Auction House

Highlights from the Christmas Auction: 16 December

18.11.2021 / Modern Art

Alfons Walde*
Encoutner, around 1922
100 000 - 200 000 €

Modern Art: 9 December, 4pm

The painting depicts a scene from rural Sunday life that is characteristic for Walde's pictorial repertoire: on the snowy square, a church walker rushing past in festive costume has attracted the attention of a farmer. With great clarity in the composition and radical limitation of the means of expression of color and form, Walde emphasizes the universality of the reproduced scene.

Alfons Walde* 
Farmer's mother, around 1930
70 000 - 140 000 €

Privately, the time around 1930 was turbulent for Alfons Walde, he married Lilly Walter after his divorce; in the same year their daughter, Guta Eva, was born. So it is understandable that the artist increasingly dealt with the topic of motherhood around this time. But it was also about the "nature bond" of the peasant population, which Alfons Walde knows how to capture in incredibly sensitive compositions such as this. Here he formed a new basic type, that of the proud mother, who fills almost the entire pictorial space here in an archaic-monumental effect. Stylistically, too, these years mark a turning point. The paint application becomes smaller and more pasty. At the same time, the artist reveals himself in the skilfully set light-shadow parts – the main character is perfectly staged by the illumination and stands out from the opposite slope lying in the shadow – Walde is a master of a sophisticated lighting direction.

Werner Berg* 
Church goer, 196
150 000 - 300 000 €

Once again, imKinsky proves its leading position at auctions by Werner Berg with a variety of works.

Werner Berg lived a simple, barren life on the Rutarhof  in Carinthia, where he moved in the 1930s. There he observed the rural population in their often hard everyday lives.

His subjects were those of a chronicler of the rural population; Farmers, fair visitors, churchgoers, ice skaters, bus travelers, waiting people or bowlers appear again and again in his work. Berg was concerned with formal reduction and simplicity of the pictorial design: order and structure, austerity, yet a calm mood and harmony characterize his work.

Werner Berg*
Late winter evening, 1968
90 000 - 180 000 €

The late winter evening shows two trees to the left and right of a rising path in dark colors. Often the artist passed by this place late in the evening walking through his fields. Ever since he first saw the cherry trees stepping out of the forest in March 1931 on the slope immediately in front of his Rutarhof, their depiction has accompanied him through all stages of his life for five decades.

In his winter paintings, the chalk primer he uses on every canvas that sucks in the paint and makes it matte benefits his subjects.  For Berg, winter is the season in which things find themselves and present their shape under the snow cover like a frozen gesture. Seclusion and loneliness become greater, reflection and concentration more intense.

Werner Berg* 
Shrine of the Innocent Children, 1934
120 000 - 240 000 €

Werner Berg's work in his first years in his adopted home of Lower Carinthia was characterized on the one hand by the expressionism of Edvard Munch or Emil Nolde, on the other hand by the folk and sacred art of his new surroundings. Already in the early 1930s, this approach anticipated the artists of Pop Art.

The shrine of the innocent children is located in the Sachsenkapelle in the cathedral of Maria Saal. The artist was probably fascinated by the contrast between the peacefully lying figures and the bloody traces of their gruesome murder. In Werner Berg's oil painting with the decorative framing of the shrine, the children, bedded on red velvet, are almost floating on the surface, only the two candlesticks and the flowers in front of them create spatial depth.

Norbertine Bresslern-Roth*
Snow leopard, 1939
150 000 - 250 000 €

Norbertine Bresslern-Roth, who was born in Graz and became known as an animal painter, originally came from a humble background, but her artistic talent was discovered and promoted at a young age. Her special style is characterized above all by the application of the paint: This was usually dabbed on by the artist using a bristle brush on a white primed jute. In combination with the coarse-meshed carrier material, a shimmering effect is created – a particularly striking characteristic of Bresslern-Roth. In contrast to many other paintings, she used a very muted color palette in the "Snow Leopard". The painting is filled in by the mighty body of a snow leopard, in front of her two cubs frolick. The three figures almost blur together and form a tangle of bodies. But it is precisely this condensation of the bodies that makes the artist's fine understanding of the anatomy of animals apparent.

Leo Putz 
In the studio, 1903
50 000 - 100 000 €

Leo Putz achieved great artistic recognition during his lifetime. Already at the beginning of the 20th century, he was one of the most successful artists in Munich with his light-flooded paintings associated with Impressionism and was also highly esteemed beyond the borders. The main themes of his art were nature and the female figure, which he knew how to stage very attractively. In the wonderful, early work "Im Atelier" from 1903, Putz transports the viewer into an interior scene. The fine light gradation of the painting and the soulful composition of the color palette create a particularly harmonious and charming atmosphere of the studio scene, which of course does not lack a certain eroticism.

Carl Moll
From the Vienna Prater, 1929
50 000 - 100 000 €

From 1926 to 1929, Carl Moll often spent the winter months in the Mediterranean south on the Côte d'Azur, the southern light enriching the accentuated colorism of his  paintings created there.  Returning to Vienna, this "light painting" enlivened the palette of his Prater paintings, which also includes the painting "Aus dem Wiener Prater". The findings of the French Impressionists and Post-Impressionists, who immediately converted light into color, determined Moll's depiction of the bright rays of the midday sun filtered through the foliage by not only setting lights on the forest floor and the foliage, but also changing the green tones to the bright yellow according to the different incidence of light. The lighting situation is also evident on the tree trunks, which change in a scale from brown to blue and purple shades. (Alexandra Markl)