230
Emil NoldeSee mit zwei blauen Booten vor BerglandschaftAquarell und Tuschpinsel auf Japanbütten.
In Modern Art
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Beschreibung
Emil Nolde
See mit zwei blauen Booten vor Berglandschaft
Aquarell und Tuschpinsel auf Japanbütten. 34,5 x 45 cm. Unter Glas gerahmt. Unten rechts schwarz signiert 'Nolde.'. - In sehr schöner Erhaltung.
Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 14. März 2018; die Arbeit ist in seinem Archiv verzeichnet unter "Nolde A-76/2018".
Provenienz
Elsa Koppel (Bochum), vom Künstler erworben, vor 1932; Privatsammlung Washington D.C., USA; Privatsammlung Massachusetts, USA; Privatsammlung Baden-Württemberg
Die Aquarelle Emil Noldes, in denen er alpine Landschaften in dunkel glühenden Farbtönen einfing, sind weit weniger bekannt als seine Blumenstillleben und die Ansichten von Meer und Marschlandschaft. Der Maler war fasziniert von den Bergen, wo sich die urwüchsige Natur so gänzlich anders manifestierte als in seiner von Meer und Wind geprägten norddeutschen Heimat. Als junger Mann während seiner Zeit in St. Gallen bestieg er das Matterhorn und weitere anspruchsvolle Gipfel. In den 1920er und 1930er Jahren unternahm er mehrere Reisen in die Schweiz, wohin auch die Hochzeitsreise mit seiner zweiten Frau Jolanthe 1946 führte.
Im vorliegenden Aquarell vereinigen sich Bergwelt und Wasser zu einem berückenden Naturschauspiel. Tiefes Blau, Grün und Violett verschmelzen in der abendlichen Szenerie eines Bergsees. Vor majestätischer Bergkulisse holen Fischer im letzten Abendlicht die Netze ein. Die Silhouetten von Landzunge und Bergrücken sind ebenso wie die Fischerboote als breite schwarze Binnenzeichnungen gesetzt, die grünblaue Wasserfläche nimmt die gesamte untere Hälfte des Bildraumes ein und spiegelt die violetten Nuancen des Himmels.
„Die bevorzugte Tageszeit zum Aquarellieren in den Bergen war für ihn offenkundig der späte Nachmittag bis hin zur 'blauen Stunde', der Zeit des Dämmerlichts. […] Es gibt unter Noldes Bergaquarellen einige solcher Arbeiten voller Poesie und Verträumtheit. Mögen das beschauliche Leben in der Alpenwelt, eine entspannte Urlaubsstimmung oder die Einzigartigkeit dieser Naturlandschaft hierfür verantwortlich gewesen sein, in Noldes Aquarellmalerei gibt es wenige Motivgruppen in solch konstanter künstlerischer Höhe.“ (Andreas Fluck, in: Emil Nolde. Reiselust, Ausst. Kat. Berlin 2010, S. 21).
Emil Nolde
See mit zwei blauen Booten vor Berglandschaft
Watercolour and brush and India ink on Japan laid paper. 34.5 x 45 cm. Framed under glass. Signed 'Nolde.' in black lower right. - In very fine condition.
With a photo-certificate from Manfred Reuther, Klockries, dated 14 March 2018; the work is recorded in his archive under "Nolde A-76/2018".
Provenance
Elsa Koppel (Bochum), acquired from the artist, before 1932; Private collection, Washington D.C., USA; Private collection, Massachusetts, USA; Private collection, Baden-Wuerttemberg
The watercolours in which Emil Nolde captures alpine landscapes in darkly glowing tones are not nearly as well-known as his flower still lifes and views of the sea and marshes. The painter was fascinated by the mountains, where unspoilt nature manifested itself so differently than in his native northern Germany, where it was defined by the sea and wind. As a young man he had climbed the Matterhorn and other challenging peaks during the period he spent in St Gallen. In the 1920s and 1930s he went on a number of journeys to Switzerland, which was also the destination of his honeymoon with his second wife, Jolanthe, in 1946.
