Aukcja jest on-line i kończy się w styczniu. Niska jest cena estymacyjna ale brak informacji o proweniencji (to takie automatyczne skojarzenie). Praca jest dwustronna, zatem może z okresu biedy artystki(?). Trzeba już przełkąć 30% dodatkowych opłat w niemieckim Grisebach. Który dom pierwszy odważy się: młotek+40%?
Maria Melania Mutermilch.Standing half female nude
Lot 1702. Mela Muter (Warsaw 1876 – 1967 Paris). Sitting female nude.Red chalk on wove paper . 49,9 × 36,1 cm (19 ⅝ × 14 ¼ in.). Signed in pen and India ink lower right (faded): Muter. Verso: standing half female nude. Signed in pen and India ink lower right: Muter. Estimate 1,200 EUR – 1,500 EUR. GRISEBACH GmbH. 01/10/21
Nie pamiętam kiedy poprzednio była na rynku tak pogodna (tj. nie smutna) praca Meli Muter. Może rzeczywiście jest to jej wczesny olej i to wyjaśnia.
Lot 161. MUTER Maria Mela (1876-1967): “Lane in Collioure“. Oil on panel signed lower left (small restorations). 61 x 50 cm. Work from the 1920s. Provenance: private collection. Estimate 20,000 – 30,000 euro. Eric Caudron. 12/16/20
Olej Meli Muter z właściwą metryką: proweniencją, bibliografią, listą wystaw.
Lot 14. Marie MELA MUTER (1876 1967). PAYSAGE AUX OLIVIERS, circa 1923-1924. Oil on canvas. Signed on the lower right, 61 x 73 cm – 24 x 28.7 in. Signed on the lower right, oil on canvas. Provenance: Galerie Joseph Billiet & Cie, Paris; Private collection, France. By descent. Exhibition: – Paris: Galerie Joseph Billiet & Cie, Peintures et Aquarelles de Mela Muter, from Tuesday 3 to Tuesday 17 June 1924. Bibliography:- Catalogue d’exposition de la Galerie Joseph Billiet & Cie, Peintures et Aquarelles de Mela Muter, du mardi 3 au mardi 17 juin 1924. Work listed under number 6 of the book. Robert Rey, Preface in Peintures et aquarelles de Mela Muter, cat. exp. Galerie Joseph Billet & Cie, 1924. Mela Muter working in Collioure in the Eastern Pyrenees, circa 1925. Estimate 25,000 – 35,000 euro. Cornette de Saint Cyr. 12/15/20
Lot 413. Mela Muter (Maria Melania Mutermilch). Villeneuve-lès-Avignon. Verso: Dorfplatz. Oil on wooden panel 54.7 x 45.7 cm Framed. Signed ‘Muter’ in black upper left. – In fine condition with fresh colours. Provenance: Galerie Krugier, Geneva; Galerie Bargera, Cologne. The front view depicts the little town of Villeneuve-lès-Avignon near Avignon with the mighty late medieval fortification of Fort Saint-André in the background. Estimate 20,000 – 25,000 euro. Lempertz. 12/09/20. Sold 30,000 euro
To już chyba dopełnienie tegorocznych aukcji prac Meli Muter. Trzy oleje, znakomite trzy krajobrazy (jeden podwójny) i jedna martwa natura. Aż się wierzyć nie chce, że artystka zmarła w dużej biedzie.
Maria Melania Mutermilch.DorfplatzMaria Melania Mutermilch.Stillleben mit Flasche
Lot 415. Mela Muter (Maria Melania Mutermilch). Stillleben mit Flasche. Oil on wooden panel 60.5 x 44.5 cm Framed. Signed ‘MUTER’ in blue upper right. – In fine condition. Provenance: Galerie Bargera, Cologne (gallery label verso). 25,000 – 35,000 euro. Lempertz. 12/09/20. Sold 33,000 euro
Maria Melania Mutermilch.Avignon, Saint-Agricole
Lot 414. Mela Muter (Maria Melania Mutermilch). Avignon, Saint-Agricole. Oil on wooden panel 50 x 61 cm Framed. Signed ‘MUTER’ in black lower left (barely legible). Verso titled “Avignon St Agricole” handwritten in pencil. – In fine condition. The work is documented in the photo archive of Galerie Bargera. Provenance: Galerie Gmurzynska, Cologne (gallery label verso); Galerie Bargera, Cologne (gallery label verso). Exhibitions: Cologne 1967 (Galerie Gmurzynska), Mela Muter. Retrospektiv-Ausstellung, cat. no. 76 with illus.; San Francisco 1966 (Maxwell Galleries), Mela Muter (gallery label verso). Estimate 15,000 – 20,000 euro. Lempertz. 12/09/20. Sold 34,000 euro
Czy ktoś widział inne repliki prac wykonane przez tę artystke? Obie prace maja pochodzić z podobnego okresu czasowego a są przecież tak różnie malowane. Any thoughts?
