Lot

298

Walter GramattéBei Granada (II. Fassung) Öl auf Leinwand. 75,3 x 95,5 cm. Gerahmt. Rückseitig auf

In Modern Art

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Walter GramattéBei Granada (II. Fassung) Öl auf Leinwand. 75,3 x 95,5 cm. Gerahmt. Rückseitig auf - Image 1 of 2
Walter GramattéBei Granada (II. Fassung) Öl auf Leinwand. 75,3 x 95,5 cm. Gerahmt. Rückseitig auf - Image 2 of 2
Walter GramattéBei Granada (II. Fassung) Öl auf Leinwand. 75,3 x 95,5 cm. Gerahmt. Rückseitig auf - Image 1 of 2
Walter GramattéBei Granada (II. Fassung) Öl auf Leinwand. 75,3 x 95,5 cm. Gerahmt. Rückseitig auf - Image 2 of 2
Auctioneer has chosen not to publish the price of this lot
Köln
Walter Gramatté
Bei Granada (II. Fassung)

Öl auf Leinwand. 75,3 x 95,5 cm. Gerahmt. Rückseitig auf der Leinwand mit dem Pinsel schwarz signiert, datiert und bezeichnet ,Walter Gramatté./ Granada./ 27'. sowie auf auf der oberen Keilrahmenleiste zusätzlich in dunklem Blaugrün signiert, datiert und betitelt 'Walter Gramatté Granada 27'. - Leinwand und Keilrahmen rückseitig mit mehreren Zollstempeln. - Der Rahmen oben mittig mit einem einfachen Papieraufkleber der Winnipeg Art Gallery, Winnipeg, Kanada, bedruckt "23. Granada Oil on Canvas 1927". - Schmale Randretusche an den linken Bildkanten; in der oberen Bildhälfte mit Schwundrissen; in schöner originaler Erhaltung.

Negendanck 119; Eckhardt B. 117

Provenienz
Ehemals Ferdinand Eckhardt; Privatsammlung Nordrhein-Westfalen

Ausstellungen
Hamburg 1932 (Hamburger Kunstverein), Walter Gramatté: Gedächtnisausstellung, Kat. Nr. 32; Kanada 1966/1967, u.a. Winnipeg, Manitoba (Winnipeg Art Gallery) und Ottawa 1966 (The National Gallery of Canada), Walter Gramatté 1897 - 1929, Kat. Nr. 20 mit Abb.; Berlin 1968 (Brücke Museum), Walter Gramatté 1897 - 1929. Bilder, Aquarelle, Zeichnungen, Graphik, Kat. Nr. 20 mit Abb.; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, Kat. Nr. 57 mit Farbabb; München 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, Kat. Nr. 169

Die vorübergehende Übersiedlung nach Barcelona und nachfolgende Reisen nach Spanien sollten für Walter Gramaté und seine Frau Sophie-Carmen einen Akt der Befreiung von den Ängsten und Notwendigkeiten des Lebens in Deutschland bedeuten. In diesen Jahren hält das Licht des Südens, seine leuchtende Magie und Transparenz, Einzug in Gramattés Werk, über das er seinem väterlichen Freund und Arzt Paul Sudeck nicht ohne Euphorie zu berichten weiß: „Da ist das Neue, da ist das, wo ich mich fühle und von wo ich weiterfinde.“ (Walter Gramatté an Paul Sudeck, Berlin 12. Dezember 1926, zit. nach: Claus Pese (Hg.), Walter Gramatté. Eine Dokumentation in Bilder und Text, Stuttgart/Zürich 1993, S. 265).
Vor allem die Gemälde der spanischen Stadtlandschaften verkörpern das für den Künstler so spezifische Moment des Traumes und dies selten mit solcher Wärme und Offenheit wie in der vorliegenden Landschaft bei Granada, die Gramatté in expressionistischer Manier in die beruhigten Blau- und Grüntöne der vom Mond beleuchteten Nacht taucht. Im weitgehenden Verzicht auf ordnende architektonische Elemente zugunsten einer sanften Betonung der Ausläufer der Sierra Nevada, gelingt es ihm, die für vergleichbare Arbeiten typische kompositorische Strenge in eine zarte, zutiefst poetische Stille zu verwandeln. In einem von der Suche geprägten Werk vermittelt sich die eigenartige Leere der traumhaften Landschaft hier nicht bloß als Rätsel, sondern mitunter auch als Lösung. Die erste Fassung unseres repräsentativen und vielfach ausgestellten Werks aus dem Jahr 1918 ging im Krieg verloren.

