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209

Emil NoldeKopf einer Südseeinsulanerin nach rechtsGouache, Aquarell und Tuschpinsel auf

In Modern Art

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Emil NoldeKopf einer Südseeinsulanerin nach rechtsGouache, Aquarell und Tuschpinsel auf
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Emil Nolde
Kopf einer Südseeinsulanerin nach rechts

Gouache, Aquarell und Tuschpinsel auf hellbraunem faserhaltigen Reisstrohpapier. 49,7 x 36,7 cm. Unter Glas gerahmt. Unten rechts mit Bleistift signiert 'Nolde'. - Kleinere Randeinrisse an den linken Ecken fachmännisch hinterlegt. Mit werkprozessbedingten Knickspuren, die obere rechte Ecke klein ergänzt.

Mit einer Expertise von Manfred Reuther, Stiftung Ada und Emil Nolde Seebüll, vom 4. November 2011 (in Kopie). Die Arbeit ist in der Stiftung registriert.

Provenienz
Privatsammlung Berlin; Grisebach, Ausgewählte Werke 24.11.2011, Lot 14; Privatsammlung Rheinland

Emil Nolde nimmt 1913/1914 an der „Medizinisch-demographischen Deutsch-Neuguinea-Expedition“ als Maler teil, der die visuellen Eindrücke dieser exzeptionellen Reise festhalten soll; seine Frau Ada begleitet ihn. In Neuguinea verbringen sie nach Reisen durch Russland, Japan und China etwa ein halbes Jahr. Zahlreiche schnell gemalte Bildnisse von Eingeborenen entstehen dort. Die viel bewunderte weiße „Missis“, Ada Nolde, vermerkt in ihrem Tagebuch im April 1914: „[…] daß Frauen aus dem Dorf Possum gekommen waren, um [sie] zu sehen. Glattbarbiert waren ihre Köpfe, sie waren behängt mit Ketten aus geschliffenen Muscheln und Grasschürzen. Als sie mich sahen, schlugen sie die Hände über dem Kopf zusammen und riefen und verwunderten sich sehr. […] Da eine Gruppe weg war, kam eine andere, und da wir sagten, daß wir am Nachmittag ihr Dorf besuchen wollten, liefen sie strahlend und schwatzend heim.“ (Ada Nolde, zit. nach Manfred Reuther, Nolde Südseereise, in: Ausst. Kat. Paul Gauguin, Emil Nolde und die Kunst der Südsee, Ingelheim 1997, S. 190).
Noldes Reise in die Südsee wird ein zentrales Ereignis und von nachhaltiger Bedeutung sowohl vom künstlerischen Grundverständnis und von seiner Arbeitstechnik als auch hinsichtlich seiner Lebenseinstellung bleiben. „Vor allem fand er - bei aller Enttäuschung - in der Begegnung mit der ursprünglichen, unverbildeten Lebensweise der Naturvölker, die sich in Einklang mit Natur und Umwelt vollzog, eine tiefe Vergewisserung seiner eigenen, ursprünglichen Sehnsucht, zugleich seines künstlerischen Denkens und Schaffens.“ (Manfred Reuther, „Zu der unbeschreiblich schönen, wilden Südseereise“, in: Ausst. Kat. Emil Nolde und die Südsee, Wien/München, Neukirchen 2002, S. 13).

Emil Nolde
Kopf einer Südseeinsulanerin nach rechts

Gouache, watercolour and brush and India ink on light brown fibrous rice straw paper. 49.7 x 36.7 cm. Framed under glass. Signed 'Nolde' in pencil lower right. - Minor marginal tears at the left corners, professionally backed. With traces of creasing related to the work process, a small addition to the upper right corner.

With a certificate from Manfred Reuther, Stiftung Ada und Emil Nolde Seebüll, dated 4 November 2011 (copy). The work is registered in the foundation.

Provenance
Private collection, Berlin; Grisebach, Ausgewählte Werke 24 Nov. 2011, lot 14; Private collection, Rhineland

In 1913/1914 Emil Nolde took part in the “Medical-demographic German New Guinea Expedition” as a painter; his task was to record his visual impressions of this exceptional journey, and his wife Ada accompanied him. After travelling through Russia, Japan and China, they spent about half a year in New Guinea. There he created numerous quickly painted likenesses of its native inhabitants. The much admired white “Missus”, Ada Nolde, noted in her diary in April 1914: “[…] that women from the village of Possum had come in order to see [her]. Their heads were shaved bald and they were adorned with necklaces made of polished shells and grass skirts. When they saw me, they threw their hands over their faces and called out and were very amazed. […] As soon as one group was gone, another came, and because we said we wanted to visit their village in the afternoon, they ran home beaming and chattering.” (Ada Nolde, cited in Manfred Reuther, Nolde Südseereise, in: exhib. cat. Paul Gauguin, Emil Nolde und die Kunst der Südsee, Ingelheim 1997, p. 190).
For Nolde, his journey to the South Pacific would become a central event and would remain of lasting significance for both his fundamental understanding of art and his working technique as well as with regard to his attitude towards life. “Above all - in spite of all his disappointment - in his encounter with the native peoples' primal, unspoilt way of life, lived out in harmony with nature and their environment, he found a deep confirmation of his own original yearning and, at the same time, his artistic thinking and work.” (Manfred Reuther, “Zu der unbeschreiblich schönen, wilden Südseereise”, in: exhib. cat. Emil Nolde und die Südsee, Vienna/Munich, Neukirchen 2002, p. 13).
Emil Nolde
Kopf einer Südseeinsulanerin nach rechts

Gouache, Aquarell und Tuschpinsel auf hellbraunem faserhaltigen Reisstrohpapier. 49,7 x 36,7 cm. Unter Glas gerahmt. Unten rechts mit Bleistift signiert 'Nolde'. - Kleinere Randeinrisse an den linken Ecken fachmännisch hinterlegt. Mit werkprozessbedingten Knickspuren, die obere rechte Ecke klein ergänzt.

