Lot 53
Video
53
Max Slevogt
Der verlorene Sohn, 1899.
Oil on canvas
Estimate:
€ 150,000 - 250,000
$ 165,000 - 275,000
Der verlorene Sohn. 1899.
Oil on canvas.
Signed and dated in the lower left on the left panel, signed and dated in the upper left on the central panel, signed in the center of the left margin on the right panel. Each with inventory labels of the Württembergische Staatsgalerie and Staatsgalerie Stuttgart on the reverse of the stretcher, the central panel with a label of the Kunsthalle Basel. With a black and red (customs) stamp on the reverse of the left panel. Center panel: 110.5 x 98 cm (43.5 x 38.5 in). Side panels: each 110,5 x 50 cm (43,5 x 19,6 in).
According to Imiela (1968), inscribed: "Im ersten Jahr meiner Ehe gemalt 1898-1899 Max Slevogt" (painted during the first year of my marriage) on the reverse.
[KT][KT].
• A key work: Slevogt celebrated his artistic breakthrough with this triptych in the first exhibition of the Berlin Secession in 1899.
• At Max Liebermann's express wish, he successfully participated in this art-historically significant exhibition with this painting.
• An exceptionally large work and the only completed triptych; no such work has ever been offered on the auction market.
• Inspired by the grand Rembrandt retrospective in Amsterdam in 1898, Slevogt refined a modern aesthetic of light, physicality, and emotion.
• With his dramatic presentation of an adaptation of "Der verlorene Sohn" (The Prodigal Son), Slevogt caused a scandal in the major art cities Munich, Berlin, and Vienna.
• Of museum quality: widely acclaimed in the literature and shown in numerous exhibitions, it remained at the Staatsgalerie Stuttgart for almost 70 years.
• Originally part of the significant Impressionist collection of Eduard Fuchs, Berlin.
• The provenance is a testimony to the turbulent German history with all its drama and tragedy; it now finds completion in an amicable restitution.
We would like to thank Dr. Ulrich Weitz, Stuttgart, and Bernhard Geil for their kind scientific advice.
PROVENANCE: Kunstsalon Paul Cassirer (acquired from the artist in 1899).
Eduard Fuchs (1870-1940), Berlin (acquired from the above in 1911).
Rudolph Lepke's Kunst-Auctions-Haus, Berlin ( June 16/17, 1937, on commission for Gertraud Fuchs, until June 22-24, 1938).
Otto Staebler Collection, Tuttlingen (1949-1955 at the latest, subsequently in family ownership).
Staatsgalerie Stuttgart (received in 1956 as a bequest from the aforementioned).
Returned to the heirs of Eduard Fuchs (2024).
EXHIBITION: 1. Ausstellung der Berliner Secession, Secession premises on Kantstrasse 12, Berlin, May 1899, no. 158.
Ausstellung von Werken von Edouard Manet, H.-G.E. Degas, P. Puvis de Chavannes, Max Slevogt, 2nd year of the art exhibitions, winter 1899/1900, Bruno und Paul Cassirer, Berlin, October 15 - December 1, 1899, cat. no. 73.
VI exhibition, Vereinigung Bildender Künstler Österreichs Secession, Vienna, spring 1900, no. 178.
Dresden Art Salon, March 1900.
Internationale Kunstausstellung, Secession, exhibition venue at Königsplatz, Munich, summer 1900, no. 278.
III Ausstellung Deutscher Meister, Kunstsalon Fritz Gurlitt, Berlin, 1915.
Max Slevogt. Ausstellung zum 50. Geburtstag des Künstlers, Freie Secession and Paul Cassirer, Berlin, Nov.-Dec. 1918, cat. no. 27.
Slevogt Exhibition (Fuchs Collection), Ermeler-Haus, Berlin, October 19 – November 4, 1928, no. 15.
Max Slevogt: Gemälde, Aquarelle, Pastelle, Zeichnungen, zu seinem 60. Geburtstag ausgestellt in der Preußischen Akademie der Künste, Berlin, October-November 1928
Max Slevogt. Religiöse Werke, Gemälde, Aquarelle, Grafiken, Pfalzgalerie Kaiserslautern, January 29 - February 20, 1966, no. 6, pp. 11, 53 (illustrated on p. 126), no. 39, p. 52: composition sketch.
Max Slevogt. Gemälde, Aquarelle, Zeichnungen, Saarland Museum, Saarbrücken, works 1876-1914: May 29-July 12, 1992, works 1914-1932: July 26-Sept. 20, 1992; Landesmuseum Mainz, works 1914-1932: May 31-July 12, 1992, works 1876-1914, July 26-Sept. 20, 1992, cat. no. 34 (illustrated).
Max Slevogt - Die Berliner Jahre, Von der Heydt-Museum Wuppertal, March 6 - May 22, 2005; Max Liebermann Haus, Berlin, June 4 - September 4, 2005, cat. no. 3 ( illustrated).
Max Slevogt. Neue Wege des Impressionismus, Landesmuseum Mainz, May 4 - October 12, 2014, p. 27 (illustrated), pp. 141-143 (illustrated), cat. no. 109.
