Kunsthandel Peter Titelbech

Kunsthandel Peter Titelbech Established 1999
19th-20th Century - Works on Paper - Paintings - Sculptures - Photography
Open Daily Expertise:
Works on Paper and Frames. By appointment only

One of two new arrivals by Siesjö -small, conceived by a lesser known artist and presented in a humble frame. What a del...
02/09/2026

One of two new arrivals by Siesjö -
small, conceived by a lesser known artist and presented in a humble frame. What a delight it is.

Kaj Siesjö (1920-1985)
No title. Late 1950's?
Etching on japanese paper. Pulled by himself.
Contemporary frame. C.1960

Siesjö worked as a cabinetmaker before turning to painting and printmaking . He studied at the Skånska målarskolan in Malmö 1943–1945, at Marie Wadskjær's school in Copenhagen 1946–1946 and at Otte Skölds målarskola in Stockholm 1946–1947. His early works were naturalistic, but after a stay Paris in 1949 he turned towards abstraction. Together with Bengt Orup and Torsten Hult he formed the artist group Grupp III.

New entryJean Deyrolle (1911-1967)Jens. 1954Lithograph printed in black and light violet. Printed and published by I.Chr...
28/08/2026

New entry

Jean Deyrolle (1911-1967)
Jens. 1954
Lithograph printed in black and light violet. Printed and published by I.Chr. Sørensen, Copenhagen.
Trial Proof. Final edition was 10
[Richar no. 93]

Jean Deyrolle was introduced to the Danish masterprinter Jens Christian Sørensen in connection with his first exhibition in Copenhagen 1949. The mutual friend was Danish sculptor and printmaker Robert Jacobsen who Deyrolle knew via Galerie Denise René in Paris. Deyrolle and Sørensen's collaboration continued until 1965.

Last image depicts Deyrolle and Sørensen working on a lithograph. 1949.

Titelbech's Sunday Post throughout September is on the various thoughts on collecting.Where to start as a collector? By ...
26/08/2026

Titelbech's Sunday Post throughout September is on the various thoughts on collecting.
Where to start as a collector? By investing. Not your money but your time. Building a collection isn't effortless. Read books, go to exhibitions and previews - talk to experienced dealers, gallerists and collectors.

In "The World of Yesterday", 1942, the author Stefan Zweig reflects on a lifelong passion for original manuscripts. The interest started in his youth mainly by chasing signatures of the actors and singers of Vienna.  After he completed school, Zweig continued to expand his collection, now aiming for a considerably higher standard   - from the pure trophy of a name to the intellectual reward it was to have and study an original work by a writer, composer or an artist.

Where did I start? With the pillars of art; books, prints and drawings. Today's post is on drawings - my main focus and expertise since the gallery was established in 1999. Throughout the years a vast number of drawings have passed through my boxes, some I have kept and some are now in international institutions or in private collections. A large number are still in the boxes.  

Whether a rapid sketch on a napkin or a highly finished work on handmade paper, drawings offer a fascinating insight to the artist's working process. Sketches, drafts, preliminary studies are often unsigned and offer hours of examination; of the paper, the ductus and the inscriptions - all in search of attribution or authorship. And the signed drawings? - where are they to be placed in the oeuvre?  What is the theme? Related to a painting, a print or perhaps a literary reference? And the provenance? - who owned it? Was it  passed down through the family or from a line of distinguished collectors - with you being the next?

In short - drawings are a rewarding challenge of eye and intellect. The first step towards connoisseurship is experience. Visit dealers, antiquarian bookstores and auctionhouses.
There are still a few in Copenhagen. Pay them a vist.
Or drop by the gallery and peruse the boxes and portfolios containing 19th-20th century drawings.
You are very welcome.

