Maria Melania Mutermilch (1876 – 1967)

Maria Melania Mutermilch. Landschaft Südfrankreich

Wczesny pejzaż Meli Muter z dobrą proweniencją. Warto przeczytać opis katalogowy.

Lot 321. Mela Muter (Maria Melania Mutermilch) Warsaw 1876 – 1967 Paris. Landschaft Südfrankreich. Circa 1914/1915. Oil on canvas. 77 x 83 cm. Framed. Signed ‘Muter’ in dark blue lower right. – With craquelure, two minor retouches in the left centre and a backed, short, inconspicuous cut in the lower corner. On a black-and-white photograph in the archive of the Galerie Bargera, titled ‘pejzaz z sosnami’ (landscape with pine trees), probably by Mela Muter, in Polish verso. Provenance: From the estate of the artist; Galerie Bargera, Cologne; Private collection, Israel. Exhibitions: Paris 1966 (Jean-Claude Bellier), Mela Muter, cat. no. 15 (“Paysage, Les Pins”), with full-page illus. Estimate €60.000 – €80.000. Lempertz. 11/29/19. Sold 60,000 euro (hammer)

Born into a wealthy family with an interest in art, Mela Melania Klingsland – who later married the art critic Michal Mutermilch – first studied in Warsaw and then, from 1901, in Paris. Impressed by the works of the School of Pont Aven, by Cézanne and van Gogh, Mela Muter (the abbreviated name she would soon use to refer to herself) quickly found a style of her own and was extremely successful, particularly as a portrait painter. Her first solo exhibition would already be held in Warsaw in 1902, and it was followed by regular exhibitions in the salons of Paris. In 1911 the gallerist Josep Dalmau invited the painter – by then a member of the Salon d’Automne – to Barcelona; further exhibitions in the Basque country followed and, in 1914, Mela Muter spent several months in nearby Girona. That is where, according to her own account, she painted her first proper landscapes (Muter Souvenirs, in: exhib. cat. Mela Muter. De París a Girona. I els artistes polonesos a Catalunya, Museu d’Art de Girona 2019, p. 234). The coastal landscape offered here may also have been created on this occasion – perhaps in Begur, one of the seaside villages closest to the medieval town of Girona.

In the southern saturation of the shades of ochre, red and pink in complementary contrast with the dark to violet blue and the dark, shadow-casting green, this stony stretch of coast is characterised by its little pine or, more precisely, stone pine forest. Seen from the viewers’ high vantage point in a plunging perspective, the view curves round above the Mediterranean bay and ends in a white sailing boat just below the horizon line. The forceful brushstroke and strong palette visualise the impression of the landscape and appeal to viewers’ sense of smell and touch.

Maria Melania Mutermilch (1876 – 1967)

Maria Melania Mutermilch. Untitled (Woman in Brittany)

Nie podoba mi się, że autentyczności tej współczesnej pracy jest podparta certyfikatem. Wolałbym otrzymać bardzo precyzyjną, drobiazgową, informacje o proweniencji. Praca wygląda na niesygnowaną. Charakter malarski Meli Muter kształtował się przez wiele lat i trudno jest dociec kiedy została namalowana. Znajdą się tacy, którzy będą znacznie głębiej zastanawiali się i walczyli ze swoimi wątpliwościami. Wycena $60,000 – 80,000 jest bardzo optymistyczna.

Heritage Auctions jest na prawdę znakomitym domem aukcyjnym dla numizmatyków. Polskie malarstwo czasami tam się pojawia (jak teraz) ale trudno doszukać się specjalistów od oceny i wyceny. Wystawiają na aukcje a reszta to kwestia wiedzy i gustów kupujących.

Lot 77021. Mela Muter (1886-1967). Untitled (Woman in Brittany). Oil on canvas, 39-1/2 x 31-1/2 inches (100.3 x 80.0 cm). PROVENANCE: Private collection, New York. NOTE: This lot is accompanied by a certificate of authenticity from Boris Princ, Bureau d’Art, Tel Aviv, dated October 19, 2019. Estimate: $60,000 – $80,000. Heritage. 11/20/19

Maria Melania Mutermilch (1876 – 1967)

Maria Melania Mutermilch. LANDSCAPE WITH MOUNTAIN

Komentarza do tych prac chyba nie potrzeba.

