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eBay Sensational new discovery of a great German Expressionist artist Gabriele Munter, The Isle Woerth , Staffelsee, Murnau , 33 sm on 45 sm, oil on cardboard, signed with a beautiful signature in a handwriting style, dated 1912. Perfect condition. No interventions on any sides. One of her extremely rare examples of her experiments with her own style, switching from a late impressionism to an expressionism . Flat , big and simple, as she liked to say. Flat interacting color blocks inside black contours, sometimes crossing, like a letter X. One can see it also on the painting Vereiste Strasse created in 1911 year. The photo can be seen on the Mutual Art site , page 3. Pure, nice expressionism. Full of instant impulses and emotions. A composition, colors , ideas . May be she did not consider this, her style as a very commercial that time and created most of her paintings that time in a mixed style with a late impressionism, but she did return to this style in 1930’s Staffelsee paintings. Everything is beautiful in this painting. She was a great experimentator and worked on her style all time. We can only dare to express our admiration. One can see exactly this place, landscape on the Google Map on the North side of the Isle Woerth on Staffelsee. This combination of a land, with an exact contours as on the painting, 2 homes near Kapelle St. Simpert (Shloss Woerth and Nebengebaede), trees, Staffelsee and mountains one after another is possible to see in Murnau only if to look from the North to the South towards mountains from the point which is close to the point were she created paintings of the Staffelsee with the Isle Buchau and may be the Isle Woerth with same mountains in 1931, 1933, 1934 and may be in other years. One can find them on Art Net and Mutual Art sites. Even a land in some places in that part of the Isle Woerth is of a pink color. May be there is some special soil there. She could also create this landscape directly from the Isle Buchau. Only a person with a serious defect of vision or a very biased crook will not recognize the Isle Woerth on this painting. The small size of the Isle Woerth one can see on several her paintings , including on the painting Murnauer Landshaft created in 1924. Very important detail is that one can see an identical black trimming, edging, decor, strip fixed on borders, edges on the front and the back sides of a cardboard made from black linen -finish paper like material . One can see the same identical black trimming, strip, edging on at least one more cardboard of the same size (may be there are more) made may be from linen finish paper or some like material . One can see this trimming also on the same size painting Garden Gate with Kandinsky, 1912 sold at Sothebys in November 2018. Full size photos (not cut from catalog) with an identical black trimming around edges of a cardboard of this painting are available upon request for scientific and educational purposes only. One can see very clearly on line on the photo of a lot #401 at November 2018 sale a tiny line of a trimming on the very top covered with a paint . We made this discovery and requested full size photos of front and back sides of the painting. Sotheby’s kindly sent them before a sale. No doubt . The same identical black linen finish paper material and may be and a paint is from the same tubes. Unfortunately we can not place these photos together with ours now , because of a copyright law and we have not an access to that painting, but we can send photos to everybody privately upon a request. The same identical black linen finish material was used many times on cardboards by Alexej von Jawlensky who worked with Munter in her home in Murnau in 1912 year together with his wife Marianne von Werefkin and Kandinsky. They performed intensive experiments in their styles, preparing for exhibitions. We suppose that Jawlensky did advise Munter to apply a black linen finish paper on cardboards. A painting Garden Gate is created may be during summer and this painting more likely during autumn. This black trimming is now a very strong proof of an authenticity, because it is identical to a black trimming on the authentic painting sold at auction. A really important discovery. Everything on this painting is more than hundred year old and this can be easily proved if needed. Nobody made fakes of Munter paintings that time, especially with a black linen finish paper trimming, edging. This painting was a present from Munter to an Armenian artist who respected her art, in 1913 or 1914 during his visit to Germany before WW1 and was peacefully on the wall in his apartment about 75 years from an information from his relatives and heirs who inherited his apartment and his collection of art. Genius forgers did not worked with Munter paintings that time. Definitely this painting is not a copy of some of her painting. It also is not lost, stolen , looted or confiscated. Who could create more than 100 years ago the Isle Woerth with same identical materials and a beautiful signature, if not Munter herself? Unfortunately there are no documents about details