Maria Melania Mutermilch. Kobieta z dzieckiem (SDA, aukcja 11/28/20)
Pan Krzysztof Zagrodzki, ekspert francuskich domów aukcyjnych, specjalizujący się w Ecole de Paris, w odpowiedzi na moje wątpliwości związane z pracami Meli Muter odpisał na mój list do niego skierowany, że potwierdza autentycznośc pracy sprzedawanej w Sopockim Domu Aukcyjnym i dobrze zna jej proweniencję. Fragment listu p. Zagrodzkiego wraz z fotografią:
Ten obraz pochodzi z kolekcji ś;p. Arona Kupfera, sprzedany na aukcji (małej) części spuścizny kolekcjonera w Hôtel Drouot 27 pażdziernika 2017 roku. Załączam zdjęcie zrobione jeszcze u niego w domu. To ten sam co sprzedany w 2002 roku w Tel Avivie, do którego odsyła komentarz w katalogu Tajana. (11/23/20)
Maria Melania Mutermilch. Still life in Izvestia, 1918
Lot 40. Marie Mela MUTER (Franco-Polish, 1876-1967). Still life in Izvestia, 1918. Canvas. H. 75, W. 81 cm. Provenance: former collection of Eirik Labonne (1888-1971), French ambassador to the Spanish Republic in Barcelona (1937-1938). Exhibition: Barcelona, 1938, 1911 catalogue attached. Bibliography: “Mela Muter, Malarstwo Peinture”, catalogue works of the University Museum in Torun, 2010, to be compared with a still life with melons and grapes, p. 35. Franco-Polish painter Mela Muter was born in Warsaw in 1876. She moved to Paris in 1901 where she remained until her death in 1967. Wife of a socialist journalist, she attended various academies of painting. At the Grande Chaumière where Jules Pascin, Camille Claudel, Estève and Eileen Gray were students for a time, she perfected her art until the Chéron gallery hired her. Various exhibitions follow at the Salon d’automne, in Barcelona, Germany or the United States. Among her friends are Kees van Dongen, with whom she exhibits, and various personalities of the time such as Clemenceau, Ravel, Satie and the young poet Rilke, whose portraits she draws. Her women with children and still lifes with fruit bursting with light are particularly appreciated. The one we are presenting evokes Cézanne and Fauvism. The painter inscribes her composition between two countries, Parisian modernity and Russia discreetly present through the Cyrillic characters of a newspaper. The banality of this table is transcended by apples that become solar stars. Rainer Maria Rilke wrote: “If your daily newspaper seems poor to you, do not accuse it. Accuse yourself of not being a poet enough to call its riches to you. The painter and the poet lived a love affair, the beauty of its few fruits telling the same ideal. Estimate 20,000 – 30,000 euro. Roulliac. 12/05/20. Sold 83,000 euro (z opłatami)
Dobra passa prac Meli Muter. Niezwykły wręcz wysyp jej prac od października do grudnia. Aż strach myśleć co będzie w 2021 roku. Tym razem dwie martwe natury, jeden pejzaż i jeden portret. Warto popatrzeć na te dwie martwe natury ustawione na stołach. Najważniejsze ich elementy leżą na pomiętych gazetach. Pomięta gazeta jako element dekoracji malarskiej – temat na pracę magisterską. Pomyśleć, że niektórzy malarze bardzo precyzyjnie, czyściutko i nienagannie usawiają elementy tworzące podobne tematycznie prace a po wysiłku artystycznym trudno patrzeć na ich finalny produkt. Trochę mnie jednak martwi ta martwa natura z Izwiestią na stole bo gazeta ta nadawała sie jedynie za zawiniecia w nią zdechłego śledzia. Czyżby Mela Muter była w jakimś stopniu sympatyczką komunizmi? Wg starego dowcipu: nie ma PRAWDY w IZWIESTII i nie ma IZWIESTII, czyli wiadomości, w PRAWDZIE. Precz z komuną!