Max Slevogt. Eine Retrospektive zum 150. Geburtstag, Niedersächsische Landesmuseum, Hanover, September 28, 2018 - February 24, 2019, cat. no. 29 (illustrated).
LITERATURE: Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, pp. 48ff., figs. 18, 19, 125, 126, p. 361, note 19.
- -
(in selection:)
Personal- u. Atelier-Nachrichten - Von Ausstellungen und Sammlungen, in: Die Kunst für Alle, vol. 15, issue 12, March 15, 1900, p. 282.
Carl Ferdinand von Vincenti, Wiener Frühjahr-Ausstellungen, in: Die Kunst für Alle, vol. 15, issue 16, May 15, 1900, p. 369.
Karl Voll, Die Internationale Kunstausstellung 1900 der Münchner Secession, in: Die Kunst für Alle, vol. XV, issue 21, Aug. 1, 1900, pp. 483-486, on Slevogt p. 484 (ill. p. 515).
Alfred Koeppen, Die moderne Malerei in Deutschland, Bielefeld/Leipzig 1902, p. 85, ill. 86 on p. 87.
Gottfried Stoffers (ed.), Die Industrie- und Gewerbe-Ausstellung für Rheinland, Westfalen und benachbarte Bezirke verbunden mit einer deutsch-nationalen Kunst-Ausstellung, Düsseldorf 1902, p. 365.
Rudolf Klein, Die deutschnationale Kunstausstellung, in: Die Rheinlande, vol. 4, Sept. 1902, p. 27.
Lovis Corinth, der Akt in der bildenden Kunst, in: Kunst und Künstler, vol. 2, 1904, p. 112.
Hans Rosenhagen, Max Slevogt, in: Die Kunst für Alle, vol. 21, issue 6, Dec. 15, 1905, p. 129.
Albert Kuhn, Allgemeine Kunstgeschichte, vol. II, Einsiedeln 1909, n. A. 1378.
Karl Scheffler, Slevogt's Improvisations. Notizen zu Bildern aus der Sammlung Ed. Fuchs, in: Kunst und Künstler, vol. X, no. 12, 1912, pp. 578-588, on the triptych p. 579 (ill. on p. 578).
Karl Voll, Max Slevogt. 96 Reproduktionen nach seinen Gemälden, Munich 1912, p. 20 (with ill. 30, 31).
Ausstellungen, Berlin, in: Kunstchronik, vol. 26, no. 39, June 25, 1915, p. 479.
Robert Breuer, Max Slevogt - Berlin. Zur III. Ausstellung Deutscher Meister bei Fritz Gurlitt, in: Deutsche Kunst und Dekoration, vol. 36, Apr.-Sept. 1915, pp. 415-422, on the triptych p. 422 (ill. p. 419).
Karl Scheffler, Talente, Berlin 1917, p. 115.
Max Deri, Die neue Malerei: II. Impressionismus, Max Slevogt: Der Verlorene Sohn, Ein Dokument des deutschen Impressionismus, in: Illustrierte Zeitung, Leipzig, vol. 153, no. 3979, Oct. 1919, pp. 404f. (ill.).
Emil Waldmann, Max Slevogt, Berlin 1923, pp. 53, 55.
Fritz Knapp, Die künstlerische Kultur des Abendlandes, Bonn 1923, vol. III, fig. 265.
Max Osborn, Geschichte der Kunst, 3rd edition, Berlin 1924, p. 405.
Wilken von Alten, Max Slevogt, Bielefeld 1926, pp. 15ff., ill. 19.
Martin Wackernagel, Max Slevogt, Munich-Gladbach 1926, ill. 7.
Die Kunstauktion, vol. 2, no. 11, March 11, 1928, p. 116.
Adolph von Donath, Max Slevogt, gestorben am 20. Sept., in: Der Kunstwanderer, vol. 14, Sept. 1932, p. 318.
Rudolph Lepke, Berlin, Kunstsammlung F. - Berlin: Gemälde neuerer Meister [..], June 16/17, 1937, no. 115 (illu., plate 1).
Weltkunst, Deutsche Kunst und Antiquitätenmesse, vol. 11, no. 22/23, June 6, 1937, p. 2 (illu.).
Max Goering, Max Slevogt, in: Thieme-Becker, vol. 31, 1937, p. 133.
Rudolph Lepke, Berlin, Antiquitäten, Möbel, Kunstgewerbe […] Gemälde alter und neuerer Meister, June 22-24, 1938, no. 739 (ill. on plate 6).
Karl Scheffler, Max Slevogt, Berlin 1940, pp. 29 (ill.), 39.
Catalog of the Staatsgalerie Galerie Stuttgart: Neue Meister, Stuttgart 1968, p. 172 (additional bibliography).
Malerei und Plastik des 19. Jahrhunderts, inventory catalog Staatsgalerie Stuttgart, Stuttgart 1982, p. 148.
Günter Busch (ed.), Max Liebermann. Die Phantasie in der Malerei, Schriften und Reden, Frankfurt a. Main 1978, pp. 226f.
