Alfred Flechtheim (1878–1937) [FIG. 1] was a Jewish gallerist and key figure, alongside Paul Cassirer (1871–1926), in the modern art trade in Germany at its vanguard.
In 1913, Flechtheim opened his first gallery in Düsseldorf; after World War I, he also founded a gallery in Berlin [FIG. 2] as well as the legendary art magazine Der Querschnitt [FIG. 3] in 1921; further branches followed in Frankfurt am Main, Cologne and Vienna. Together with his wife Bertha (Betti/Betty, 1881–1941) [FIG. 4] he moved into a prestigious apartment at Bleibtreustrasse 15/16, close to the Kurfürstendamm, Berlin’s famous boulevard. [FIGS. 5-10]
Betti’s niece Rosi Hulisch (1898–1942) [FIG. 4] had worked for Flechtheim since the 1920s and was entrusted by him with the liquidation of the gallery in Berlin (1933-1937).
Through his connection with the Paris gallery owner Daniel-Henry Kahnweiler (1884–1979), Flechtheim represented modern French artists and sold works on commission, focusing in particular on the four ‘Master Cubists’ — George Braque, Juan Gris, Fernand Léger and Pablo Picasso — raising their profile and popularity in Germany.
The Léger exhibition in 1928 at Flechtheim’s gallery was the standout event in Berlin of the year and the artist’s first retrospective in Germany and France [FIG. 11]. The same year, on the occasion of his 50th birthday, Flechtheim was fêted in a special edition of his magazine by the who’s who of the international art scene [FIG. 12],[FIG. 13]. Flechtheim’s birthday party at the Hotel Kaiserhof [FIG. 14] on 1 April 1928 was recorded by his longstanding friend Thea Sternheim (1883–1971) [FIG. 15] in her diary.
Shortly before Christmas 1928 Flechtheim showed bronzes by Aristide Maillol [FIG. 16] who two years later visited Flechtheim’s gallery in person when bronzes by Ernst Barlach were on display [FIGS. 17-19].
Following the Great Depression in 1929 and the banking crisis in 1931, Flechtheim suffered financial difficulties. The Nazis’ rise to power in 1933 was a threat to him personally and to the existence of his galleries. Flechtheim was refused membership to the Reichskammer der bildenden Künste because he was Jewish; as membership was compulsory for art dealers, this amounted to a professional ban. On top of this he was defamed publicly for his background on the cover of a Nazi propaganda magazine [FIG. 20].
In November 1933, his business was closed down. Flechtheim did not see any professional future in Germany and emigrated to London in late 1933. He left Betti behind and they divorced in 1936 in hopes of protecting her from persecution. In 1937 he died in exile in London of accidental blood poisoning. A plaque commemorates him at Bleibtreustrasse 15. [FIG. 21]
Both Betti and Rosi [FIG. 22, FIG. 23] later committed suicide, in 1941 and 1942 respectively, in Berlin to avoid deportation.
With the help of an interior shot taken by photographer and contemporary Marta Huth (1891 (1898?)–1984) of Flechtheim’s apartment on Bleibtreustrasse, Christie’s could identify Picasso’s painting L’as de trèfle, 1919, as being part of his collection in the late 1920s. [FIG. 7] The painting appeared at Christie’s and was sold on 20 June 2018. It was restituted to the heirs of Alfred Flechtheim and was offered for sale pursuant to a settlement agreement between them and the consignor. [FIG. 24]
Works with Flechtheim provenance regularly appear in the art market and can be found in prominent museums.
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Shortly before Christmas 1928 Flechtheim showed bronzes by Aristide Maillol [FIG. 16] who two years later visited Flechtheim’s gallery in person when bronzes by Ernst Barlach were on display [FIGS. 17-19].
Following the Great Depression in 1929 and the banking crisis in 1931, Flechtheim suffered financial difficulties. The Nazis’ rise to power in 1933 was a threat to him personally and to the existence of his galleries. Flechtheim was refused membership to the Reichskammer der bildenden Künste because he was Jewish; as membership was compulsory for art dealers, this amounted to a professional ban. On top of this he was defamed publicly for his background on the cover of a Nazi propaganda magazine [FIG. 20].
In November 1933, his business was closed down. Flechtheim did not see any professional future in Germany and emigrated to London in late 1933. He left Betti behind and they divorced in 1936 in hopes of protecting her from persecution. In 1937 he died in exile in London of accidental blood poisoning. A plaque commemorates him at Bleibtreustrasse 15. [FIG. 21]
Both Betti and Rosi [FIG. 22, FIG. 23] later committed suicide, in 1941 and 1942 respectively, in Berlin to avoid deportation.
With the help of an interior shot taken by photographer and contemporary Marta Huth (1891 (1898?)–1984) of Flechtheim’s apartment on Bleibtreustrasse, Christie’s could identify Picasso’s painting L’as de trèfle, 1919, as being part of his collection in the late 1920s. [FIG. 7] The painting appeared at Christie’s and was sold on 20 June 2018. It was restituted to the heirs of Alfred Flechtheim and was offered for sale pursuant to a settlement agreement between them and the consignor. [FIG. 24]
Works with Flechtheim provenance regularly appear in the art market and can be found in prominent museums.
