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Emil NoldeTosendes Meer
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Emil Nolde
Tosendes Meer

Aquarell auf Japanpapier 33,5 x 45,5 cm Unter Glas gerahmt. Unten rechts mit Feder und schwarzer Tusche signiert 'Nolde'. - In sehr schöner, farbfrischer Erhaltung.

Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 12. Oktober 2020.
Das Werk ist in seinem Archiv unter der Nummer "Nolde A - 184/2020" registriert und dokumentiert.

Wir danken Christian Ring, Stiftung Seebüll Ada und Emil Nolde, für ergänzende Informationen.

Provenienz
Jolanthe Nolde, geb. Erdmann (1921-2010), Nachlass; seitdem in Familienbesitz

Ausstellungen
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, Kat. Nr. 35 ("Tosendes Meer")

Literatur
Vgl. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Köln 1976, S. 376-379 sowie Martin Urban, Nachwort, ebenda S. 418

Die Farb- und Formgewalt von Noldes Aquarell „Tosendes Meer“ erinnert daran, welchen künstlerisch hohen Stellenwert die Meeresbilder in seinem Oeuvre einnehmen. Die Ölbilder entstehen - rauschhaft und wie in Extase gemalt - z.T. hintereinander in großen gemalten Folgen, insbesondere 1930 anlässlich des Aufenthaltes auf Sylt (vgl. „Meer“ A - F, Urban 1100-1105; davon nur 4 Bilder heute erhalten, darunter „Meer B“ in der Tate Gallery, „Meer E“ in der Nolde-Stiftung). Nach dem Krieg 1947 folgen vergleichbare Formate, von denen eines Jolanthe Nolde gehörte und im Heidelberger Kunstverein 1958 zusammen mit dem vorliegenden Aquarell ausgestellt war (vgl. Urban 1290 sowie Urban 1291-1292, „Meer“ I-III). Noldes ausdrucksstarke Papierarbeiten begleiteten die Gemälde, das Medium des Aquarells schien dazu wie geschaffen.
Wie sehr den Künstler das Thema als Erlebnis fesselte, zeigen seine stakkatoartigen Ausführungen „Am Westmeer“ von seinem Sylter Aufenthalt im Sommer und Herbst 1930: „Es war, als ob die freie Luft, der salzige Geschmack, die tosenden Wogen mich spornten und beglückten. […] Die Wogen, ihr Grollen, die Wolken vor und über mir, der Strand, die Dünen, das graue Gras, es alles war mein. […] Wie ein Trunkener lief ich stundenlang den Strand entlang oder durch den flüssigen Sand der Dünen, meine Gesänge schreiend, wo es einsam war, schreiend mit den Möwen, die auch so schreien. […] Ich begriff alles kaum und nahm es hin, gelassen bewegt, wie auch meine Farben es waren, ob ich die graugrünen Dünen malte, das tosende Meer oder die Menschen.“ (Emil Nolde, Mein Leben, op.cit., S. 377). Seine Naturerfahrung ist eine mit allen Sinnen wahrgenommene und dieses sensorische, auch akustische Moment findet sich mit aller Meisterschaft in seinem Werk umgesetzt.
In der vorliegenden Komposition ist die Intensität und Farbfrische des Mediums in selten schöner Erhaltung besonders beglückend: die Farben glühen und fluoreszieren, man erlebt die Bewegung untergründiger Tiefenströmungen in starken wie rhythmischen Hell-Dunkel-Kontrasten und transparenten Farblagen, die Wogen mit ihrer explosiv aufschäumenden Gischt als ein moduliertes, blendendes Weiß, wobei der Malgrund, ein faseriges Japanbütten, einbezogen wird. Die Expressivität des Blattes resultiert nicht zuletzt aus der Sicherheit und Freiheit, mit der Nolde instinkthaft das Motiv quasi à rebours entwickelt, denn die flüssige malerische Bewegung unterstreicht die Urgewalt der von rechts nach links heranlaufenden, unruhigen Wassermassen, die sich zu einem schimmernden zentralen Brecher aufsteilen.





Emil Nolde
Tosendes Meer

Watercolour on Japan paper 33.5 x 45.5 cm Framed under glass. Signed 'Nolde' in pen and black ink lower right. - In very fine condition with fresh colours.

With a photo-certificate by Manfred Reuther, Klockries, dated 12 October 2020.
The work is registered and documented in his archive under number "Nolde A - 184/2020".

We would like to thank Christian Ring, Stiftung Seebüll Ada und Emil Nolde, for additional information.

