Oskar Kokoschka (1886-1980)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more Christie’s is delighted to have been appointed by UniCredit to manage the sale of artworks from Austria, Germany and Italy. The proceeds will be primarily used to support the further roll-out of the Group’s Social Impact Banking (SIB) initiatives. The remaining balance will be dedicated to other relevant projects, including the support of emerging artists. Following the excellent results of a selection of artworks already presented at various Christie’s international salerooms in 2019, 2020 will begin with the first pieces being offered in London on 6 February as part of the Impressionist & Modern Art Day and Works on Paper sales. UniCredit will also look to replace the masterpieces sold with works of young and emerging artists. The offering is led by Walter Dexel’s Segelschiff I, one of only five known avant-gardist representations of sailing boats within the German artist’s series of works on technical modern inventions. Completed in 1922, this superb example of Dexel’s distinct Constructivist idiom dates from a key period when the artist came into close contact with a network of influential figures of the early 20th-century art circuit namely Jean (Hans) Arp, El Lissitzky and contemporaries associated with the Bauhaus movement including the likes of Paul Klee, László Moholy-Nagy and Walter Gropius. Another star lot from this outstanding group is a work by a member of Dexel’s circle – Kurt Schwitters’ Ohne Titel (Gute Laune), circa 1945. The painting combines large areas of delicately painted geometric shapes, organic abstract forms and collage elements – exemplary of Schwitters’ growing interest in the raw and tactile physicality of paint during the late period of his artistic career. An exceptional selection from the Works on Paper sale completes the grouping, with three other fantastic works by Schwitters, Dexel’s Quadrat und Kreis (circa 1926) and Franz Radziwill’s Strandszene mit Krüppeln (1922). Social Impact Banking is part of UniCredit’s commitment to building a fairer and more inclusive society. It aims to identify, finance and promote people and companies that can have a positive social impact. As well as continuing to provide credit to projects and organisations not usually served by the traditional banking sector, UniCredit employees educate micro-entrepreneurs, social enterprises and vulnerable or disadvantaged groups, building valuable networks within our communities. SIB also focuses on monitoring and measuring outcomes, essential for sustainable growth. In 2019 SIB focused on further roll-out in additional UniCredit markets, including: Germany, Austria, Serbia, Croatia, Hungary, Bulgaria, Romania, Turkey, the Czech Republic and Slovakia, and Bosnia and Herzegovina. UniCredit is a successful pan-European Commercial Bank, with a fully plugged in CIB, delivering a unique Western, Central and Eastern European network to its extensive client franchise. UniCredit offers both local and international expertise to its clients, providing them with unparalleled access to leading banks in its fourteen core markets through its European banking network. Leveraging on an international network of representative offices and branches, UniCredit serves clients in another eighteen countries worldwide.ART FOR FUTURE – SELECTED WORKS FROM THE UNICREDIT GROUP
Oskar Kokoschka (1886-1980)

Wien, Blick vom Liebhartstal II

Oskar Kokoschka (1886-1980)
Wien, Blick vom Liebhartstal II
signed with the initials 'OK' (lower left)
oil on canvas
28 ¼ x 37 ¾ in. (71.8 x 96 cm.)
Painted in 1933
(probably) Private collection, Lower Austria.
Anonymous sale, Adolf Weinmüller, Munich, 22-23 June 1960, lot 967.
(probably) Private collection, Austria.
Hans Piering, Waidhofen an der Thaya, by 1971.
Acquired from the above by the present owner on 21 February 1972.
H. Spielmann, Oskar Kokoschka: Leben und Werk, Cologne, 2003, p. 305 (illustrated p. 303).
K. Erling & W. Feilchenfeldt, Oskar Kokoschka: Die Gemälde Online, Fondation Oskar Kokoschka, Vevey, no. 1933/17 (illustrated; accessed 2019).
Graz, Künstlerhaus, Österreichische Malerei 1908-1938, January – February 1966, no. 73 (titled 'Landschaft bei Grinzing mit Blick auf Wien' and dated '1931/34').
Vienna, Österreichische Galerie im Oberen Belvedere, Oskar Kokoschka zum 85. Geburtstag, April – June 1971, no. 59 (titled 'Blick auf Wien' and dated '1931/34').
Bregenz, Künstlerhaus Palais Thurn und Taxis, Oskar Kokoschka: Ölbilder, Aquarelle, Zeichnungen, Druckgraphik, July – September 1976, no. 19, p. 19 (illustrated pl. XXV, p. 85; titled 'Blick auf Wien' and dated '1931/34').
Pöchlarn, Oskar Kokoschka Haus & Raiffeisenbank Pöchlarn, Oskar Kokoschka: Gemälde und Graphik 1908-1976, June – September 1980, no. V, p. 25 (titled 'Blick auf Wien' and dated '1931/34').
Vienna, Museum des 20. Jahrhunderts, Oskar Kokoschka, March – April 1982, no. 84 (titled 'Blick über Wien' and dated '1931/34').
Vienna, Österreichisches Museum für angewandte Kunst, Oskar Kokoschka: Städteportraits, March – April 1986, p. 52 (illustrated p. 53; titled ‘Wien, Blick vom Liebhartsthal III’ and dated ‘1933-1934’).
Ceský Krumlov, Egon Schiele Centrum, Oskar Kokoschka: Wien - Praha, May – October 1997, p. 62 (illustrated p. 63; titled ‘Wien, Blick vom Liebhartsthal III’ and dated ‘1933-1934').
Vienna, Leopold Museum, Kokoschka: Das Ich im Brennpunkt, October 2013 – January 2014, p. 339 (illustrated p. 134; titled ‘Wien, Blick vom Liebhartsthal III’ and dated ‘1933-1934').
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
VAT rate of 20% is payable on hammer price and buyer's premium

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Lot Essay

Having spent much of the 1920s travelling to many of the most important cities and capitals of Europe, the United States, North Africa and the Middle East, Oskar Kokoschka had grown tired of his nomadic lifestyle by the autumn of 1930, settling first in Paris and subsequently in the Viennese outskirts of Liebhartstal (F. Whitford, Oskar Kokoschka: A Life, New York, 1986, pp. 145-151). The present work depicts the city seen from the artist’s home, with trees, a beer garden and local houses in the foreground, and the city’s recognisable skyline visible in the background under a dynamically-rendered, expressive sky.

Although Kokoschka’s life in Liebhartstal was initially uneventful, the atmosphere in Vienna soon changed in what would become an increasingly tumultuous period in both European and Viennese history, and also in Kokoschka’s personal life. Having struggled since the Wall Street crash of 1929, Paul Cassirer, Kokoschka’s dealer, failed to renew his contract in 1931. Later, shortly after the appointment of Adolf Hitler as Chancellor in Germany in January 1933, Chancellor Engelbert Dollfuss dismissed the Austrian parliament to establish a dictatorship. In 1934, a wave of Nazi terrorist attacks followed, during which the Chancellor was assassinated, and Kokoschka soon understood that he would need to flee the country. After his mother passed away in 1934, with no ties left for him with Vienna, he left for Prague, never returning to live in Austria again. Painted in 1933, Wien, Blick vom Liebhartstal II captures, with its uneventful serenity and optimistic colour palette, the calm before the storm of sorts, a fleeting and short-lived peaceful moment in time.

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