Jan (1922) Müller Sold at Auction Prices

Jan MULLER (1922-1958) German - American

Jan MULLER (1922-1958) ; Untitled (At the park) ; c.1950s ; oil on canvas / unframed ; dimensions 195 x 79 cm (77 x 31 in.) ; signed on verso ; Shipping to USA - DHL $935 , National post with tracking service $825 / Shipping to EU, Middle Assia - DHL $845 , National post with tracking service $775

Jan Müller

German, 1922-1958 Untitled, quadryptich Oil on wood in four sections Overall 22 x 6 5/8 inches (55.8 x 16.8 cm) Provenance: Oil & Steel Gallery, New York The four panels are joined vertically with a canvas strip stapled to the reverse. Scattered edge wear with small losses. Light surface grime. No evidence of restoration under UV inspection.

Jan Müller

German, 1922-1958 Untitled, quadryptich Oil on wood in four sections Overall 22 x 6 5/8 inches (55.8 x 16.8 cm) Provenance: Oil & Steel Gallery, New York The four panels are joined vertically with a canvas strip stapled to the reverse. Scattered edge wear with small losses. Light surface grime. No evidence of restoration under UV inspection.

Jan Muller (1922-1958) Carcassone Mt Number 19, c. 1953, Watercolor, 8.75 x 12.5" sight, 20 x 23 1/2" framed

Jan Muller (1922-1958) Carcassone Mt Number 19, c. 1953, Watercolor, 8.75 x 12.5" sight, 20 x 23 1/2" framed

JAN MÜLLER (1922-1958) Untitled oil on panel 8 1/8 x 9 1/2 in. (20.6 x 23.

JAN MÜLLER (1922-1958) Untitled oil on panel 8 1/8 x 9 1/2 in. (20.6 x 23.1 cm.)

Jan Muller German/American, 1922-1958 Figures in the Woods

Jan Muller German/American, 1922-1958 Figures in the Woods Oil on canvas board 9 x 12 inches (22.9 x 30.5 cm) Provenance: Staempfli Gallery, Inc., New York C Property from the Collection of Phyllis Weil

JAN MULLER (1922-1958 NEW YORK) 'FLOWERS' PASTEL ON CORRUGATED CARDBOARD

Jan Muller (1922-1958 New York) 'Flowers' Pastel on Corrugated Cardboard. Unsigned. Kulicke Frames label on verso. Image 10.25x5'', framed 19.5x14''. Excellent condition. Purchased from the estate of Robert Kulicke, who framed this artwork. The painting is also signed on the verso by Jan's wife Dody Muller.

Attributed to Jan Müller (1922-1958): Vase of Flowers

Pastel on brown paperboard, unsigned. 10 x 8 1/2 in. (sheet), 17 x 15 1/2 in. (frame). Property from the Estate of Ernest Kafka

Jan Müller (1922-1958): 2 Imaginary Circle Path

Oil on canvasboard, 1956, titled, dated and inscribed 'Jan Muller' and 'variation on Path Theme' on the reverse, with label from Zabriskie Gallery, NY. 8 x 9 7/8 in., 13 x 14 3/4 in. (frame). Property from the Estate of Ernest Kafka

Jan Muller German/American, 1922-1958 Landscape, 1955

Jan Muller German/American, 1922-1958 Landscape, 1955 Oil on canvas 12 1/4 x 16 1/8 inches (31.1 x 41 cm) Provenance: Gruenebaum Gallery, Ltd., New York This work includes a Solomon R. Guggenheim Museum label with loan no. 1560.78 C 

Jan Müller (1922-1958) - Untitled (White House, Provincetown)

Jan Müller (1922-1958) Untitled (White House, Provincetown) Jan Müller (1922-1958) Untitled (White House, Provincetown) oil on canvas 13 7/8 x 16 1/8 in. (35.2 x 41 cm.) Painted circa 1955. Fields of Vision: The Private Collection of Artists Wolf Kahn and Emily Mason

Attributed to Jan Muller (American/German, 1922-1958), pastel on paper, depicts multiple figures and riders on horseback in landscap...

