Oil- Tempera on paper, laminated on board. Monogrammed and inscribed with the address "No. 5 Gisellastr", as well as titled on the reverse of the carrdboard. 74.2 x 56 cm. Cardboard: 75,5 x 57,3 cm. More works from the Max Niedermayer Collection, Limes-Verlag Wiesbaden, are available in the Evening Sale on June 6 and the Day Sale on June 7, as well as in other auctions throughout the year.
• Marianne von Werefkin's painting embodies an artistic vision brimming with suggestive intensity. • As the intellectual driving force behind the Blaue Reiter, Werefkin was one of the most influential personalities of the European avant-garde - this work exemplifies her visionary visual language. • In 1961, “Am Blumenbeet” was shown in the exhibition “les sources du XXe siècle” at the Centre Pompidou in Paris. • Most recently, the Museum de Fundatie in Zwolle, Netherlands, honored Marianne von Werefkin's important role in the exhibition “Marianne von Werefkin - Pionierin des Expressionismus” (Oct. 2024 - March 2025).
Marianne Werefkin 1860-1938, Memorial Exhibition, Städtisches Museum, Wiesbaden / Städtische Kunstsammlung, Bonn / Kunstverein Frankfurt a. Main / Städtische Galerie, München / Kunsthalle Bremen / Kunst- und Museumsverein, Wuppertal / Staatliche Kunsthalle, Baden-Baden / Museum Ostwall, Dortmund, 1958, cat. no. 10 illustrated. les sources du XXe siècle- les arts en europe de 1884 a 1914, Musee national d'art modern - Centre George Pompidou, Nov.4 - Jan. 23, 1961, cat. no. 748 (title: Au paterre)
Max Niedermayer Collection, Wiesbaden (until 1968). Max Niedermayer Estate, Wiesbaden (until 1979). Private collection, Rhineland-Palatinate (acquired from the above in 1979). Ever since family ownership
In good condition. Varnished. Slightly rubbed in places of the outer edges due to framing. When viewed in oblique light, a rubbed spot can be seen in the upper right, probably originating from the fresh varnish. The lower left corner of the sheet and the cardboard backing are compressed. Isolated, small retouchings in the lower part of the image are visible in ultraviolet light. The condition report was compiled in daylight and with a UV light source to the best of our knowledge and belief.
Lot Details
Oil- Tempera on paper, laminated on board. Monogrammed and inscribed with the address "No. 5 Gisellastr", as well as titled on the reverse of the carrdboard. 74.2 x 56 cm. Cardboard: 75,5 x 57,3 cm. More works from the Max Niedermayer Collection, Limes-Verlag Wiesbaden, are available in the Evening Sale on June 6 and the Day Sale on June 7, as well as in other auctions throughout the year.
• Marianne von Werefkin's painting embodies an artistic vision brimming with suggestive intensity. • As the intellectual driving force behind the Blaue Reiter, Werefkin was one of the most influential personalities of the European avant-garde - this work exemplifies her visionary visual language. • In 1961, “Am Blumenbeet” was shown in the exhibition “les sources du XXe siècle” at the Centre Pompidou in Paris. • Most recently, the Museum de Fundatie in Zwolle, Netherlands, honored Marianne von Werefkin's important role in the exhibition “Marianne von Werefkin - Pionierin des Expressionismus” (Oct. 2024 - March 2025).
Marianne Werefkin 1860-1938, Memorial Exhibition, Städtisches Museum, Wiesbaden / Städtische Kunstsammlung, Bonn / Kunstverein Frankfurt a. Main / Städtische Galerie, München / Kunsthalle Bremen / Kunst- und Museumsverein, Wuppertal / Staatliche Kunsthalle, Baden-Baden / Museum Ostwall, Dortmund, 1958, cat. no. 10 illustrated. les sources du XXe siècle- les arts en europe de 1884 a 1914, Musee national d'art modern - Centre George Pompidou, Nov.4 - Jan. 23, 1961, cat. no. 748 (title: Au paterre)
Max Niedermayer Collection, Wiesbaden (until 1968). Max Niedermayer Estate, Wiesbaden (until 1979). Private collection, Rhineland-Palatinate (acquired from the above in 1979). Ever since family ownership
In good condition. Varnished. Slightly rubbed in places of the outer edges due to framing. When viewed in oblique light, a rubbed spot can be seen in the upper right, probably originating from the fresh varnish. The lower left corner of the sheet and the cardboard backing are compressed. Isolated, small retouchings in the lower part of the image are visible in ultraviolet light. The condition report was compiled in daylight and with a UV light source to the best of our knowledge and belief.
Gabriele Münter 
