Kurt Schwitters (1887-1948)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Kurt Schwitters (1887-1948)

Ohne Titel (Norwegische Landschaft aus der Erinnerung)

Details
Kurt Schwitters (1887-1948)
Ohne Titel (Norwegische Landschaft aus der Erinnerung)
signed with the initials and dated 'KS 40' (lower right)
oil on panel
9 7/8 x 12 1/4 in. (25.2 x 31.2 cm.)
Painted in 1940
Provenance
The artist's estate.
Edith 'Wantee' Thomas, London, by descent from the above, and thence by descent.
Private collection, England, as a gift from the above.
Literature
K. Orchard & I. Schulz, Kurt Schwitters, Catalogue Raisonné, vol. 3, 1937-1948, Hanover, 2006, no. 2647 (illustrated p. 253).
Exhibited
Kendal, Abbot Hall Art Gallery, Kurt Schwitters in England, January - February 1982, no. 2.
Sheffield, Mappin Art Gallery, Schwitters in Britain, May - June 1987; this exhibition later travelled to Kendal, Abbot Hall Art Gallery.
Newcastle upon Tyne, Baltic Centre for Contemporary Art & Hatton Gallery, No Socks, Kurt Schwitters and the Merzbarn, April - May 1999, no. 17.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay


Kurt Schwitters painted this Norwegian landscape in 1940, when he was at one of the World War II internment camps in England. A landscape painted from memory, full in colour with strong hints of impasto, this work speaks of escapism, a utopian and somewhat expressionistic vision of the great outdoors. This bears a striking contrast to the Dada collages for which he is best known however Schwitters enjoyed exploring both styles throughout his lifetime and subtle commonalities are to be found between both, evidently in the recognizable colour scheme and, where this work is concerned, in the tiny newsprint impressions evident upon close inspection within the varnish. This piece belonged formerly to Edith “Wantee” Thomas whom Schwitters would meet the year after it was painted, in December 1941, and who would remain his partner for the rest of his life.

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