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Hamburg 2019
Catalogue No. 11 features an exceptional group of drawings and watercolours by the Blue Rider artist August Macke. Most of the works come from a private collection. Virtuoso images document his legendary Tunisian journey. A number of sheets focus on display windows, flaneurs and lingering passers-by, reflecting Macke’s deep understanding of the zeitgeist of modern bourgeois society.
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Hamburg 2018
Catalogue No. 10, fully titled "Lyonel Feininger. Franz Marc. Werke aus dem Nachlaß T. Lux Feininger", marks something of a milestone. Not only is it the gallery’s tenth catalogue since the launch of the series in 2006 (excluding special catalogues) but it’s remarkable because – unusually for the gallery – part of it is devoted to prints. It showcases an outstanding group of 19 drawings and prints, some of them exceptionally rare hand-pulled proofs by two of the great masters of modernism – Lyonel Feininger and Franz Marc. Most works are personally annotated and many carry hand-written dedications.
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Hamburg 2018
The gallery breaks new ground in this catalogue by extending its range to include work by some of the key artists in post-war modernism, such as Gerhard Richter, Georg Baselitz, Per Kirkeby, Arnulf Rainer and Sigmar Polke. Paper is naturally the central theme and it’s exciting to see how some of the art world’s leading names turned to the medium between the 1960s and the 1980s. "Neuland" aims to build a bridge between classic modernism and classic contemporary art.
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Hamburg 2017
This catalogue focuses on artists’ postcards, an art form that is one of the gallery’s preferred specialities. Close study and steady acquisition over the years have yielded an important body of work. The catalogue is beautifully designed and demonstrates that limitations of shape and size are never barriers to outstanding artwork. The emphasis is on works by Brücke artists Max Pechstein, Karl Schmidt-Rottluff and Erich Heckel with highlights provided by Lovis Corinth and Oskar Schlemmer.
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Hamburg/Berlin 2016
This catalogue is published in conjunction with Berlin-based '68projects'. As the title suggests, the catalogue extends the gallery’s scope to embrace contemporary artistic production. Classic modern works are juxtaposed thematically to contemporary works - Hofer is paired with Marc Brandenburg; Jawlensky with Friederike von Rauch and Nolde with Jorinde Voigt. These juxtapositions produce a fascinating diversity of insights into the creative process.
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Hamburg 2015-16
Catalogue No. 8 spans the entire spectrum of early twentieth century art on paper. It highlights the virtuoso draughtsmanship of August Macke and Franz Marc’s mastery of line in his studies of nudes (two sheets executed in 1911 and 1912). It also features the colouristic intensity of Nolde’s watercolours and the bold vibrancy of artists’ postcards by Schmidt-Rottluff and Pechstein. Additional important discoveries are a striking "Self-Portrait" by Beckmann, a "Large Meditation" by Jawlensky and a large number of other classic modern artworks.
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Hamburg 2014-15
Catalogue No. 7 features three major works by Marc, a rare Cubist-style drawing in pen and ink by Macke, Jawlensky’s "Meditation" and three watercolours by Nolde – all three fresh to the market. It also features a number of striking classic modern works.
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Hamburg 2013
This catalogue is a monograph on the oeuvre of Rolf Hans (1938-96), an artist whose work is an exciting recent discovery. His abstract paintings were executed in a variety of media – pastel, watercolour, collage, oil and acrylic on panel. They reflect his preoccupation with the colouristic richness of the natural world as observed through changing seasons in the Swiss canton of Ticino and on trips to Italy, Spain, Norway and East European countries. His use of bold blocks of intense colour recalls the Colour Field painting of American Abstract Expressionists like Barnett Newman and Mark Rothko as well as one of the masters of the Bauhaus, Josef Albers.
