Chalk, pencil, washed grey, heightened with white, on blue-grey paper.
48,5 × 32,0 cm
(19 ⅛ × 32,0 in.).
Signed in pen and black ink lower left: M. Klinger. Titled in the lower centre: ERSTER ENTWURF ZUM BEETHOVEN-THRON. Dated lower right: PARIS 1886. Dedicated lower right: Herrn Consul Nachod zur Erinnerung an den 6. Sept. 1905 M.K / on the reverse: Hyacinth. Watercolour.
In historical mount (66,2 x 44,4 cm) with gold edging. On the mount lower right a by the artist inscribed calling card.
[3266]
The drawing is free of restitution claims and is being offered with the explicit consenst of the heirs of Marie and Friedrich Nachod. We would like to thank Dr. Ulrike Saß, Museum der Bildende Künste, Leipzig, for her support.
Marie and Friedrich Nachod, Leipzig (acquired from the artist, presumably until 1939) / Fritz Tögel, Leipzig (thence by descent to the present owner)
Max Klinger. Meistergraphik und Zeichnungen vom Jugendstil zum Surrealismus. Stendal, Winckelmann-Gesellschaft, 2015, cat. no. I.1, ill. p. 24, 25
About the Provenance
In 1905, Max Klinger dedicated his design for the Beethoven Throne to “Herr Consul Nachod.” This refers to Friedrich Nachod (1853–1911) from Leipzig, who was active in the Israelite Religious Community and co-owner of the bank Knauth, Nachod & Kühne. He and his wife, Marie Eisner (1859–1934), had three children: Walter (1880–1946), Hans (1885–1958), and Georg Nachod (1889–1945).
Because of the personal dedication to Friedrich Nachod, we assume that this is the same drawing that Elisabeth Nachod (1889–1946) – Walter’s wife – offered to the Museum of Fine Arts in Leipzig in June 1939.
At that time, the drawing was stored at the Leipzig art dealership P. H. Beyer & Sohn, while Elisabeth was living in Ratibor. It remains unclear whether she was the sole owner or acted on behalf of her husband Walter and his brothers. The latter seems likely, as in 1939 Elisabeth was the only non jewish family member still living in Germany and therefore able to handle family affairs. The brothers had already emigrated.
Finally, the drawing did not enter the Leipzig museum in 1939 but passed into private ownership.
In 2025, Grisebach facilitated an amicable settlement with the heirs of Friedrich and Marie Nachod.
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