Attributed to Jan Muller (American/German, 1922-1958), pastel on paper, depicts multiple figures and riders on horseback in landscape, unsigned, framed and matted behind glass, not examined out of frame but appears to be tacked to board at corners, wear consistent with age including toning and waving of paper, small loss to edge at UL corner, etc., frame size: 19 1/4" h. x 25 3/4" w.; paper size: 12 1/2" h. x 19" w. [PROVENANCE: Previously sold at William Doyle's in November 2013]

"Nude in Forest", c. 1955, oil on paper on canvas board attributed to Jan Muller (American/German, 1922-1958) by Robert Schoelkopf l...

"Nude in Forest", c. 1955, oil on paper on canvas board attributed to Jan Muller (American/German, 1922-1958) by Robert Schoelkopf label verso, indistinct possible inscription at lower right, depicts a fair-skinned female nude undressing in contrast to the dark blue and green forest around her, no signature visible, Robert Schoelkopf paper label with verso with artist name, title, date, etc., along with additional older paper label, loss to frame, wear consistent with age including undulations of paper, board size: 12" h. x 9" w.

Jan Muller German/American, 1922-1958 The Yellow Path

Jan Muller German/American, 1922-1958 The Yellow Path Pastel on paper 8 7/8 x 12 inches (22.5 x 30.5 cm) Provenance: Spanierman Gallery, New York Exhibited: New York, Spanierman Gallery, American Works on Paper, 1800 to the Present, Apr. 1 - May 1, 2010, p. 48, illus. C 

Jan Muller German/American, 1922-1958 Bathers and Equestrian, 1957

Jan Muller German/American, 1922-1958 Bathers and Equestrian, 1957 Oil on canvas 18 1/8 x 21 inches (46 x 53.3 cm) Provenance: Gruenebaum Gallery, New York Private collection Exhibited: New York, NY, Gruenbaum Gallery, Ltd., Jan Muller: 1922-1958, Jan. 7-31, 1976, no. 20, illus. in exhibition catalogue, p.20 C 

attributed to Jan Müller - Untitled

Lot 56 attributed to Jan Müller German/American (1922-1958) Untitled oil on board initialed JM lower right 6 x 9 3/4 inches frame: 6 1/2 x 10 1/2 Provenance: from an Upper West Side, NYC estate part of a cohesive group of works by students of Hans Hoffman and their friends, collected close to the time of creation

MULLER, Jan. Oil on Wood. Two Equestrians.

Not apparently signed. With abstract composition on the reverse. According to the consignor, both Mullers were purchased directly from the artist's wife, Dody (Dolores) Muller after her husband's passing. Jan Müller (American/German, 1922-1958). From a Forest Hills, NY collection.

MULLER, Jan. Oil on Wood. Two Equestrians with

Nudes. Signed lower right. S.R. Guggenheim 628.61 typed label on the reverse. According to the consignor, both Mullers were purchased directly from the artist's wife, Dody (Dolores) Muller after her husband's passing. Jan Müller (American/German, 1922-1958). From a Forest Hills, NY collection.

JAN MÜLLER (AMERICAN/GERMAN, 1922–1958) Untitled oil on burlap 11 1/2 x 13 1/2 in. (2

JAN MÜLLER (AMERICAN/GERMAN, 1922–1958) Untitled oil on burlap 11 1/2 x 13 1/2 in. (29.2 x 34.3 cm.)

JAN MÜLLER (New York/Germany, 1922-1958) - ABSTRACT LANDSCAPE (c. 1955) - Oil on board of houses in landscape in abstract primitive...