of this present from Munter or an exchange and relatives did not know about Munter as an artist at all. This creates a problems with authentication in Germany, where archive workers from a Munter Foundation are pressing on documentations (photos, diaries, sketches,stamps) . We hope that there will appear a nice, a responsible person, a real expert who will help to provide an authentication or an attribution search or simply will offer a price. One more time we have to underline that this identical black trimming, decor prepared and fixed to a cardboard, as we suppose, by Munter herself is may be in this case a stronger proof than her nice signature itself. By the way, several known independent handwriting experts are ready to issue a positive certificate only for a signature. One case may be an accident , but two cases is a system and the more the better, and we suppose there are more paintings of Munter on cardboards with a black linen finish paper trimming at museums and private collections. We apply for a help to all who really love Modern Art and art of a great artist and a woman Gabriele Munter. We did ask for a help Munter Foundation In Germany but they did reply that they have no staff, time and money. They do not care at all. We hope there are many decent , nice persons who have money and time to support this very rare and very important discovery. This painting is 100% authentic , but without a documented history of an ownership. We have this painting about 30 years and before us it was only one family- owner from 1913 or 1914 year (before WW1 ) when a painting arrived in Russian Empire. We know exactly a history of this painting and we are happy, proud and confident, especially now, after discovering another identical black trimming and an exact location of a landscape.. German experts could find nothing real against an authenticity itself, but they have some strict rules, as they try to explain, connected with a documented ownership, provenance. So strict that they rejected to include the painting in a catalogue raisonne and a beautiful creature of a great Munter was banned from a selling. Munter Foundation has no money, time and may be a desire to perform a serious scientific search of this beautiful treasury of German Expressionism and German people. German experts?, archive workers even refused or unable to answer simple questions about reasons of a rejection and cardboards with black trimmings in their collection, possible origin and a reason of a black trimming, strip fixed to edges of a cardboard made , as we suppose, from a linen- finish paper or some like material by Munter or other guest- artists in her home in Murnau, including Alexej von Jawlensky. Not all her paintings have black trimmings. We suppose she did abandon this idea after a separation , a dissolving of Blue Rider group. Jawlensky did continue of using a black linen finish paper fixed on cardboards all time after. A strip is more that hundred years old and was fixed to a cardboard before Munter created a landscape, and it is absolutely impossible that somebody made a forgery. It is very confusing that German experts?(archive workers) are avoiding a direct discussion and do not answer simple questions even not connected with an any their opinion. We are now looking to find this black linen finish paper on cardboards of other artists, like Kandinsky and Werefkin. If an expert do not know an answer ,so it must be a natural desire or obligation for a serious , honest, decent expert to try to find an answer. If an expert is only an archive worker and claims that he or she is an expert, so this is very confusing and even dangerous for art world and everybody. Now question about a black trimming, strip became very important , because there may be are various visions and opinions about her style, colors and brushstrokes and there can not be an identical signatures of a same artist , but there is 100% identical, with an at least one other authentic painting, a black trimming, a strip around edges of a cardboard which can not be forged. German experts? from Munter Foundation were payed about $300 for their work and only complicated an authentication with their lack of knowledge and may be lack of a desire to find a truth. It was a hope that Munter Foundation will say at least thank you for this extremely important discovery for them and an art world. They did prefer to create problems instead to help in our noble work. They requested to see a painting and were unable to find any sign of a forgery . They wanted to find something to have an excuse but failed. Their behavior is very upsetting and confusing for an art world. Art needs love and care. Big auction houses are banned to offer this painting for a sale without a certificate and did not receive any help from Munter Foundation connected with this beautiful creation of the great artist. We hope somebody, a responsible person or organisation will take care and help and defend an art of a great artist. Before a transfer of any funds , we have to discuss details of a deal with a buyer or a supporter. Price is conditional and may be changed. There is not to much