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Lot 284. Mela MUTER (Maria Melania Mutermilch) (1876-1967). View of the Seine, ca. 1925-1930. Oil on panel, signed lower left “Muter”. H. 46 cm L. 55 cm. Provenance: Private French
Collection Views of large rivers, often with bridges or animated by ships, barges or boats engaged in river traffic, often appear in the work of Mela Muter. In Paris, as early as the 1920s, she depicts the Seine or the Canal Saint-Martin. Paintings such as Le Pont Saint-Michel, Paris, 1920; Les péniches sur le canal Saint-Martin, circa 1922, coll. Nawrocki; Pont Marie in Paris; Quais parisiens et péniches, circa 1925, coll. particulière are examples. Later, in Avignon, she had a predilection for the Rhône, majestic and imposing, and its swirling white water: Le pont d’Avignon, Pont sur le Rhône in Avignon, Les tourbillons sur Rhône, circa 1940-1945, coll. Nawrocki).
The painting “View of the Seine” presents a fragment of the river, bordered on one side by a quay animated by a single character and punctuated by a few trees. The painter concentrates on the boats that dock there. The other bank presents an architecture punctuated by high chimneys and pointed roofs. The artist is visibly attracted by an industrial urban landscape, as well as by a lively port universe. Of robust construction, the composition is punctuated by numerous black verticals made up of tree trunks, chimneys and crossed oblique masts. The painting is painted vigorously, with broad brushstrokes, with impasto, so as not to cover the entire surface evenly, a process typical of the artist’s style. The range of colours that she likes is very present: the blue combined in several shades, from emerald to purple and navy blue of the water, the coloured whites and greys of the boats, as well as the pinkish spots of the sky and buildings. A strong work that has a beautiful place in Mela Muter’s work. The work comes from a French private collection where it has been kept since the 1950s and 1960s. Mela Muter (Maria Melania Mutermilch) (1876 Warsaw – 1967 Paris) arrived in Paris in 1901. She had great success in the 1920s and 1930s and continued her career after the Second World War. Famous as a portraitist of the intellectual and artistic “tout-Paris”, she is known for her sumptuous still lifes and she is also much appreciated for her landscapes, painted in Brittany, in the South of France, around Avignon, as well as in Paris and its region. Expert consultants EBMC Bobrowska-Mielniczuk. Estimate 20,000 – 30,000 euro. DeBecques et Associes. 10/16/20

Nieduży pejzaż Meli Muter. Nisko wyceniony. Będzie zainteresowanie, choć umiarkowane, bo są obecnie na rynku lepsze (ale też i droższe) jej prace.

Lot 23. Maria-Mela Muter, French-Polish, 1876 – 1967. Landschaft; oil on board, signed lower right, 33 x 41cm (ARR) (VAT charged on hammer price). Provenance: Sotheby’s, London, 19 October 1988, lot 283; Private Collection, London. Note: The authenticity of this work has been confirmed by Mrs Urszula Lazowski.

Mela Muter, the pseudonym of Maria Melania Mutermilch, is one of the most significant Polish Jewish female painters in Paris in the early 20th century. She studied at the Académie de la Grande Chaumière and the Académie Colarossi under Etienne Tournés. In Paris, Muter swiftly built a reputation as a portrait painter and exhibited her work regularly, first at the Paris Salon in 1902, and subsequently at the Salon des Indépendants, the Société Nationale des Beaux-Arts, the Salon des Tuileries as well as the Salon des Femmes Artistes Modernes. During her early years in Paris she was associated with the Polish elite Leopold Gottlieb, Wladyslaw Reymont, Leopold Sraff, Stefan Żeromski, and Henri Barbusse, as well as other artists Auguste Peret, Diego Rivera and Rainer Maria Rilke, who would become one of her closest friends. During the Second World War, Muter went into hiding in the South of France, from this point on she created these Fauvist landscapes of the area, such as the present painting. Estimate 5,000 – 7,000 GBP. Roseberys. 07/15/20. Sold GBP 20,000

W tej chwili ustalono w Agrze-Art, że olej Wierusza, groteskowo wycenionny 2,000,000 -2,500,000 złotych, zdominuje polski rynek. Myślę, że ta praca Meli Muter powinna być hitem roku.

