Sale: 500 / Evening Sale, July 17. 2020 in Munich Lot 260

 
260
Emil Nolde
Sonnenblumen mit Fuchsschwanz, 1937.
Oil on canvas
Post auction sale: € 480,000 / $ 571,200
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Lot description
Sonnenblumen mit Fuchsschwanz. 1937.
Oil on canvas.
Urban 1174. Signed in lower right. With the "Emil Nolde Sonnenblumen mit Fuchssschwanz" on the stretcher verso. 68 x 89 cm (26.7 x 35 in).

• "Sonnenblumen mit Fuchsschwanz" was painted during a time when more than 1,000 of Nolde's works were removed from German museums and defamed in the exhibition "Degenerate Art“.
• Up until 1970 in possession of Ada Nolde's family.
• To Nolde flowers have a soul - especially sunflowers, which symbolize the eternal circle of life and death to the artist.
• Nolde shows tremendous mastery in illustrating his overwhelming color palette on paper or on canvas
.

PROVENANCE: Aage Vilstrup, Copenhagen. (Ada Nolde's brother).
Vilda Vilstrup, Copenhagen. (Since 1953).
Siegfried Adler, Montagnola/ Switzerland (since 1970).
Private collection Cologne (since 1971).
Private collection (since the 1990s).
Private collection Northern Germany (since 2014).

EXHIBITION: Emil Nolde, Kunstforening Oslo, 1956, no. 13.
Emil Nolde : malerier, akvareller, grafik: udstilling arrangeret i anledning af den internationale museumsuge, Fyns Stiftsmuseum Odense, 1956, no. 22.
Emil Nolde; Koloristerne, Slot Charlottenborg Copenhagen, April 18 - May 4, 1958, no. 63.
Emil Nolde 1867-1956: Målningar, grafik, Moderna Muset Stockholm January 14 - February 15, 1967, no. 64.
Emil Nolde 1867-1956, Nykobing/ Annenberg, July 15 - August 28, 1967, no. 20.

"The sunflowers are so tall I have to lean my head back and admire their beauty from undeneath them [.] bright colors that I have never seen before, and the scent of the mignonettes even lingers in the house.“
Emil Nolde, letter to Hans Fehr, September 20, 1928

Essay
The “Degenerate Art” campaign began in late June the same year the work “Sonnenblumen mit Fuchsschwanz” was made. In context of the action more than 1,000 works by Emil Nolde were removed from German museums. The exhibition of the same name followed in July 1937, it included 29 paintings Emil Nolde, but also a number of watercolors and graphic works. Under these political and cultural circumstances, the consequences of which were predictable, Nolde was no longer able to freely determine his subjects. However, the flower pictures and landscapes seemed untouched therefrom. But the verdict was aimed at both artist and his artworks, and the professional ban imposed on him in 1941 put an end to this development. However, Nolde's artistic creativity hardly seemed to have been restricted, even in harsh times like these.
Emil Nolde had already put increased focus on his natural surroundings for some years, and especially the flower garden he had designed provided him with some of his most beautiful motifs. For Nolde painting flowers was an effective retreat from the world of politics and everyday reality, a way to escape and flee into an almost abstract world of colors and joy. His retreat was the picturesque village of Seebüll near the North Sea where Emil Nolde himself had planned and arranged the lush farm garden that surrounded his house and studio. The garden‘s layout was modeled on Ada‘s and Emil's initial letters A and E, while he placed a fountain at its center. The garden became an inexhaustible source of inspiration, scores of flower still lives, which will eternally be associated with the name Emil Nolde, came into existence there. The artist had inherited his love for gardens and botany from his mother, as they had spent a lot of time caring for the flowers in the garden of his parents' house.
Nolde's first artistic works were flower and garden pictures. The lush flower garden around his house provided the painter with sufficient inspiration: While he took great liberties in the interpretation of most themes, his flowers can always be clearly determined botanically. The sunflowers with fox tail straight from the garden are presented in limelight here. The blossoms‘ bright color contrast the dark surrounding space which does not play any role in the composition at all, as the main protagonists are nature‘s wonderful creations and their breathtaking beauty. Nolde's flower pictures are expressions of mood and emotion. The colors shine out of the darkness like a ray of hope. A source of joy in troubled times. A large part of Emil Nolde's fascination with the beauty of the flower lies in the poetic contemplation and simple elegance of their life cycle: “I love flowers for their fate: sprouting, blooming, glowing brightly and happily, leaning, fading, disposed of on the dung-heap. Our human destiny is not always just as logical and beautiful [..] "(Emil Nolde quote after: Martin Urban, Emil Nolde – Blumen und Tiere, 1965, pp. 7/8).
Nolde‘s occupation with the sunflower motif must be seen in connection with Vincent van Gogh and his iconic sunflower pictures. In 1928 an exhibition by Vincent van Gogh was shown at Paul Cassirer in Berlin, but before that Nolde had already admired works by the great Dutch master in exhibitions in Munich and Berlin. He understood van Gogh's virtuoso and dynamic use of color and he increased the drama to create one of his typical, striking compositions that pay homage to color as such. The flower pictures, which constitute a large part of Emil Nolde's artistic oeuvre, must be regarded for their very own character as they are expressions of an increased sensation that determines Emil Nolde's entire oeuvre. [SM]
260
Emil Nolde
Sonnenblumen mit Fuchsschwanz, 1937.
Oil on canvas
Post auction sale: € 480,000 / $ 571,200
+
 


Buyer's premium, taxation and resale right apportionment for Emil Nolde "Sonnenblumen mit Fuchsschwanz"
This lot can be purchased subject to differential 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

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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.