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Emil NoldeDampfer auf einem Fluss

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Emil NoldeDampfer auf einem Fluss
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Emil Nolde
Dampfer auf einem Fluss

Aquarell auf dünnem faserigen Büttenpapier 26,1 x 34,2 cm Unten rechts mit Bleistift signiert 'Nolde' (die beiden letzten Buchstaben möglicherweise durch die Randbeschädigung nachgezogen). - Die Ränder leicht unregelmäßig geschnitten. - Gleichmäßig gebräunt mit leichten Verfleckungen in den unteren Blattecken durch ehemalige rückseitige Verklebung. Der Oberrand und die rechte obere Ecke mit kleineren Einrissen bzw. Ausriss, professionell restauriert.

Mit einer beglaubigten Kopie der Foto-Expertise von Martin Urban vom 7. März 1973 durch Manfred Reuther, Seebüll, vom 12. April 2016
Wir danken Manfred Reuther, Stiftung Seebüll Ada und Emil Nolde, für ergänzende Auskünfte.

Provenienz
Sammlung Herkenrath, Köln; Galerie Nierendorf, Berlin; ehemals Privatbesitz Berlin

Literatur
544. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 14. Mai 1975, Los 557 mit Abb. Tafel 1; 556. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 3. Dezember 1976, Los 592 mit Abb. Tafel 2 [nicht Tafel 3, Abbildungsverwechslung]

Das vorliegende Aquarell entstand höchstwahrscheinlich im November 1913, als Emil Nolde auf dem Weg nach Neuguinea für rund vier Wochen China bereiste. Vom 4. November an führte seine Route zu Land und zu Wasser von Peking über Hankou (Wuhan) und Shanghai bis nach Hongkong und Kanton (Guangzhou). Über das heutige Indonesien gelangte Nolde von dort schließlich nach Neuguinea, der letzten Etappe seiner Reise.
Noldes knapp einjährige Südseereise, die den Künstler zunächst durch Russland, Korea, Japan und China führte, bot dem Künstler eine Flut von Eindrücken: „Mit Pinsel und Farben arbeitete ich wie ein Besessener; nur die Augen brauchte ich vom Papier aufzuheben, es waren alles Bilder, alles Bilder um mich, reichstes tobendes, fließendes Leben, Spiegelungen, Boote, Menschen in außergewöhnlichen Stellungen, und dazwischen Dunst - und ich malte unaufhörlich, daß nachher im Gasthof ich todmatt hinfiel; es war kein Wunder“, schrieb Nolde rückblickend über seinen Zwischenstopp in Hankou (Emil Nolde, Welt und Heimat. Die Südseereise 1913-1918. Köln 1965, S. 46). Das Zitat belegt glaubhaft, wie Nolde seine Aquarelle und Zeichnungen während der Reise in aller Kürze anfertigte, wobei dem Künstler sein ohnehin spontanes Maltemperament entgegenkam.
Noldes Entdeckung der Ferne war geprägt vom direkten Erleben, wie auch von zeitgenössischen Ideen des Primitiven. Vermutlich direkt vom Deck eines Dampfschiffes fing der Künstler mit lebendigem Pinselstrich die Begegnung eines traditionellen Ruderboots mit einem modernen Dampfer ein. Sinnbildlich scheint die Arbeit Noldes vorherrschenden Eindruck von einem „großen schlafenden China“, dessen traditionsreiche Kultur sich zunehmend mit dem dominanten Einfluss der „westlichen Kulturvölker“ konfrontiert sieht, zu spiegeln (vgl. Emil Nolde: Welt und Heimat. Die Südseereise 1913-1918, Köln 1965, S. 50ff).
Motivisch greift Emil Nolde in diesem Werk unter anderem auf seine maritimen Ansichten von Hamburger Hafen und Alster aus dem Jahr 1910 zurück - ein Sujet, das ihn im Laufe seiner Schaffenszeit immer wieder beschäftigt hatte. Vielleicht noch entschiedener als etwa die verwandten Dschunken-Aquarelle aus der Sammlung des Sprengel Museum Hannover belegt die bemerkenswerte Darstellung, wie authentisch Nolde die fragile Exotik der Fremde festzuhalten vermochte.





Emil Nolde
Dampfer auf einem Fluss

Watercolour on thin, fibrous laid paper 26.1 x 34.2 cm Signed 'Nolde' in pencil lower right (the last two letters possibly retraced due to marginal injury). - The margins slightly irregularly cut. - Evenly browned with minor staining to lower sheet corners due to former adhesive backing. Small tears resp. tear to upper margin and the right upper corner, profesionally restored.

With a certified copy of the photo-certificate by Martin Urban dated 7 March 1973, certified by Manfred Reuther, Seebüll, dated 12 April 2016
We would like to thank Manfred Reuther, Stiftung Seebüll Ada und Emil Nolde, for additional information.

