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    Sale 12146

    Impressionist & Modern Art Works on Paper Sale

    17 November 2016, New York, Rockefeller Plaza

  • Lot 1036

    Emil Nolde (1867-1956)

    Zwei Sonnenblumen und einer roten Blüte

    Price Realised  


    Emil Nolde (1867-1956)
    Zwei Sonnenblumen und einer roten Blüte
    signed 'Nolde.' (lower right)
    gouache and watercolor on Japan paper
    13 ½ x 18 ½ in. (34.5 x 47 cm.)
    Painted in 1930-1935

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    Dr. Manfred Reuther from the Nolde Stiftung, Seebüll, has confirmed the authenticity of this work.


    Nierendorf Gallery, New York (by 1946).
    World House Galleries, New York.
    Private collection, Seattle.
    By descent from the above to the present owner.

    Pre-Lot Text

    On 7 June 1905, in the city of Dresden, four architecture students founded the Künstlergruppe “Die Brücke” with the common goal of restoring a sense of value and unity through the experience of a communal studio and shared exhibitions. When Die Brücke was founded, Dresden, like other cities in the German Empire, was undergoing a rapid transition—physically, economically, and socially. The utopian principles of the Brücke artists stood in contrast to the fragmenting, debilitating effects of modern urban life, as outlined in Georg Simmel’s notable 1903 essay, The Metropolis and Mental Life. The group’s studio became a space for life and work: young men, women, children, acrobats and dancers came to the studio, becoming part of the artists’ lives, not just serving as frozen models. Models became friends and companions, studio life overrode daily responsibilities, and art offered cohesion.
    Brücke documents the beginning of German Expressionism, one of the 20th century’s most influential and controversial art movements. The artists represented in Lots XX-XX all were connected with the group for a period of time. Ernst Ludwig Kirchner was a founding member, Pechstein a member from 1906-1912, and Emil Nolde a member for only one year, although he brilliantly exemplified the group’s desire for subjectively expressive coloristic innovation. In the following pages, the works of Oskar Kokoschka, Paul Klee, Lyonel Feininger and George Grosz are all indebted to the Expressionist movement that began with Die Brücke.


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