Ciekawy list nadszedł od czytelniczki z Kijowa na temat martwej natury z Izwiestią. Cytuję całość, podając inicjały czytelniczki zamiast imienia i nazwiska:
Dzielę się z Panem swoim przemyśleniem. Izwestia – to była jedyna gazeta w której co dziennie publikowano listę rozstrzelanych danego dnia w trakcie rewolucji. Rok się zgadza 1918. Rodziny, żony codziennie sprawdzały losy mężów, ojców… Po drugie, napis pod słowem Izwestia, jest również dojść czytelny :” Wielki spisek przedstawiciela Francji….” Czy w takim razie, ta martwa natura może mieć większy podtekst? To tylko przemyślenia, skąd taka gazeta pojawiła się na obrazie. Pozdrawiam OB (11/18/20)
Maria Melania Mutermilch. Summer bouquet on a daily newspaper
Lot 2149. Muter (Mutermilch), Mela (Maria Melania) 1876 Warsaw – 1967 Paris. Recto. «Buchtlandschaft (bay landscape)». View of Villeneuve-lès-Avignon. 1940s. Oil on canvas. White shrinking cracks, isolated paint loss. H 49, W 63 cm. Verso. Summer bouquet on a daily newspaper. 1940s. Oil on canvas. Signed lower right and in the depiction lower right on a printed label of the Galerie Gmurzynska, Cologne, handwritten inscribed «M. Muter» and «66 x 51». H 63, W 49 cm. During the cataloging process, the work was detached from its stretcher and the excess layer of paint on the back of the canvas was professionally removed. In the process, the flower still life came to light. The label of the Gmurzynska Gallery was left on the back. In the course of exposing the painting on the back, the front has been professionally cleaned and is newly varnished. Another printed label of the Galerie Gmurzynska, Cologne, with the handwritten rather badly legible work’s data is on the detached stretcher. A separate printed label of the Galerie Bargera, Cologne, again on the stretcher, is handwritten dated, titled, numbered «No 39» as well as inscribed with the work’s and the artist’s data. Galerie Bargera is an alternative name of the Galerie Gmurzynska. Kenda Bargera and Antonina Gmurzynska jointly founded an art gallery in Cologne in 1964, from which the Galerie Gmurzynska, which still exists today, emerged. Mela Muter, who was born in Warsaw, enrolled at several private art schools after moving to Paris in 1901. But she soon lost interest in academic education and developed her style as an autodidact, which was inspired by her role models Vincent van Gogh and the painters of the Pont-Aven school. Perhaps because of her illustrious acquaintances in the Parisian intellectual circles, she soon gained an excellent reputation as a portrait and landscape painter and showed her works at numerous exhibitions in France and her home country. Due to her Jewish-Polish origin, she became a target of the National Socialists, who occupied France from 1940 onwards, which is why she swapped her life in Paris for a discreet retreat near Avignon. Like countless of her works, the present painting shows part of the papal city in the South of France, namely the view of the Tour Philippe-le-Bel and the Fort Saint-André in Villeneuve-lès-Avignon. The still life on the back shows colourful fireworks of typical summer flowers, such as daisies, garden cosmos and zinnias. The flowers are arranged in a yellowish spherical vase, which is placed on a daily newspaper that is draped in a sweeping manner. When she lived in Avignon, Mela Muter often painted both sides of a canvas, as her financial means for supplies were limited at that time. Authentication: We would like to thank Ms Urszula Lazwoski, Kingston, Massachusetts, for the authentication via E-Mail, based on photos, 14.09.2020. Provenance: private possession Wiesbaden. Literature: Galerie Gmurzynska, Mela Muter, Retrospektiv-Ausstellung, Cologne 1967, No. 13 (cf.). Reserve 8,000 euro. Kaupp. 11/20/20. Sold 35,000 euro
Maria Melania Mutermilch. View of Villeneuve-lès-AvignonMaria Melania Mutermilch. Portrait of His Excellency Ambassador Eirik Labonne, 1938
Lot 39. Marie Mela MUTER (Franco-Polish, 1876-1967). Portrait of His Excellency Ambassador Eirik Labonne, 1938. Watercolour and pencil. H. 40.5 L. 38 cm. Provenance: former collection Eirik Labonne (1888-1971), French ambassador to the Spanish Republic in Barcelona (1937-1938). Estimate 800 – 1,200 euro. Roulliac. 12/05/20. Sold 5,500 euro (z opłatami)
Kolejny znakomiy olej Meli Muter. Tym razem w niemieckim Lempertz. Proweniencja z Galerii Bargera/Gmurzynskiej. Perła na rynku.
