Eugeniusz Eibisch. Still life with lemons and a bottle
Moim zdaniem, mocno niedoceniony artysta.
Lot 47. Eugène EBICHE (Lublin 1896 – Varsovie 1987). Still life with lemons and a bottle. Circa 1923-1925. Oil on canvas 65 x 54 cm. Signed lower left “Eibisch. Eugene Eibisch was a Polish painter and printmaker born in 1896 in Lublin. He entered the School of Fine Arts in Krakow at the age of sixteen and studied under Jacek Malczewski and Wojciech Weiss. In 1922, he went to Paris where he received a scholarship from the French government. He settled in Montparnasse and rubbed shoulders with Chaïm Soutine, Louis Marcoussis, Moise Kisling, Henri Hayden and Eugène Zak. The artist is supported by the merchants Leopold Zborowski and Georges Bernheim. Eibisch returned to Krakow in 1939 and became a professor of drawing at the Academy of Fine Arts. From 1950 to 1969, he was a professor of painting at the Academy of Fine Arts in Warsaw.
The painter participated in the Salon d’Automne in 1925 and the Salon des Indépendants in 1926. He also exhibited in Krakow, Belgium, Switzerland and England. In 1933, he participated in the international art exhibition of the College Art Association in New York. The painter actively participated in the artistic life of his time and exhibited in France and abroad. In 1960, he received a prize from the Solomon R. Guggenheim Foundation in New York. His works are kept in the collections of the National Museums of Warsaw and Krakow. Eugene Eibisch created this work around 1923-1925 in the years following his arrival in Paris. Soutine’s practice deeply influenced him in his portraits, still lifes and landscapes. Like Soutine, Eugène Eibisch is above all a colorist. The vibrant power of the yellow of the lemons contrasts with the blue and green of the draperies, darker, and with the red of the tablecloth whose work in glaze reinforces the depth. “Still Life with Lemons and a Bottle” also reveals a knowledge of the work of Paul Cézanne, particularly in its composition. A work similar in style and subject matter dating from 1923 was exhibited at the National Museum in Warsaw on the occasion of the Eugeniusz Eibisch exhibition in 1967 (Martwa natura ze szklanką reproduction in black and white, number 5 in the catalog). The richness of the composition, the power and harmony of the colors used, point to a major work of the Parisian years. Elise Vignault
Estimate 6,000 – 8,000 euro. Millon. 05/31/23. Sold 5,000 euro.
Leopold Gottlieb. Portrait of the painter’s wife, Aurelia Polturak, 1912
Portret żony Lepolda Gottlieba ze znakomitą proweniencją wzbudził spore zainteresowanie licytujących. Być może został kupiony przez któreś z muzeów. Jak wynika z opisu, prtretowana została zamordowana przez Niemców w Oświęcimiu.
Lot 15. Léopold GOTTLIEB (Drohobycz 1879 – Paris 1934). Portrait of the painter’s wife, Aurelia Polturak. Made in 1912. Oil on canvas 111 x 89 cm. Signed lower right “Leopold Gottlieb. Localized and dated upper left “Lwow 1912 Exhibition: Wystawa Sztuki Wspόłczesnej [Contemporary Art Exhibition], Society of Friends of Fine Arts, Lwow (Lviv) 1913. Bibliography: Wystawa Sztuki Wspόłczesnej [Exhibition of Contemporary Art], Society of Friends of Fine Arts, Lwow (Lviv) 1913, reproduced in black and white Artur Tanikowski, Wizerunki człowieczeństwa, rytuały codzienności. Leopold Gottlieb i jego dzieło, Kraków, Universitas 2011, reproduced p. 34. Estimate 12,000 – 15,000 euro. Millon. 05/31/23. Sold 24,000 euro.
