Los

342

Emil NoldeSommerblumen Aquarell auf Japanpapier. 22,8 x 27,4 cm. Unter Glas gerahmt. Unten rechts

In Modern Art

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Emil NoldeSommerblumen Aquarell auf Japanpapier. 22,8 x 27,4 cm. Unter Glas gerahmt. Unten rechts
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Emil Nolde
Sommerblumen

Aquarell auf Japanpapier. 22,8 x 27,4 cm. Unter Glas gerahmt. Unten rechts schwarz signiert 'Nolde.'. - Am Oberrand wenigen kleine Papierverletzungen. Farbfrisch erhalten.

Mit einer Foto-Expertise von Martin Urban, Seebüll, 15. Februar 1989.

Provenienz
Wolfgang Wittrock Kunsthandel, Düsseldorf (1991); Privatsammlung Rheinland

„Es sind meistens wieder die kleinen Blumengärten, die ich malte. Ich hab sie so gerne, diese hellen und freudig leuchtenden Farben. Es sind stille, schöne Stunden, wenn man am friedlichen Sommertage zwischen den duftenden und blühenden Blumen geht und dasitzt. Von dieser Schönheit möchte ich so gern, daß meine Bilder etwas geben. Ich selbst habe ja vor den Bildern diese Empfindung. Das erste schöne Glück …“ schreibt Emil Nolde im Herbst 1908 an Gustav Schiefler (zit. nach Martin Urban, Emil Nolde - Blumen und Tiere. Aquarelle und Zeichnungen, Köln 1980, S. 7). In der zweiten Hälfte der 1910er Jahre entstehen auf Alsen Noldes früheste Gartenbilder. Es sollte noch zehn weitere Jahre dauern, bis er zur Form jener Blumenaquarelle finden würde, die sein Werk seitdem in fast ununterbrochener Folge prägte.
Dahlien, Glockenblumen, Iris, Lilien, Mohn und Sonnenblumen - wie schon auf Alsen, suchte Nolde die Vorlagen für seine Kunst auch in den späteren Jahren bevorzugt in der direkten Umgebung seiner Wohnhäuser und Ateliers auf Utenwarf und in Seebüll. Schon Noldes Garten auf Utenwarf war prachtvoll, doch in Seebüll wuchsen die Blumen noch reicher und vielfältiger. Als „tiefer, größer gefaßt und schwermutsvoller gesättigt“ (ebd. S. 34) empfindet der Künstler seine späteren Blumenaquarelle und genau diese kraftvolle Qualität zeichnet auch unsere Arbeit aus.

Emil Nolde
Sommerblumen

Watercolour on Japan paper. 22.8 x 27.4 cm. Framed under glass. Signed 'Nolde.' in black lower right. - The upper margin with few minor paper defects. Vibrant colours.

With a photo-certificate by Martin Urban, Seebüll, dated 15 February 1989.

Provenance
Wolfgang Wittrock Kunsthandel, Düsseldorf (1991); Private collection, Rhineland

“I was once again mostly painting the little flower gardens. They are so dear to me, these bright and joyfully luminous colours. Those are still and pleasant hours, walking and sitting there between the sweet-smelling and blooming flowers on peaceful summer days. I would very much like for my pictures to convey something of this beauty. I myself, of course, experience this feeling before the pictures. That first beautiful happiness …” wrote Emil Nolde in the autumn of 1908 to Gustav Schiefler (cited in Martin Urban, Emil Nolde - Blumen und Tiere. Aquarelle und Zeichnungen, Cologne 1980, p. 7). In the second half of the 1910s, on the island of Als, Nolde created his earliest garden paintings. It would take ten more years for him to find his way to that form of floral watercolour which thereafter shaped his oeuvre in an almost uninterrupted series.
Dahlias, bellflowers, irises, lilies, poppies and sunflowers - as Nolde had already done on Als, in later years he also sought the source material for his art primarily in the direct vicinity of his homes and studios on Utenwarf and in Seebüll. Nolde's garden on Utenwarf was already impressive, but in Seebüll the flowers grew in even greater abundance and diversity. The artist experienced his later floral watercolours as “deeper, more grandly conceived and more melancholically sated” (ibid., p. 34), and it is precisely this powerful quality which also distinguishes our work.
Emil Nolde
Sommerblumen

Aquarell auf Japanpapier. 22,8 x 27,4 cm. Unter Glas gerahmt. Unten rechts schwarz signiert 'Nolde.'. - Am Oberrand wenigen kleine Papierverletzungen. Farbfrisch erhalten.

Mit einer Foto-Expertise von Martin Urban, Seebüll, 15. Februar 1989.

