LOT 20
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Adolph Menzel The Wedding Party
作品估价：GBP 150,000 - 250,000
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26%
图录号：
20
拍品名称：
Adolph Menzel The Wedding Party
拍品描述：
Property from a Distinguished European Private Collection
Adolph Menzel
German
1815 - 1905
The Wedding Party
signed and datedAd. Menzel 87lower right
watercolour and gouache on card
Unframed: 18.3 by 11.5cm., 7¼ by 4½in.
Framed: 36 by 31.5cm., 14¼ by 12½in.
Edouard Cohen (1838-1910), Frankfurt/Main, by 1895
Thence by descent to his daughter Emilie Borchardt-Cohen (1877-1948), Kairo/Luzern
Borchardt-Cohen’sche Stiftung, Schaffhausen, by 1931 (their sale: Galerie Fischer, Luzern, 20-24 May 1941, lot 964)
Walter Andreas Hofer, acquired at the above sale
Heinrich Hoffmann, acquired from the above on 21 October 1941
Found by the Monument’s Men in the depot of the above in Dietramszell and transferred to the Munich Central Collecting Point (Munich Number 27854, May 1946 until 11 July 1951
Transferred by the above to JRSO (Jewish Restitution Successor Organization), Nuernberg, 23 October 1951
Private collection (sale: Hauswedell & Nolte, Hamburg, 13 June 1981, lot 964)
Purchased at the above sale by the present owner
Max Jordan, Das Werk Adolf Menzels. Eine Festgabe zum achtzigsten Geburtstage des Künstlers, Munich, 1895, p. 72
Max Jordan, Das Werk Adolf Menzels, 1815-1905: mit einer Biographie des Künstlers, Munich, 1905, p. 88
Hugo von Tschudi, Adolph von Menzel: Abbildungen seiner Gemälde und Studien, Munich, 1905, no. 657
Düsseldorf, Internationale Kunstausstellung, 1904, no. 69
Berlin, Königliche National-Galerie, Adolph von Menzel, 1905, no. 225
Washington, D.C., National Gallery of Art; Berlin, Alte Nationalgalerie, Adolph Menzel: Between Romanticism and Impressionism, 1996-97, no. 188
Throughout his career, Menzel turned to historicizing genre painting, most famously in his depictions of life at the court of Frederick the Great. Painted with virtuosity and attention to historical verisimilitude, nevertheless in these genre pictures Menzel always had the engagement of his contemporary bourgeois audience in mind, capturing vignettes, often with a comical or satirical twist, to which it could relate and into which it could weave its own narrative.
What appears to be a wedding party emerges from the classical portico of a Berlin church. But it is left to the viewer to decide exactly what is going on. Is the bride steadying her portly father as he prepares to follow his wife, clutching her Bible, down the steps, to join the bridegroom beckoning them on? Or has she in fact been landed in marriage to this older stick-in-the-mud, soon to be cuckolded by her true love waiting in the wings downstairs? And are the onlookers with their knowing stares somehow complicit? The composition throws open more questions than it answers.
Judging by its format and subject, this work belongs to a series which also includesCarelessnessandThe Letter, both from 1866 (Tschudi, 1905, nos. 656 and 658; location unknown).
Adolph Menzel
German
1815 - 1905
The Wedding Party
signed and datedAd. Menzel 87lower right
watercolour and gouache on card
Unframed: 18.3 by 11.5cm., 7¼ by 4½in.
Framed: 36 by 31.5cm., 14¼ by 12½in.
Edouard Cohen (1838-1910), Frankfurt/Main, by 1895
Thence by descent to his daughter Emilie Borchardt-Cohen (1877-1948), Kairo/Luzern
Borchardt-Cohen’sche Stiftung, Schaffhausen, by 1931 (their sale: Galerie Fischer, Luzern, 20-24 May 1941, lot 964)
Walter Andreas Hofer, acquired at the above sale
Heinrich Hoffmann, acquired from the above on 21 October 1941
Found by the Monument’s Men in the depot of the above in Dietramszell and transferred to the Munich Central Collecting Point (Munich Number 27854, May 1946 until 11 July 1951
Transferred by the above to JRSO (Jewish Restitution Successor Organization), Nuernberg, 23 October 1951
Private collection (sale: Hauswedell & Nolte, Hamburg, 13 June 1981, lot 964)
Purchased at the above sale by the present owner
Max Jordan, Das Werk Adolf Menzels. Eine Festgabe zum achtzigsten Geburtstage des Künstlers, Munich, 1895, p. 72
Max Jordan, Das Werk Adolf Menzels, 1815-1905: mit einer Biographie des Künstlers, Munich, 1905, p. 88
Hugo von Tschudi, Adolph von Menzel: Abbildungen seiner Gemälde und Studien, Munich, 1905, no. 657
Düsseldorf, Internationale Kunstausstellung, 1904, no. 69
Berlin, Königliche National-Galerie, Adolph von Menzel, 1905, no. 225
Washington, D.C., National Gallery of Art; Berlin, Alte Nationalgalerie, Adolph Menzel: Between Romanticism and Impressionism, 1996-97, no. 188
Throughout his career, Menzel turned to historicizing genre painting, most famously in his depictions of life at the court of Frederick the Great. Painted with virtuosity and attention to historical verisimilitude, nevertheless in these genre pictures Menzel always had the engagement of his contemporary bourgeois audience in mind, capturing vignettes, often with a comical or satirical twist, to which it could relate and into which it could weave its own narrative.
What appears to be a wedding party emerges from the classical portico of a Berlin church. But it is left to the viewer to decide exactly what is going on. Is the bride steadying her portly father as he prepares to follow his wife, clutching her Bible, down the steps, to join the bridegroom beckoning them on? Or has she in fact been landed in marriage to this older stick-in-the-mud, soon to be cuckolded by her true love waiting in the wings downstairs? And are the onlookers with their knowing stares somehow complicit? The composition throws open more questions than it answers.
Judging by its format and subject, this work belongs to a series which also includesCarelessnessandThe Letter, both from 1866 (Tschudi, 1905, nos. 656 and 658; location unknown).