Angelica Jawlensky Bianconi of the Alexej von Jawlensky archives has kindly confirmed the authenticity of this painting.
Jawlensky fled to Switzerland at the outbreak of the First World War and abruptly ceased the series of heads which were a blend of German and French Expressionism. Strongly influenced by Delaunay, whose work he owned, the dislocation of his circumstances produced his series of Variationen, of which this landscape is a prime example.
"We had to flee to Switzerland (after the outbreak if World War I in late summer of 1914) with only that which we could carry, and we came to St. Prex on Lake Geneva, a little place near Morges. I had only a little room with one window to work in at our small apartment there. I wanted to continue to paint my powerful, intensely colored pictures, but I felt that I couldn't. My soul did not permit me this sensual kind of painting despite the fact there is much that is beautiful in my work. I felt that I had to find another language, a more spiritual language. I felt that in my soul. I sat in front of my window. Before me I saw a path, a few trees, and from time to time a mountain in the distance. Metaphorically speaking it is thus: I felt within me within my breast, an organ (as in a church), and I had to make that organ play. And nature, which was before me, only prompted me. And that was the key which unlocked this organ and made it play. At first it was very difficult. But gradually I was able to find easily, with color and form, that which was in my soul. My formats became small: 30 x 40 (centimeters), I painted very many pictures which I called Variations on a Landscape Theme. They are songs without words....(A. von Jawlensky, "Uber die Kunst", Das Kunstwerk, 1948, vol.II, nos.1-2, p.49).
For information on Evelyn Mayer, the first owner of the present work, please see the note for Kandinsky's Bestimmend (lot 743).