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This lot has been imported from outside of the UK … Read more PROPERTY FROM THE DEUTSCHE BANK COLLECTION

Stilleben mit Tasse

Stilleben mit Tasse
oil on board
15 x 19 in. (38 x 48.3 cm.)
Painted circa 1908
Lisa Kümmel, Wiesbaden, by whom acquired directly from the artist, and thence by descent to Karl Kümmel in 1944.
Frankfurter Kunstkabinett [Hanna Bekker vom Rath] Frankfurt, by 1953.
Redfern Gallery, London, by 1956.
Lawrence Jacobs, London, by whom acquired from the above on 4 April 1956.
Marlborough Fine Arts, London.
Anonymous sale, Sotheby's, London, 15 April 1970, lot 87.
Galerie Alfred Gunzenhauser, Munich.
Acquired from the above by the present owner in December 1982.
C. Weiler, Alexej Jawlensky, Cologne, 1959, no. 705, p. 277 (illustrated; titled 'Mit Tasse' and dated '1904').
M. Jawlensky, L. Pieroni-Jawlensky & A. Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. I, 1890-1914, London, 1991, no. 233, p. 192 (illustrated).
A. Hoberg, R. Zieglgänsberger & M. Mühling, eds., Soulmates, Alexej von Jawlensky and Marianne von Werefkin, Bonn, 2019, no. 71, p. 139 (illustrated; titled 'Still Life with Red Cup').
Lucerne, Kunstmuseum, Deutsche Kunst. Meisterwerke des 20.Jahrhunderts, July - October 1953, no. 147, p. 43 (titled 'Früchtestilleben mit Tasse').
Frankfurt, Kunstkabinett, Alexej von Jawlensky, Ölgemälde, April - May 1954, no. 8 (dated '1906-1907'); this exhibition later travelled to Munich, Kunstkabinett Klihm, June 1954.
London, Redfern Gallery, Alexej von Jawlensky, May - June 1956, no. 19, p. 8 (dated '1906').
London, Redfern Gallery, Jawlensky, October 1960, no. 36 (dated '1904').
Munich, Galerie Alfred Gunzenhauser, Jawlensky, December 1971, no. 2 (illustrated).
Wasserburg, Ganserhaus, Alexej Jawlensky, Vom Abbild zum Urbild, September - October 1979, no. 17, p. 52 (illustrated; dated 'circa 1906/07').
Munich, Galerie Gunzenhauser, Aus den Beständen der Galerie, 1982, p. 40 (illustrated).
Munich, Städtische Galerie im Lenbachhaus, February - April 1983, no. 70, p. 180 (illustrated; dated 'circa 1910'); this exhibition later travelled to Baden-Baden, Staatliche Kunsthalle, May - June 1983.
Emden, Kunsthalle, Alexej Jawlensky, December 1989 - February 1990, p. 6 (illustrated; dated '1904').
Arles, Espace van Gogh, Alexej on Jawlensky, April - June 1993, no. 8, p. 43 (illustrated).
Munich, Lenbachhaus, Der Blaue Reiter und das neue Bild, October 1999, no. 233 (illustrated pl. 159).
Turin, Palazzo Cavour, Arte in Due. Coppie di artisti in Europa 1900-1945, 2003, no. 16, p. 53 (illustrated).
Ludwigshafen, Wilhelm-Hack-Museum, Der Blaue Reiter, November 2003 - February 2004, no. 129, p. 156 (illustrated).
Murnau, Schlossmuseum, 1908/2008 - Vor 100 Jahren. Kandinsky, Münter, Jawlensky, Werefkin in Murnau, July - November 2008, no. 34, p. 109 (illustrated).
Munich, Lenbachhaus, Lebensmenschen, Alexej von Jawlensky und Marianne von Werefkin, October 2019 - February 2020, no. 71, p. 139 (illustrated; dated 'circa 1908'). This exhibition later travelled to Wiesbaden, Museum Wiesbaden, March - August 2020.
Special notice

This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Micol Flocchini
Micol Flocchini Head of Works on Paper Sale

Lot Essay

Painted in 1908, Stilleben mit Tasse dates from a crucial period in Jawlensky's career when he had begun to develop the expressive influence and understanding of colour for which he would become famous. In this painting, this love of pure and untrammelled colour is clear in the red abstracted form in the lower right, which appears as a tabletop, upon which a sumptuous bowl of apples and a glowing, almost burning, white cup are situated. This technique lends the fruit and other objects an intensity that is akin to stained glass. Jawlensky's increasing interest in colour, to which he was to become almost spiritually attached in his pictures, owed itself to two other artists during this period: the Nabi painter Paul Sérusier and the arch-colourist Henri Matisse. Both of these he had met around the time that Stilleben mit Tasse was painted, yet the incandescent palette with which areas of this work are filled clearly owes a great part of its vitality to Matisse, while the increasing sense of a poetic and spiritual power translated through colour owes much to the theories of the Nabis. This was a facet of Jawlensky's painting that would become formalised around the time when this picture was painted, when he began holidaying in Murnau with his fellow Russian, Wassily Kandinsky.
The painting was first gifted by Jawlensky to his fellow artist and close friend Lisa Kümmel. Jawlensky wrote in his memoirs: ‘In 1927 I met Lisa Kümmel, an artist who has since then been a very good friend of mine and has helped me to put my work in order. She also understands my art very well, from the earliest works up to my latest paintings, and likes it very much.’ (quoted in C. Weiler, Jawlensky, Heads, Faces, Meditations, London, 1971, p. 103). It was inherited by her son Karl Kümmel and was later owned by another important person in Jawlensky’s life, Hanna Bekker vom Rath, who together with Kümmel were referred to as among his “emergency helpers”. The intimate connection between the first owners of the picture and the artist, alongside their insight into his oeuvre, are indicative of the quality of the work. A bold and radiant picture at the forefront of the avant garde of the time, which challenges the notions of traditional still life painting, and at the same time possess a delicate sense of pictorial poetry.

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