Walter Gramatté
Bei Granada (II. Fassung)

Oil on canvas. 75.3 x 95.5 cm. Framed. Signed, dated and inscribed ,Walter Gramatté./ Granada./ 27' verso on canvas in brush as well as additionally signed, dated and titled 'Walter Gramatté Granada 27' on upper stretcher bar in dark blue green. - Several customs stamps verso on canvas and stretcher. - A simple paper label from Winnipeg Art Gallery, Wininipeg, Canada, imprinted "23. Granada Oil on Canvas 1927" above on frame verso. - Narrow retouching at the left edges; shrinkage of colour in the upper half of the picture; in fine original condition.

Negendanck 119; Eckhardt vol. 117

Provenance
Formerly Ferdinand Eckhardt; Private collection, North Rhine-Westphalia

Exhibitions
Hamburg 1932 (Hamburger Kunstverein), Walter Gramatté: Gedächtnisausstellung, cat. no. 32; Kanada 1966/1967, i.a. Winnipeg, Manitoba (Winnipeg Art Gallery) and Ottawa 1966 (The National Gallery of Canada), Walter Gramatté 1897 - 1929, cat. no. 20 with illus.; Berlin 1968 (Brücke Museum), Walter Gramatté 1897 - 1929. Bilder, Aquarelle, Zeichnungen, Graphik, cat. no. 20 with illus.; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, cat. no. 57 with colour illus.; Munich 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, cat. no. 169

For Walter Gramatté and his wife Sophie-Carmen, their temporary relocation to Barcelona and their subsequent journeys to Spain represented an act of liberation from the fears and necessities of life in Germany. During those years the light of the south, its luminous magic and transparency, made its way into Gramatté's work. Regarding this he reported - not without a sense of euphoria - to his father-like friend and doctor Paul Sudeck: “That is where the new is, that in which I feel myself and find my way forward” (Walter Gramatté to Paul Sudeck, Berlin, 12 December 1926, cited in: Claus Pese (ed.), Walter Gramatté: Eine Dokumentation in Bilder und Text, Stuttgart/Zurich 1993, p. 265).
The paintings of Spanish cityscapes particularly embody the aspect of the dream which is so specific to the artist and which was so rarely realised with as much warmth and openness as in the present landscape near Granada, which Gramatté has immersed in the calming blue and green tones of the night. In order to emphasise the gently rolling hills at the foot of the Sierra Nevada, he has largely renounced any structuring of the image by means of architectural elements, and he has succeeded in transforming the compositional rigour typical of comparable works into a gentle, deeply poetic tranquillity. Here, within a body of work defined by searching, the strange emptiness of the dream-like landscape presents itself not just as a riddle, but also as a solution instead. A first version of our representative and often exhibited work was lost in 1918.
Walter Gramatté
Bei Granada (II. Fassung)

Öl auf Leinwand. 75,3 x 95,5 cm. Gerahmt. Rückseitig auf der Leinwand mit dem Pinsel schwarz signiert, datiert und bezeichnet ,Walter Gramatté./ Granada./ 27'. sowie auf auf der oberen Keilrahmenleiste zusätzlich in dunklem Blaugrün signiert, datiert und betitelt 'Walter Gramatté Granada 27'. - Leinwand und Keilrahmen rückseitig mit mehreren Zollstempeln. - Der Rahmen oben mittig mit einem einfachen Papieraufkleber der Winnipeg Art Gallery, Winnipeg, Kanada, bedruckt "23. Granada Oil on Canvas 1927". - Schmale Randretusche an den linken Bildkanten; in der oberen Bildhälfte mit Schwundrissen; in schöner originaler Erhaltung.

Negendanck 119; Eckhardt B. 117

Provenienz
Ehemals Ferdinand Eckhardt; Privatsammlung Nordrhein-Westfalen

Ausstellungen
Hamburg 1932 (Hamburger Kunstverein), Walter Gramatté: Gedächtnisausstellung, Kat. Nr. 32; Kanada 1966/1967, u.a. Winnipeg, Manitoba (Winnipeg Art Gallery) und Ottawa 1966 (The National Gallery of Canada), Walter Gramatté 1897 - 1929, Kat. Nr. 20 mit Abb.; Berlin 1968 (Brücke Museum), Walter Gramatté 1897 - 1929. Bilder, Aquarelle, Zeichnungen, Graphik, Kat. Nr. 20 mit Abb.; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, Kat. Nr. 57 mit Farbabb; München 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, Kat. Nr. 169

