Max Liebermann (1847 Berlin - 1935 ibid.) Alley in the Tiergarten with strollers and carriage Max Liebermann repeated the motif of the present painting several times. Although it is not dated, the composition largely corresponds to his well-known etching "Street in the Tiergarten" from 1922: Under the light canopy of foliage of the avenue leading diagonally into the depths, figures sit on a bench in the right foreground, gazing at strolling Sunday walkers, below them an elegantly dressed lady with a little girl by the hand. Meanwhile, a carriage travelling along the road in the direction of the viewer's gaze adds dynamism and imaginary sounds to the picture. In 1922, the year the painting was created, Liebermann was still very productive as a painter despite being 75 years old and an active personality in Berlin's vibrant artistic and cultural life. In 1920, he had assumed the office of President of the Berlin Academy of Arts, which he reformed and opened up to newer trends such as Expressionism. Due to both his age and the outbreak of the First World War, he had to make do with subjects close to his home in Berlin from 1915 onwards, having previously spent his summer months regularly in Holland on the North Sea for decades. The avenue in the Großer Tiergarten now became a main motif in Liebermann's late work, alongside the surroundings of his own Liebermann villa on Wannsee. He was captivated by the huge park, which was only a few steps away from his flat in the city palace on Pariser Platz next to the Brandenburg Gate. His father had bought the house in 1857 and Max Liebermann himself had lived there with his family since 1892. He was therefore very familiar with the Tiergarten, where he had already painted the children's playground and the children's attendants several times between 1881 and 1885. In the Tiergarten pictures, Liebermann depicted the play of light and shadow, enlivened by varying staffage figures and urban vehicles such as carriages, automobiles and trams. They once again reflect his great painterly mastery. Oil/painting card. Signed lower left; label with typewritten inscription "Bes. Martin Cassirer Nr. 62 Liebermann" verso; label of Galerie Abels, Cologne, and label of Galerie Ludorff, Düsseldorf. 25.8 cm x 32.5 cm. Frame. Literature: Matthias Eberle: "Max Liebermann. Werkverzeichnis der Gemälde und Ölstudien", Munich 1996, no. 1922/40 with illus. Further reading: Holly Prentiss Richardson: "Landscape in the Work of Max Liebermann"" Diss. Brown University, Providence/Rhode Island, 1991, p. 242, no. 689. Provenance: Martin Cassirer, Berlin(?); Roland, Browse & Delbance, London (1964); Galerie Abels, Cologne (1964); private collection Bad Godesberg (1964); Galerie Ludorff, Düsseldorf (2012); since 2013 in southern German private collection. Oil on cardboard. Signed. Labels on the reverse. Mentioned in the catalogue raisonné by Matthias Eberle (no. 1922/40).