Born in Drohobycz in 1879 (now Ukraine) to a Polish Jewish family, Leopold Gottlieb, a painter, draughtsman, and printmaker, was the younger brother of the famous painter Maurycy. He studied at the Academy of Fine Arts in Krakow in the years 1896-1902 under the direction of Jacek Malczewski and Teodor Axentowicz, among others. He already made portraits in pastel and watercolor on commission. In 1903, he continued his studies in Munich with Anton Ažbé. In 1904, he travels to Paris. On his return to Krakow, he frequented the circle of young Jewish artists and intellectuals formed around the painter Samuel Hirszenberg, Leon’s older brother (portrayed by Gottlieb in Paris, cf. lot no. 30). In 1905, Gottlieb initiated the formation of the Group of Five. From Krakow, he went to Lwow (Lviv) and Vienna, where he was a member of the Hagenbund. In 1906 he traveled to Jerusalem where he held the chair of painting at the Bezalel School of Arts and Crafts. In 1908, he was again in Paris, where he rubbed shoulders with Polish artists and intellectuals, including Mela Muter, Moses Kisling, Simon Mondzain, Elie Nadelman and Adolf Basler. During the First World War, he joined Pilsudski’s Polish legions. He left Poland again in the early 1920s, living first in Germany and then, from 1926, in Paris. In 1929, he became a member of the artistic group Rytm [Rhythm]. In France, he regularly exhibited his work in Parisian salons, notably the Salon d’Automne, the Salon des Indépendants, the Société Nationale des Beaux-Arts, the Tuileries, as well as in galleries in the capital. He participated in exhibitions of Polish art, notably in Barcelona, Vienna and Paris. Author of symbolic, biblical and genre scenes, he is especially appreciated as a portraitist. His portraits of men, painted with large flat tints of sustained colors, sometimes dark, are synthetic and powerful. The female models are represented in light and pleasant colors.
In 1912 in Lwow (Lviv), he painted the portrait of his wife, born Aurelia Polturak. It represents the graceful silhouette of a young woman with a benevolent smile. The range of soft pastel colors plays on the complementarity of different shades of blue and yellow, supported by a large patch of colored white of the model’s dress. The only dark spot in the painting is the young woman’s hair, which draws the viewer’s gaze to her head and thus symbolically underlines her intelligence. Indeed, born in 1892 in Lwow (Lviv), Aurelia Gottlieb was known as an art and literary critic. Among other things, she wrote a scholarly analysis of the art of Marc Chagall (1931), from a Zionist point of view. Her contemporaries emphasized her kindness, but also her willingness to act and the need to express her opinions in favor of the Zionist idea, to which she was strongly devoted. Her husband, on whom she would have had a great influence, also on the artistic level, had a deep respect for her. After the death of Leopold Gottlieb, she devoted herself to social work. During the Occupation, she took refuge in Lyon and became the secretary of Marc Jarblum, leader of the Zionist Organization of France and the Federation of Jewish Societies of France. Despite the risks, she continued to work underground to help Jewish families and was arrested by the Gestapo during the 1943 roundup in rue Sainte-Catherine in Lyon. She died in Auschwitz. Dr. Ewa Bobrowska – CEBM SAS (Cabinet d’expertises Bobrowska-Mielniczuk)
Lot 25. Simon MONDZAIN (Chelm 1888 – Paris 1979). Self-portrait with a pipe. Made in 1920. Oil on canvas 51 x 43,5 cm. Signed and dated lower left “Mondzain 1920. Bibliography: Simon Mondzain, September 21 – December 31, 2012, Konstancin-Jeziorna, Villa La Fleur, Muza SA editions, reproduced p. 190. Estimate 6,000 – 8,000 euro. Millon. 05/31/23. Sold 18,000 euro
Ten autoportret z fajką Szymona Mondzajna z 1920 roku był chyba najbaradziej nieprzewidywalną pracą na aukcji Ecole de Paris w Millon. Według mojej subjektywnej oceny był to chyba najlepszy z poloników tej aukcji. Drugi z obrazów tego artysty został chyba niewykupiony w lutym tego roku (https://polishartcorner.com/2023/01/23/szymon-mondzain-1890-1979-19/) i dlatego pojawił się teraz ponownie.
Szymon Mondzain. South West Village, 1926
Lot 41. Simon MONDZAIN (Chelm 1888 – Paris 1979). South West Village. Realized in 1926. Oil on canvas 54 x 65 cm Signed and dated lower left “Mondzain 1926 (Misses) Provenance: Collection Jacques Nieszawer Private collection, Paris In 1926, Simon Mondzain traveled to Fontarabie. He discovered the South West of France, the Pyrenees and Spain. We thank Mrs. Marie José Mondzain for the information kindly provided. Estimate 4 ,000- 6,000 euro. Millon. 05/31/23. Sold 4,200 euro
Lot 117. Zdzislaw Beksinski (1929 Sanok, Poland – 2005 Warsaw). Untitled, oil on hardboard, 61 cm x 73 cm, signed on verso, dated 1973, partially retouched, minimal staining, Provenance: Top Art, Warsaw, copy of the bill of sale from 1998 enclosed. Estimate 120,000 euro. Wettmann. 05/27/23. Sold 75,000 euro
We have already been able to sell several works by the Polish artist Zdzislaw Beksinski very successfully. This work is also from the same creative period as the works already auctioned and shows an equally scary depth of the human world. As with all of Beksinski’s works, the artist leaves the interpretation of his work to the viewer himself and so again we can only offer our own interpretation of the meaning and message of his painting. Beksinski’s painting is dominated by orange-red colour. This colouring determines the whole picture and is also found in the eyes of the figure positioned in the centre of the picture. Immediately the question arises as to where we are. In the underworld, in a graveyard or on a battlefield after a warlike slaughter? Compared to art historical depictions, the skull at the feet of the crucified Jesus Christ points to the place of Golgotha – the very place outside New Testament Jerusalem where God’s Son was crucified. Crucified to take the sins of mankind upon himself and yet to overcome death itself with his love. The figure set here, however, seems huddled in himself, full of fears and questions about what he or she probably did and did not do in life. If lessons have been learned from the past world wars, this painting seems highly topical in view of our present war situation. It throws the viewer back on himself and forces him once again to deal with these questions. Once again, they are questions about life, death, the underworld and the kingdom of heaven – they are questions of faith that he raises and poses directly in his painting in his artistically dramatic and morbid manner.