Lot 45. Mela Muter (Warsaw 1876 – 1967 Paris). Group of Children. 1913. Oil on canvas. 146,5 × 114 cm ( 57 ⅝ × 44 ⅞ in.). Formerly a signature at lower left from circa 1965. Inscribed by the Muter-collector Dr. Boleslaw Nawrocki with black pen on the reverse on canvas and stretcher: “Depôt. Reservé pour le Musée National de Varsovie, BN. Retrouvé en 1962 et partiellement restauré par BN”. Provenienz: From the estate of the artist / Galerie Gmurzynska, Cologne / Private Collection, Southern Germany (acquired circa 1975 at Galerie Gmurzynska). Ausstellung: Mela Muter. Paris, Galerie Jean-Claude Bellier, 1966 (“Groupe d´enfants”, 1913) / Mela Muter. New York, Hammer Galleries, 1967 (“La Famille”, 1913) / Mela Muter, 1876–1967. Retrospektiv-Ausstellung. Cologne, Galerie Gmurzynska, 1967, cat. no. 34, ill. Estimate 180,000 – 240,000 euro. GRISEBACH. 07/09/20

Smutny obraz tak jak smutne było życie tej artystki. To już drugi jej olej jaki będzie licytowany w Lempertz w odstępie jednego dnia. Jej martwą naturę już pokazałem kilka dni temu.

Lot 92. Mela Muter (Maria Melania Mutermilch). Kellerkinder. Öl auf Leinwand, doubliert 109 x 88,5 cm Gerahmt. Unten rechts schwarz signiert ‘Muter’. Rückseitig auf dem Keilrahmen mit Galerie- und Transportaufklebern. – Mit wenigen einzelnen Retuschen. Zu den Seitenrändern mit kleinen Farbausbrüchen durch Aufziehen auf neuen Keilrahmen. Provenienz: Nachlass der Künstlerin; Galerie Gmurzynska, Köln; Galerie Jean-Claude Bellier, Paris (mit rückseitigem Transportaufkleber); Galerie Bargera, Köln (mit rückseitigem Aufkleber); Privatbesitz Israel. Ausstellungen:  Köln 1966 (Galerie Gmurzynska), Mela Muter. Bilder, Aquarelle, Zeichnungen, vermutlich Kat. Nr. 17 (“Zwei Mädchen”, 1916, 108 x 84 cm); Köln 1967 (Galerie Gmurzynska), Mela Muter – Retrospektiv-Ausstellung, Kat. Nr. 23 mit ganzseitiger Abb. Estimate 80,000 – 100,000 euro. Lempertz. 06/19/20. Sold 80,000 euro (hammer)+25 premium = 100,000 euro.

Bardzo oszczędna, wczesna martwa natura Meli Muter z dobra proweniencją.

Lot 197. Mela Muter (Maria Melania Mutermilch). Blumenstillleben, 1914. Oil on canvas 72.5 x 60 cm Framed. Signed ‘Muter’ in black upper right. Verso a label on the canvas, inscribed there in handwriting “No. 35 Toussaint (Cinéraires) Marie Mela Muter”, with black stenciled address insciption on the stretcher “L. GODDYN/ RUE AUX LAINES/ 27 [BRUG]ES 27”. – In fine condition. Certificate: Documented by a black-and-white photography in the archive of Galerie Bargera, Cologne. Provenance: Galerie Krugier, Geneva; Galerie Gmurzynska, Cologne (1965, gallery label fragment on stretcher); Galerie Bargera, Cologne (gallery label on stretcher); Private collection, North Rhine-Westphalia. Estimate 15,000  20,000 euro. Lempertz. 06/20/20

Przyznaję, że zaspałem i nie zauważyłem tej pracy. Dziękuję czytelnikowi za pobudkę. Ta podwójna praca Meli Muter została sprzedana za 58,000 euro (młotek).

Lot 61. MUTER Marie Mela (1876-1967) : « La Plage de Collioure » et « Portrait de Monsieur D. Maublanc ». Huile sur toile double face, le portrait au verso est signé en haut à droite et titré en haut à gauche. 65 x 81 cm. Estimation: 20 000 – 30 000 €. Eric Caudron. 03/11/20

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.