Property from a Private Collection in Israel
1895 - 1949
WOMAN WITH STILL LIFE
signed Adler and numbered with the Estate inventory number CA 416 (on the reverse)
painted in the 1940s
oil on canvas
44¼ by 33¾ in.
112.5 by 85.5 cm.
Overall this work is in good condition. Canvas is not relined. There is scattered craquelure throughout which has been professionally stabled on the bottom and a few spots of retouching are apparent by the bottom edge as well when viewed under ultra violet light.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Estate of the artist
Sale: Christie's Tel Aviv, October 4, 1999, lot 50
Born in Lodz, Poland in 1895, Adler moved to Germany in 1913 where he established himself as a significant force in the German art world of the 1920s, participating in every important Expressionist show. His studies with Gustav Wiethuechter at the School of Art and Crafts in Barmen influenced his persistent interest in the technique of painting and the exploration of new textures. He was also greatly influenced by Picasso and Klee with whom he taught at the Düsseldorf Staatlich Kunstakademie and shared an adjoining studio. In 1933 he was forced to leave Germany, first settling in Glasgow in 1941, and then in London in 1943, where he exerted a major influence on postwar British painting. "Some critics have remarked upon the affinity between the grave seriousness of Jankel Adler's figures, his firmly constructed compositions, and the strength and severity of the Jewish orthodox religion in which he was raised. Some see in Adler's paintings a blending of the mathematical clarity of the Talmud with the mysticism of the Cabbala." (Avraham Kampf, Chagall to Kitaj Jewish Experience in 20th Century Art, Barbican Art Gallery, London, 1990, exhibition catalogue, p. 87.)