Franz von Stuck
Franz von Stuck
1863 - 1928
Kentaurenritt. 1910.
Oil on panel.
Signed and dated in the lower right. 60.5 x 82 cm (23.8 x 32.2 in), in the original frame.
On the development of the theme of the Centaur Ride , see also Voss 251/172 “Lustiger Ritt” (1903) and Voss 376/175 “Prestissimo”. [JS].
• SECESSION The Munich protagonist of Viennese Modernism created his finest works around 1900.
• SENSUAL “Sünde” (Sin, 1891) – “Kentaurenritt” (Ride of the Centaur, 1910): Scenes of unbridled sensuality and eroticism inspired by mythology and the Bible.
• STUCK & PICASSO The hybrid creatures—the faun, the centaur, and the Minotaur—as the artists' alter egos.
• EXHIBITION Selected by Stuck for the International Art Exhibition in Rome as early as 1911 and exhibited at Paul Cassirer’s gallery in Berlin in 1916.
• PROVENANCE From the Schmeil Collection in Dresden, which includes works by Courbet, Böcklin, Liebermann, and Hodler.
• MUSEUM QUALITY Stuck’s works are part of major collections, including the Metropolitan Museum in New York, the Musée d’Orsay in Paris, and the Hermitage in St. Petersburg.
We are grateful to Margot Th. Brandlhuber of the Museum Villa Stuck in Munich for her expert advice.
PROVENANCE: From the artist’s studio (until 1911: International Art Exhibition, Rome).
Collection of Carl Hugo Schmeil (1852–1923), Dresden (1911–1916: with a fragmentarily preserved label from the auction of the collection at Paul Cassirer/Hugo Helbing, Berlin, on the reverse).
Melchior Voitländer Collection (1858–1934), Kronach (acquired from the above, in the family’s possession until 1968: Weinmüller/Neumeister).
Private collection, Southern Germany (until 2001: Neumeister).
Private collection, Southern Germany (acquired from the previous owner in 2001; in the family’s possession ever since).
EXHIBITION: International Art Exhibition, Rome, 1911 (see the review in: Kunst für Alle, no. 26, 1910/11, p. 534).
Galerie Hugo Helbig, Munich, Sept. 8–25, 1916, no. 125 (as part of the auction of the Schmeil Collection at Paul Cassirer).
Galerie Paul Cassirer, Berlin, Oct. 3–16, 1916, no. 125 (as part of the auction of the Schmeil Collection at Paul Cassirer).
LITERATURE: Heinrich Voss, Franz von Stuck 1863–1928, Catalogue Raisonné of Paintings, Munich 1973, CR no. 375/174.
-
Burkhard Meier, Deutschland auf der Internationalen Kunstausstellung in Rom 1911, in: Kunst für Alle, no. 26, 1910/11, p. 534 (with double-page black-and-white illustration preceding p. 529 [based on the contemporary mezzotint reproduction by Bruckmann]).
Galerie Paul Cassirer, Berlin, auction of the Schmeil Collection, Dresden, Berlin 1916, cat. no. 125 (with black-and-white illustration).
Weinmüller, Rudolf Neumeister Art Auction House, Munich, Modern Art, 112th Auction, May 21, 1968, lot 325 (with illustration).
Neumeister’s Modern Art, Munich, auction 30, November 15, 2001, lot 933 (with illustration).
Galerie Paul Cassirer, Berlin, auction of the Schmeil Collection, Dresden, Berlin 1916, p. XI.
Galerie Paul Cassirer, Berlin, Versteigerung der Sammlung Schmeil, Dresden, Berlin 1916, S. XI.
Franz von Stuck
1863 - 1928
Kentaurenritt. 1910.
Oil on panel.
Signed and dated in the lower right. 60.5 x 82 cm (23.8 x 32.2 in), in the original frame.
On the development of the theme of the Centaur Ride , see also Voss 251/172 “Lustiger Ritt” (1903) and Voss 376/175 “Prestissimo”. [JS].
• SECESSION The Munich protagonist of Viennese Modernism created his finest works around 1900.
• SENSUAL “Sünde” (Sin, 1891) – “Kentaurenritt” (Ride of the Centaur, 1910): Scenes of unbridled sensuality and eroticism inspired by mythology and the Bible.
• STUCK & PICASSO The hybrid creatures—the faun, the centaur, and the Minotaur—as the artists' alter egos.
• EXHIBITION Selected by Stuck for the International Art Exhibition in Rome as early as 1911 and exhibited at Paul Cassirer’s gallery in Berlin in 1916.
• PROVENANCE From the Schmeil Collection in Dresden, which includes works by Courbet, Böcklin, Liebermann, and Hodler.
• MUSEUM QUALITY Stuck’s works are part of major collections, including the Metropolitan Museum in New York, the Musée d’Orsay in Paris, and the Hermitage in St. Petersburg.
We are grateful to Margot Th. Brandlhuber of the Museum Villa Stuck in Munich for her expert advice.
PROVENANCE: From the artist’s studio (until 1911: International Art Exhibition, Rome).
Collection of Carl Hugo Schmeil (1852–1923), Dresden (1911–1916: with a fragmentarily preserved label from the auction of the collection at Paul Cassirer/Hugo Helbing, Berlin, on the reverse).
Melchior Voitländer Collection (1858–1934), Kronach (acquired from the above, in the family’s possession until 1968: Weinmüller/Neumeister).
Private collection, Southern Germany (until 2001: Neumeister).
Private collection, Southern Germany (acquired from the previous owner in 2001; in the family’s possession ever since).
EXHIBITION: International Art Exhibition, Rome, 1911 (see the review in: Kunst für Alle, no. 26, 1910/11, p. 534).
Galerie Hugo Helbig, Munich, Sept. 8–25, 1916, no. 125 (as part of the auction of the Schmeil Collection at Paul Cassirer).
Galerie Paul Cassirer, Berlin, Oct. 3–16, 1916, no. 125 (as part of the auction of the Schmeil Collection at Paul Cassirer).
LITERATURE: Heinrich Voss, Franz von Stuck 1863–1928, Catalogue Raisonné of Paintings, Munich 1973, CR no. 375/174.
-
Burkhard Meier, Deutschland auf der Internationalen Kunstausstellung in Rom 1911, in: Kunst für Alle, no. 26, 1910/11, p. 534 (with double-page black-and-white illustration preceding p. 529 [based on the contemporary mezzotint reproduction by Bruckmann]).
Galerie Paul Cassirer, Berlin, auction of the Schmeil Collection, Dresden, Berlin 1916, cat. no. 125 (with black-and-white illustration).
Weinmüller, Rudolf Neumeister Art Auction House, Munich, Modern Art, 112th Auction, May 21, 1968, lot 325 (with illustration).
Neumeister’s Modern Art, Munich, auction 30, November 15, 2001, lot 933 (with illustration).
Galerie Paul Cassirer, Berlin, auction of the Schmeil Collection, Dresden, Berlin 1916, p. XI.
Galerie Paul Cassirer, Berlin, Versteigerung der Sammlung Schmeil, Dresden, Berlin 1916, S. XI.
