Lot 46
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Raumbeispiel
46
August Macke
Reiter im Wald, 1913.
Watercolor, India ink and charcoal
Post auction sale: € 80,000 / $ 88,000
Reiter im Wald. 1913.
Watercolor, India ink and charcoal.
Titled by Elisabeth Erdmann-Macke on the reverse. On firm watercolor paper. 24.7 x 33.7 cm (9.7 x 13.2 in), the full sheet.
This work presumably is number A 45 on the estate list. In Dr. Ursula Heiderich's catalogue raisonné, the estate list numbers of the CR numbers 336 and 337, as well as individual provenance and exhibition information, have been mixed up. The estate list number FT 41, which was incorrectly assigned to our cat. no. 336, presumably belonged to the Galerie von der Heyde, Berlin, until 1937 and later entered the collection of the Kupferstichkabinett (Museum of Prints and Drawings) of the Staatliche Museen zu Berlin.
• Vibrant watercolor from the artist's most prolific creative period.
• In 1911, he was part of the close circle of the emerging “Blue Rider" group, wrote articles for the almanac, and participated in their exhibitions.
• After a stay in Paris in 1912 and the subsequent friendship with Robert Delaunay, Macke increasingly distanced himself from the art of the Blue Rider and developed an individual pictorial language.
• An excellent free and airy depiction, the brushwork reflecting the summery lightness of the scene.
• A comparable watercolor is in the Wallraf-Richartz-Museum, Cologne.
• The painting “Ausreitende Husaren” from the same year is in the Museo Nacional Thyssen-Bornemisza, Madrid.
PROVENANCE: The artist's estate (estate number A 45).
Heinrich Stinnes Collection (1867-1932), Cologne (acquired in 1918, exhibition “Junges Rheinland”, Kunstverein Cologne).
Heinrich Stinnes estate, Mülheim a. d. Ruhr (inherited from the above).
Private collection, Düsseldorf (acquired from the above in 1974: Ketterer).
Galerie Beck & Eggeling International Fine Art, Düsseldorf (acquired in 2007).
Private collection, Southern Germany (acquired from the above).
Family-owned ever since.
EXHIBITION: Das Junge Rheinland, Kunstverein Cologne, January 15 until mid February 1918.
LITERATURE: Ursula Heiderich, August Macke, Aquarelle. Catalogue raisonné, Ostfildern 1997, pp. 30 and 290, cat. no. 336 (illustrated in b/w on p. 291).
Gustav Vriesen, August Macke, Bielefeld 1957, cat. rais. no. A 323 (illustrated in b/w on p. 290, illustration erroneously assigned to cat. rais. no. 322).
- -
August Macke 1887-1914. Aquarell-Ausstellung, exhib. cat. Städtisches Kunsthaus, Bielefeld, June 23 - July 21, 1957, p. 40 (illustrated, not exhibited).
Galerie Wolfgang Ketterer, 12th auction, 19th and 20th Century, November 26, 1974, lot 1115 (with full-page color illustration on p. 169).
J. M. McCullagh, August Macke and the Vision of Paradise: An Iconographic Analysis, (Diss.) Austin 1980, pp. 95-97 and 220 (illustrated on p. 70).
Christie's, London, 7407th auction, Impressionist and Modern Works on Paper, June 19, 2007, lot 197 (with color ill., with the note “Property from a German Private Collection”).
“What occupied August most at the time was the dynamism in a picture, expressed not only by the formal division of the space, but especially through the interplay of the hues against and among one another [..], the color had to operate, vibrate – live.”
Elisabeth Erdmann-Macke in retrospect, in: Erinnerungen an August Macke, Stuttgart 1962, pp. 283f.
“My views on art differ from those of Kandinsky and Marc. I feel solely responsible for myself now.”
August Macke in a letter to Bernhard Koehler, October 16, 1913, quoted in Gustav Vriesen, August Macke, Stuttgart 1953, p. 120.
“A couple of times a week, August and my brother would go on a morning ride to the nearby Tannenbusch, which at the time was the hussars' drill ground.”