JAN MÜLLER (New York/Germany, 1922-1958) - ABSTRACT LANDSCAPE (c. 1955) - Oil on board of houses in landscape in abstract primitive stylization. Signed by wife on reverse. Inscription on reverse reads: "Painted by Jan Müller, Summer, 1955. Signed by Dody Müller, 29 June, 1983." Artist studied under Hans Hoffman and considered a second generation Die Brucke. Great condition; knots of wood panel visible through paint. Unframed. Total size: 7.5" x 12"

JAN MULLER (1922-1958), Horse and Riders (Double sided), 1957, Oil

JAN MULLER (1922-1958), Horse and Riders (Double sided), 1957, Oil

JAN MÜLLER | The Haymaker Hanging Piece

oil on wood, in 5 parts 

Jan Müller (Hamburg 1922-1958 Provincetown, Massachusetts)

Jan Müller (Hamburg 1922-1958 Provincetown, Massachusetts) Forest Affray oil on card 8 ½ x 12 ½ in. (21.7 x 31.8 cm.)

Jan Müller (Hamburg 1922-1958 Provincetown, Massachusetts)

Jan Müller (Hamburg 1922-1958 Provincetown, Massachusetts) The witches of Piero oil on canvas 24 x 34 in. (61 x 86.4 cm.)

JAN MÜLLER | Untitled

oil on canvas

Muller, Jan: Der Philosoph Harpocrates

Der Philosoph Harpocrates. Kupferstich. 47,4 x 35,2 cm. 1593. B. 12, Hollstein 86, Filedt Kok (New Hollstein) 12 II. Ganz ausgezeichneter, gleichmäßiger Druck, auf die Darstellung geschnitten, bzw. minimal innerhalb der Plattenkante beschnitten. Geringfügige Erhaltungsmängel, die Ränder minimal unregelmäßig, sonst sehr gutes Exemplar.

Muller, Jan: Die Taufe Christi

Die Taufe Christi. Kupferstich. 31,9 x 21,4 cm. (1590). B. 3, Hollstein 16, Filedt Kok (New Hollstein) 3 IV. Wz. Schriftzeile. Die Vorlagenzeichnung für diesen Kupferstich befindet sich in der Staatlichen Graphischen Sammlung in München. Ausgezeichneter, klarer und feinzeichnender Druck von der verkleinerten Platte mit schmalem Rand um die deutlich zeichnende Plattenkante. Mittelfalte, dort am rechten Rand mit einem fachmännisch geschlossenem Randeinriss, links ganz winziger Randeinriss, winzige Nadellöchlein, in der rechten unteren Ecke zwei kleine geschlossene Randeinrisse, im Textrand leichte Spuren alter Federnumerierung in Braun, recto unsichtbare, geglättete Diagonalfalte, Fleckchen neben dem Cello, im weißen Rand leichte Knitterspuren und etwas angestaubt, im weißen Unterrand Bleistiftnumerierung, vereinzelt leicht fleckig und leichte Alters- und Gebrauchsspuren, sonst noch sehr gut erhalten. Aus einer unbekannten Sammlung "Kleeblatt" (recto, nicht bei Lugt). Selten.

Jan Muller German/American, 1922-1958 The Yellow Path

Jan Muller German/American, 1922-1958 The Yellow Path Pastel on paper 8 7/8 x 12 inches Provenance: Spanierman Gallery, New York Exhibited: New York, Spanierman Gallery, American Works on Paper, 1800 to the Present, Apr. 1- May 1, 2010, p.48, illus. C 

Jan Muller American, 1922-1958 Abstract Landscape with Houses, 1956

Jan Muller American, 1922-1958 Abstract Landscape with Houses, 1956 Oil on canvas 19 x 21 3/4 inches Provenance: Estate of George L. Weil, Washington, D.C, until 1995 C The Spanierman Gallery, LLC