Provenance
Collection Herkenrath, Cologne; Galerie Nierendorf, Berlin; formerly private possession, Berlin

Literature
544. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 14 May 1975, lot 557 with illus. plate 1 ("Dampfer auf einem Fluss"); 556. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 3 December 1976, lot 592 with illus. plate 2 [not plate 3, mistaken illus.]

The present watercolour was very probably created in November of 1913, when Emil Nolde travelled around China for about four weeks while on his way to New Guinea. Beginning on 4 November, he journeyed by land and water along a route leading from Beijing through Hankou (Wuhan) and Shanghai and all the way to Hong Kong and Canton (Guangzhou). By way of what is now Indonesia, Nolde then finally reached New Guinea, the final station of his voyage.
Nolde's South Sea journey lasted nearly a year and first led the artist through Russia, Korea, Japan and China. It provided him with a flood of impressions. Recalling his stop in Hankou, Nolde wrote: “With my brush and paints, I worked like a man possessed; I only needed to raise my eyes from the paper, everything was images, everything around me images, the richest, uproarious, surging life, reflections, boats, people in unusual positions, and a haze between it all - and I painted incessantly, such that I fell down exhausted to death at the inn; it was hardly surprising.” (Emil Nolde, Welt und Heimat: Die Südseereise 1913-1918, Cologne 1965, p. 46) This quotation convincingly demonstrates that Nolde very rapidly produced his watercolours and drawings during his journey, which suited his already spontaneous painterly temperament.
Nolde's discovery of far-off lands was shaped by direct experience as well as contemporary ideas about the primitive. Presumably directly from the deck of a steamboat, the artist has used vigorous brushstrokes to capture the encounter between a traditional rowing boat and a modern steamer. Symbolically, the present work seems to reflect Nolde's prevailing impression of a “great sleeping China”, with the rich tradition of its culture increasingly finding itself confronted with the dominant influence of “Western high cultures”. (cf. Emil Nolde, Welt und Heimat: Die Südseereise 1913-1918, Cologne 1965, pp. 50ff.)
With regard to the motif, in this work Emil Nolde draws on sources including his 1910 maritime views of Hamburg's harbour and the Alster - a subject with which he had repeatedly occupied himself over the course of his career. Perhaps even more emphatically than the related watercolours of junks in the collection of Hanover's Sprengel Museum, this remarkable image demonstrates how authentically Nolde was able to capture the fragile exoticism of the foreign.





Emil Nolde
Dampfer auf einem Fluss

Aquarell auf dünnem faserigen Büttenpapier 26,1 x 34,2 cm Unten rechts mit Bleistift signiert 'Nolde' (die beiden letzten Buchstaben möglicherweise durch die Randbeschädigung nachgezogen). - Die Ränder leicht unregelmäßig geschnitten. - Gleichmäßig gebräunt mit leichten Verfleckungen in den unteren Blattecken durch ehemalige rückseitige Verklebung. Der Oberrand und die rechte obere Ecke mit kleineren Einrissen bzw. Ausriss, professionell restauriert.

Mit einer beglaubigten Kopie der Foto-Expertise von Martin Urban vom 7. März 1973 durch Manfred Reuther, Seebüll, vom 12. April 2016
Wir danken Manfred Reuther, Stiftung Seebüll Ada und Emil Nolde, für ergänzende Auskünfte.

Provenienz
Sammlung Herkenrath, Köln; Galerie Nierendorf, Berlin; ehemals Privatbesitz Berlin

Literatur
544. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 14. Mai 1975, Los 557 mit Abb. Tafel 1; 556. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 3. Dezember 1976, Los 592 mit Abb. Tafel 2 [nicht Tafel 3, Abbildungsverwechslung]