Elisabeth Erdmann-Macke in retrospect, in: Erinnerungen an August Macke, Stuttgart 1962, p. 270.
Watercolor, India ink and charcoal.
Titled by Elisabeth Erdmann-Macke on the reverse. On firm watercolor paper. 24.7 x 33.7 cm (9.7 x 13.2 in), the full sheet.
This work presumably is number A 45 on the estate list. In Dr. Ursula Heiderich's catalogue raisonné, the estate list numbers of the CR numbers 336 and 337, as well as individual provenance and exhibition information, have been mixed up. The estate list number FT 41, which was incorrectly assigned to our cat. no. 336, presumably belonged to the Galerie von der Heyde, Berlin, until 1937 and later entered the collection of the Kupferstichkabinett (Museum of Prints and Drawings) of the Staatliche Museen zu Berlin.
• Vibrant watercolor from the artist's most prolific creative period.
• In 1911, he was part of the close circle of the emerging “Blue Rider" group, wrote articles for the almanac, and participated in their exhibitions.
• After a stay in Paris in 1912 and the subsequent friendship with Robert Delaunay, Macke increasingly distanced himself from the art of the Blue Rider and developed an individual pictorial language.
• An excellent free and airy depiction, the brushwork reflecting the summery lightness of the scene.
• A comparable watercolor is in the Wallraf-Richartz-Museum, Cologne.
• The painting “Ausreitende Husaren” from the same year is in the Museo Nacional Thyssen-Bornemisza, Madrid.
PROVENANCE: The artist's estate (estate number A 45).
Heinrich Stinnes Collection (1867-1932), Cologne (acquired in 1918, exhibition “Junges Rheinland”, Kunstverein Cologne).
Heinrich Stinnes estate, Mülheim a. d. Ruhr (inherited from the above).
Private collection, Düsseldorf (acquired from the above in 1974: Ketterer).
Galerie Beck & Eggeling International Fine Art, Düsseldorf (acquired in 2007).
Private collection, Southern Germany (acquired from the above).
Family-owned ever since.
EXHIBITION: Das Junge Rheinland, Kunstverein Cologne, January 15 until mid February 1918.
LITERATURE: Ursula Heiderich, August Macke, Aquarelle. Catalogue raisonné, Ostfildern 1997, pp. 30 and 290, cat. no. 336 (illustrated in b/w on p. 291).
Gustav Vriesen, August Macke, Bielefeld 1957, cat. rais. no. A 323 (illustrated in b/w on p. 290, illustration erroneously assigned to cat. rais. no. 322).
- -
August Macke 1887-1914. Aquarell-Ausstellung, exhib. cat. Städtisches Kunsthaus, Bielefeld, June 23 - July 21, 1957, p. 40 (illustrated, not exhibited).
Galerie Wolfgang Ketterer, 12th auction, 19th and 20th Century, November 26, 1974, lot 1115 (with full-page color illustration on p. 169).
J. M. McCullagh, August Macke and the Vision of Paradise: An Iconographic Analysis, (Diss.) Austin 1980, pp. 95-97 and 220 (illustrated on p. 70).
Christie's, London, 7407th auction, Impressionist and Modern Works on Paper, June 19, 2007, lot 197 (with color ill., with the note “Property from a German Private Collection”).
“What occupied August most at the time was the dynamism in a picture, expressed not only by the formal division of the space, but especially through the interplay of the hues against and among one another [..], the color had to operate, vibrate – live.”
Elisabeth Erdmann-Macke in retrospect, in: Erinnerungen an August Macke, Stuttgart 1962, pp. 283f.
“My views on art differ from those of Kandinsky and Marc. I feel solely responsible for myself now.”
August Macke in a letter to Bernhard Koehler, October 16, 1913, quoted in Gustav Vriesen, August Macke, Stuttgart 1953, p. 120.
“A couple of times a week, August and my brother would go on a morning ride to the nearby Tannenbusch, which at the time was the hussars' drill ground.”
Elisabeth Erdmann-Macke in retrospect, in: Erinnerungen an August Macke, Stuttgart 1962, p. 270.