The watercolour here unites the world of the mountains with water to form an enchanting natural spectacle. Deep blue, green and violet merge in the twilight scenery of an alpine lake. The fishermen gather in their nets before the majestic setting of the mountains in the last light of evening. Like the fishing boats, the silhouettes of the promontories and ridges have been painted with broad black contours; the greenish blue of the water's surface takes up the entire lower half of the depicted space and reflects the violet nuances of the sky.
“For him, the preferred time of day to paint watercolours in the mountains was obviously from late afternoon to the 'blue hour', the period of twilight. […] Among Nolde's watercolours of the mountains, there are a few such works full of poetry and pensiveness. Whether it was the tranquillity of life in the alpine world, a relaxed holiday atmosphere or the uniqueness of this natural landscape that was responsible for this, there are few groups of motifs in Nolde's watercolour paintings that maintained such a constantly high level artistically.” (Andreas Fluck, in: Emil Nolde: Reiselust, exhib. cat. Berlin 2010, p. 21).
See mit zwei blauen Booten vor Berglandschaft
Aquarell und Tuschpinsel auf Japanbütten. 34,5 x 45 cm. Unter Glas gerahmt. Unten rechts schwarz signiert 'Nolde.'. - In sehr schöner Erhaltung.
Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 14. März 2018; die Arbeit ist in seinem Archiv verzeichnet unter "Nolde A-76/2018".
Provenienz
Elsa Koppel (Bochum), vom Künstler erworben, vor 1932; Privatsammlung Washington D.C., USA; Privatsammlung Massachusetts, USA; Privatsammlung Baden-Württemberg
Die Aquarelle Emil Noldes, in denen er alpine Landschaften in dunkel glühenden Farbtönen einfing, sind weit weniger bekannt als seine Blumenstillleben und die Ansichten von Meer und Marschlandschaft. Der Maler war fasziniert von den Bergen, wo sich die urwüchsige Natur so gänzlich anders manifestierte als in seiner von Meer und Wind geprägten norddeutschen Heimat. Als junger Mann während seiner Zeit in St. Gallen bestieg er das Matterhorn und weitere anspruchsvolle Gipfel. In den 1920er und 1930er Jahren unternahm er mehrere Reisen in die Schweiz, wohin auch die Hochzeitsreise mit seiner zweiten Frau Jolanthe 1946 führte.
Im vorliegenden Aquarell vereinigen sich Bergwelt und Wasser zu einem berückenden Naturschauspiel. Tiefes Blau, Grün und Violett verschmelzen in der abendlichen Szenerie eines Bergsees. Vor majestätischer Bergkulisse holen Fischer im letzten Abendlicht die Netze ein. Die Silhouetten von Landzunge und Bergrücken sind ebenso wie die Fischerboote als breite schwarze Binnenzeichnungen gesetzt, die grünblaue Wasserfläche nimmt die gesamte untere Hälfte des Bildraumes ein und spiegelt die violetten Nuancen des Himmels.
„Die bevorzugte Tageszeit zum Aquarellieren in den Bergen war für ihn offenkundig der späte Nachmittag bis hin zur 'blauen Stunde', der Zeit des Dämmerlichts. […] Es gibt unter Noldes Bergaquarellen einige solcher Arbeiten voller Poesie und Verträumtheit. Mögen das beschauliche Leben in der Alpenwelt, eine entspannte Urlaubsstimmung oder die Einzigartigkeit dieser Naturlandschaft hierfür verantwortlich gewesen sein, in Noldes Aquarellmalerei gibt es wenige Motivgruppen in solch konstanter künstlerischer Höhe.“ (Andreas Fluck, in: Emil Nolde. Reiselust, Ausst. Kat. Berlin 2010, S. 21).