Lot 40. MELA MUTER Polish 1876-1967. LANDSCAPE WITH MOUNTAIN – RECTO. LANDSCAPE WITH BRIDGE – VERSO, signed Muter (lower center on recto); signed Muter (lower right on verso), oil on board, 15 by 17¼ in., 38 by 44 cm. Estimate $7,000 – 10,000. Sotheby’s. 11/21/19

Maria Melania Mutermilch. LANDSCAPE WITH BRIDGE

Maria Melania Mutermilch. STILL LIFE WITH VEGETABLES

Lot 41. MELA MUTER Polish 1876 – 1967. STILL LIFE WITH VEGETABLES, signed Muter (lower right), oil on canvas, 23⅝ by 28¾ in., 60 by 73 cm. Provenance: Galeria Bargera, Köln. Estimate $20,000 – 30,000. Sotheby’s. 11/21/19

Maria Melania Mutermilch (1876 – 1967)

Mela Muter. Jeune femme

Podwójny obraz Melanii Muter z aukcji czerwcowej. Portret smutnej, może zrezygnowanej kobiety na jednej stronie deski, zaś po drugiej stronie pejzaż. Dwie bardzo dobre prace.

Mela Muter. Paysage

Lot 30. Marie Mela MUTER (1876-1967). Jeune femme. Huile sur panneau, signée en haut à droite, paysage au verso; 46 x 38 cm. – 18 1/3 x 14 3/4 in. Estimate 5,000-7,000 euro

Maria Mela Muter (1876 – 1967)

Muter

LOT n°58. Marie MELA MUTER (Varsovie 1876 – Paris 1967)

Mère et enfant
Huile sur panneau non signée.
153,5 x 117 cm
Provenances:
– Collection Oscar Ghez.
– Musée du Petit Palais, Genève.
– Cédé par le Musée dans les années 1990.
– Vente Artcurial du 2 juillet 2003, lot n° 653.
– Acquis par le collectionneur à la vente précédente.

Marie Mela MUTER (Varsovie 1876 – Paris 1967)
Expressionniste parmi les premiers expressionnistes, d’un talent original et créateur, Mela Muter peignit avec une puissance d’exécution que Suzanne Valadon aurait pu lui envier, des paysages, des fleurs, des compositions de toutes sortes, hauts en couleurs et d’une intensité dramatique exceptionnelle. Oscar Ghez, sept. 1994

Estimate 10,000-15,000 euro. Oger – Blanchet. 10/27/17 (172300)

Maria Mela Muter (1876 – 1967)

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Lot 3246 – A181 Impressionist & Modern Art – Friday 30 June 2017 02.00 PM

MELA MUTER

(Warsaw 1876 – 1967 Paris)

Nature morte au panier de pomme.

Oil on panel.

Signed upper right: Muter.

60.5 x 49.5 cm.

Provenance:
– Collection Oscar Ghez, Geneva.
– Private property, Switzerland.

In 1901 the Polish-Jewish artist Mela Muter (actually Maria Melena Mutermilch) went to Paris, where she spent the majority of her life and made acquaintances with various artists and intellectuals of the Parisian bourgeoisie. Among them were the architect August Perret, who designed her house, and Rainer Maria Rilke, with whom she maintained a close relationship and whose last love was Mela Muter. The artist, generally known as an extremely charismatic person, enjoyed great popularity in Montparnasse. She first made a name through her portraits of her vast and famous circle of friends. She additionally produced still lifes and, as a counterbalance to the portraits of the upper class, she often painted scenes from the lives of the poor and marginalised, a recurring theme being that of mother and child. In 1902, along with Suzanne Valadon, Berthe Morisot and Marie Laurencin, the young Mela Muter participated as one of the few women in the famous salons in Paris. On account of her Jewish faith, she was forced to flee to a foreign country during World War II and returned in the mid-1940s. Afterwards, her prominence began to decline and the gifted artist was barely able to keep afloat financially. Various misfortunes, such as the loss of her mother and sister, the murder of her beloved Raymond Lefebvre by Stalin, and the severe bone disease of her son followed by his suicide, led to her conversion to Catholicism. In the 1960s, when she was able to sell around 70 paintings at prices up to 60,000 marks, Mela Muter gave the proceeds, as well as her entire estate, to the SOS Children’s Villages.

Her work is distinguished by her own recognisable, characteristic style, influenced by the strong lines of Van Gogh and Cezanne. In creating her paintings, she had a particular technique in which she left specific areas of the canvas bare and unpainted. Although Mela Muter is mainly known for her portraits, she always insisted on making no distinction between portrait and still life. “I don’t wonder if the person before my easel is good, bad, generous, intelligent. I try to master them and to represent them just like a flower, a tomato or a tree.”

Her work was shown in various exhibitions before the Second World War, and the name Mela Muter was known in the art scene. Afterwards, she was somewhat forgotten. Her legacy, however, remains preserved in that her works are represented in various large museums throughout the world.

CHF 25 000 / 35 000 € 23 150 / 32 410. Koller. 06/30/17