Sale: 500 / Evening Sale, July 17. 2020 in Munich Lot 211

Otto Dix
Granattrichter, Um 1916.
Oil over pencil
€ 140,000 - 180,000

$ 159,600 - 205,200

Lot description
Granattrichter. Um 1916.
Oil over pencil.
Pfäffle G 1916/22. Signed in right center and in lower right. Verso inscribed "bleibt Eigentum 16". On board. 28.2 x 28.6 cm (11.1 x 11.2 in). [CH].

• Bizarre colorful war landscape with debris, bomb craters and trenches
• One of five paintings with the theme of war and soldiers' lives
• Dix documenting Modernism: a chronology from expressionistically distorted forms to an abstract apocalyptic vision
• Paintings made during World War I are extremely rare on the auction market

PROVENANCE: Private collection Bad Nenndorf/Lower Saxony.

EXHIBITION: Otto Dix. Zum 100. Geburtstag 1891-1991, Galerie der Stadt Stuttgart, September 4 - November 3, 1991, Nationalgalerie, Staatliche Museen Preußischer Kulturbesitz, Berlin, November 23, 1991 - February 16., 1992, p. 63 (with color illu.).
Neue Sachlichkeit. Bilder auf der Suche nach der Wirklichkeit - Figurative Malerei der zwanziger Jahre, Städtische Kunsthalle, Mannheim, October 9, 1994 - January 29, 1995, p. 233 (with full-page color illu., p. 49).
Otto Dix 1891-1969, Kunsthandel Jörg Maaß, Berlin 2012, cat. no. 29 (with full-page color illu.).
1914 und die Folgen, Galerie Remmert und Barth, Düsseldorf, July 8 - September 27, 2014 (with color illu.).

LITERATURE: Ulrike Lorenz, Otto Dix. Welt und Sinnlichkeit, in: ex. cat. Otto Dix. Welt und Sinnlichkeit, Kunstforum Ostdeutsche Galerie, Regensburg, October 23, 2005 - January 29, 2006, Museum zu Allerheiligen Schaffhausen / Kunstverein Schaffhausen, June 11 - October 8, 2006, p. 39 (with color illu.).
Olaf Peters (editor), ex. cat. Otto Dix, Neue Galerie, New York, March 11 - August 30, 2010, Montreal Museum of Fine Arts, Montreal, September 24 - January 2, 2011, p. 16 (with color illu., no. 6).

Called up: July 17, 2020 - ca. 17.19 h +/- 20 min.

An old bomb crater framed by flowers, barbed wire cladding in the background, the sunny sky is hiding behind gray-white clouds caused by an explosion. The event "war" has slowly passed over this scene, eating itself further into the country, leaving deep scars, bomb craters all over the place, while nature is takes back what has been destroyed, what has been taken. Otto Dix minutes the natural phenomenon war , bathes it in bright colors, the earth blossoming in green, yellow and red, covering the agonies of the soldiers who fight each other inch by inch, back and forth. Dix analyzes the expressiveness of the event ‘war‘ and shows the observer his critical view of the veracity that World War I caused between Germany and France. Like here, Dix documents a legacy, the landscape as a mistreated and abused piece of earth. And yet it is in bloom. Otto Dix was there right from the start; he volunteered in 1914 and, like so many intellectual contemporaries, saw war as a symbol of the new beginning, Futurism in the making. Dix coped with his personal experiences of war, the horrors of death, the victims of the civilian population and the cruelty of the brutalized soldiers through creating numerous pencil-, chalk- and charcoal drawings, which he executed right in the trenches on the front and which culminated in his graphic main work, the cycle "Der Krieg" (The War, 1924) comprising 50 etchings delivering an even more brutal, direct and relentless account of the atrocities. His war pictures document human dynamics, tremendous exertion and horrific progress. "Lice, rats, wire entanglement, fleas, grenades, bombs, caves, corpses, blood, schnaps, mice, cats, gases, cannons, dirt, bullets, mortars, fire, steel, that's the war! It‘s al the work of the devil!" Noted Dix in his diary in 1915 and 1916 (Otto Dix, Kriegstagebuch, 1915/1916, Städtische Galerie Albstadt, Sammlung Walther Groz). Dix was drafted as reservist in August 1914 and was trained on the heavy machine gun. In September 1915, he volunteered to go to the front. From November 1915 to December 1916 his theaters of war were the Champagne, Artois with trench warfare in the French part of Flanders, on the banks of the river Somme, site of two major battles occurred. In 1916 he received the Iron Cross II class. From 1917 Dix was deployed on the eastern Front. In 1918 he was promoted to the rank of a sergeant after he had been wounded. Between 1915 and 1918 he created 46 field postcards, a chronicle of the events in short, concise, but haunting sketches. “Often enough people were condemned to dully persevere in dugouts and underground tunnels in. One must have seen the inhuman to believe", said the artist years later. Otto Dix is one of the few German artists who experienced World War I at the very frontline from 1915 to December 1918, explaining his self-conception as follows: "The artist: One who has the courage to say yes." With pencil, black chalk, ink, watercolor and gouache the artist documents modernity, a chronology from the expressionistic distortion of form over cubo-futurist decomposition to an abstract vision of the apocalypse, on knapsack-sized brown paper sheets. Löffler and Pfäffle's catalog raisonné lists around 500 drawings and 86 gouaches, but only five paintings, including this view of the aftermath of war exaggerated in the bizarre, colorful aesthetic of a landscape of rubble, craters and ditches near Reims in the spring of 1916. [MvL]

Buyer's premium, taxation and resale right apportionment for Otto Dix "Granattrichter"
This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation.

Differential taxation:
Hammer prices up to € 500,000: 32 % buyer's premium
Hammer prices above € 500,000: for the share up to € 500,000: 32%, for the share above € 500,000: 27% buyer's premium
The buyer's premium contains VAT, however, it is not shown.

Regular taxation:
Hammer prices up to € 500,000: 25 % buyer's premium plus statutory sales tax Hammer prices above € 500,000: for the share up to € 500,000: 25%, for the share above € 500.000: 20% buyer's premium, each plus statutory sales tax

We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.

Resale right apportionment:
Objects made by artists who have not died at least 70 years ago are subject to a resale right apportionment of 2.4% including statutory sales tax.