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Sale: 468 / Modern Art I, June 09. 2018 in Munich Lot 696

 
Lot description
Helle Erscheinung. 1916.
Oil on brownish paper, on panel laminated with board.
Jawlensky/Pironi-Jawlensky 736. Signed in lower left. Verso dated, titled and inscribed by Andreas Jawlensky, the artist's son. 50.5 x 32.7 cm (19.8 x 12.8 in).

PROVENANCE: From the artist's estate.
Galerie Grosshenning, Düsseldorf (acquired from aforementioned on March 17, 1966).
Private collection (acquired from aforementioned in 1966 and consigned to following auction).
Sotheby`s, London, Impressionist and Modern Painting and sculpture, June 29, 1983, cat no. 49, with illu.
Christie's London, November 28, 1988, cat. no. 43, illu. on p.109
Private collection (acquired in aforementioned auction).
Christie`s London, October 7, 1999, cat. no. 118, with illu. on p. 183.
Private collection Great Britain (acquired in aforementioned auction).

EXHIBITION: Alexej von Jawlensky, Galerie Krugier, Geneva 1963, cat. no. 26.
Waterhouse & Dodd, New York/London (verso with the label).

LITERATURE: Clemens Weiler, Alexej Jawlensky. Köpfe - Gesichte - Meditationen, Hanau 1970, cat. no. 158 (here with title "Blaue Augen, rosa Mund").
"I felt the urge to find an appropriate form for the face, as I had understood that big art can only be made with a religuious feel. And that was something I could only express through the human face."
Alexej von Jawlensky, quote from: C. Wieler, 1970

Essay
Initially Alexej von Jawlensky's style was influenced by the Fauves, particularly by Matisse. However, the artist soon found his very own expressionist style that is characterized by strong colors and simple graphic elements. His abstract heads, which came into existence as of 1918 are especially known. This productive period led to the "Meditations", executed in an increased abstract style they call reminiscence of icons. Due to his bad health, Jawlensky created mainly small formats in the last years of his life. "I painted many faces. I sat in my studio and painted, and I did not need nature for inspiration. I was fine being self-immersed, I was in a deeply religious state, praying and preparing my soul. As far as technique is concerned the faces are perfect and emanate great spirituality." (Quote from: Clemens Weiler, Alexej Jawlensky. Köpfe, Gesichte, Meditationen, Hanau 1970, no. p.). Jawlensky's abstract "Mystical Heads" are much rarer than aforementioned. Our portrait of a girl is one of the first works from this loose series made as of 1916. It is particularly convincing for the bright color and the masterly contouring. Additionally, these portraits, mainly made during the wartime in St. Perx on Lake Geneva, are characterized by the large stylized almond-shaped eyes that leave little resemblance to an actual portrait of the female model. As far as the increased de-invidualization of the face is concerned, they are significant art-historic documents and of key relevance for Alexej von Jawlensky's oeuvre of paintings. The art historian and museum director Clemens Weiler assessed the increasing thematic focus and development as follows: "Apart from Jawlensky, there is hardly any other modern artist who pursued a single theme with such strong consistency. The painter applied contemporary stylistic means of Expressionism, Cubism and Constructivism, adding subtlety and expressiveness of a color that touches the limits of what is visually possible." (Quote from: C. Weiler, Jawlensky, 1970, p. 13). [JS]
696
Alexej von Jawlensky
Helle Erscheinung, 1916.
Oil
Post auction sale: € 280,000 / $ 336,000
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Buyer's premium, taxation and resale right apportionment for Alexej von Jawlensky "Helle Erscheinung"
This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation.

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Hammer prices up to € 500,000: 32 % buyer's premium
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Regular taxation:
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Objects made by artists who have not died at least 70 years ago are subject to a resale right apportionment of 1.5% plus statutory sales tax.
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