Ulrich Weitz, Salonkultur und Proletariat. Eduard Fuchs: Sammler, Sittengeschichtler, Sozialist, Stuttgart 1991, p. 321, no. 5.
Sigrid Achenbach, Die Rolle Max Liebermanns und Max Slevogts in den Verlagen Bruno und Paul Cassirer, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 58-75, here p. 72, note 6.
Michael Fuhr, "Slevogts Bilder hängen neben solchen von Manet, Degas und Puvis de Chavannes." Einiges zu Paul Cassirer, Max Slevogt und den Wandmalereien für Neu-Cladow, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 297-309.
Sigrun Paas, Roland Krischke, Max Slevogt in der Pfalz. Catalog Max Slevogt Gallery at Villa Ludwigshöhe near Edenkoben, Munich 2009, pp. 16f.
Das beste aus aller Welt zeigen”. Kunstsalon Bruno & Paul Cassirer, Die Ausstellungen 1898-1901, ed. by Bernhard Echte and Walter Feilchenfeldt, Wädenswil 2011, on the exhibition pp. 179-214, there also with a comprehensive list of contemporary exhibition reviews, ill. on p. 202.
Ulrich Weitz, Eduard Fuchs - Der Mann im Schatten, Berlin 2014, p. 171.
Marcus Andrew Hurttig, Max Slevogt and the Leipzig Kunstverein before 1914, in: Gregor Wedekind (ed.), Max Slevogts Netzwerke. Kunst-, Kultur- und Intellektuellengeschichte des späten Kaiserreichs und der Weimarer Republik, Berlin 2021, pp. 173-196 (ill. on p. 178).
Franz W. Niehl, Der verlorene Sohn sucht ein Zuhause. Praxis und Theorie der dialogischen Exegese, Münster 2022, p. 59.
"Slevogt's recent painting, 'The Prodigal Son,' is currently the talk of the town among the young Munich artists. Naturally, I went to see Slevogt in his studio, because it is always a sign of quality whea a ork provokes strong reactions. The first impression was so overwhelming that I asked Slevogt to send the painting to our opening exhibition without further ado."
Max Liebermann 1928, quoted from: Günter Busch (ed.), Max Liebermann. Die Phantasie in der Malerei, Schriften und Reden, Frankfurt a. Main 1978, pp. 226f.
Called up: December 6, 2024 - ca. 18.44 h +/- 20 min.
Oil on canvas.
Signed and dated in the lower left on the left panel, signed and dated in the upper left on the central panel, signed in the center of the left margin on the right panel. Each with inventory labels of the Württembergische Staatsgalerie and Staatsgalerie Stuttgart on the reverse of the stretcher, the central panel with a label of the Kunsthalle Basel. With a black and red (customs) stamp on the reverse of the left panel. Center panel: 110.5 x 98 cm (43.5 x 38.5 in). Side panels: each 110,5 x 50 cm (43,5 x 19,6 in).
According to Imiela (1968), inscribed: "Im ersten Jahr meiner Ehe gemalt 1898-1899 Max Slevogt" (painted during the first year of my marriage) on the reverse.
[KT][KT].
• A key work: Slevogt celebrated his artistic breakthrough with this triptych in the first exhibition of the Berlin Secession in 1899.
• At Max Liebermann's express wish, he successfully participated in this art-historically significant exhibition with this painting.
• An exceptionally large work and the only completed triptych; no such work has ever been offered on the auction market.
• Inspired by the grand Rembrandt retrospective in Amsterdam in 1898, Slevogt refined a modern aesthetic of light, physicality, and emotion.
• With his dramatic presentation of an adaptation of "Der verlorene Sohn" (The Prodigal Son), Slevogt caused a scandal in the major art cities Munich, Berlin, and Vienna.
• Of museum quality: widely acclaimed in the literature and shown in numerous exhibitions, it remained at the Staatsgalerie Stuttgart for almost 70 years.
• Originally part of the significant Impressionist collection of Eduard Fuchs, Berlin.
• The provenance is a testimony to the turbulent German history with all its drama and tragedy; it now finds completion in an amicable restitution.
We would like to thank Dr. Ulrich Weitz, Stuttgart, and Bernhard Geil for their kind scientific advice.
PROVENANCE: Kunstsalon Paul Cassirer (acquired from the artist in 1899).
Eduard Fuchs (1870-1940), Berlin (acquired from the above in 1911).
Rudolph Lepke's Kunst-Auctions-Haus, Berlin ( June 16/17, 1937, on commission for Gertraud Fuchs, until June 22-24, 1938).
Otto Staebler Collection, Tuttlingen (1949-1955 at the latest, subsequently in family ownership).
Staatsgalerie Stuttgart (received in 1956 as a bequest from the aforementioned).
Returned to the heirs of Eduard Fuchs (2024).
EXHIBITION: 1. Ausstellung der Berliner Secession, Secession premises on Kantstrasse 12, Berlin, May 1899, no. 158.
Ausstellung von Werken von Edouard Manet, H.-G.E. Degas, P. Puvis de Chavannes, Max Slevogt, 2nd year of the art exhibitions, winter 1899/1900, Bruno und Paul Cassirer, Berlin, October 15 - December 1, 1899, cat. no. 73.