Emil Nolde
See mit zwei blauen Booten vor Berglandschaft
Watercolour and brush and India ink on Japan laid paper. 34.5 x 45 cm. Framed under glass. Signed 'Nolde.' in black lower right. - In very fine condition.
With a photo-certificate from Manfred Reuther, Klockries, dated 14 March 2018; the work is recorded in his archive under "Nolde A-76/2018".
Provenance
Elsa Koppel (Bochum), acquired from the artist, before 1932; Private collection, Washington D.C., USA; Private collection, Massachusetts, USA; Private collection, Baden-Wuerttemberg
The watercolours in which Emil Nolde captures alpine landscapes in darkly glowing tones are not nearly as well-known as his flower still lifes and views of the sea and marshes. The painter was fascinated by the mountains, where unspoilt nature manifested itself so differently than in his native northern Germany, where it was defined by the sea and wind. As a young man he had climbed the Matterhorn and other challenging peaks during the period he spent in St Gallen. In the 1920s and 1930s he went on a number of journeys to Switzerland, which was also the destination of his honeymoon with his second wife, Jolanthe, in 1946.
The watercolour here unites the world of the mountains with water to form an enchanting natural spectacle. Deep blue, green and violet merge in the twilight scenery of an alpine lake. The fishermen gather in their nets before the majestic setting of the mountains in the last light of evening. Like the fishing boats, the silhouettes of the promontories and ridges have been painted with broad black contours; the greenish blue of the water's surface takes up the entire lower half of the depicted space and reflects the violet nuances of the sky.
“For him, the preferred time of day to paint watercolours in the mountains was obviously from late afternoon to the 'blue hour', the period of twilight. […] Among Nolde's watercolours of the mountains, there are a few such works full of poetry and pensiveness. Whether it was the tranquillity of life in the alpine world, a relaxed holiday atmosphere or the uniqueness of this natural landscape that was responsible for this, there are few groups of motifs in Nolde's watercolour paintings that maintained such a constantly high level artistically.” (Andreas Fluck, in: Emil Nolde: Reiselust, exhib. cat. Berlin 2010, p. 21).
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Emil Nolde
See mit zwei blauen Booten vor Berglandschaft
Aquarell und Tuschpinsel auf Japanbütten. 34,5 x 45 cm. Unter Glas gerahmt. Unten rechts schwarz signiert 'Nolde.'. - In sehr schöner Erhaltung.
Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 14. März 2018; die Arbeit ist in seinem Archiv verzeichnet unter "Nolde A-76/2018".
Provenienz
Elsa Koppel (Bochum), vom Künstler erworben, vor 1932; Privatsammlung Washington D.C., USA; Privatsammlung Massachusetts, USA; Privatsammlung Baden-Württemberg
Die Aquarelle Emil Noldes, in denen er alpine Landschaften in dunkel glühenden Farbtönen einfing, sind weit weniger bekannt als seine Blumenstillleben und die Ansichten von Meer und Marschlandschaft. Der Maler war fasziniert von den Bergen, wo sich die urwüchsige Natur so gänzlich anders manifestierte als in seiner von Meer und Wind geprägten norddeutschen Heimat. Als junger Mann während seiner Zeit in St. Gallen bestieg er das Matterhorn und weitere anspruchsvolle Gipfel. In den 1920er und 1930er Jahren unternahm er mehrere Reisen in die Schweiz, wohin auch die Hochzeitsreise mit seiner zweiten Frau Jolanthe 1946 führte.
Im vorliegenden Aquarell vereinigen sich Bergwelt und Wasser zu einem berückenden Naturschauspiel. Tiefes Blau, Grün und Violett verschmelzen in der abendlichen Szenerie eines Bergsees. Vor majestätischer Bergkulisse holen Fischer im letzten Abendlicht die Netze ein. Die Silhouetten von Landzunge und Bergrücken sind ebenso wie die Fischerboote als breite schwarze Binnenzeichnungen gesetzt, die grünblaue Wasserfläche nimmt die gesamte untere Hälfte des Bildraumes ein und spiegelt die violetten Nuancen des Himmels.