Provenance
Jolanthe Nolde, geb. Erdmann (1921-2010), estate; since then in family possession

Exhibitions
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, cat. no. 35 ("Tosendes Meer")

Literature
Cf. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Cologne 1976, p. 376-379, and Martin Urban, Nachwort, ibid. p. 418

The chromatic and formal force of Nolde's watercolour “Tosendes Meer” reminds us of the high artistic status that seascapes possessed within his oeuvre. The pictures done in oils - painted in exhilaration, as if in ecstasy - were sometimes created one after the other in large painted series, particularly in 1930, on the occasion of his stay on Sylt (see “Meer” A - F, Urban 1100-1105; of which only 4 pictures are preserved today, including “Meer B” in the Tate Gallery and “Meer E” in the Nolde-Stiftung). After the war, in 1947, paintings of comparable formats followed, one of which belonged to Jolanthe Nolde and was exhibited at the Heidelberger Kunstverein in 1958, together with the present watercolour (see Urban 1290 and Urban 1291-1292, “Meer” I-III). Nolde's highly expressive works on paper accompanied his paintings; the medium of the watercolour seemed particularly adequate for this purpose.
The extent to which this theme captivated the artist as an experience is shown by the staccato-like observations “Am Westmeer”, from his stay on Sylt in the summer and autumn of 1930: “It was as if the open air, the salty taste, the roaring waves spurred me on and delighted me. […] The waves, their rumbling, the clouds before and above me, the beach, the dunes, the grey grass: it was all mine. […] Like a drunk I walked along the beach for hours or through the liquid sand of the dunes, screaming my songs where it was secluded, screaming with the seagulls, which also scream like that. […] I barely understood everything and accepted it, calmly moved - like my colours were, too - whether I was painting the greyish green dunes, the roaring sea or the people.” (Emil Nolde, Mein Leben, Cologne, 1976, p. 377). His experience of nature is one perceived with all the senses and this sensory, also acoustic, aspect finds itself realised with complete mastery in his work.
The intensity and fresh colours of the medium are unusually finely preserved and are particularly pleasing in the present composition: the colours smoulder and glow, we experience the movement of deep, submerged currents in stark and rhythmic contrasts of light and dark as well as transparent layers of colour, and we experience the waves, with their explosively foaming spray, as a modulated, dazzling white that also incorporates the painting's support - a fibrous, laid Japan paper. The sheet's expressivity is not least the result of the confidence and freedom with which Nolde has instinctively developed the motif, so to speak, “à rebours”: the fluid painterly movement underscores the primal force of the troubled masses of water flowing towards us from right to left, rising up steeply into a shimmering, central breaker.





Emil Nolde
Tosendes Meer

Aquarell auf Japanpapier 33,5 x 45,5 cm Unter Glas gerahmt. Unten rechts mit Feder und schwarzer Tusche signiert 'Nolde'. - In sehr schöner, farbfrischer Erhaltung.

Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 12. Oktober 2020.
Das Werk ist in seinem Archiv unter der Nummer "Nolde A - 184/2020" registriert und dokumentiert.

Wir danken Christian Ring, Stiftung Seebüll Ada und Emil Nolde, für ergänzende Informationen.

Provenienz
Jolanthe Nolde, geb. Erdmann (1921-2010), Nachlass; seitdem in Familienbesitz

Ausstellungen
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, Kat. Nr. 35 ("Tosendes Meer")

Literatur
Vgl. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Köln 1976, S. 376-379 sowie Martin Urban, Nachwort, ebenda S. 418

Die Farb- und Formgewalt von Noldes Aquarell „Tosendes Meer“ erinnert daran, welchen künstlerisch hohen Stellenwert die Meeresbilder in seinem Oeuvre einnehmen. Die Ölbilder entstehen - rauschhaft und wie in Extase gemalt - z.T. hintereinander in großen gemalten Folgen, insbesondere 1930 anlässlich des Aufenthaltes auf Sylt (vgl. „Meer“ A - F, Urban 1100-1105; davon nur 4 Bilder heute erhalten, darunter „Meer B“ in der Tate Gallery, „Meer E“ in der Nolde-Stiftung). Nach dem Krieg 1947 folgen vergleichbare Formate, von denen eines Jolanthe Nolde gehörte und im Heidelberger Kunstverein 1958 zusammen mit dem vorliegenden Aquarell ausgestellt war (vgl. Urban 1290 sowie Urban 1291-1292, „Meer“ I-III). Noldes ausdrucksstarke Papierarbeiten begleiteten die Gemälde, das Medium des Aquarells schien dazu wie geschaffen.
Wie sehr den Künstler das Thema als Erlebnis fesselte, zeigen seine stakkatoartigen Ausführungen „Am Westmeer“ von seinem Sylter Aufenthalt im Sommer und Herbst 1930: „Es war, als ob die freie Luft, der salzige Geschmack, die tosenden Wogen mich spornten und beglückten. […] Die Wogen, ihr Grollen, die Wolken vor und über mir, der Strand, die Dünen, das graue Gras, es alles war mein. […] Wie ein Trunkener lief ich stundenlang den Strand entlang oder durch den flüssigen Sand der Dünen, meine Gesänge schreiend, wo es einsam war, schreiend mit den Möwen, die auch so schreien. […] Ich begriff alles kaum und nahm es hin, gelassen bewegt, wie auch meine Farben es waren, ob ich die graugrünen Dünen malte, das tosende Meer oder die Menschen.“ (Emil Nolde, Mein Leben, op.cit., S. 377). Seine Naturerfahrung ist eine mit allen Sinnen wahrgenommene und dieses sensorische, auch akustische Moment findet sich mit aller Meisterschaft in seinem Werk umgesetzt.
In der vorliegenden Komposition ist die Intensität und Farbfrische des Mediums in selten schöner Erhaltung besonders beglückend: die Farben glühen und fluoreszieren, man erlebt die Bewegung untergründiger Tiefenströmungen in starken wie rhythmischen Hell-Dunkel-Kontrasten und transparenten Farblagen, die Wogen mit ihrer explosiv aufschäumenden Gischt als ein moduliertes, blendendes Weiß, wobei der Malgrund, ein faseriges Japanbütten, einbezogen wird. Die Expressivität des Blattes resultiert nicht zuletzt aus der Sicherheit und Freiheit, mit der Nolde instinkthaft das Motiv quasi à rebours entwickelt, denn die flüssige malerische Bewegung unterstreicht die Urgewalt der von rechts nach links heranlaufenden, unruhigen Wassermassen, die sich zu einem schimmernden zentralen Brecher aufsteilen.