Lot 204. Mela Muter (Maria Melania Mutermilch). Stadt in der Provence. Oil on canvas 73 x 92 cm Framed. Signed ‘Muter’ in blue lower right. – In fine condition with fresh colours. The work is documented in the photo archive of Galerie Bargera and titled there “Town in Provence” Over the course of the period she spent working in France, Mela Muter painted numerous images of landscapes and views of towns in Provence, mostly from the area around Avignon. The fascination that this region’s diversity of colours and forms exercised over the artist is particularly palpable in the large-format panorama of a little Provençal town offered here. From an elevated vantage point, an extensive view opens up above the mountainous landscape; lanes with cubic, interlocking formations of houses drop steeply down and away towards a river, perhaps the Rhône. A church tower and the towers of a fortress are also visible, although the precise extent of the townscape remains uncertain. Beyond the river, additional buildings are nestled within a low-lying area, behind which a mountain ridge crowned by a fortress rises up along the numerous thrusting rock formations. The intense light of the south permeates everything depicted here: it is reflected by the white walls of the houses, provides the surface of the river with its radiant cobalt blue and even invests the reddish-brown tones of the rooftops and the earth that define the tonality of the picture with radiant nuances in pink and orange. Estimate 80,000 – 100,000 euro. Lempertz. 12/08/20. Sold 100,000 euro (hammer)
Maria Melania Mutermilch.Still life with basket, grapes and apples
O takiej pracy Meli Muter można tylko pomarzyć. Trzeba pamiętać jednak, że niektóre domy aukcyjne, włączając Grisebach, pobieraja już 30% opłaty młotkowej i tyle należy dołożyć do ceny wylicytowanej. Są domy aukcyjne nawet bardziej złodziejskie, kradnące teraz 36%. Polska zapewnie wkrótce dołączy. Czy nie czas kupować i sprzedawać gdzie indziej?
Lot 333. Mela Muter (Warsaw 1876 – 1967 Paris). Still life with basket, grapes and apples.Oil on canvas. 52 × 62,5 cm ( 20 ½ × 24 ⅝ in.). Signed lower right: Muter. Cracks in the paint layer. [3753]. Provenance: Private Collection, France. Addendum/Erratum: Dated circa 1920/30. We would like to thank Dr. Urszula Lazowski, Kingston, USA, for kindly providing additional information. Estimate 30,000 – 40,000 euro. Grisebach. 12/04/20. Sold 45,000 euro (hammer)
Maria Melania Mutermilch.ELISABETH, ZACHARIA AND SAINT JEAN-BAPTIST CHILD
Prace Meli Muter wyjątkowo obrodziły w tym sezonie. Opis katalogowy dość dobrze wyjaśnia pochodzenie tych prac.