„Die bevorzugte Tageszeit zum Aquarellieren in den Bergen war für ihn offenkundig der späte Nachmittag bis hin zur 'blauen Stunde', der Zeit des Dämmerlichts. […] Es gibt unter Noldes Bergaquarellen einige solcher Arbeiten voller Poesie und Verträumtheit. Mögen das beschauliche Leben in der Alpenwelt, eine entspannte Urlaubsstimmung oder die Einzigartigkeit dieser Naturlandschaft hierfür verantwortlich gewesen sein, in Noldes Aquarellmalerei gibt es wenige Motivgruppen in solch konstanter künstlerischer Höhe.“ (Andreas Fluck, in: Emil Nolde. Reiselust, Ausst. Kat. Berlin 2010, S. 21).
Emil Nolde
See mit zwei blauen Booten vor Berglandschaft
Watercolour and brush and India ink on Japan laid paper. 34.5 x 45 cm. Framed under glass. Signed 'Nolde.' in black lower right. - In very fine condition.
With a photo-certificate from Manfred Reuther, Klockries, dated 14 March 2018; the work is recorded in his archive under "Nolde A-76/2018".
Provenance
Elsa Koppel (Bochum), acquired from the artist, before 1932; Private collection, Washington D.C., USA; Private collection, Massachusetts, USA; Private collection, Baden-Wuerttemberg
The watercolours in which Emil Nolde captures alpine landscapes in darkly glowing tones are not nearly as well-known as his flower still lifes and views of the sea and marshes. The painter was fascinated by the mountains, where unspoilt nature manifested itself so differently than in his native northern Germany, where it was defined by the sea and wind. As a young man he had climbed the Matterhorn and other challenging peaks during the period he spent in St Gallen. In the 1920s and 1930s he went on a number of journeys to Switzerland, which was also the destination of his honeymoon with his second wife, Jolanthe, in 1946.
The watercolour here unites the world of the mountains with water to form an enchanting natural spectacle. Deep blue, green and violet merge in the twilight scenery of an alpine lake. The fishermen gather in their nets before the majestic setting of the mountains in the last light of evening. Like the fishing boats, the silhouettes of the promontories and ridges have been painted with broad black contours; the greenish blue of the water's surface takes up the entire lower half of the depicted space and reflects the violet nuances of the sky.
“For him, the preferred time of day to paint watercolours in the mountains was obviously from late afternoon to the 'blue hour', the period of twilight. […] Among Nolde's watercolours of the mountains, there are a few such works full of poetry and pensiveness. Whether it was the tranquillity of life in the alpine world, a relaxed holiday atmosphere or the uniqueness of this natural landscape that was responsible for this, there are few groups of motifs in Nolde's watercolour paintings that maintained such a constantly high level artistically.” (Andreas Fluck, in: Emil Nolde: Reiselust, exhib. cat. Berlin 2010, p. 21).
See mit zwei blauen Booten vor Berglandschaft
Aquarell und Tuschpinsel auf Japanbütten. 34,5 x 45 cm. Unter Glas gerahmt. Unten rechts schwarz signiert 'Nolde.'. - In sehr schöner Erhaltung.
Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 14. März 2018; die Arbeit ist in seinem Archiv verzeichnet unter "Nolde A-76/2018".
Provenienz
Elsa Koppel (Bochum), vom Künstler erworben, vor 1932; Privatsammlung Washington D.C., USA; Privatsammlung Massachusetts, USA; Privatsammlung Baden-Württemberg
Die Aquarelle Emil Noldes, in denen er alpine Landschaften in dunkel glühenden Farbtönen einfing, sind weit weniger bekannt als seine Blumenstillleben und die Ansichten von Meer und Marschlandschaft. Der Maler war fasziniert von den Bergen, wo sich die urwüchsige Natur so gänzlich anders manifestierte als in seiner von Meer und Wind geprägten norddeutschen Heimat. Als junger Mann während seiner Zeit in St. Gallen bestieg er das Matterhorn und weitere anspruchsvolle Gipfel. In den 1920er und 1930er Jahren unternahm er mehrere Reisen in die Schweiz, wohin auch die Hochzeitsreise mit seiner zweiten Frau Jolanthe 1946 führte.
