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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 6, 2024 | Ketterer Kunst | Munich | Evening Sale | 15 | $****** - ****** | Berge in Oberstdorf |
paintings
48.5 x 52.4 cm (19.09 x 20.63 in)
Oil on cardboard
Signed in the lower left. Signed in the lower right on the reverse and inscribed "N 10 / V.L. [= Vorkriegslandschaft] Berge" in the center, as well as inscribed ‘Obersdorf [sic] 1912" by Lisa
• Outstanding and complete provenance: from the possession of Jawlensky"s confidante Lisa Kümmel and part of the significant Expressionism collection of Hermann Gerlinger, Würzburg, for over 50 years . The work is documented in the artist"s photo archive with the title "Oberstdorf". We are grateful to Ms Angelica Jawlensky-Bianconi, Alexej von Jawlensky Archive S.A., Muralto, Switzerland, for her kind support in cataloging this lot. Studio of the artist (until the 1920s). Lisa Kümmel (1897-1944), Wiesbaden (obtained directly from the artist in the 1920s). Karl Kümmel, Wiesbaden (inherited from the above in 1944). Josefine Eyerle (1988-1952), Wiesbaden (presumably obtained directly from the above or from her estate, family property until 1971: Sotheby"s London). Galerie Aenne Abels, Cologne (presumably acquired directly from the above in 1971). Art dealer Dr. Rainer Horstmann (from the above in 1972). Professor Hermann Gerlinger Collection, Würzburg (acquired from the above in June 1972).
A Futuristák és Expressionisták Kiállitásának, Nemzeti Szalon, Budapest, January- February 1913, no. 53 or no. 68 (not illustrated, shown under the title “Mountains”). Alexej von Jawlensky, Kunsthütte Chemnitz, Chemnitz 1923 (no cat.). Alexej von Jawlensky, Kunstsalon Schaller, Stuttgart 1923 (no cat.). Alexej von Jawlensky, Städtische Galerie im Lenbachhaus, Munich, February 23 - April 17, 1983 / Staatliche Kunsthalle, Baden-Baden, May 1 - June 26, 1983, cat. no. 103 (illustrated, p. 210, with exhibition labels on the frame) Alexej von Jawlensky, Pinacoteca Comunale, Casa Rusca, Locarno, September 3 - November 19, 1989, cat. no. 52 (illustrated on p. 89, with the exhibition label on the frame).
Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky, Alexej von Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. 1: 1890-1914, Munich 1991, cat. rais. no. 536 (illustrated on p. 422). Clemens Weiler, Köpfe - Gesichte - Meditationen, Hanau 1970, catalogue raisonné no. 1142 (not illustrated, listed here as “No. 10/1912 Oberstdorf (Berg)”) - Sotheby"s London, February 1, 1971, lot 85 A (inscribed with the lot number in chalk on the reverse) Irina Devjatarova, Alexej Jawlensky. Gemälde aus den Sammlungen des Kunstmuseums M.A. Wrubel und des städtischen historischen-ethnographischen Museum Omsk, Omsk 2004, Russian edition, ill. p. 14. Thomas Bauer-Friedrich, Dokumentation zur Jawlensky-Ausstellung, 29 March - 13 May 1923, shown by Kunsthütte zu Chemnitz at the Museum am Theaterplatz, in: Jawlensky neu gesehen, exhib. cat. Chemnitz 2013, p. 237 (with fig. 78). “For me, the summer represented a major development in my art. I painted my best landscapes and large figurative works in vibrant, non-naturalistic, and immaterial colors. I used a lot of red, blue, orange, cadmium yellow, chrome oxide green. The forms strongly contoured with Prussian blue and emanated an inner ecstasy.” Alexej von Jawlensky, Lebenserinnerungen, quoted in: Clemens Weiler, Jawlensky. Köpfe - Gesichte - Meditationen, Hanau 1970, p. 112. Called up: December 6, 2024 - ca. 17.28 h +/- 20 min.
Alexej von Jawlensky
Berge in Oberstdorf
1912.
Oil on cardboard.
Signed in the lower left. Signed in the lower right on the reverse and inscribed "N 10 / V.L. [= Vorkriegslandschaft] Berge" in the center, as well as inscribed ‘Obersdorf [sic] 1912" by Lisa Kümmel in the course of taking inventory of the studio collection (1937-1939), and subsequently added ‘Berge in" by a hand other than that of the artist. 48.5 x 52.4 cm (19 x 20.6 in). [JS].
• One of Jawlensky"s most powerful expressionist landscapes from the time of the “Blue Rider.”
• Jawlensky at the peak of his creativity: he attained a maximum liberation from nature by painting freely based on color and form.
• Unique and ground-breaking, a mystically stylized landscape, created at the same time as his famous heads, the vision of a landscape takes on the character of a sculpture.
• Museum-quality gem: the closely related landscape “Oberstdorf” (1912) has held the international top price for a landscape painting by the artist since 2013 (source: artprice.com). No landscape of this quality has been offered since.
• Comparable works are part of international museum collections.