Provenienz
Wolfgang Wittrock Kunsthandel, Düsseldorf (1991); Privatsammlung Rheinland

„Es sind meistens wieder die kleinen Blumengärten, die ich malte. Ich hab sie so gerne, diese hellen und freudig leuchtenden Farben. Es sind stille, schöne Stunden, wenn man am friedlichen Sommertage zwischen den duftenden und blühenden Blumen geht und dasitzt. Von dieser Schönheit möchte ich so gern, daß meine Bilder etwas geben. Ich selbst habe ja vor den Bildern diese Empfindung. Das erste schöne Glück …“ schreibt Emil Nolde im Herbst 1908 an Gustav Schiefler (zit. nach Martin Urban, Emil Nolde - Blumen und Tiere. Aquarelle und Zeichnungen, Köln 1980, S. 7). In der zweiten Hälfte der 1910er Jahre entstehen auf Alsen Noldes früheste Gartenbilder. Es sollte noch zehn weitere Jahre dauern, bis er zur Form jener Blumenaquarelle finden würde, die sein Werk seitdem in fast ununterbrochener Folge prägte.
Dahlien, Glockenblumen, Iris, Lilien, Mohn und Sonnenblumen - wie schon auf Alsen, suchte Nolde die Vorlagen für seine Kunst auch in den späteren Jahren bevorzugt in der direkten Umgebung seiner Wohnhäuser und Ateliers auf Utenwarf und in Seebüll. Schon Noldes Garten auf Utenwarf war prachtvoll, doch in Seebüll wuchsen die Blumen noch reicher und vielfältiger. Als „tiefer, größer gefaßt und schwermutsvoller gesättigt“ (ebd. S. 34) empfindet der Künstler seine späteren Blumenaquarelle und genau diese kraftvolle Qualität zeichnet auch unsere Arbeit aus.

Emil Nolde
Sommerblumen

Watercolour on Japan paper. 22.8 x 27.4 cm. Framed under glass. Signed 'Nolde.' in black lower right. - The upper margin with few minor paper defects. Vibrant colours.

With a photo-certificate by Martin Urban, Seebüll, dated 15 February 1989.

Provenance
Wolfgang Wittrock Kunsthandel, Düsseldorf (1991); Private collection, Rhineland

“I was once again mostly painting the little flower gardens. They are so dear to me, these bright and joyfully luminous colours. Those are still and pleasant hours, walking and sitting there between the sweet-smelling and blooming flowers on peaceful summer days. I would very much like for my pictures to convey something of this beauty. I myself, of course, experience this feeling before the pictures. That first beautiful happiness …” wrote Emil Nolde in the autumn of 1908 to Gustav Schiefler (cited in Martin Urban, Emil Nolde - Blumen und Tiere. Aquarelle und Zeichnungen, Cologne 1980, p. 7). In the second half of the 1910s, on the island of Als, Nolde created his earliest garden paintings. It would take ten more years for him to find his way to that form of floral watercolour which thereafter shaped his oeuvre in an almost uninterrupted series.
Dahlias, bellflowers, irises, lilies, poppies and sunflowers - as Nolde had already done on Als, in later years he also sought the source material for his art primarily in the direct vicinity of his homes and studios on Utenwarf and in Seebüll. Nolde's garden on Utenwarf was already impressive, but in Seebüll the flowers grew in even greater abundance and diversity. The artist experienced his later floral watercolours as “deeper, more grandly conceived and more melancholically sated” (ibid., p. 34), and it is precisely this powerful quality which also distinguishes our work.

Modern Art

Auktionsdatum
Ort der Versteigerung
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Köln
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Germany

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Wichtige Informationen

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(20,00 % für den 400.001 EUR übersteigenden Anteil des Zuschlags)
19,00 % MwSt. auf Aufgeld und Kosten nicht ausgewiesen und nicht erstattbar; Differenzbesteuerung

Also:
35,00 % Aufgeld auf den Zuschlagspreis
(31,00 % für den 400.000 EUR übersteigenden Anteil des Zuschlags)
Differenzbesteuerung, MwSt. enthalten, aber nicht ausgewiesen, nicht erstattbar

Also:
24,00 % Aufgeld auf den Zuschlagspreis
(20,00 % für den 400.001 EUR übersteigenden Anteil des Zuschlags)
7,00 % verauslagte Einfuhrumsatzsteuer auf den Zuschlagspreis, erstattbar bei Export aus der EU
19,00 % MwSt. auf Aufgeld und Kosten nicht ausgewiesen und nicht erstattbar; Differenzbesteuerung

Additionla fees because of artists' resale rights apply.

AGB

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1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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