Im vorliegenden Aquarell vereinigen sich Bergwelt und Wasser zu einem berückenden Naturschauspiel. Tiefes Blau, Grün und Violett verschmelzen in der abendlichen Szenerie eines Bergsees. Vor majestätischer Bergkulisse holen Fischer im letzten Abendlicht die Netze ein. Die Silhouetten von Landzunge und Bergrücken sind ebenso wie die Fischerboote als breite schwarze Binnenzeichnungen gesetzt, die grünblaue Wasserfläche nimmt die gesamte untere Hälfte des Bildraumes ein und spiegelt die violetten Nuancen des Himmels.
„Die bevorzugte Tageszeit zum Aquarellieren in den Bergen war für ihn offenkundig der späte Nachmittag bis hin zur 'blauen Stunde', der Zeit des Dämmerlichts. […] Es gibt unter Noldes Bergaquarellen einige solcher Arbeiten voller Poesie und Verträumtheit. Mögen das beschauliche Leben in der Alpenwelt, eine entspannte Urlaubsstimmung oder die Einzigartigkeit dieser Naturlandschaft hierfür verantwortlich gewesen sein, in Noldes Aquarellmalerei gibt es wenige Motivgruppen in solch konstanter künstlerischer Höhe.“ (Andreas Fluck, in: Emil Nolde. Reiselust, Ausst. Kat. Berlin 2010, S. 21).
Emil Nolde
See mit zwei blauen Booten vor Berglandschaft
Watercolour and brush and India ink on Japan laid paper. 34.5 x 45 cm. Framed under glass. Signed 'Nolde.' in black lower right. - In very fine condition.
With a photo-certificate from Manfred Reuther, Klockries, dated 14 March 2018; the work is recorded in his archive under "Nolde A-76/2018".
Provenance
Elsa Koppel (Bochum), acquired from the artist, before 1932; Private collection, Washington D.C., USA; Private collection, Massachusetts, USA; Private collection, Baden-Wuerttemberg
The watercolours in which Emil Nolde captures alpine landscapes in darkly glowing tones are not nearly as well-known as his flower still lifes and views of the sea and marshes. The painter was fascinated by the mountains, where unspoilt nature manifested itself so differently than in his native northern Germany, where it was defined by the sea and wind. As a young man he had climbed the Matterhorn and other challenging peaks during the period he spent in St Gallen. In the 1920s and 1930s he went on a number of journeys to Switzerland, which was also the destination of his honeymoon with his second wife, Jolanthe, in 1946.
The watercolour here unites the world of the mountains with water to form an enchanting natural spectacle. Deep blue, green and violet merge in the twilight scenery of an alpine lake. The fishermen gather in their nets before the majestic setting of the mountains in the last light of evening. Like the fishing boats, the silhouettes of the promontories and ridges have been painted with broad black contours; the greenish blue of the water's surface takes up the entire lower half of the depicted space and reflects the violet nuances of the sky.
“For him, the preferred time of day to paint watercolours in the mountains was obviously from late afternoon to the 'blue hour', the period of twilight. […] Among Nolde's watercolours of the mountains, there are a few such works full of poetry and pensiveness. Whether it was the tranquillity of life in the alpine world, a relaxed holiday atmosphere or the uniqueness of this natural landscape that was responsible for this, there are few groups of motifs in Nolde's watercolour paintings that maintained such a constantly high level artistically.” (Andreas Fluck, in: Emil Nolde: Reiselust, exhib. cat. Berlin 2010, p. 21).
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