Sprzedaż oleju i trzech rysunków Zdzisława Beksińskiego w niemieckim domu Wettmann przeszła do historii bez fajerwerków. Sprzedano olej po cene wywoławczej (75,000 euro), oczekując 120,000 euro oraz jeden rysunek ołówkiem za 28,000 euro. Pozostałe dwie prace nie zostały sprzedane przy cenie wyjściowej 7,000 euro; jeden z tych rysunków został pół roku temu sprzedany za 7,500 euro https://polishartcorner.com/2022/10/31/zdzislaw-beksinski-1929-2005-10/. Wydaje mi sie, że szał na prace tego artysty nieco minął a ceny jakie generowała rok temu Agra-Art, do 700,000 złotych, to już przeszłość. Kto kupił drogo ‘na inwestycję’ rok temu będzie musiał trochę poczekać ze sprzedażą. Wygląda na to, że podaż prac Beksińskiego nadal jest duża i dlatego ceny automatycznie idą w dół.
Jak mi napisał wczoraj jeden z czytelników, Wettmann zastosował pewien trick licząc na bezpośredni udział w tej aukcji polskich kolekcjonerów vel inwestorów. Wettmann podłączył sprytnie swoją aukcję do polskiego portalu OneBid. Niewiele to chyba pomogło. „Jest to z pewnoscia komercyjna ale i rozsadna decyzja domu aukcyjnego, bo zwiększa ona krąg potencjalnie zainteresowanych nabyciem, w tym przypadku polskich prac. Efektem ubocznym jest wyeliminowanie z udzialu w aukcji pośrednikow/handlarzy.” – cytuję czytelnika.
Na rynku pojawiają się coraz częściej falsy Beksińskiego. Dobrze się stało, że powstało archiwum prac tego malarza pogrupowanych tematycznie oraz nawet z uwzględnieneim falsyfikatów. Jest to dobra robota p. Piotra Dmochowskiego: http://www.beksinskiarchiwum.net/. Przeglądając to archiwum zorientujemy się o ogromnej ilości prac jakie stworzył Zdzisław Beksiński. I w tym może być problem tj. w ilości. Niedługo na aukcji będzie kolejny olej tego malarza, opisany niedbale jako praca Meli Muter z ceną wywoławczą 80,000 euro (Hargesheimer Kunstauktionen Düsseldorf).
Na podstawie aukcji u Wettmanna być może trzeba się przyzwyczaić, że równowartość 75,000 euro to dobra cena na olej Beksińskiego, bo o tę pracę przecież nie doszło nawet do żadnej walki aukcyjnej. Nikt mnie nie przekona, że ta aukcja została przeoczona przez wszystkich.
Zdzisław Beksiński. Untitled, 1973
Lot 118. Zdzislaw Beksinski (1929 Sanok, Poland – 2005 Warsaw). Untitled, pencil and black chalk on thin cardboard, 78,5 cm x 63 cm sheet dimension, signed, 73 dated, mounting residues, partial superficial paper loss, minimal stain spotted, slightly darkened. Estimate 28,000 euro. Wettmann. 05/27/23. Sold 28,000 euro
The artist, who was born in Sanok in 1929, operates in his on canvas and paper in the field of the underworld. He tries to describe it, to confront it and through this, to work out the abysses of humanity and of life.
