Galerie Henze & Ketterer & Triebold
Our family is proud to be administrators of the Ernst Ludwig Kirchner Estate since the mid-1950ies. Therefore, we have the honour and the privilege to contribute to most international museum shows to the theme of “Brücke”, Ernst Ludwig Kirchner and Expressionism in one way or the other. But we also act intensely and with the same dedication with a strong selection of abstract and contemporary artists.
The Gallery and Art Advisory Henze & Ketterer & Triebold always shows a good selection of strong works by the artists it represents on Artnet, Artsy, Printed Editions, the IFPDA’s site and on its website (www.henze-ketterer.ch), but we are also active on Instagram.
Furthermore, we participate physically in important international art fairs like Tefaf Maastricht, Masterpiece London, Art Cologne and others. In the gallery we show regularly monographic or thematic shows by important modern, post-war or contemporary artists.
The Gallery and Art Advisory Henze & Ketterer & Triebold is most happy to support and advise passionate young collectors and naturally also already experienced collectors in all questions that might arise in building and curating a collection of modern and/or contemporary art. Don’t hesitate to ask any questions you might have, we will do our best to find the answer you are looking for as we are long-standing and passionate collectors ourselves.
Ernst Ludwig Kirchner, Alpszene mit Pferd (Alpine Scene with Horse), Etching, 1922. Georg Baselitz, Zwei Pferde (Two Horses), Woodcut, 1988.
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Ernst Ludwig Kirchner (1880-1938) and Georg Baselitz (*1938) influenced and continue to influence entire generations of artists in their œuvre, whereas both of their artistic expression was created separately from one another, and prepared the way for an art that was colourful, provocative, and consistently rebelled against the traditional and developed new modes of expression. The often different results of this creative work, to which both artists dedicated themselves throughout their lives, will in their dialogue with each other, however, also reveal one thing to the visitor: a common reality.
Meanwhile, the motifs of the two also seem to overlap: the human being in the focus of the creative work. However, while in Kirchner's work nature occupies an almost equal position, Baselitz's motifs are mostly created by destroying existing images. The artist does not even stop at his own images, as the series "Remix" shows, in which he revisits past motifs from his œuvre and turns them into a kind of representation of an interaction with his own past.
Despite the many stylistic transformations to which Georg Baselitz's work has been subjected over the decades, a unified, unmistakable body of work has emerged that, with its individuality and uniqueness and especially its innovation, is quite like that of Ernst Ludwig Kirchner.
Katharina Sagel M.A. & Susanne Kirchner M.A. (Assistants of the director)
43,5 x 58 cm.
Pencil, partly wiped, on wove paper.
Studio of the artist; Galerie Fred Jahn, München; Galerie Michael Haas, Berlin; Galerie Bassenge, Berlin; Galerie Henze & Ketterer (2021).
Signed, dated and titled in pencil. Marked by a foreign hand with "Büsche 70" as well as with "Hein (?) 10m black 55/70 E gruss L.".
Ernst Ludwig Kirchner
Zwei Akte (Fehmarn) (Two Nudes (Fehmarn))
58,5 x 46 cm.
Watercolour over pencil on chamois wove paper
Estate of the artist (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954); Sammlung Rüdiger Graf von der Goltz, Düsseldorf (1964).
With the estate-stamp as well as with the numbering "A Be/Bf 22" and with the numberings "K 3766" and "3393" in pencil as well as with a round customs stamp on the verso.
Ernst Ludwig Kirchner
29,3 x 25 on 42 x 33,5 cm.
Woodcut on chamois imitated Japan paper.
Estate of the artist (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954).
With the estate-stamp as well as with the numbering "H 564 IV" in ink and with the numberings "K 5741" and "C3308" in pencil and in ink on the verso.
One of 3 so far known prints pulled by the artist.