Max Slevogt

Max Slevogt 1868 - 1932 Paradiesvögel. 1900. Oil on canvas. Signed and dated in the upper left. 71 x 100.5 cm (27.9 x 39.5 in). [EB]. • Impressionist mastery around 1900: shimmering plumage in the finest shades of white. • The unusual subject of the “birds of paradise” unfolds in a captivating interplay of light and shadow. • Max Slevogt: Alongside Max Liebermann and Lovis Corinth, one of the most important representatives of German Impressionism. • From the Eduard Fuchs Collection, Berlin: A “jewel” among Slevogt’s finest works (W. von Alten, 1926). • Museum-quality: Owned by the Von der Heydt Museum in Wuppertal for nearly two decades and part of an impressive exhibition history. • The provenance bears witness to Germany’s turbulent history and finds its completion in this amicable restitution. The authenticity of this work was confirmed verbally by Bernhard Geil. PROVENANCE: Collection of Eduard Fuchs (1870–1940), Berlin (by 1909 at the latest, likely acquired directly from the artist; until 1937, confiscated by the Gestapo in the intervening period: 1933-1935). Rudolph Lepke’s Kunst-Auctions-Haus, Berlin (on consignment from the above mentioned-property, until June 16–17, 1937). Hildebrand Gurlitt, Hamburg (acquired from the above 1937). Fritz Slevogt Collection, Hamburg (acquired from the above in 1939) Von der Heydt Museum, Wuppertal (Inv. No. G 1827, acquired in 2006, Kunsthaus Lempertz). Restitution to the heirs of Eduard Fuchs (2026). The work is free of restitution claims. EXHIBITION: Max Slevogt. Ausstellung zum 50. Geburtstag des Künstlers, Freie Secession and Paul Cassirer, Berlin, Nov./Dec. 1918, cat. no. 33, p. 17. Max Slevogt. Die Berliner Jahre, Von der Heydt Museum, Wuppertal, March 6–May 22, 2005; Max Liebermann House, Berlin, June 4–September 4, 2005, cat. no. 4, pp. 34ff. (with color ill.). Slevogt und Frankreich, Saarlandmuseum – Moderne Galerie, September 1, 2018–January 13, 2019, pp. 184–185 (color illustration), p. 276. LITERATURE: Hans-Jürgen Imiela, Max Slevogt: Eine Monographie, Karlsruhe 1968, p. 363, note 37. - - Josef Anton Bondy, Eine Berliner Privatsammlung, in: Neue Revue, May 29, 1909, p. 769. Paul Westheim, Das Haus eines Sammlers. Die Sammlung Eduard Fuchs, Zehlendorf, in: Das Kunstblatt 10 (1926), p. 111. Wilken von Alten, Max Slevogt, Bielefeld 1926, p. 16, ill. 20. Rudolph Lepke’s Art Auction House, Berlin, Catalog 2114, F. Art Collection—Berlin. Paintings by Modern Masters, Sculptures and Furniture, Porcelain, Faience, June 16–17, 1937, Lot 92. Ulrich Weitz, Salonkultur und Proletariat. Eduard Fuchs: Sammler, Sittengeschichtler, Sozialist, Stuttgart 1991, Slevogt Catalogue Raisonné no. 8, p. 321. Ulrich Weitz, Der Mann im Schatten—Eduard Fuchs, Berlin 2014, p. 185 (color illustration). Kunsthaus Lempertz, Cologne, 867th “Modern Art” Auction, December 4, 2004, lot 1334 (lot description). Juliane Rückert, Blumen, Früchte und tote Tiere—Slevogts Faszination am Stillleben, in: Max Slevogt. Eine Retrospektive zum 150. Geburtstag, Hanover 2018, pp. 114ff. (color illustration). Ulrich Weitz, Eduard Fuchs: Ein Pionier als Sammler und Schriftsteller, in: transfer—Journal of Provenance Research and Collection History, vol. 3 (2024), p. 44, color ill. 9. Called up: December 5, 2026 - ca. 14.09 h +/- 20 min.

Estimate:£33,373.28

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