work needed to perform for legally, scientifically proving an authenticity. Munter Foundation or some other museums and private collectors may have cardboards with the same identical trimming and it is possible to check easily and compare. Munter Foundation did not disclose any information about cardboards with black trimmings in their collection. If they have not , there is nothing easier to declare this. If they have , why they do not want to disclose and allow scientists and collectors to check and compare? What they are afraid of? Are they hiding an information? How much money they need ahead to check and compare? Do they really love and respect her art or everything is about time and money? Did they made any research in the past, how Munter and her guests did prepare a material, including cardboards with trimmings for a work ? Did they study a question about trimmings? It was ,is and will be their obligation. May they have any problems, if black trimmings on cardboards of Munter are identical? What kind of problems? Will prices go down , if several other paintings from private collections turn to be authentic? Are they uneducated, greedy, crooked merchants from a local flea market or servants of a great art? How many discoveries of Munter paintings they made themselves during a lifetime? How many landscapes on cardboards with trimmings especially created in 1908-1915 years in Murnau they have in their collection? Are these questions military secrets? If they discovered some very serious proof that this painting including a signature is a forgery, why they are hiding like thieves and do not answer simple questions. Did they try to steal a painting from an art world? Interesting and important scientific questions. And may be also legal, because they were and are payed at work places. Is this beautiful painting now in a dead circle of so called experts , archive workers and other nonprofessionals, and crooks? Is a death sentence for this beautiful treasure of Modern Art and German people among their best achievement? Now the only excuse they claim is that they have no staff, time and capacities to perform a serious deep scientific search for private collectors. Not to include this beautiful creature of a great artist in her catalogue raisonne is a big sin and may be also illegal. This painting belongs first of all to German people and we are ready to donate big part of proceedings from a sale. There was unhappy time in Germany when Modern Art was declared as a «degenerate » Art. May be there is time and real need now to declare as «degenerate» some so called experts and other crooks in Modern Art for a happiness of an art world? Stop archive workers to represent themselves as experts. Scared experts ? are not experts. Bad work for good money. Shameful behavior. The black trimming, strip is now one of a main, positive factors, powerful tool for an authentication which nobody can now ignore. And not only with an authentication of only one, this painting. There are no many good signatures, if any, on her paintings. Most of them in printed letters or monograms which is easy to forge. Looks like a beautiful signature on this painting was made with a pencil after she finished a landscape during a presentation or an exchange of a painting at a later time before WW1, but it is also definitely more than 100 years old and already checked. With identical black trimmings and other factors now we can prove 100% authenticity , if paintings itself are really old and this painting is really very old. We have here a system and this is a real discovery. Now no one expert can ignore even with his or her personal opinion about a style, colors, signatures an identical original old black trimming on the old cardboard identical to a trimming on an authentic painting as in this case. Everything can be forged by a contemporary master forger, but not an 100 year old identical trimmings with a paint on it. Now an identical trimming is a one of the best proof and opinion. The material definitely is from her home and only from her home in Murnau. Other details may be and will be helpful , of course, if they are also very old and can be find on other her paintings. There are many of them to see on Mutual Art and Art Net sites. It is senseless and even very stupid for a forger( some genius) even to try to make extra difficult work with so many components which can be easily checked. An identical trimmings with a paint on it as in this case is impossible to forge. This black trimming in this case is even more powerful than her estate stamp or any other stamp on the back of a cardboard which also may be forged. This beautiful painting definitely needs a very serious scientific attention and may be only one in the world left and available landscape of the Isle Woerth on Staffelsee created in her own beautiful expressionistic style during her experiments. Everybody are now welcomed and invited to participate in an authentication and a discussion. A trimming with a paint on it can not cheat, if old. The identical trimming accidentally discovered on the authentic painting sold at Sothebys is now a one of the strongest