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Kunsthandel Peter Titelbech

Hjem
Danmark
Copenhagen
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

15/08/2026

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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,

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.

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.

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.

04/08/2026

K U N S T H A N D E L P E T E R T I T E L B E C H ..........................Established 1999.............................

19th-20th Century - Works on Paper - Sculptures Paintings - Artbooks - Photography - Women Artists

Open daily.

Appointments always welcome

29/07/2026

Vienna 1988. Greek tan, underdressed and very early in the morning.

It was a hack back in the 1980's when travelling Europe by Interrail. Always on a tight budget. The backpack contained at least two books – the novel of the summer and Die Bahn’s indispensable timetable for Germany and Europe. Leaving one city at night and arriving at the next the following morning was our modus. Observing a city waking up has been a thing for me ever since – when travelling and when at home. This year’s travel companion besides the GPS has been Stefan Zweig - The World of Yesteday along with few of his short stories and essays. It’s about the same timespan. Zweig’s recollection of his youth was written with a distance of three decades, at the age I have today. He resonates and there are numerous reasons for reading Zweig - especially his essays and short stories. The Monotonization of the World is a collection of essays, interviews and speeches from the 1920’s and 1930’s – may I suggest "To Travel or be Travelled" from 1926 and "The Monotonization of the World" from 1925. Both are precise and alarming decriptions of the world of today.

The Invisible Collection (1925) is among my favorite short stories – as a collector and as a dealer of prints. From late August my pre-1900 prints, drawings and frames will have a space of their own. Located 60 close to the gallery and planned as a permanent display of works on paper and frames from the worlds of yesterday.
Visits are very welcome

23/07/2026

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Back in the Gallery Monday morning. Back on Instagram too. Next week's theme is a favorite subject of mine - in literature, photography and art.

Travel - from Grand Tour to Mass Tourism 1926.

08/07/2026

A few sunny days on the corner of Stockholmsgade and Upsalagade. Sorting prints, drawings, paintings, photographs and frames from . From August, if all goes well, they will finally have a room of their own - less sunny and perfect for permanent display. The gallery will, after a planned photoshoot and a much needed makeover still focus on select works - but mainly 20th century.
The Panama has been with me since I started in 1999.
There is room for yet a hat. Drop by for a Greek coffee....

29/06/2026

Titelbech’s summer Post – on art, music, literature and travel.
Ida's Grand Tour 1845-1846

"To the Misses Rotbøll!
It pains me to have to disrupt, if not stop, our drawing exercises, but since I attend drill every morning from 7-10, you will realize that I cannot possibly be in a position to inform you immediately afterwards. If you would not allow me to continue to provide you with drawings and visit you from time to time to correct you - but really wish to continue with constant, definite instruction, then I hope to be able to promise you hours between 11-12, any day you may designate, except Saturday and Sunday.
Yours sincerely Johan Thom: Lundby"
[31.3.1848 KB NKS 2637,2]

I have in my collection a two-volume handwritten travel diary from 1845 - unsigned but written by a young Ida Rottbøll (1824-1909). Along with her family she embarked on the steamship Geiser on August 12th, 1845 - following almost two months by Stellwagen, railroad and boat . The destination was Rome where they met Danish nobility, merchants and several Danish artists – among them the painter Johan Thomas Lundbye (1818-1848). Ida describes in her journal where they stay, who they meet and what they see. The family returned to Copenhagen July 1846.

This summer I will transcribe yet a few chapters of Ida’s Grand Tour . The Rottbølls are on their way to Padua. It is apparent that Ida has an interest in fine arts – and coffee. In Denmark she and her sister Hedvig received private drawing lessons from Lundbye, and it raises the question whether these well written diaries were accompanied by one or more sketchbooks – if so – where are they?

24/06/2026

Boxing Comtesse Belloni

S I R I R A T H S M A N (1895-1974)
No title. n.d.
Pencil on sketchbook paper.

After formal training in Gothenburg, Siri Rathsman moved to Paris in 1920 where she spent a year at the Académie Moderne (studied under Raoul Dufy and Othon Friesz). She had a studio in rue Belloni and to earn money she worked as a journalist under the pseudonym Comtesse Belloni. Rathsman, an intellectual and linguistically talented, moved in the avant-garde circles of Paris. During the early 1930's she studied printmaking, alongside Nina Negri, at Stanley William Hayter's ATELIER 17 and exhibited in the same Parisian circles as Max Ernst and Yves Tanguy.
From 1934 she exhibited regularly at the Salon des Indépendants. With Atelier 17, she participated in exhibitions in Paris, Brussels and Zurich.

Drop by if you are into unboxing

Adresse

Stockholmsgade 23, Street Mf
Copenhagen
2100

Telefon

+4523832448

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