No easy or joyful work, but he devotes himself to it at the highest level. So we can confirm that the sheet is in a wonderful condition, preserved since the 1970s.It was initially painted by the artist in watery paint – presumably a mixed technique of gouache and watercolour. On this he lead, graphite and charcoal, the drawing was applied in fine hairlines. A laborious task that requires the most patience and devotion to the own art.
In a barren, stony landscape, the procession of griffin-like mythical creatures, resembling the thestrals, pass by. From the depths of the left-hand side of the picture they pass the viewer and stride towards the right side of the picture, slightly up the mountain. In order to be able to create the depth of the sheet he staggered not only the animals walking one after the other, but also the the gravestones or memorial stones they carry on their backs. Like a spectator we stand before this reverent scene and ask ourselves what the stones mean. For whom were they cut? What is written on them? Where are these beings going to? A silence of mourning can be sensed in the atmosphere of the sheet and leaves the viewer with questions, as so often in the untitled works of Beksinki’s untitled works.
Zdzisław Beksiński. Untitled, 1997
Lot 116. Zdzislaw Beksinski (1929 Sanok, Poland – 2005 Warsaw). Untitled, Mixed media on paper, 25 cm x 29,5 cm sheet size, signed, 97 dated, wavy, partially slightly creased, mounted, Provenance: Galerie Simone van Dormael, Brüssel (gallery label verso). Estimate 9,000 euro. Wettmann. 05/27/23. Not sold
Zdzisław Beksiński. Untitled, 1990
Lot 115. Zdzislaw Beksinski (1929 Sanok, Poland – 2005 Warsaw). Untitled, mixed media on paper, 23,5 cm x 28 cm inner passepartout dimension, signed, 90 dated, wavy, Provenance: Galerie Simone van Dormael, Brussels (verso gallery label). Estimate 9,000 euro. Wettmann. 05/27/23. Not sold
Mam nadzieję, że nalepka z Galerie Chalette jest koszerna bo wiele nalepek na podobnych pracach Fangora nie spełnia tego warunku. Poza tym, jeśli ktoś kupuje takie ‘koło’ to powinien otrzymać rachunek zakupu z tej galerii jako gwarancję autentyczności a wtedy może i ja uwierzę, choć równocześnie nie pochwalę (zakupu). Poniżej inne koło z nalepką, tyle, że na 100% fals. Jak jest u Wettmanna to nie wiem. Na aukcji dał sie zauważyć brak zainteresowania tą pracą i sprzedano poniżej ceny wywoławczej. Co za strata ‘koła’!
Lot 119. Wojciech Fangor (1922 Warschau – 2015 ebenda). ‘Circle‘, Pastellkreide auf Papier, 65 cm x 50 cm Blattmaß, signiert, 75 datiert, partiell leicht knickfaltig, montiert, verso leicht fleckig, Provenienz: Galerie Chalette, New York (verso Galerieetikett). Estimate 14,000 – 16,000 euro. Wettmann. 05/31/23. Sold 13,500
Ten fals nigdy nie zatonie. Pojawia sie w coraz to nowych miejscach…aż trafi w końcu na mądralę.
Falsyfikat nalepki od powyższego rysunku kredką czyli “oil on canvas”.
Baron Henryk Trutschel i jego żona Jadwiga zajęli się młodym i początkującym polskim rzeźbiarzem chłopskiego pochodzenia, Bolesławem Biegasem, po jego przyjeździe do Paryża. Sponsorowali jego pracownię, pomagali w rozbujaniu jego kariery, finansowali odlewy rzeźb w brązie. Jak czytałem, ta przyjaźń byłą dość szorstka w różnych okresach ze strony Biegasa. Bez obecności tej pary małżeńskiej, kto wie czy Biegas wypłynąłby na bruku paryskim.
Obecnie na tym samym rynku mamy odlew głowy Henryka Trutschela, wąsatego pana w wieku ok 60 lat. Obie rzeźby były prawdopodobnie formą podziękowania Biegasa za ich życzliwość i opiekę. Obie prace są bardzo dobrze udokumentowane w literaturze a obecnie dom aukcyjny Ader przedstawia historyczne fotografie rzeźby Henryka Trutcheal jak też jej oryginalnego gipsu.
Pracownia Bolesława Biegasa
Lot 2. BOLESLAS BIEGAS (1877-1954) (BOLESLAW BIEGALSKI). Baron Henryk Trutschel (1844-1928) patron and protector of the artist, the model designed in [1902], our print made before 1906, unique piece, presented at the Galerie des Artistes Modernes, Paris, 1908 Sculpted portrait; the hollow back. Proof in bronze with a shaded brown patina. Signed and located B. BIEGAS – Paris towards the base on the right side. Height : 46,5 cm Provenance : American collection. Important: A notice of inclusion in the catalog raisonné of the Biegas Committee with the support of the Polish Historical and Literary Society (SHLP), signed by Mr. Xavier Deryng and Mrs. Anna Czarnocka, will be given to the buyer. Exhibitions : – Bolesław Biegas – City Museum, Kiev, 1905. The plaster of our work presented at this event.
