Neumann-Nierendorf was predominantly active from 1925 to 1933 in Berlin as a leading gallery which focused on contemporary German art. In 1933 the reorganization of the gallery to Galerie Nierendorf took place which continued exhibiting modern German artists.
Karl Nierendorf (1889–1947) was a banker before he embarked on a new career as an art dealer at the suggestion of the artist Paul Klee. Having opened his first gallery in Cologne in 1920 and then Düsseldorf with his brother Josef Nierendorf (1898–1949), Karl took over Jewish art dealer Israel Ber Neumann’s (1887–1961) Graphisches Kabinett in Berlin in October 1923 when Neumann emigrated to New York [FIG. 1, 2].
Following the closure of the Cologne and Düsseldorf galleries, Karl’s brother Josef joined him in Berlin. The interior of the gallery, renamed Neumann-Nierendorf in 1925, [FIG. 3,4] featured furniture by Marcel Breuer. Art historian Malcolm Gee noted that ‘[w]orks were hung well-spaced out on plain walls with diffuse lighting. The general effect was sober, reflective and discreetly aligned with modern German design concepts.’
Through a very active exhibition schedule, Karl promoted the work of young German artists [FIG. 5], above all artists affiliated with German Expressionism, Neue Sachlichkeit (New Objectivity) and the Bauhaus. His close connections to Otto Dix earned him the nickname ‘Nierendix’. An interior photograph of the gallery includes Dix’s striking portrait of the provocative dancer and actor Anita Berber (1899–1928), who rose to fame in Weimar-era Berlin. [FIG. 6-9]
In 1933, Karl was not directly threatened because he was neither politically left nor, like his business partner I. B. Neumann, of Jewish background. Yet, on 1 April 1933, when Jewish businesses were boycotted, SA guards stood outside his gallery. Karl Nierendorf took over Neumann's shares in the business that very day ‘by mutual agreement’. However, Nierendorf was under observation as a prominent dealer of modernism which was now considered ‘degenerate art’.
In the same year as the infamous Berlin Olympic Games of 1936, [FIG. 10] a landmark Franz Marc memorial exhibition at Galerie Nierendorf in Berlin, [FIGS. 11-15] which included The Foxes, was the first show of the artist’s complete works in Berlin. This was to be the last exhibition Karl Nierendorf organized in Berlin. In 1937, he opened a new gallery in New York, while Josef and his wife Meta ran the gallery in Berlin until it was forced to close in 1938. Galerie Nierendorf in Berlin was reopened in 1963 and still exists today at Hardenbergstrasse 19.
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On 1 March 2022 Christie’s sold Franz Marc’s The Foxes (Die Füchse), [FIG. 16] which was restituted by the city of Dusseldorf to the heirs of the Jewish banker and businessman Kurt (1877–1944) and Else Grawi (1894–1964) in 2021. [FIG. 17]
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In the same year as the infamous Berlin Olympic Games of 1936, [FIG. 10] a landmark Franz Marc memorial exhibition at Galerie Nierendorf in Berlin, [FIGS. 11-15] which included The Foxes, was the first show of the artist’s complete works in Berlin. This was to be the last exhibition Karl Nierendorf organized in Berlin. In 1937, he opened a new gallery in New York, while Josef and his wife Meta ran the gallery in Berlin until it was forced to close in 1938. Galerie Nierendorf in Berlin was reopened in 1963 and still exists today at Hardenbergstrasse 19.
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On 1 March 2022 Christie’s sold Franz Marc’s The Foxes (Die Füchse), [FIG. 16] which was restituted by the city of Dusseldorf to the heirs of the Jewish banker and businessman Kurt (1877–1944) and Else Grawi (1894–1964) in 2021. [FIG. 17]
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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.
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.
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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
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