Emil Nolde (1867-1956)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A NEW YORK COLLECTION 
Emil Nolde (1867-1956)


Emil Nolde (1867-1956)
signed and dated 'Nolde. 07.' (lower left); signed and inscribed 'Emil Nolde. Heüwiese' (on the stretcher)
oil on canvas
18½ x 27¾ in. (47 x 70.6 cm.)
Painted in 1907
Mrs Bernheim, Berlin, 1908.
Anonymous sale, Stuttgarter Kunstkabinett, Stuttgart, May 1954, lot 1505.
Anonymous sale, Sotheby's, Munich, 26 October 1988, lot 20.
Anonymous sale, Ketterer Kunst, Munich, 6 December 2002, lot 24.
Acquired at the above sale by the present owner.
Letter from Rosa Schapire to Nolde, 16 January 1908.
The artist's handlist, January 1910, no. 115.
The artist's handlist, March 1910, no. 115.
The artist's handlist, December 1910, no. 124.
The artist's handlist, 1930 (titled '1907 Heuwiese').
M. Urban, Emil Nolde, Catalogue Raisonné of the Oil Paintings, vol. I, 1895-1914, London, 1987, no. 207 (illustrated p. 196).
Berlin, Kunstsalon Cassirer, V. Ausstellung, 1908, no. 54.
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.
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.
Sale room notice
Please note this work has been requested for the forthcoming exhibition Expressionism and France: from Van Gogh and Gauguin to the Blaue Reiter, curated by Mrs Anne Grace, to be held in Los Angeles County Museum of Art, 8 June - 14 September 2014 and The Montreal Museum of Fine Arts, 6 October 2014 to 25 January 2015.

Lot Essay

Heuwiese (Hay Meadow) is one of a series of dramatic and richly coloured landscapes that Nolde made repeatedly of the Danish borderlands and of Northern Schleswig where he grew up and spent most of his life. Nolde's landscapes are often more than mere literal depictions of his surroundings, because, feeling an innate bond with the landscape of his homeland, Nolde sought through his art to commune with and express the elemental forces he felt and experienced at work in nature. To this end Nolde chose to work directly from the natural environment, often venturing out into the fields in all weathers in order to experience at first hand the natural forces of his immediate surroundings, to feel them, and thereby be able to intuitively transmit their energy and vibration onto canvas.

Though maintaining a certain degree of faithfulness to outward appearance, Nolde's early landscapes, like those of van Gogh whose art played a defining role in this period, are invocations of the artist's own emotions and intuitive response to the landscape. They are an attempt at transmitting, not just the visual sensation of the scene before him but also the physical and emotional effect this environment instills in man. Landschaft (Landscape) is a powerful example of this tendency of Nolde's art to convey a heightened experience of nature through the medium of his immediate surroundings. In this case, with its scene of haystacks at harvest time, most probably on the island of Alsen where Nolde spent most of his summers between 1907 and 1910, Nolde's dramatic sweeps and smears of brilliantly-coloured paint build an active surface that pulsates with its own dynamic energy and life. Swiftly executed in a series of largely intuitive responses to the feeling in him generated by this flat Northern landscape towards sunset, Nolde's intense colour and rich creamy brushwork here combines to create an almost pantheist vision of the world as an idyll without any recourse to the usual trappings of symbolism. In this respect it is a work that powerfully generates what Ernst Bloch once described as 'the inner aspect of the world'.

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