A view from the street.On the table today is a large pile of drawings and prints by the Danish painter Hans Nikolaj Hans...
24/08/2026

A view from the street.
On the table today is a large pile of drawings and prints by the Danish painter Hans Nikolaj Hansen (1853-1923) - from the estate of the artist and passed down in the family until now. HNH, as he often monogrammed his works, was a prolific printmaker and draughtsman. His oeuvre is vast and varied - excelling in several isms of the last decades of the 19th century. The collection will require some research as several drawings are preliminary studies for paintings, prints or illustrated books. I will post a selection of drawings and prints throughout September at Kunsthandel Peter Titelbech kicking of with a small introduction to the artist.

‘I don’t reflect,’ he wrote in 1963. ‘The forms come: pleasing or strange... They’re born of themselves… I only have to ...
19/08/2026

‘I don’t reflect,’ he wrote in 1963. ‘The forms come: pleasing or strange... They’re born of themselves… I only have to move my hands…. The forms that then take shape offer access to mysteries and reveal to us the profound sources '

J E A N A R P (1886-1966)
Arthur Rimbaud. 1962
Colour woodcut
Signed edition of 97
DKK. 9.000,00

Literature:
Arntz, Hans (Jean) Arp: Das graphische Werk, 1912-1966, Haag, W. Germany, 1980, no.235
Available mid April.

Jean Arp studied at the Académie Julian in Paris. In 1912 he was one of the founding members of Dada. In Zurich, he met fellow artist, Sophie Taeuber, who became a crucial collaborator of his for many years. They married in 1922. 
With Sophie’s help, Jean produced a seminal set of collages known as Papiers Dechirés, in which he tore paper into pieces, dropped those pieces onto a larger sheet of paper, and pasted each scrap wherever it fell. 
True to Dada philosophy — which embraced all things random and irrational — the Papiers Dechirés  left the creative process to chance. This was something of a game-changer in the visual arts, which until then had always striven for a high level of artistic skill and control.
 In the 1930s, Arp began to create his most famous works: the biomorphic sculptures in materials such as marble and bronze. These would remain the wellspring of his art for three decades.
If in Copenhagen, drop by Vor Frue Kirke and enjoy Arp's bronze Coupe on Fruit from 1960.

An early work by Nína Tryggvadóttir - part IYesterday morning was spent at the Det Kgl. Bibliotek. I am currently workin...
18/08/2026

An early work by Nína Tryggvadóttir - part I

Yesterday morning was spent at the Det Kgl. Bibliotek. I am currently working on a recent acquisition - an untitled view depicting a village road with two figures. The painting is signed with a monogram NT and inscribed verso N.Tryggva No.4. There are no known artists with this name but there is a Nína Tryggvadóttir (1913 –1968) - one of Iceland's most important abstract expressionist artists and one of very few Icelandic female artists of her generation. Could this be an early work conceived during her years at The Royal Academy in Copenhagen 1935-1939? The answer is yes. During her stay, Tryggvadóttir participated in Akademielevers Udstilling af Sommerarbejder at Charlottenborg; in 1936 and 1937 as Nina Tryggva and under her full name Nína Tryggvadóttir in 1938. Was the painting among the shown works in 1936/1937? Not sure. It was at some point acquired by Anna Olafsdóttir who passed it on in 1938.
Tryggvadóttir's first solo exhibition was held in Reykjavík in 1942, and comprised mostly paintings of landscapes and houses. She moved to New York, where she studied under Hans Hofmann, Hans Richter, and Morris Kantor (and  Fernand Léger). Her American career was brutally interrupted by McCarthyism when she was denied a re-entry visa in 1949. In Paris from 1952 where she began to work on geometric and figurative variations in the spirit of the Salon des réalités nouvelles, exhibited at the galerie Denise René, and worked with Michel Seuphor.

Tryggvadóttir's work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London 2023

.Paris 1950'sRaoul Ubac came to Paris in 1928 where he enrolled at the Sorbonne for a degree in literary studies. From ...
15/08/2026

.
Paris 1950's

Raoul Ubac came to Paris in 1928 where he enrolled at the Sorbonne for a degree in literary studies. From 1934 to 1942 he focused on surrealist photography.

From 1951, he regularly exhibited paintings and prints at the Maeght gallery.