Jan Muller American, 1922-1958 Mountain Path with Horse and Rider, 1954-1955

Jan Muller American, 1922-1958 Mountain Path with Horse and Rider, 1954-1955 Bears partial signature (ll); inscribed Painted by:/Jan Muller/Winter 1954-1955/Signed by:/Dody Muller/2 June, 1964/New York City on the reverse Oil on canvas 36 x 29 3/4 inches Provenance: Zabriskie Gallery, New York Helen W. and Robert M. Benjamin, by 1967 The estate of Helen W. Benjamin Private collection Exhibited: Yale University Art Gallery, New Haven, Connecticut, The Helen W. and Robert M. Benjamin Collection, May 4-Jun. 18, 1967, no. 121 Jan Muller's early work--gridlike abstractions consisting of vividly colored squares--reflected the theories espoused by his teacher, Hans Hofmann. However, feeling that non-representational painting was "too esoteric" and that "the image gives one a wider sense of communication," he abandoned Hofmann's philosophies in 1954 and reintroduced subject matter into his art. Inspired by the example of German Expressionist painting of the early twentieth century and by his own romantic sensibility, Muller went on to paint figurative compositions, developing a "lyrical Expressionism that does not point back to the self but toward the world." His work in this vein includes landscapes with animals. He was especially fond of rendering horses, capturing in this instance a joy in the subject that is also expressed through color and shape. C The Spanierman Gallery, LLC

Jan Muller American, 1922-1958 Leap Frog, 1955

Jan Muller American, 1922-1958 Leap Frog, 1955 Oil on canvas 37 3/4 x 37 5/8 inches Provenance: Vanderwoude Tananbaum Gallery, New York Private collection Exhibited: New York, Solomon R. Guggenheim Museum, Jan Muller, 1933-1958, Jan. 11-Feb. 25, 1962; traveled to: Boston, Institute of Contemporary Art, Mar.-Apr. 1962 Leap Frog was included in the 1962 exhibition of Jan Muller's work held at the Guggenheim Museum. This was his first museum exhibition, but it was also his memorial exhibition-he died at the young age of thirty-five from pneumatic fever. The blend of figurative and abstract means in his work, novel at the time, led the authors of the catalogue that accompanied the exhibition, Thomas M. Messer and Dody Muller, to suggest that his "seeming backward motion" was "balanced by an onward movement which secures his placement with today's advanced guard." C The Spanierman Gallery, LLC

Jan Muller American, 1922-1958 Bacchanale: Triptych, 1955-56

Jan Muller American, 1922-1958 Bacchanale: Triptych, 1955-56 Oil on panel Overall 17 7/8 x 35 7/8 inches, center panel 17 7/8 x 17 7/8 inches, left panel 17 7/8 x 9 inches, right panel 17 7/8 x 9 inches Provenance: Oil & Steel Gallery, Inc., New York Private collection In the 1950s, Jan Muller used his earlier abstract methods, developed while studying with Hans Hofmann, to reconstitute his painting. He turned to new figurations, deriving subject matter from philosophy, religion, mythology, and literature. He painted several works on the theme of the Bacchanale, using it as a means of aligning literary mythological subject matter with the formal exigencies of the art of his era. In this respect, he was ahead of his time. By using a traditional triptych format, with vertical side panels, he challenged the then-prevalent idea that art needed to be new in order to be taken seriously. The playfulness of his figures, and their integration into the composition, is simultaneously a new twist on the bacchanalian theme. C The Spanierman Gallery, LLC

Jan Muller American, 1922-1958 Untitled, Figures and Riders in a Landscape

Jan Muller American, 1922-1958 Untitled, Figures and Riders in a Landscape Pastel on paper 12 1/2 x 19 inches Provenance: The Estate of Rex Diamond C 

Jan Muller American, 1922-1958 Untitled (Landscape), circa 1955

Jan Muller American, 1922-1958 Untitled (Landscape), circa 1955 Oil on canvasboard 10 x 8 inches Provenance: Hansa Gallery, New York Richard Bellamy, until 1965 Exhibited: New York, Hansa Gallery, Dec. 1955-Jan. 1956 C The Spanierman Gallery, LLC