VI exhibition, Vereinigung Bildender Künstler Österreichs Secession, Vienna, spring 1900, no. 178.
Dresden Art Salon, March 1900.
Internationale Kunstausstellung, Secession, exhibition venue at Königsplatz, Munich, summer 1900, no. 278.
III Ausstellung Deutscher Meister, Kunstsalon Fritz Gurlitt, Berlin, 1915.
Max Slevogt. Ausstellung zum 50. Geburtstag des Künstlers, Freie Secession and Paul Cassirer, Berlin, Nov.-Dec. 1918, cat. no. 27.
Slevogt Exhibition (Fuchs Collection), Ermeler-Haus, Berlin, October 19 – November 4, 1928, no. 15.
Max Slevogt: Gemälde, Aquarelle, Pastelle, Zeichnungen, zu seinem 60. Geburtstag ausgestellt in der Preußischen Akademie der Künste, Berlin, October-November 1928
Max Slevogt. Religiöse Werke, Gemälde, Aquarelle, Grafiken, Pfalzgalerie Kaiserslautern, January 29 - February 20, 1966, no. 6, pp. 11, 53 (illustrated on p. 126), no. 39, p. 52: composition sketch.
Max Slevogt. Gemälde, Aquarelle, Zeichnungen, Saarland Museum, Saarbrücken, works 1876-1914: May 29-July 12, 1992, works 1914-1932: July 26-Sept. 20, 1992; Landesmuseum Mainz, works 1914-1932: May 31-July 12, 1992, works 1876-1914, July 26-Sept. 20, 1992, cat. no. 34 (illustrated).
Max Slevogt - Die Berliner Jahre, Von der Heydt-Museum Wuppertal, March 6 - May 22, 2005; Max Liebermann Haus, Berlin, June 4 - September 4, 2005, cat. no. 3 ( illustrated).
Max Slevogt. Neue Wege des Impressionismus, Landesmuseum Mainz, May 4 - October 12, 2014, p. 27 (illustrated), pp. 141-143 (illustrated), cat. no. 109.
Max Slevogt. Eine Retrospektive zum 150. Geburtstag, Niedersächsische Landesmuseum, Hanover, September 28, 2018 - February 24, 2019, cat. no. 29 (illustrated).
LITERATURE: Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, pp. 48ff., figs. 18, 19, 125, 126, p. 361, note 19.
- -
(in selection:)
Personal- u. Atelier-Nachrichten - Von Ausstellungen und Sammlungen, in: Die Kunst für Alle, vol. 15, issue 12, March 15, 1900, p. 282.
Carl Ferdinand von Vincenti, Wiener Frühjahr-Ausstellungen, in: Die Kunst für Alle, vol. 15, issue 16, May 15, 1900, p. 369.
Karl Voll, Die Internationale Kunstausstellung 1900 der Münchner Secession, in: Die Kunst für Alle, vol. XV, issue 21, Aug. 1, 1900, pp. 483-486, on Slevogt p. 484 (ill. p. 515).
Alfred Koeppen, Die moderne Malerei in Deutschland, Bielefeld/Leipzig 1902, p. 85, ill. 86 on p. 87.
Gottfried Stoffers (ed.), Die Industrie- und Gewerbe-Ausstellung für Rheinland, Westfalen und benachbarte Bezirke verbunden mit einer deutsch-nationalen Kunst-Ausstellung, Düsseldorf 1902, p. 365.
Rudolf Klein, Die deutschnationale Kunstausstellung, in: Die Rheinlande, vol. 4, Sept. 1902, p. 27.
Lovis Corinth, der Akt in der bildenden Kunst, in: Kunst und Künstler, vol. 2, 1904, p. 112.
Hans Rosenhagen, Max Slevogt, in: Die Kunst für Alle, vol. 21, issue 6, Dec. 15, 1905, p. 129.
Albert Kuhn, Allgemeine Kunstgeschichte, vol. II, Einsiedeln 1909, n. A. 1378.
Karl Scheffler, Slevogt's Improvisations. Notizen zu Bildern aus der Sammlung Ed. Fuchs, in: Kunst und Künstler, vol. X, no. 12, 1912, pp. 578-588, on the triptych p. 579 (ill. on p. 578).
Karl Voll, Max Slevogt. 96 Reproduktionen nach seinen Gemälden, Munich 1912, p. 20 (with ill. 30, 31).
Ausstellungen, Berlin, in: Kunstchronik, vol. 26, no. 39, June 25, 1915, p. 479.
Robert Breuer, Max Slevogt - Berlin. Zur III. Ausstellung Deutscher Meister bei Fritz Gurlitt, in: Deutsche Kunst und Dekoration, vol. 36, Apr.-Sept. 1915, pp. 415-422, on the triptych p. 422 (ill. p. 419).
Karl Scheffler, Talente, Berlin 1917, p. 115.
Max Deri, Die neue Malerei: II. Impressionismus, Max Slevogt: Der Verlorene Sohn, Ein Dokument des deutschen Impressionismus, in: Illustrierte Zeitung, Leipzig, vol. 153, no. 3979, Oct. 1919, pp. 404f. (ill.).