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Hamburg 2012-13
Catalogue No. 6 is the first of the gallery’s new-look catalogues. Its overall design has been completely revamped and the format is much larger, with a new layout designed for large illustrations and exhaustive catalogue entries. The design makeover is the brainchild of Munich-based Büro Sieveking who have established a solid reputation for innovative design solutions for exhibition catalogues and for successfully carrying out commissions for Munich’s Pinakothek der Moderne. The gallery’s logo has also been redesigned. Together, these changes underline the gallery’s identity and reflect all the exciting developments of the last eight years. Featuring in the new-format catalogue are important works on paper by Feininger, Marc, Münter, Nolde and Kirchner.
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Hamburg 2012
This catalogue showcases 20 outstanding paintings, watercolours and prints by Eduard Bargheer. In 1947 he began to spend extended periods in Ischia where he depicted the natural beauty of the island, drawing inspiration from its colouristic variety, its rich Mediterranean vegetation and its distinctive, cuboid architecture. Inspired by his experience of Mediterranean light he interwove landscape with architecture to create light-filled abstractions. Visits to Africa in the 1960s produced vibrant images of oases and stretches of desert. In these watercolours total immersion in light and the phenomena of shimmering heat and the intense brilliance of the sun were of primary significance.
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Hamburg 2011-12
Catalogue No. 5 highlights the extraordinary range of creative achievement in Europe in the first half of the twentieth century as represented by artists like Hofer, Campendonk, Nolde and Jawlensky. They rank among the most influential and exciting exponents of classic modernism. Every work is illustrated in full-page colour and is accompanied by a detailed catalogue entry.
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Hamburg 2011
This catalogue focuses on an important group of works on paper by Lyonel Feininger consisting of watercolours, drawings and woodcuts. They illustrate his predilection for a particular set of graphic techniques and offer rare insights into the different facets of his artistic achievement. The expressive quality of his woodcuts is highly remarkable. He rarely produced more than a few impressions, printing by hand and using fine papers.
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Hamburg 2010-11
Catalogue No. 4 features 30 drawings, watercolours and gouaches. Highlights include works by the Blue Rider artists Marc and Macke, and by Brücke artists Kirchner, Nolde and Pechstein. Kirchner’s "Steamboat on the Elbe" executed in Dresden in 1910 is a fine pastel and crayon drawing. There are two sheets by Hofer – "Jazz Band", a vibrant, extremely sensitive preliminary pencil drawing for a painting, and "Seated Girl", a sheet dating from the late 1920s.
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Hamburg 2009-10
Over the last eight years the gallery’s primary field of specialisation has focused on classic modern works on paper. Catalogue No. 3 demonstrates just how many-faceted this field is. One outstanding example of the versatility of the field is Hofer’s remarkable pencil drawing of a dancer executed around 1940. Another example is Macke’s sensitive handling of a "Girl Sleeping" (1912) – a very private study of his wife Elisabeth. The catalogue also features work by other Blue Rider artists - Marc’s "Red Horse" (1912), a striking tempera over pencil and Feininger’s watercolour "4-Mast Bark Abraham Rydberg" (1934), an exquisite example of his meticulous penwork and crystalline Cubist-style aesthetic.
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Hamburg 2007-8
Catalogue No. 2 demonstrates the potential of paper as an artistic medium in conveying powerful pictorial qualities. Large-format, vibrantly coloured watercolours by Macke, Nay and Schmidt-Rottluff testify to the extraordinary scope of an artistic medium that provides for extraordinary freedom and immediacy. In addition, two smaller-format chalk drawings by Macke made on the legendary Tunisian journey and two pencilled "Natur-Notizen" by Feininger - outstanding examples of graphic virtuosity – demonstrate how immensely varied the use of paper as an artistic medium was in early twentieth-century European art.
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Hamburg 2006-7
Catalogue No. 1, published in early autumn 2006, marks the launch of the gallery’s catalogue programme. Each catalogue is designed to have its own special focus. This first catalogue showcases 25 drawings, watercolours and gouaches. It offers a survey of classic modernism, featuring work by Max Beckmann, Christian Rohlfs, Max Liebermann and August Macke. It also features a remarkable, large-format pencil drawing by Karl Hofer titled "Reclining Nude" dating from the 1920s.