Maria Melania Mutermilch, CHILD VIRGIN WITH HOLY AND TWO PRAYER CHARACTERS
Lot 24. MELA MUTER (1876-1967) MELA MUTER (1876-1967) ELISABETH, ZACHARIA AND SAINT JEAN-BAPTIST CHILD (RECTO) CHILD VIRGIN WITH HOLY AND TWO PRAYER CHARACTERS (BACK) Oil on double-sided panel. Signed lower left on one side and right on the other. Double sided oil on panel; signed lower left and right. 142 X 122 CM – 55 7/8 X 48 IN. PROVENANCE: Acquired in the 1980s from Fressynette Billon in Les Angles (Gard) by the present owner. Private collection, France. This work belongs to a cycle of large double-sided compositions – at least four according to Fressynette Billon – which the artist’s specialists agree that they were painted by Mela Muter in the 1940s and 1950s. Taking as their theme the life of Christ and his precursors, they are painted on panels coated with gesso, which gives them the matt appearance of a fresco. One side of this work can be compared to a painting by Mela Muter presented by Christie’s, Tel Aviv, 6 April 2002, lot 45 and, for a composition belonging to the same cycle, to a double-sided painting presented by Sotheby’s, London, 30 November 2016, lot 53. “The technique often employed by Mela Muter achieves very special effects. From one brushstroke to the next the canvas remains white and naked, an area where the reasonable dream of memory freely restores hue and tone.” Robert Rey, Mela Muter, Catalogue d’exposition, Paris, Galerie Joseph Billet, s.é., Paris : 1924, n. p. “I think that Mela Muter has reasoned her art as a painter and poet, which is not limited, which only specifies its measure in her ambition to instruct the world of the secret of bringing everything to its lyrical value, an ambition more pressing than that of limiting these chances of lyricism (which are in fact universal) to a few occasions arbitrarily given as exemplary among all. …] Mela Muter, from the very first days of her happy and laborious career, was one of those innovators who were the enemies of false originality, artists and poets who, as Picasso said, influenced each other in turn, and one of whose high aims was to bring art back to life. This is why Mela Muter’s art, freed from the sour feelings of her immediate predecessors, is not literally a theme of joy, out of the universal rhythm. …] No one better than Mela Muter, far from having recourse to any other art than her own, will have warmly lavished these calm effusions fixing as an ideal point the direct properties of shapes and colours and what commands the world of words. Orphic realism which is enough, even if the author, painter for poet, claims to have some prefiguration of a sovereign future.” André Salmon, “The Painting of Mela Muter”, in Literary Poland, December 15, 1933, No. 87, p. 5. Estimate 20,000 – 30,000 euro. Tajan. 11/24/20. Sold 58,000 euro
Maria Melania Mutermilch. Portrait of a woman with a necklace
Lot 20. Mela MUTER (Warsaw 1876 – Paris 1967). Portrait of a woman with a necklace / Portrait of a young girl. Circa 1930. Oil on canvas recto verso, 63 x 49,5 cm. Signed on one side lower left “Muter”. Estimate 15,000 – 20,000 euro. Millon. 11/10/20. Sold 35,100 euro (bp)
Millon na swojej dużej aukcji szkoły paryskiej wystawił dwie dobre prace Meli Muter. Pierwsza, wygladająca znakomicie, podwójny olej z kobiecymi portretami oraz druga, akwarela przedstawiającą widok z okna na ulicę i rzekę w Paryżu.
Maria Melania Mutermilch.Portrait of a young girlMaria Melania Mutermilch.The quays of Paris
Lot 24. Mela MUTER (Warsaw 1886 – Paris 1967). The quays of Paris. Circa 1920. Watercolour on paper, 35 x 49 cm. Signed lower left “Muter”. Estimate 4,000 – 6,000 euro. Millon. 11/10/20
Równolegle, w Niemczech pokazała się akwarela sygnowana inaczej (porównując do sygnatur na tych dwóch pracach z Millon) również z widokiem miasta oraz nieskończonym na odwrociu widokiem miasteczka z widoku ptaka.
Maria Melania Mutermilch.Urbane Szene
Lot 170. Marie Mela Muter (1876 Warschau – 1967 Paris). Urbane Szene, Aquarell auf Bütten, 51 cm x 36,5 cm Blattmaß, signiert, rückseitig mit Landschaftsstudie und Vorzeichnung, Papier stockfleckig, Ecken mit Einstichslöchern, am Rand Zuschnittsspuren. Reserve 800 euro. Auktionshaus an der Ruhr. 11/14/20
Maria Melania Mutermilch.Landschaftsstudie
Czy wszystkie sa dobre? Generalnie, bardziej wierzę Francuzom niż Niemcom pod względem ustalania autentyczności i jak zwykle proweniencja jest słowem kluczowym. Tak łatwo przeciez obecnie kupić coś co wypadło sroce spod ogona.
Polish Art Corner 