Emil Waldmann, Max Slevogt, Berlin 1923, pp. 53, 55.
Fritz Knapp, Die künstlerische Kultur des Abendlandes, Bonn 1923, vol. III, fig. 265.
Max Osborn, Geschichte der Kunst, 3rd edition, Berlin 1924, p. 405.
Wilken von Alten, Max Slevogt, Bielefeld 1926, pp. 15ff., ill. 19.
Martin Wackernagel, Max Slevogt, Munich-Gladbach 1926, ill. 7.
Die Kunstauktion, vol. 2, no. 11, March 11, 1928, p. 116.
Adolph von Donath, Max Slevogt, gestorben am 20. Sept., in: Der Kunstwanderer, vol. 14, Sept. 1932, p. 318.
Rudolph Lepke, Berlin, Kunstsammlung F. - Berlin: Gemälde neuerer Meister [..], June 16/17, 1937, no. 115 (illu., plate 1).
Weltkunst, Deutsche Kunst und Antiquitätenmesse, vol. 11, no. 22/23, June 6, 1937, p. 2 (illu.).
Max Goering, Max Slevogt, in: Thieme-Becker, vol. 31, 1937, p. 133.
Rudolph Lepke, Berlin, Antiquitäten, Möbel, Kunstgewerbe […] Gemälde alter und neuerer Meister, June 22-24, 1938, no. 739 (ill. on plate 6).
Karl Scheffler, Max Slevogt, Berlin 1940, pp. 29 (ill.), 39.
Catalog of the Staatsgalerie Galerie Stuttgart: Neue Meister, Stuttgart 1968, p. 172 (additional bibliography).
Malerei und Plastik des 19. Jahrhunderts, inventory catalog Staatsgalerie Stuttgart, Stuttgart 1982, p. 148.
Günter Busch (ed.), Max Liebermann. Die Phantasie in der Malerei, Schriften und Reden, Frankfurt a. Main 1978, pp. 226f.
Ulrich Weitz, Salonkultur und Proletariat. Eduard Fuchs: Sammler, Sittengeschichtler, Sozialist, Stuttgart 1991, p. 321, no. 5.
Sigrid Achenbach, Die Rolle Max Liebermanns und Max Slevogts in den Verlagen Bruno und Paul Cassirer, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 58-75, here p. 72, note 6.
Michael Fuhr, "Slevogts Bilder hängen neben solchen von Manet, Degas und Puvis de Chavannes." Einiges zu Paul Cassirer, Max Slevogt und den Wandmalereien für Neu-Cladow, in: Rahel E. Feilchenfeldt, Thomas Raff (eds.), Ein Fest der Künste - Paul Cassirer: der Kunsthändler als Verleger, Munich 2006, pp. 297-309.
Sigrun Paas, Roland Krischke, Max Slevogt in der Pfalz. Catalog Max Slevogt Gallery at Villa Ludwigshöhe near Edenkoben, Munich 2009, pp. 16f.
Das beste aus aller Welt zeigen”. Kunstsalon Bruno & Paul Cassirer, Die Ausstellungen 1898-1901, ed. by Bernhard Echte and Walter Feilchenfeldt, Wädenswil 2011, on the exhibition pp. 179-214, there also with a comprehensive list of contemporary exhibition reviews, ill. on p. 202.
Ulrich Weitz, Eduard Fuchs - Der Mann im Schatten, Berlin 2014, p. 171.
Marcus Andrew Hurttig, Max Slevogt and the Leipzig Kunstverein before 1914, in: Gregor Wedekind (ed.), Max Slevogts Netzwerke. Kunst-, Kultur- und Intellektuellengeschichte des späten Kaiserreichs und der Weimarer Republik, Berlin 2021, pp. 173-196 (ill. on p. 178).
Franz W. Niehl, Der verlorene Sohn sucht ein Zuhause. Praxis und Theorie der dialogischen Exegese, Münster 2022, p. 59.
"Slevogt's recent painting, 'The Prodigal Son,' is currently the talk of the town among the young Munich artists. Naturally, I went to see Slevogt in his studio, because it is always a sign of quality whea a ork provokes strong reactions. The first impression was so overwhelming that I asked Slevogt to send the painting to our opening exhibition without further ado."
Max Liebermann 1928, quoted from: Günter Busch (ed.), Max Liebermann. Die Phantasie in der Malerei, Schriften und Reden, Frankfurt a. Main 1978, pp. 226f.
Called up: December 6, 2024 - ca. 18.44 h +/- 20 min.
Dawn of Modernism
At the turn of the century, the cultural scene in the art capitals of Munich and Berlin was characterized by the emergence of modernism accompanied by self-confident acts of provocation. The present triptych by Slevogt was a crucial work in this context. In 1892, the first rejection of the academic establishment took place in Munich with the founding of the Secession. Slevogt, Leibl, Trübner, Corinth, and other artists found their own unofficial exhibition spaces and artistic freedom. During the first exhibition in November 1893, Slevogt made the acquaintance of his important collector and friend Eduard Fuchs, later to become the owner of the triptych. The independence gained from the academies, and the official art world was also associated with questioning the great role models and the works of the Old Masters, such as Titian, Giorgione, and Velazquez, who were considered authoritative in Munich in particular for their coloring and lighting. Their aesthetics were challenged by a new, modern reality and a more direct, liberated expression. The latest trends from France, in particular, such as a Realism that was critical of the institutions and an anti-academic Impressionism, also reached Germany.