At the request of Franz Marc, August Macke became involved in the editorial work for the almanac of "The Blue Rider" in 1911, and, together with the artists Wassily Kandinsky, Franz Marc, Gabriele Münter, Alexej von Jawlensky and Marianne von Werefkin, he exhibited in a first joint exhibition at the Galerie Thannhauser and in the group's second exhibition at the Galerie Goltz in Munich the following year. During this same period, Macke increasingly began to pursue his artistic path and broke away from his fellow artists' ideas. The once so evident influence of Kandinsky now receded: “My views on art differ from Kandinsky and Marc. I feel solely responsible for myself now” (August Macke in a letter to Bernhard Koehler, October 16, 1913, quoted from: Gustav Vriesen, August Macke, Stuttgart 1953, p. 120) In 1913, Macke even mocked the “Blue Rider” by painting a “Persiflage auf den Blauen Reiter” (Mockery of the Blue Rider, Städtische Galerie im Lenbachhaus, Munich).
This “increasingly independent development” also manifests itself in Macke's watercolors, wrote Ursula Heiderich, author of the catalogue raisonné, about the year the present watercolor was created (August Macke. Aquarelle, Ostfildern-Ruit 1997, p. 30). “Alongside the open works, which reveal the texture of the paper, there are intricately interwoven fabrics made of bright splotches of color, in which Macke can completely dispense with the contour.” (ibid.) Macke's interest in Fauvism, particularly the paintings of Henri Matisse (see “Collioure,” 1905, Museum of Modern Art, New York), is evident in the brightly colored and loosely stippled watercolor technique. Macke developed an interest in the intense colors and the vividness of the representation, the dynamism in a picture (see Elisabeth Erdmann-Macke in retrospect, in: Erinnerungen an August Macke, Stuttgart 1962, pp. 283f.). In the present work, he successfully implemented both elements with an airy, staccato-like application of color. At the same time, he gave the scene, which was probably inspired by the regular riding trips he took with his brother-in-law at the time, a fairytale-like and paradisiacal quality: entirely in keeping with the idea of paradise that was his prevailing leitmotif during this creative period.
In August of the following year, Macke was drafted for military service. He was killed just seven weeks later in the Champagne region at the young age of only 27. [CH]
This “increasingly independent development” also manifests itself in Macke's watercolors, wrote Ursula Heiderich, author of the catalogue raisonné, about the year the present watercolor was created (August Macke. Aquarelle, Ostfildern-Ruit 1997, p. 30). “Alongside the open works, which reveal the texture of the paper, there are intricately interwoven fabrics made of bright splotches of color, in which Macke can completely dispense with the contour.” (ibid.) Macke's interest in Fauvism, particularly the paintings of Henri Matisse (see “Collioure,” 1905, Museum of Modern Art, New York), is evident in the brightly colored and loosely stippled watercolor technique. Macke developed an interest in the intense colors and the vividness of the representation, the dynamism in a picture (see Elisabeth Erdmann-Macke in retrospect, in: Erinnerungen an August Macke, Stuttgart 1962, pp. 283f.). In the present work, he successfully implemented both elements with an airy, staccato-like application of color. At the same time, he gave the scene, which was probably inspired by the regular riding trips he took with his brother-in-law at the time, a fairytale-like and paradisiacal quality: entirely in keeping with the idea of paradise that was his prevailing leitmotif during this creative period.
In August of the following year, Macke was drafted for military service. He was killed just seven weeks later in the Champagne region at the young age of only 27. [CH]
46
August Macke
Reiter im Wald, 1913.
Watercolor, India ink and charcoal
Post auction sale: € 80,000 / $ 88,000
Buyer's premium and taxation for August Macke "Reiter im Wald"
This lot can be purchased subject to differential or regular taxation.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 19 % is levied to the sum of hammer price and premium. As an exception, the reduced VAT of 7 % is added for printed books.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 19 % is levied to the sum of hammer price and premium. As an exception, the reduced VAT of 7 % is added for printed books.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.