Jan Muller American, 1922-1958 All the Living Things, 1957

Jan Muller American, 1922-1958 All the Living Things, 1957 Dated 1957 on the reverse Oil on canvas 45 x 46 inches (114.3 x 116.84 cm) Exhibited: La Biennale di Venezia XXXI Esposizione Biennale Internazionale D'Arte, 1962 New York, The Museum of Modern Art, Circulating Exhibit No. 62.1325 Box No. 3 C Property from the Thomas M. Messer Collection

Jan Muller (1922-1958)

Jan Muller (1922-1958) Communal Flowers double sided--wax crayon and colored pencil on paperboard 9¼ x 8 in. (23.4 x 20.3 cm.) Executed in 1957.

Jan Muller American, 1922-1958 Of This Time of That Place, 1956 Signed Jan Muller on the reverse Oil on...

Jan Muller American, 1922-1958 Of This Time of That Place, 1956 Signed Jan Muller on the reverse Oil on canvas 49 1/4 x 95 1/2 inches (125.1 x 242.6 cm) Provenance: Staempfli Gallery, New York Rosa Esman Gallery, New York Oil and Steel Gallery, New York Sara Rashti, Fort Lauderdale, FL John M. and Marion A. Shea Estate of John M. and Marion A. Shea Exhibited: Newport, RI, Newport Harbor Art Museum; Philadelphia, PA, Pennsylvania Academy of the Fine Art; San Antonio, TX, McNay Art Museum, The Figurative Fifties, Jul. 1988-Apr. 1989 New York, Whitney Museum of American Art, Young America, 1957 New York, Solomon R. Guggenheim Museum, Jan Müller, 1933-1958, Jan. 11-Feb. 25, 1962; traveled to: Boston, MA, Institute of Contemporary Art, Mar.-Apr. 1962 New York, Staempfli Gallery, Jan Müller, Nov. 17-Dec. 5, 1964, illus., unpaginated Literature: The Figurative Fifties (Newport, RI: Newport Harbor Art Museum, 1988), illus. p. X and cover "Art: The Younger Generation," Time Magazine 69 (March 11, 1957), pp. 82-83 color illus. Art in America 45 (March 1957), p. 59 illus. Art Students League News 10 (March 1957), p. 3 illus. Martica Swain, "Jan Müller: 1922-1958," Arts 32 (February 1959), p. 44 Jan Müller, 1922-1958. Exh. Cat. (New York: Solomon R. Guggenheim Foundation, 1962), color illus., unpaginated In 1953, Muller renounced the abstract approach he had formulated as a student of Hans Hofmann and reincorporated figurative content into his art, creating inventive compositions rendered with simplified shapes, glowing colors, and a fluid, painterly handling. Exploring the figure in relation to themes of myth and fantasy, often underscored with anguish and foreboding (qualities associated with the Germanic tradition in art) he drew inspiration from the great literature of the past, ranging from the Bible to Cervantes and Shakespeare. This composition was inspired by Goethe's Erlkonig (ca. 1782), a lyrical poem from the author's Weimar period. The hauntingly beautiful ballad--the first of Goethe's verses set to music by Franz Peter Shubert-relates the story of a small boy taken from his father by the erlkönig, fierce elf-like creatures known as "catchers of children." Of This Time, Of That Place was included in the Whitney Museum of American Art's 1957 exhibition, Young America, the most important of the trio of shows that helped establish Muller's reputation as a visionary painter. C The Spanierman Gallery, LLC

JAN MULLER, (AMERICAN/GERMAN, 1922-1958), TWO WOMEN

JAN MULLER (american/german, 1922-1958)/span TWO WOMEN Bears inscription with artist's name and title verso, oil on canvasboard 8 x 10 in. (20.3 x 25.4cm) provenance: /spanStephen Radich, New York, New York. Private Collection.

Jan Muller American, 1922-1958 Seated Woman Against a Mosaic Background, 1953 Oil on composition board, laid to...