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Thea Sternheim befriended Alfred Flechtheim noted in her diary on 31 March 1928 regarding his 50th birthday party at the hotel Kaiserhof:
'In the evening with Agnes and Klaus, Miss von Marx and Mr. Aaron from Gallimard at the party held at the Kaiserhof for Flechtheim's fiftieth birthday. First we eat at small tables. I sit between Flechtheim and the painter Beckmann at the table with Renée Sintenis, Mr. Lange from Krefeld, the graphologist Scheermann, the son of the art dealer Thannhauser. Mr. Beckmann, who can't get enough of celebrities, doesn't give a glance to the 'Querschnitt of Flechtheim' published in Flechtheim's honor. Around eleven, another batch of guests arrives. I sit later with Schusters, Laurets, some other Frenchmen whose names I forget. The course of the evening is harmlessly cheerful, the cabaret put together by Schreffer (?), Meyrink and Levy, etc., with some comic ideas. It is four over when we get home.'
The weekly magazine "Die Weltbühne" reported on Alfred Flechtheim's 50th birthday party at the hotel Kaiserhof:
'The birthday of a gentleman from Berlin. The Berliner was from the Rhineland and was fifty years old. For this purpose, friends and girlfriends had invited something five hundred to the Kaiserhof at the price of 30 marks each, payable by the guest. First there was a meal, tomato soup à la Renoir, Haffzander à la Paul Klee, saddle of veal Renée Sintenis, ice cream bombe à la Pinthus. In addition came the manifold drink, sparkling wine and wine. Afterwards one stood there and greeted. (...)'
Thea Sternheim befriended Alfred Flechtheim noted in her diary on 31 March 1928 regarding his 50th birthday party at the hotel Kaiserhof:
'In the evening with Agnes and Klaus, Miss von Marx and Mr. Aaron from Gallimard at the party held at the Kaiserhof for Flechtheim's fiftieth birthday. First we eat at small tables. I sit between Flechtheim and the painter Beckmann at the table with Renée Sintenis, Mr. Lange from Krefeld, the graphologist Scheermann, the son of the art dealer Thannhauser. Mr. Beckmann, who can't get enough of celebrities, doesn't give a glance to the 'Querschnitt of Flechtheim' published in Flechtheim's honor. Around eleven, another batch of guests arrives. I sit later with Schusters, Laurets, some other Frenchmen whose names I forget. The course of the evening is harmlessly cheerful, the cabaret put together by Schreffer (?), Meyrink and Levy, etc., with some comic ideas. It is four over when we get home.'
The weekly magazine "Die Weltbühne" reported on Alfred Flechtheim's 50th birthday party at the hotel Kaiserhof:
'The birthday of a gentleman from Berlin. The Berliner was from the Rhineland and was fifty years old. For this purpose, friends and girlfriends had invited something five hundred to the Kaiserhof at the price of 30 marks each, payable by the guest. First there was a meal, tomato soup à la Renoir, Haffzander à la Paul Klee, saddle of veal Renée Sintenis, ice cream bombe à la Pinthus. In addition came the manifold drink, sparkling wine and wine. Afterwards one stood there and greeted. (...)'
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Related addresses: Schöneberger Ufer 38 until May 1935 (Architect: Heinrich Schweitzer); Schöneberger Ufer 71
Budapester Strasse (1932) not identical with today’s Budapester Strasse; Lützowstrasse 32 I (October 1925–1930); Königin-Augusta-Strasse 22 (October 1930–1932) - in 1933 this street becomes Tirpitzufer 84 and in 1947 it was renamed to Reichpietschufer. Lützowufer 19a (November 1932–1937), since 1933: Galerie Nierendorf; Großadmiral-von-Koester-Ufer 65 (1935–1947), Schöneberger Ufer.
Potsdamer Strasse 134c (Mid-Oct 1918-Sept 1924); Schöneberger Ufer 38 (July 1927-1931); Großadmiral-von-Koester-Ufer 39 respectively (since 1936) Großadmiral-von-Koester-Ufer 73 (1935-1939);Kluckstrasse 12 (May 1939 –Dec 1949)
Employee and partner at the Galerie / Kunstsalon Paul Cassirer
Related addresses: Street partially still exists as Hitzigallee.
Related addresses: Koenigin-Augusta-Strasse 46, in 1933 becomes Tirpitzufer 84, in 1947 becomes Reichpietschufer. Her last address in Berlin before deportation to Theresienstadt Bleibtreustrasse 17.
ALL BUILDINGS ARE DESTROYED
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Henry van de Velde (1894-1943), designer of the interior of the reading room at the gallery Paul Cassirer, Victoria Strasse 35.
(Street and building are destroyed)
Related addresses: Reichskammer der Bildenden Künste, Government agency 1933-1945; Blumes Hof 4-6 (since June 1934; street and building are destroyed; today's postcode 10785), Derfflingerstrasse 7 (from October 1935 until March 1937), Ahornstrasse 2 (1938). Today's postcode 10785