Die vorübergehende Übersiedlung nach Barcelona und nachfolgende Reisen nach Spanien sollten für Walter Gramaté und seine Frau Sophie-Carmen einen Akt der Befreiung von den Ängsten und Notwendigkeiten des Lebens in Deutschland bedeuten. In diesen Jahren hält das Licht des Südens, seine leuchtende Magie und Transparenz, Einzug in Gramattés Werk, über das er seinem väterlichen Freund und Arzt Paul Sudeck nicht ohne Euphorie zu berichten weiß: „Da ist das Neue, da ist das, wo ich mich fühle und von wo ich weiterfinde.“ (Walter Gramatté an Paul Sudeck, Berlin 12. Dezember 1926, zit. nach: Claus Pese (Hg.), Walter Gramatté. Eine Dokumentation in Bilder und Text, Stuttgart/Zürich 1993, S. 265).
Vor allem die Gemälde der spanischen Stadtlandschaften verkörpern das für den Künstler so spezifische Moment des Traumes und dies selten mit solcher Wärme und Offenheit wie in der vorliegenden Landschaft bei Granada, die Gramatté in expressionistischer Manier in die beruhigten Blau- und Grüntöne der vom Mond beleuchteten Nacht taucht. Im weitgehenden Verzicht auf ordnende architektonische Elemente zugunsten einer sanften Betonung der Ausläufer der Sierra Nevada, gelingt es ihm, die für vergleichbare Arbeiten typische kompositorische Strenge in eine zarte, zutiefst poetische Stille zu verwandeln. In einem von der Suche geprägten Werk vermittelt sich die eigenartige Leere der traumhaften Landschaft hier nicht bloß als Rätsel, sondern mitunter auch als Lösung. Die erste Fassung unseres repräsentativen und vielfach ausgestellten Werks aus dem Jahr 1918 ging im Krieg verloren.

Walter Gramatté
Bei Granada (II. Fassung)

Oil on canvas. 75.3 x 95.5 cm. Framed. Signed, dated and inscribed ,Walter Gramatté./ Granada./ 27' verso on canvas in brush as well as additionally signed, dated and titled 'Walter Gramatté Granada 27' on upper stretcher bar in dark blue green. - Several customs stamps verso on canvas and stretcher. - A simple paper label from Winnipeg Art Gallery, Wininipeg, Canada, imprinted "23. Granada Oil on Canvas 1927" above on frame verso. - Narrow retouching at the left edges; shrinkage of colour in the upper half of the picture; in fine original condition.

Negendanck 119; Eckhardt vol. 117

Provenance
Formerly Ferdinand Eckhardt; Private collection, North Rhine-Westphalia

Exhibitions
Hamburg 1932 (Hamburger Kunstverein), Walter Gramatté: Gedächtnisausstellung, cat. no. 32; Kanada 1966/1967, i.a. Winnipeg, Manitoba (Winnipeg Art Gallery) and Ottawa 1966 (The National Gallery of Canada), Walter Gramatté 1897 - 1929, cat. no. 20 with illus.; Berlin 1968 (Brücke Museum), Walter Gramatté 1897 - 1929. Bilder, Aquarelle, Zeichnungen, Graphik, cat. no. 20 with illus.; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, cat. no. 57 with colour illus.; Munich 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, cat. no. 169

For Walter Gramatté and his wife Sophie-Carmen, their temporary relocation to Barcelona and their subsequent journeys to Spain represented an act of liberation from the fears and necessities of life in Germany. During those years the light of the south, its luminous magic and transparency, made its way into Gramatté's work. Regarding this he reported - not without a sense of euphoria - to his father-like friend and doctor Paul Sudeck: “That is where the new is, that in which I feel myself and find my way forward” (Walter Gramatté to Paul Sudeck, Berlin, 12 December 1926, cited in: Claus Pese (ed.), Walter Gramatté: Eine Dokumentation in Bilder und Text, Stuttgart/Zurich 1993, p. 265).
The paintings of Spanish cityscapes particularly embody the aspect of the dream which is so specific to the artist and which was so rarely realised with as much warmth and openness as in the present landscape near Granada, which Gramatté has immersed in the calming blue and green tones of the night. In order to emphasise the gently rolling hills at the foot of the Sierra Nevada, he has largely renounced any structuring of the image by means of architectural elements, and he has succeeded in transforming the compositional rigour typical of comparable works into a gentle, deeply poetic tranquillity. Here, within a body of work defined by searching, the strange emptiness of the dream-like landscape presents itself not just as a riddle, but also as a solution instead. A first version of our representative and often exhibited work was lost in 1918.

Modern Art

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