Mit einer Expertise von Manfred Reuther, Stiftung Ada und Emil Nolde Seebüll, vom 4. November 2011 (in Kopie). Die Arbeit ist in der Stiftung registriert.

Provenienz
Privatsammlung Berlin; Grisebach, Ausgewählte Werke 24.11.2011, Lot 14; Privatsammlung Rheinland

Emil Nolde nimmt 1913/1914 an der „Medizinisch-demographischen Deutsch-Neuguinea-Expedition“ als Maler teil, der die visuellen Eindrücke dieser exzeptionellen Reise festhalten soll; seine Frau Ada begleitet ihn. In Neuguinea verbringen sie nach Reisen durch Russland, Japan und China etwa ein halbes Jahr. Zahlreiche schnell gemalte Bildnisse von Eingeborenen entstehen dort. Die viel bewunderte weiße „Missis“, Ada Nolde, vermerkt in ihrem Tagebuch im April 1914: „[…] daß Frauen aus dem Dorf Possum gekommen waren, um [sie] zu sehen. Glattbarbiert waren ihre Köpfe, sie waren behängt mit Ketten aus geschliffenen Muscheln und Grasschürzen. Als sie mich sahen, schlugen sie die Hände über dem Kopf zusammen und riefen und verwunderten sich sehr. […] Da eine Gruppe weg war, kam eine andere, und da wir sagten, daß wir am Nachmittag ihr Dorf besuchen wollten, liefen sie strahlend und schwatzend heim.“ (Ada Nolde, zit. nach Manfred Reuther, Nolde Südseereise, in: Ausst. Kat. Paul Gauguin, Emil Nolde und die Kunst der Südsee, Ingelheim 1997, S. 190).
Noldes Reise in die Südsee wird ein zentrales Ereignis und von nachhaltiger Bedeutung sowohl vom künstlerischen Grundverständnis und von seiner Arbeitstechnik als auch hinsichtlich seiner Lebenseinstellung bleiben. „Vor allem fand er - bei aller Enttäuschung - in der Begegnung mit der ursprünglichen, unverbildeten Lebensweise der Naturvölker, die sich in Einklang mit Natur und Umwelt vollzog, eine tiefe Vergewisserung seiner eigenen, ursprünglichen Sehnsucht, zugleich seines künstlerischen Denkens und Schaffens.“ (Manfred Reuther, „Zu der unbeschreiblich schönen, wilden Südseereise“, in: Ausst. Kat. Emil Nolde und die Südsee, Wien/München, Neukirchen 2002, S. 13).

Emil Nolde
Kopf einer Südseeinsulanerin nach rechts

Gouache, watercolour and brush and India ink on light brown fibrous rice straw paper. 49.7 x 36.7 cm. Framed under glass. Signed 'Nolde' in pencil lower right. - Minor marginal tears at the left corners, professionally backed. With traces of creasing related to the work process, a small addition to the upper right corner.

With a certificate from Manfred Reuther, Stiftung Ada und Emil Nolde Seebüll, dated 4 November 2011 (copy). The work is registered in the foundation.

Provenance
Private collection, Berlin; Grisebach, Ausgewählte Werke 24 Nov. 2011, lot 14; Private collection, Rhineland

In 1913/1914 Emil Nolde took part in the “Medical-demographic German New Guinea Expedition” as a painter; his task was to record his visual impressions of this exceptional journey, and his wife Ada accompanied him. After travelling through Russia, Japan and China, they spent about half a year in New Guinea. There he created numerous quickly painted likenesses of its native inhabitants. The much admired white “Missus”, Ada Nolde, noted in her diary in April 1914: “[…] that women from the village of Possum had come in order to see [her]. Their heads were shaved bald and they were adorned with necklaces made of polished shells and grass skirts. When they saw me, they threw their hands over their faces and called out and were very amazed. […] As soon as one group was gone, another came, and because we said we wanted to visit their village in the afternoon, they ran home beaming and chattering.” (Ada Nolde, cited in Manfred Reuther, Nolde Südseereise, in: exhib. cat. Paul Gauguin, Emil Nolde und die Kunst der Südsee, Ingelheim 1997, p. 190).
For Nolde, his journey to the South Pacific would become a central event and would remain of lasting significance for both his fundamental understanding of art and his working technique as well as with regard to his attitude towards life. “Above all - in spite of all his disappointment - in his encounter with the native peoples' primal, unspoilt way of life, lived out in harmony with nature and their environment, he found a deep confirmation of his own original yearning and, at the same time, his artistic thinking and work.” (Manfred Reuther, “Zu der unbeschreiblich schönen, wilden Südseereise”, in: exhib. cat. Emil Nolde und die Südsee, Vienna/Munich, Neukirchen 2002, p. 13).

Modern Art

Auktionsdatum
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Köln
50667
Germany

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(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

or:

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

 

or.

19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR

 

AGB

Conditions of Sale

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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