Emil Nolde
Tosendes Meer

Watercolour on Japan paper 33.5 x 45.5 cm Framed under glass. Signed 'Nolde' in pen and black ink lower right. - In very fine condition with fresh colours.

With a photo-certificate by Manfred Reuther, Klockries, dated 12 October 2020.
The work is registered and documented in his archive under number "Nolde A - 184/2020".

We would like to thank Christian Ring, Stiftung Seebüll Ada und Emil Nolde, for additional information.

Provenance
Jolanthe Nolde, geb. Erdmann (1921-2010), estate; since then in family possession

Exhibitions
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, cat. no. 35 ("Tosendes Meer")

Literature
Cf. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Cologne 1976, p. 376-379, and Martin Urban, Nachwort, ibid. p. 418

The chromatic and formal force of Nolde's watercolour “Tosendes Meer” reminds us of the high artistic status that seascapes possessed within his oeuvre. The pictures done in oils - painted in exhilaration, as if in ecstasy - were sometimes created one after the other in large painted series, particularly in 1930, on the occasion of his stay on Sylt (see “Meer” A - F, Urban 1100-1105; of which only 4 pictures are preserved today, including “Meer B” in the Tate Gallery and “Meer E” in the Nolde-Stiftung). After the war, in 1947, paintings of comparable formats followed, one of which belonged to Jolanthe Nolde and was exhibited at the Heidelberger Kunstverein in 1958, together with the present watercolour (see Urban 1290 and Urban 1291-1292, “Meer” I-III). Nolde's highly expressive works on paper accompanied his paintings; the medium of the watercolour seemed particularly adequate for this purpose.
The extent to which this theme captivated the artist as an experience is shown by the staccato-like observations “Am Westmeer”, from his stay on Sylt in the summer and autumn of 1930: “It was as if the open air, the salty taste, the roaring waves spurred me on and delighted me. […] The waves, their rumbling, the clouds before and above me, the beach, the dunes, the grey grass: it was all mine. […] Like a drunk I walked along the beach for hours or through the liquid sand of the dunes, screaming my songs where it was secluded, screaming with the seagulls, which also scream like that. […] I barely understood everything and accepted it, calmly moved - like my colours were, too - whether I was painting the greyish green dunes, the roaring sea or the people.” (Emil Nolde, Mein Leben, Cologne, 1976, p. 377). His experience of nature is one perceived with all the senses and this sensory, also acoustic, aspect finds itself realised with complete mastery in his work.
The intensity and fresh colours of the medium are unusually finely preserved and are particularly pleasing in the present composition: the colours smoulder and glow, we experience the movement of deep, submerged currents in stark and rhythmic contrasts of light and dark as well as transparent layers of colour, and we experience the waves, with their explosively foaming spray, as a modulated, dazzling white that also incorporates the painting's support - a fibrous, laid Japan paper. The sheet's expressivity is not least the result of the confidence and freedom with which Nolde has instinctively developed the motif, so to speak, “à rebours”: the fluid painterly movement underscores the primal force of the troubled masses of water flowing towards us from right to left, rising up steeply into a shimmering, central breaker.




Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

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Conditions of sale
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.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere due to violation of due dilligence according to §§ 41 ff. KGSG are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
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9. Up to a hammer price of € 400,000 a premium of 25 % calculated on the hammer price plus 16 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an R, the buyer shall pay the statutory VAT of 16 % on the hammer price and the buyer’s premium (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or deceased for less than 70 years (§ 64 UrhG), a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. For payments which amount to EUR 10,000.00 or more, Lempertz is obliged to make a copy of the photo ID of the buyer according to §3 of the German Money Laundry Act (GWG). This applies also to cases in which payments of EUR 10,000.00 or more are being made for more than one invoice. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
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Henrik Hanstein, sworn public auctioneer

Vollständige AGBs

Stichworte: Emil Nolde,