Conrad Felixmüller

Conrad Felixmüller 1897 - 1977 Herbst in Klotzsche / Das eingeschlafene Modell II. 1920/1940. Oil on canvas. “Herbst in Klotzsche” signed in the lower left; “Das eingeschlafene Modell” is also signed and dated in the lower left. 95 x 95 cm (37.4 x 37.4 in). The painting “Das eingeschlafene Modell II” on the reverse is listed in Felixmüller’s catalogue raisonné under the number 847. [CH]. • SIGNIFICANT The years after World War I are regarded as the central and finest creative phase in Conrad Felixmüller’s oeuvre. • CONTEMPORARY HISTORY This is an expressive work in which the artist processes the traumatic experiences of World War I and the existential quest for direction in the postwar period. • EARLY RECOGNITION Exhibited at the renowned Ludwig Schames Art Salon in Frankfurt am Main and at the Kestner Society in Hanover as early as 1921. • RARE The figurative compositions from the early interwar years are among the artist’s most sought-after works on the international auction market. • TWO PAINTINGS Painted on both sides; depicting “Das eingeschlafene Modell II” (The Sleeping Model II) from 1940 on the reverse. We are grateful to Dr. Mara Wantuch-Thole, LL.M., and Dr. Ewald Volhard, as well as the heirs of Robert Graetz, for their kind support and excellent cooperation. PROVENANCE: Robert Graetz Collection, Berlin-Grunewald (acquired directly from the artist through an exchange in 1929; held until 1939). The artist’s studio (returned by the aforementioned owner in 1939; reverse side completed in 1940). From the collection of Hanns-Conon von der Gabelentz, Poschwitz Palace near Altenburg. Private collection, Saxony-Anhalt (in the family’s possession since after 1970). From a Swiss corporate collection (acquired from the above in 2011, Ketterer Kunst, Munich). Amicable agreement with the heirs of Robert Graetz (2026). This work is offered in an amicable agreement with the heirs of Robert Graetz. The work is free of restitution claims. EXHIBITION: Felixmüller, Kunstsalon Ludwig Schames, Frankfurt am Main, January 1921, cat. no. 22. 44. Ausstellung in zwei Abteilungen. Watercolors by Modern Artists and Paintings by Conrad Felixmüller, Kestner-Gesellschaft, Hanover, Aug. 28–Sept. 25, 1921, cat. no. 214 (subsequently shown in Düsseldorf and Hamburg). Summer Exhibition. New Works 1920/1921, Graphisches Kabinett I. B. Neumann, Berlin, July/August 1921, cat. no. 6. LITERATURE: Heinz Spielmann (publ.), Titus Felixmüller (ed.), Conrad Felixmüller. Monograph and Catalogue Raisonné of the Paintings, Cologne 1996, CR no. 223 (color plate 16 on p. 71) and CR no. 847 (color plate 93 on p. 155). - - Angelika Enderlein, Der Berliner Kunsthandel in der Weimarer Republik und im NS-Staat. Zum Schicksal der Sammlung Graetz, Berlin 2006, pp. 202, 249. Angelika Enderlein, Aufbau und Verlust - Die moderne Sammlung Robert Graetz, in: Werke und Werte. Über das Handeln und Sammeln von Kunst im Nationalsozialismus, Berlin 2012, pp. 114ff. Ketterer Kunst, Munich, 386th Auction, Dec. 10, 2011, lot 79 (with illustration). "Felixmüller is the most discerning and the most conscious of all of them. […] There is a sense of harmony and maturity in his paintings that we usually don't find in such radical artists. Those who are not convinced will see that any arbitrariness of nature or temperament is eliminated in the work of the Expressionist artist, and that every line and every splash of color is essential for the whole to come to life.” Der Cicerone: A Bimonthly Journal for Art Researchers and Collectors, Nov. 1919, p. 341 Called up: December 4, 2026 - ca. 18.38 h +/- 20 min.

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