R A O U L  U B A C (1910-1985)
Composition. 1956
Lithograph. Edition of 30.
Greeting card published by Galerie Maeght for the year 1957
Presented here in a 1950's Montparnasse frame
Sold

Composition Bleu. 1956
Linocut
Greeting card published by Galerie Maeght for the year 1957
Framed DKK. 4.500,00

Third image: Raoul Ubac. Autoportrait solarisé (Solarized self-portrait). 1940. Gelatin silver print,

Joy Egnel (1920-2001)Porto d´Ischia. 1949Ink, black and coloured chalk.A recent acquisition and what a remarkable drawin...
12/08/2026

Joy Egnel (1920-2001)
Porto d´Ischia. 1949
Ink, black and coloured chalk.

A recent acquisition and what a remarkable drawing it is. Once catalogued, the drawing will join the gallery's select group of artists affiliated with Atelier 17. 

Joy Egnel attended the Tekniska Skolan (1944) and Otte Skölds Målarskola (1945-1946), both in Stockholm. In 1947, she moved to Paris where she studied at Académie Julian, followed by a year at the Royal Danish Academy of Fine Arts in Copenhagen. Porto d'Ischia was conceived 1949 shortly before she moved to Paris where she became affiliated with Atelier 17. Her name is briefly mentioned in Christina Weyl's groundbreaking work on The Women of Atelier 17. This will change. A new highly interesting research project has been launched by Lotta Granqvist .granqvist at Stockholm University Stockholm University;
Scandinavian Women Artists at Atelier 17. Artistic Practices, Collective Processes, and Transnational Networks, 1950–1970. 
Five women artists constitute the empirical foundation of the study: Inger Sitter (1929–2015) and Anne Breivik (1932–2012) from Norway; and Jette Thyssen (born 1933) from Denmark, Brita Molin (1919–2008) and Joy Egnel (1920–2001) from Sweden. All were active at Atelier 17 in Paris between 1950 and 1970.

It's never too late...HUGO HEDEMANN (1903-1995)No title. 1962Oil on paperPresented here in a late 19th century silverlea...
11/08/2026

It's never too late...

HUGO HEDEMANN (1903-1995)
No title. 1962
Oil on paper
Presented here in a late 19th century silverleaf frame.
DKK. 7.500,00

Hugo Hedemann was in his early 50's when he gave up his job for a career as an artist. He was a pupil of Mogens Andersen during the 1950's and finished the decade with an exhibition debut at KE in 1959. Hedemann's early works pay tribute to the works of Soulages and Marfaing.

Titelbech's Sunday PostI recently acquired a painting depicting a cellist seated in an empty interior - dated 1917. My ...
09/08/2026

Titelbech's Sunday Post

I recently acquired a painting depicting a cellist seated in an empty interior - dated 1917. My eye was not on the lesser known artist or the unknown sitter. It was on the cello - the instrument that most resembles the human voice. An instrument I have loved since I started buying and borrowing vinyls during the early 1980's - concertos by Vivaldi, Boccherini, Haydn and Elgar, but above all J.S. Bach - the foundation of the whole cello repertoire. It was a suite by Bach I heard when I looked at the cellist seated in the empty room. Bach's suites for unaccompanied cello were not widely known before the early 20th century. It was Pablo Casals who first began to popularize the suites, after discovering an edition by Friedrich Grützmacher (who was the first cellist to perform an entire Bach suite) in a thrift shop in Barcelona in 1889. Casals performed the suites publicly, but it was not until 1936, when he was 60 years old, that he agreed to record them. The sitter is Siegfried Salomon (1885-1962), a Danish cellist and composer, trained in Leipzig and Paris, and working as a soloist in Copenhagen, Paris and Stockholm. Salomon's compositions are largely forgotten today, among them his First Cello Concerto, Opus 34 from c. 1922. The world premiere was many years later and performed by the young Erling Blöndal Bengtsson - recorded 1955 but not available in the Insta library. Back to Bach.

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