proof of an authenticity of this painting. No way that now anybody can reject this obvious scientific and practical fact. And that is why, as we think, German experts? and archive workers are avoiding direct answers and a contacts with us. No shame at all. Checking and compare a black trimmings is easy and do not need much money and extra staff. We suppose that they are artificially slowing down an authentication process of this painting and that there may exists also some very special, hidden, unfair reasons, connected with a market price that may influence their behavior not to allow this painting to be sold at the big auction house. A very dirty game around this treasury of Modern Art and German people. Small auction houses are ready to sell it only with an attribution to Munter for a much less price. Every law or a strict rule may have an exclusion, if needed. It is a professional , scientific approach. Cowardly avoiding answers is not the best way in art research and may be even illegal , as in this case. Everybody can ask them these questions now and they have to answer if they want to maintain some respect to them especially if they are payed. Writing popular books and articles is easier than a serious scientific search and they declare themselves as best scientists and experts in a best scientific center. Ha, ha, ha. We ask everybody to request from Munter Foundation answers about cardboards with black trimmings and any other information about preparing a material for a work by Munter and force them to answer. Answers to these questions do not need their opinions. Only information from an archive. They are payed for answering questions of visitors and others, if connected with art of Munter. Art world need to know answers also for a safety of deals, scientific and educational purposes. They are like medieval inquisitors who rejected an obvious fact that Earth is turning around Sun because it was not supported in any documents before.This painting , definitely has a good future with new technologies approaching very soon, created by really serious scientists. We hope together we will be able to defend art of a great artist Gabriele Munter from a cynical, disrespectful, unfair, unprofessional approach of inquisitors representing Modern Art. It is also very upsetting that some German woman cowardly did turn back in a cool heart to a beautiful creation of a great German woman and artist Gabriele Munter, insulting her and her great art. We ask everybody who has a painting on a cardboard with a black linen finish paper trimming or any information about this question contact us and we invite everybody to unite our efforts. We also ask a private owner of a painting Construction Work, oil on cardboard, 1912 to reply ,if possible, because of the same size cardboard which possibly may have the very same type of identical black trimming. We also did find 2 smaller paintings on a cardboards: Dorfstrasse and Landshaft bei Murnau created in 1908 and 1909 year. These paintings also have a black linen finish paper very possible from the same linen finish paper supply which she used on this painting. One can see these paintings on Mutual Art, page#15 and #20. Only task is to find in some museum or private collection an authentic painting with a black trimming around edges of a cardboard and try to perform a practical scientific research with a permission of owners. We did find a cardboard of Munter with a trace of a trimming on the edges on the photo of a back side kindly sent to us from Galerie Ludorff in Dusseldorf, Germany were a painting , created in 1914, is for a sale and maybe it was removed for some reasons by Munter or other person , but definitely it was there . On the back side there is a signature possibly made with the same pencil as on our painting. One can request a photo from the gallerie. Very interesting is also to find out a reason. Are trimmings additional black contours to a landscape with all kind of flat color blocks inside of black contours or simply a defense from a damage to a cardboard? One more time we want to underline that in our case an identical with an authentic black trimming around edges of a cardboard is a crucial factor, as a scientific fact, an important proof of an authenticity of our painting and is absolutely independent from any opinion of any person. Together we definitely win the battle for truth. This is only beginning. We can really change a situation with an authentication in our case and may be in several other cases in a favor and for a benefit of auction sales, collectors and an art world. We are working for art. We love art. We can not allow ourselves to lose even one creature a great German artist and a women Gabriele Munter. Make an offer. We also offer up to 30% from proceedings from a sale at big auction house to a person or an organisation for a help with a sale. This painting was about 7 months at Christies auction house in London and was checked. Everybody are welcomed to send us an information, opinions, comments and questions. We will be happy to collaborate. Thank you for looking.
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