Manet and Rembrandt
Slevogt expressed great admiration for Edouard Manet's painting in particular. With his friend, the journalist and art critic Karl Voll, Slevogt fought against the supremacy of traditional academic positions, particularly those of Franz von Lenbach, and caused an outcry in his paintings and writings. Karl Voll wrote to him with self-assurance about this aesthetic struggle: “I am to you what Zola was to Manet.” (Letter from August 23, 1903, Imiela-Archive Edenkoben, quoted from: Sigrun Paas, in: ex. cat. Max Slevogt. Neue Wege des Impressionismus, Mainz 2014, p. 23). “Scandalous paintings” such as “Danae” (1895), which was removed from a later exhibition, were the result of such deliberate provocation. With an apparent reference to Manet's “Olympia” from 1863, Slevogt presented a prostitute hidden behind the mythological figure, thus violating bourgeois morality. In 1898, Karl Voll traveled to Paris, from where he was to bring Slevogt postcards of Manet's works. Slevogt found himself caught between tradition and modernity. In October, he and Voll traveled to the great Rembrandt exhibition in Amsterdam, the impressions of which subsequently unleashed great creative power in him.
The prodigal son
On his way back, he stopped at Neukastel to see his wife, whom he had married in March. As the result of an examination of Rembrandt's chiaroscuro, the dramatic lighting, and the emotionally compassionate compositions, Slevogt created this unique triptych "Der verlorene Sohn" (The Prodigal Son) in Neukastel. Based on the biblical allegory (Luke 15:11-32), Slevogt depicts an orgy in a brothel adorned with Chinese lanterns in the left panel; the right panel shows the miserable son in a broken posture, plunged into complete darkness and isolation. The redemptive center panel opens the view into a living room decorated with Asiatica, rarities, and valuable carpets, the backdrop for the psychologically complex depiction of the humble son's return and the father's joyful shock. The emotional drama between excess, remorse, despair, and an all-forgiving love is reflected in the vibrant and contrasting execution, whereby the colorful realization in rich red and ocher tones and the dark black are reminiscent of Rembrandt's “Self-Portrait with Saskia in the Parable of the Prodigal Son,” 1635 and the “Return of the Prodigal Son,” 1663-69. An additional, subtly resonant level of interpretation leads to the artist's role as an enfant terrible outside of society, who, despite his lifestyle, competes for the support of the bourgeois collector.
1898 – Kunstsalon Cassirer, Berlin
Shortly before completing the triptych, Paul Cassirer opened a gallery in Berlin with his cousin Bruno, the secretary of the newly founded Secession. He recruited young, up-and-coming artists from Germany and, at the same time, promoted Impressionism from France. As early as March 1899, Walter Leistikow contacted Slevogt about including the triptych, which had previously impressed Liebermann so much in Slevogt's studio, as part of the first Berlin Secession exhibition in May. The work was both a success and a scandal in Berlin, even before it was exhibited in Vienna and Munich. In July, the business-minded Cassirer met Slevogt in Munich to take on some of his works, including the triptych and the "Danaë." He was so convinced by Slevogt that he proposed signing an exclusive contract with him in September, “on the condition that we have your representation for this period, i.e., you undertake to sell only through us during this time – except for portraits – and we undertake to buy paintings from you for at least four thousand marks a year” (Paul Cassirer to Slevogt, cited from Imiela 1968, p. 52). With the contract, Slevogt received a ticket to Paris with recommendations to the art dealers Durand-Ruel and Bernheim-Jeune and the collectors Viau and Faure. Along with Edouard Manet (17 works), Edgar Degas (17 works), and Puvis de Chavannes (13 works), Cassirer presented Slevogt with some 35 paintings. Manet's works included the scandalous painting “The Luncheon on the Grass” from 1863, still lifes and landscapes, and portraits of Zacharie Astruc and Jeanne Duval. Slevogt impressed with a survey of all genres, showing such ambitious works as the present triptych and "Danaë," as well as floral still lifes, landscapes, portraits, and nudes. The critical response supported Cassirer's sense of Slevogt's potential, who stood his ground against the French luminaries. The gallerist increasingly urged him to leave Munich for Berlin. Still hesitant, Slevogt first traveled to Paris in 1900 to attend the World Expo, where his picture “Scheherazade” was shown at the German Pavilion. After a brief detour via Frankfurt, he finally settled in Berlin for good in November 1901, although he was offered the title of professor in Munich – presumably in an attempt to persuade him to stay.
