriptions or dating of the Property proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the Catalogue, or which were at such time deemed unreasonably expensive or impractical to use.
<p>PAYMENT & COLLECTION
<p>PLACE OF PAYMENT AND COLLECTION OF PURCHASED PROPERTY
<p>A Please note that payment for purchases will be accepted during or after the sale at 49 Grosvenor Street, London W1K 3HP.
<p>B No purchase may be claimed or removed unless full payment has been received, or otherwise agreed to in writing by the Company.
<p>C All purchased lots will be transferred after the sale to 49 Grosvenor Street, London W1K 3HP, where lots may be collected by purchasers beginning on 25 June 2002.
<p>D As a service to our clientele, the Shipping Coordinator is available to assist in arranging for collection, estimates of the shipping costs and shipment of purchased lots.
<p>E For packing, crating or shipping of lots, Purchasers must complete a Shipping Instruction Form and return the form to the Company along with payment. All shipping costs will be billed directly to the Purchaser by the shipper. Please refer to Paragraph 7 of the Standard Terms and Conditions for further provisions concerning these arrangements. Purchasers have the option to choose their own shipper and should notify the Company in writing. It is important to instruct the outside shipper to contact the Company at least 24 hours in advance of collection in order to provide a bill of lading and schedule pick-up.
<p>F After 28 days from the date mentioned in paragraph C, uncollected property may be placed into public storage. Costs of storage and other charges as set forth in the Standard Terms and Conditions shall apply and be billed by the Company. Property will not be released until all payments due for storage and otherwise have been paid in full.
<p>G VAT:
The symbol ° next to a lot number indicates that VAT is payable by the buyer at the standard rate, on the hammer price. The symbol * next to a lot number indicates that the lot has been imported from outside the European Union under HMCE Temporary Importation Regulations, and that the effective rate of 5% will be payable by the buyer on the hammer price and on the premium. For lots which appear without either of the above symbols, no VAT will be payable on the hammer price and the premium will be shown inclusive of VAT. The VAT inclusive with the premium is not normally recoverable by the buyer. Note: There is no VAT payable on the hammer price, or on the premium, for books bought at auction.