Bolesław Biegas – Galerie des Artistes Modernes, Paris, 1908. Our work presented at this event and bearing the No. 47 in the catalog. Bibliography: – Boleslas Biegas; sculptor and painter – Album, Louis Theuveny editions, 1906. The plaster of our work reproduced on page 27. – Xavier Deryng – Bolesław Biegas – Catalogue of the exhibition organized from May 31 to August 30, 1992 at the Trianon de Bagatelle, Boulogne-Billancourt. Éditions de la Société Historique et Littéraire Polonaise (SHLP), Paris, 1992. Boleslas Biegas, Henry and Jadwiga Trutschel and the studio plaster of our work in a period photograph reproduced on page 16; another old photograph of the studio plaster of our work next to the artist (Kiev exhibition, 1905) reproduced on page 249. Our work in a period photograph, with the artist leaning on the saddle receiving it, reproduced on page 226.
Estimate 15,000 – 20,000 euro. Ader. 06/09/23. Not sold
Bolesław Biegas w swojej pracowni na tle odlewu rzeźby Henryka Trutchela
Na powyższej fotografii widzimy nie tylko Bolesława Biegasa stojącego obok rzeźby Henryka Trutschela lecz jako bonus jest oparty na szafce na której stoja inne jego prace. Ta szafka, której panele zostały namalowane przez artystę, była dwa lata temu przedmiotem aukcji we Francji i została sprzedana za blisko 43,000 euro (precyzyjniej, były wtedy na aukji dwie szafki jako jeden lot), https://polishartcorner.com/2020/11/13/boleslaw-biegas-1877-1954-25/.
Lot 389. Stefan Bakalowicz Vladislavovich (Varsavia, 1857 – Roma, 1947). Pompei, Campania, 1893. Acquerello e matita su carta greve. mm 126×243. Firma, data e titolo in basso a sinistra. Estimate EUR 300,00. Gonnelli. 05/25/23. Sold 460 euro
Dwie akwarele Stafana Bakałowicza z wędrówek po Italii z końca XIX wieku, znalezione w egzotycznym (dla mnie) domu aukcyjnym.
Stefan Bakałowicz. Capri, Campania, 1888
Lot 390. Stefan Bakalowicz Vladislavovich (Varsavia, 1857 – Roma, 1947). Capri, Campania, 1888. Acquerello e matita su carta greve. mm 158×233. Firmato, datato e titolato in basso a sinistra. Gonnelli. EUR 300,00. 05/25/23. Sold 550 euro
Dobra passa pejzaży Romana Kochanowskiego na niemieckich aukcjach. Jeden z lepszych pejzaży tego artysty sprzedawanych w ostatnich latach.
Lot 74. Roman Kochanowski 1857 Krakau – Freising 1945. Auf dem Lande (Gehöft an einem Weiher). Öl auf Holz. 22,1 x 27,2 cm. Signiert unten links. Gerahmt. Estimated price: € 2.500. Karl und Faber. 05/25/23. Sold 3,800 euro
Oleje Otolii Kraszewskiej, uczennicy Ajwazowskiego, z gracją malowane, są zawsze spokojne, dekoracyjne, ale też podobne do siebie i przewidywalne. Inna rzecz, że są stosunkowo rzadkie i będą zawsze pasowały do tradycyjnego saloniku.
Lot 75. Otolia Kraszewska 1859 Schytomyr – München 1945. Die Sinnende. Öl auf Leinwand. 32 x 24,2 cm. Signiert oben rechts. Gerahmt. Estimated price: € 4.000/5.000. Karl und Faber. 05/25/23. Not sold.
Nieduża i zwarta scenka rodzajowa polskiej wsi w wykonaniu mistrza. Zainteresowanie było spore.
Lot 72. Alfred von Wierusz-Kowalski 1849 Suwalki – München 1915. Halt am Gasthaus (“Przed Karczma”). Öl auf Malpappe. 22,5 x 27 cm. Signiert unten links. Verso bezeichnet. Gerahmt. Estimated price: € 15.000/20.000. Karl und Faber. 05/25/23. Sold 30,000 euro
Polish Art Corner 