Das vorliegende Aquarell entstand höchstwahrscheinlich im November 1913, als Emil Nolde auf dem Weg nach Neuguinea für rund vier Wochen China bereiste. Vom 4. November an führte seine Route zu Land und zu Wasser von Peking über Hankou (Wuhan) und Shanghai bis nach Hongkong und Kanton (Guangzhou). Über das heutige Indonesien gelangte Nolde von dort schließlich nach Neuguinea, der letzten Etappe seiner Reise.
Noldes knapp einjährige Südseereise, die den Künstler zunächst durch Russland, Korea, Japan und China führte, bot dem Künstler eine Flut von Eindrücken: „Mit Pinsel und Farben arbeitete ich wie ein Besessener; nur die Augen brauchte ich vom Papier aufzuheben, es waren alles Bilder, alles Bilder um mich, reichstes tobendes, fließendes Leben, Spiegelungen, Boote, Menschen in außergewöhnlichen Stellungen, und dazwischen Dunst - und ich malte unaufhörlich, daß nachher im Gasthof ich todmatt hinfiel; es war kein Wunder“, schrieb Nolde rückblickend über seinen Zwischenstopp in Hankou (Emil Nolde, Welt und Heimat. Die Südseereise 1913-1918. Köln 1965, S. 46). Das Zitat belegt glaubhaft, wie Nolde seine Aquarelle und Zeichnungen während der Reise in aller Kürze anfertigte, wobei dem Künstler sein ohnehin spontanes Maltemperament entgegenkam.
Noldes Entdeckung der Ferne war geprägt vom direkten Erleben, wie auch von zeitgenössischen Ideen des Primitiven. Vermutlich direkt vom Deck eines Dampfschiffes fing der Künstler mit lebendigem Pinselstrich die Begegnung eines traditionellen Ruderboots mit einem modernen Dampfer ein. Sinnbildlich scheint die Arbeit Noldes vorherrschenden Eindruck von einem „großen schlafenden China“, dessen traditionsreiche Kultur sich zunehmend mit dem dominanten Einfluss der „westlichen Kulturvölker“ konfrontiert sieht, zu spiegeln (vgl. Emil Nolde: Welt und Heimat. Die Südseereise 1913-1918, Köln 1965, S. 50ff).
Motivisch greift Emil Nolde in diesem Werk unter anderem auf seine maritimen Ansichten von Hamburger Hafen und Alster aus dem Jahr 1910 zurück - ein Sujet, das ihn im Laufe seiner Schaffenszeit immer wieder beschäftigt hatte. Vielleicht noch entschiedener als etwa die verwandten Dschunken-Aquarelle aus der Sammlung des Sprengel Museum Hannover belegt die bemerkenswerte Darstellung, wie authentisch Nolde die fragile Exotik der Fremde festzuhalten vermochte.





Emil Nolde
Dampfer auf einem Fluss

Watercolour on thin, fibrous laid paper 26.1 x 34.2 cm Signed 'Nolde' in pencil lower right (the last two letters possibly retraced due to marginal injury). - The margins slightly irregularly cut. - Evenly browned with minor staining to lower sheet corners due to former adhesive backing. Small tears resp. tear to upper margin and the right upper corner, profesionally restored.

With a certified copy of the photo-certificate by Martin Urban dated 7 March 1973, certified by Manfred Reuther, Seebüll, dated 12 April 2016
We would like to thank Manfred Reuther, Stiftung Seebüll Ada und Emil Nolde, for additional information.

Provenance
Collection Herkenrath, Cologne; Galerie Nierendorf, Berlin; formerly private possession, Berlin

Literature
544. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 14 May 1975, lot 557 with illus. plate 1 ("Dampfer auf einem Fluss"); 556. Math. Lempertz'sche Kunstversteigerung, Köln, Kunst des XX. Jahrhunderts, 3 December 1976, lot 592 with illus. plate 2 [not plate 3, mistaken illus.]

The present watercolour was very probably created in November of 1913, when Emil Nolde travelled around China for about four weeks while on his way to New Guinea. Beginning on 4 November, he journeyed by land and water along a route leading from Beijing through Hankou (Wuhan) and Shanghai and all the way to Hong Kong and Canton (Guangzhou). By way of what is now Indonesia, Nolde then finally reached New Guinea, the final station of his voyage.
Nolde's South Sea journey lasted nearly a year and first led the artist through Russia, Korea, Japan and China. It provided him with a flood of impressions. Recalling his stop in Hankou, Nolde wrote: “With my brush and paints, I worked like a man possessed; I only needed to raise my eyes from the paper, everything was images, everything around me images, the richest, uproarious, surging life, reflections, boats, people in unusual positions, and a haze between it all - and I painted incessantly, such that I fell down exhausted to death at the inn; it was hardly surprising.” (Emil Nolde, Welt und Heimat: Die Südseereise 1913-1918, Cologne 1965, p. 46) This quotation convincingly demonstrates that Nolde very rapidly produced his watercolours and drawings during his journey, which suited his already spontaneous painterly temperament.
Nolde's discovery of far-off lands was shaped by direct experience as well as contemporary ideas about the primitive. Presumably directly from the deck of a steamboat, the artist has used vigorous brushstrokes to capture the encounter between a traditional rowing boat and a modern steamer. Symbolically, the present work seems to reflect Nolde's prevailing impression of a “great sleeping China”, with the rich tradition of its culture increasingly finding itself confronted with the dominant influence of “Western high cultures”. (cf. Emil Nolde, Welt und Heimat: Die Südseereise 1913-1918, Cologne 1965, pp. 50ff.)
With regard to the motif, in this work Emil Nolde draws on sources including his 1910 maritime views of Hamburg's harbour and the Alster - a subject with which he had repeatedly occupied himself over the course of his career. Perhaps even more emphatically than the related watercolours of junks in the collection of Hanover's Sprengel Museum, this remarkable image demonstrates how authentically Nolde was able to capture the fragile exoticism of the foreign.




Evening Sale - Moderne und Zeitgenössische Kunst

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Köln
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Germany

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1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Commercial 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.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
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Stichworte: Emil Nolde,