Jan Muller American, 1922-1958 Seated Woman Against a Mosaic Background, 1953 Oil on composition board, laid to board and mounted on panel Overall 9 x 8 5/8 x 1 inches Provenance: Hansa Gallery, New York, 1954 Acquired from the above by William H. Littlefield, New York, April 6, 1954 Private collection Exhibited: New York, Hansa Gallery, April 1954 C.C.A.A., Jul. 20-Aug. 2, 1959 New York, Artists Guild, Aug. 15-21, 1960 New York, Lori Bookstein Fine Art, Jan Muller: The Mosaic Paintings, 1952-1955, May 5-Jun. 18, 2004, no. 4 (as Untitled (White Nude on Mosaic Background)) Literature: New York Post, Nov. 22, 1964 Among the artist's "mosaic paintings" of the mid-1950s, this tri-panel painting represents the period when Müller reintroduced the figure into his art. He shared this approach with colleagues Allan Kaprow, Wolf Kahn, and Richard Stankiewicz. He along with this group established the artist's cooperative Hansa Gallery in 1953. This painting, included in the artist's 1954 Hansa show (from which it sold), demonstrates the vivid, tessellated arrangements Müller created on wood or burlap that, as Martica Sawin pointed out in an article of 1959, certified his bohemian credentials. The Spanierman Gallery, LLC Collection of American Art

Jan Muller American, 1922-1958 Untitled

Jan Muller American, 1922-1958 Untitled Oil on canvasboard 8 x 10 inches Provenance: Private collection This untitled work dates from the mid-1950s, a period when Muller reincorporated figural form into his art while interpreting his subjects with broad, mosaic-like shapes that create intricate color webs of advancing and receding space. With its landscape sensibility, this work exemplifies what a critic described in 1954 as the artist's "love for the look of nature." (Art News) C The Spanierman Gallery, LLC Collection of American Art

Gyorgy Kepes Hungarian/American, 1906-2001 Untitled, 1987 Signed G.K. and dated 1987 on the reverse...

Gyorgy Kepes Hungarian/American, 1906-2001 Untitled, 1987 Signed G.K. and dated 1987 on the reverse Oil on canvas 15 x 14 inches Provenance: Virginia Lynch Gallery, Tiverton, RI

Jan Muller (AMERICAN/GERMAN, 1922-1958) Grove, Autumn oil on canvas 13½ x 15½ in. (34.3 x 39.3 cm.), unframed Painted in 1955.

Jan Muller (AMERICAN/GERMAN, 1922-1958) Untitled oil on canvasboard 8 x 10 in. (20.3 x 25.4 cm.)

Jan Muller (AMERICAN/GERMAN, 1922-1958) Untitled oil on canvasboard 8 x 10 in. (20.3 x 25.4 cm.)

Jan Müller (1922-1958)

Jan Müller (1922-1958) Flowers All Over signed, titled and dated 'Muller 1956 Flowers All Over' (on the reverse) oil on board 10 x 8 in. (25.4 x 20.3 cm.) Painted in 1956.

JAN  MÜLLER

PROPERTY  OF  A  PRIVATE  FLORIDA  COLLECTION 1922  -  1958 FIVE  VIRGINS titled  on  the  reverse oil  on  canvas 27  by  36  in. 68.5  by  91.5  cm. Executed  in  1957.

Jan Muller German/American, 1922-1958 Untitled (People on Horseback) and Untitled (Abstract Study): A Double-Sided Work

Jan Muller German/American, 1922-1958 Untitled (People on Horseback) and Untitled (Abstract Study): A Double-Sided Work Oil on panel 9 x 9 7/8 inches (22.9 x 25.1 cm)

Jan Muller (GERMAN/AMERICAN, 1922-1958)

Jan Muller (GERMAN/AMERICAN, 1922-1958) Small Trysting Place and Abduction oil on canvasboard (recto); oil on paper on canvasboard (verso) 11¾ x 8¾ in. (29.9 x 22.2 cm.) Painted in 1957.