- 360
Max Liebermann
Estimate
80,000 - 120,000 GBP
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Description
- Max Liebermann
- Landschaft bei Noordwijk - Noordwijk-Binnen (Landscape near Noordwijk)
- signed M. Liebermann and dated 07 (lower right)
- oil on panel
- 56 by 74.2cm., 22⅛ by 29¼in.
Provenance
Oskar Hermes, Munich (acquired in 1914)
Hugo Schmeil, Dresden (sale: Galerie Paul Cassirer, Berlin, 17th October 1916, lot 80)
Paul Schmitz, Bremen (purchased at the above sale)
Martin Wiener, Berlin (acquired by 1925; sale: Christie's, New York, 27th January 1979, lot 124)
Stern Gallery, Tel Aviv
Private Collection, United States (acquired by 1990)
Sale: Christie's, New York, 4th November 2010, lot 401
Purchased at the above sale by the present owner
Hugo Schmeil, Dresden (sale: Galerie Paul Cassirer, Berlin, 17th October 1916, lot 80)
Paul Schmitz, Bremen (purchased at the above sale)
Martin Wiener, Berlin (acquired by 1925; sale: Christie's, New York, 27th January 1979, lot 124)
Stern Gallery, Tel Aviv
Private Collection, United States (acquired by 1990)
Sale: Christie's, New York, 4th November 2010, lot 401
Purchased at the above sale by the present owner
Exhibited
Zurich, Deutsche Malerei, 19. und 20. Jahrhundert, 1917, no. 65
Basel, Basel Kunsthalle, Ausstellung Deutscher Malerei des 19. Jahrhunderts, 1917, no. 64 (as dating from 1908)
Bremen, Kunsthalle Bremen, Ausstellung von Meisterwerken der modernen Malerei aus Bremischem Privatbesitz, 1918, no. 30
Zurich, Kunsthaus Zurich, Max Liebermann im Züricher Kunsthaus, 1923, no. 69
London, Royal Academy, The International Society of Sculptors, Painters and Gravers. The Annual Exhibition, Twenty-ninth London Exhibition, 1925, no. 278
Berlin, Preussische Akademie der Künste, Max Liebermann, 80. Geburtstag, 1927, no. 60
Basel, Basel Kunsthalle, Ausstellung Deutscher Malerei des 19. Jahrhunderts, 1917, no. 64 (as dating from 1908)
Bremen, Kunsthalle Bremen, Ausstellung von Meisterwerken der modernen Malerei aus Bremischem Privatbesitz, 1918, no. 30
Zurich, Kunsthaus Zurich, Max Liebermann im Züricher Kunsthaus, 1923, no. 69
London, Royal Academy, The International Society of Sculptors, Painters and Gravers. The Annual Exhibition, Twenty-ninth London Exhibition, 1925, no. 278
Berlin, Preussische Akademie der Künste, Max Liebermann, 80. Geburtstag, 1927, no. 60
Literature
Erich Hancke, Max Liebermann, Sein Leben und seine Werke, Berlin, 1914, p. 543 (with erroneous dimensions)
'Die Versteigerung der Sammlung Schmeil', in Der Cicerone, vol. VIII, no. 21/22, November 1916, mentioned pp. 450-53 (author unknown)
Emil Waldmann, 'Ausstellung der Bremer Kunsthalle von Meisterwerken aus Privatbesitz', in Kunst und Künstler, vol. XVI, no. 9, May 1918, p. 356
Emil Waldmann, 'Bremer Privatsammlungen', in Kunst und Künstler, vol. XVII, February 1919, p. 175, illustrated p. 177
Hans Ostwald, Das Liebermann-Buch, Berlin, 1930, no. 94, illustrated p. 185
Holly Prentis Richardson, Landscape in the work of Max Liebermann, Ann Arbor, 1991, vol. II, no. 479, p. 170
Matthias Eberle, Max Liebermann, 1847-1935, Werkverzeichnis der Gemälde und Ölstudien, Munich, 1996, vol. II, no. 1907/37, illustrated p. 708
'Die Versteigerung der Sammlung Schmeil', in Der Cicerone, vol. VIII, no. 21/22, November 1916, mentioned pp. 450-53 (author unknown)
Emil Waldmann, 'Ausstellung der Bremer Kunsthalle von Meisterwerken aus Privatbesitz', in Kunst und Künstler, vol. XVI, no. 9, May 1918, p. 356
Emil Waldmann, 'Bremer Privatsammlungen', in Kunst und Künstler, vol. XVII, February 1919, p. 175, illustrated p. 177
Hans Ostwald, Das Liebermann-Buch, Berlin, 1930, no. 94, illustrated p. 185
Holly Prentis Richardson, Landscape in the work of Max Liebermann, Ann Arbor, 1991, vol. II, no. 479, p. 170
Matthias Eberle, Max Liebermann, 1847-1935, Werkverzeichnis der Gemälde und Ölstudien, Munich, 1996, vol. II, no. 1907/37, illustrated p. 708
Condition
Oil on cradled panel. The panel is sound. UV examination reveals some small spots of retouching, some of which are associated to frame rubbing, visible along the upper edge, and the upper part of the left and right edges. There is a fine line of retouching to the left part of the upper edge with some minor spots of paint loss, relating to a fine scratch. There is some minor and stable paint shrinkage to some of the green pigments in the lower foreground. Otherwise this work is in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."