Eduard Fuchs (1870–1940): friend and collector
Slevogt's outstanding triptych was part of the extraordinary Eduard Fuchs Collection (fig., see Ulrich Weitz, Der Mann im Schatten: Eduard Fuchs. Sitten-Fuchs, Sozialist, Konspirateur, Sammler, Mäzen, Berlin 2014). Born in Göppingen in 1870, Fuchs grew up in Stuttgart. His free spirit would soon come to the fore - Eduard Fuchs was a true rebel, a committed Social Democrat and Communist. When the young man moved to the vibrant art city of Munich, the slightly older Max Slevogt was also part of his illustrious circle. An intimate friendship developed, and they shared a love of the provocative and caricatures.
In 1901, Fuchs, at this point working as a writer, moved to Berlin. In 1909, he published the "Illustrierte Sittengeschichte" (Illustrated Moral History), a genuine bestseller that earned him the byname "Sitten-Fuchs" (Morality Fuchs) and provided him with financial security his art collection would also benefit from. Daumier and Liebermann, but especially the works of his friend Slevogt (44 paintings!), made up the collection. Fuchs bought the colossal triptych from the art dealer Paul Cassirer in 1911, no doubt with full knowledge of all the scandals this painting had already caused. Which work could fit better in the "Slevogt Room" of his impressive Bauhaus villa? ( Fig.)
As a prominent political opponent, Eduard Fuchs was in great danger after the National Socialists seized power. When the Reichstag in Berlin burned down on February 27, 1933, he fled to Paris with his wife – just in time. He would never return to Berlin. The collection he had left behind was confiscated and, after lengthy back and forth, had to be sold at several auctions in 1937 and 1938 to pay off alleged tax debts. Slevogt's triptych, considered “degenerate” at the time, only changed hands in a subsequent sale – far below its estimated value. The work came into the possession of the Staatsgalerie Stuttgart through the estate of Otto Staebler in 1956. In 2024, it was returned to the heirs after Eduard Fuchs. [KT/AT]
At the turn of the century, the cultural scene in the art capitals of Munich and Berlin was characterized by the emergence of modernism accompanied by self-confident acts of provocation. The present triptych by Slevogt was a crucial work in this context. In 1892, the first rejection of the academic establishment took place in Munich with the founding of the Secession. Slevogt, Leibl, Trübner, Corinth, and other artists found their own unofficial exhibition spaces and artistic freedom. During the first exhibition in November 1893, Slevogt made the acquaintance of his important collector and friend Eduard Fuchs, later to become the owner of the triptych. The independence gained from the academies, and the official art world was also associated with questioning the great role models and the works of the Old Masters, such as Titian, Giorgione, and Velazquez, who were considered authoritative in Munich in particular for their coloring and lighting. Their aesthetics were challenged by a new, modern reality and a more direct, liberated expression. The latest trends from France, in particular, such as a Realism that was critical of the institutions and an anti-academic Impressionism, also reached Germany.
Manet and Rembrandt
Slevogt expressed great admiration for Edouard Manet's painting in particular. With his friend, the journalist and art critic Karl Voll, Slevogt fought against the supremacy of traditional academic positions, particularly those of Franz von Lenbach, and caused an outcry in his paintings and writings. Karl Voll wrote to him with self-assurance about this aesthetic struggle: “I am to you what Zola was to Manet.” (Letter from August 23, 1903, Imiela-Archive Edenkoben, quoted from: Sigrun Paas, in: ex. cat. Max Slevogt. Neue Wege des Impressionismus, Mainz 2014, p. 23). “Scandalous paintings” such as “Danae” (1895), which was removed from a later exhibition, were the result of such deliberate provocation. With an apparent reference to Manet's “Olympia” from 1863, Slevogt presented a prostitute hidden behind the mythological figure, thus violating bourgeois morality. In 1898, Karl Voll traveled to Paris, from where he was to bring Slevogt postcards of Manet's works. Slevogt found himself caught between tradition and modernity. In October, he and Voll traveled to the great Rembrandt exhibition in Amsterdam, the impressions of which subsequently unleashed great creative power in him.
Max Slevogt, Danae, 1895, oil on canvas, Städtische Galerie im Lenbachhaus und Kunstbau München.
The prodigal son
On his way back, he stopped at Neukastel to see his wife, whom he had married in March. As the result of an examination of Rembrandt's chiaroscuro, the dramatic lighting, and the emotionally compassionate compositions, Slevogt created this unique triptych "Der verlorene Sohn" (The Prodigal Son) in Neukastel. Based on the biblical allegory (Luke 15:11-32), Slevogt depicts an orgy in a brothel adorned with Chinese lanterns in the left panel; the right panel shows the miserable son in a broken posture, plunged into complete darkness and isolation. The redemptive center panel opens the view into a living room decorated with Asiatica, rarities, and valuable carpets, the backdrop for the psychologically complex depiction of the humble son's return and the father's joyful shock. The emotional drama between excess, remorse, despair, and an all-forgiving love is reflected in the vibrant and contrasting execution, whereby the colorful realization in rich red and ocher tones and the dark black are reminiscent of Rembrandt's “Self-Portrait with Saskia in the Parable of the Prodigal Son,” 1635 and the “Return of the Prodigal Son,” 1663-69. An additional, subtly resonant level of interpretation leads to the artist's role as an enfant terrible outside of society, who, despite his lifestyle, competes for the support of the bourgeois collector.
Max Slevogt working on the triptych at Neukastel, 1899.
1898 – Kunstsalon Cassirer, Berlin
Shortly before completing the triptych, Paul Cassirer opened a gallery in Berlin with his cousin Bruno, the secretary of the newly founded Secession. He recruited young, up-and-coming artists from Germany and, at the same time, promoted Impressionism from France. As early as March 1899, Walter Leistikow contacted Slevogt about including the triptych, which had previously impressed Liebermann so much in Slevogt's studio, as part of the first Berlin Secession exhibition in May. The work was both a success and a scandal in Berlin, even before it was exhibited in Vienna and Munich. In July, the business-minded Cassirer met Slevogt in Munich to take on some of his works, including the triptych and the "Danaë." He was so convinced by Slevogt that he proposed signing an exclusive contract with him in September, “on the condition that we have your representation for this period, i.e., you undertake to sell only through us during this time – except for portraits – and we undertake to buy paintings from you for at least four thousand marks a year” (Paul Cassirer to Slevogt, cited from Imiela 1968, p. 52). With the contract, Slevogt received a ticket to Paris with recommendations to the art dealers Durand-Ruel and Bernheim-Jeune and the collectors Viau and Faure. Along with Edouard Manet (17 works), Edgar Degas (17 works), and Puvis de Chavannes (13 works), Cassirer presented Slevogt with some 35 paintings. Manet's works included the scandalous painting “The Luncheon on the Grass” from 1863, still lifes and landscapes, and portraits of Zacharie Astruc and Jeanne Duval. Slevogt impressed with a survey of all genres, showing such ambitious works as the present triptych and "Danaë," as well as floral still lifes, landscapes, portraits, and nudes. The critical response supported Cassirer's sense of Slevogt's potential, who stood his ground against the French luminaries. The gallerist increasingly urged him to leave Munich for Berlin. Still hesitant, Slevogt first traveled to Paris in 1900 to attend the World Expo, where his picture “Scheherazade” was shown at the German Pavilion. After a brief detour via Frankfurt, he finally settled in Berlin for good in November 1901, although he was offered the title of professor in Munich – presumably in an attempt to persuade him to stay.
"Slevogt-room" with the triptych „Der verlorene Sohn“ in Villa Fuchs, Berlin.
Eduard Fuchs (1870–1940): friend and collector
Slevogt's outstanding triptych was part of the extraordinary Eduard Fuchs Collection (fig., see Ulrich Weitz, Der Mann im Schatten: Eduard Fuchs. Sitten-Fuchs, Sozialist, Konspirateur, Sammler, Mäzen, Berlin 2014). Born in Göppingen in 1870, Fuchs grew up in Stuttgart. His free spirit would soon come to the fore - Eduard Fuchs was a true rebel, a committed Social Democrat and Communist. When the young man moved to the vibrant art city of Munich, the slightly older Max Slevogt was also part of his illustrious circle. An intimate friendship developed, and they shared a love of the provocative and caricatures.
In 1901, Fuchs, at this point working as a writer, moved to Berlin. In 1909, he published the "Illustrierte Sittengeschichte" (Illustrated Moral History), a genuine bestseller that earned him the byname "Sitten-Fuchs" (Morality Fuchs) and provided him with financial security his art collection would also benefit from. Daumier and Liebermann, but especially the works of his friend Slevogt (44 paintings!), made up the collection. Fuchs bought the colossal triptych from the art dealer Paul Cassirer in 1911, no doubt with full knowledge of all the scandals this painting had already caused. Which work could fit better in the "Slevogt Room" of his impressive Bauhaus villa? ( Fig.)
As a prominent political opponent, Eduard Fuchs was in great danger after the National Socialists seized power. When the Reichstag in Berlin burned down on February 27, 1933, he fled to Paris with his wife – just in time. He would never return to Berlin. The collection he had left behind was confiscated and, after lengthy back and forth, had to be sold at several auctions in 1937 and 1938 to pay off alleged tax debts. Slevogt's triptych, considered “degenerate” at the time, only changed hands in a subsequent sale – far below its estimated value. The work came into the possession of the Staatsgalerie Stuttgart through the estate of Otto Staebler in 1956. In 2024, it was returned to the heirs after Eduard Fuchs. [KT/AT]
Max Slevogt, Portrait Eduard Fuchs, 1905, oil on canvas, Staatsgalerie Stuttgart, donation Theodor Fuchs 1960.
53
Max Slevogt
Der verlorene Sohn, 1899.
Oil on canvas
Estimate:
€ 150,000 - 250,000
$ 165,000 - 275,000
Buyer's premium and taxation for Max Slevogt "Der verlorene Sohn"
This lot can be purchased subject to differential or regular taxation.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 19 % is levied to the sum of hammer price and premium. As an exception, the reduced VAT of 7 % is added for printed books.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 19 % is levied to the sum of hammer price and premium. As an exception, the reduced VAT of 7 % is added for printed books.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.