Sale: 535 / Evening Sale with Collection Hermann Gerlinger, Dec. 09. 2022 in Munich Lot 23

 

23
Karl Schmidt-Rottluff
Straße im Norden, 1906.
Oil on board
Estimate:
€ 250,000 - 350,000

 
$ 247,500 - 346,500

+
Straße im Norden. 1906.
Oil on board.
Signd and dated in lower left. Once more signed and titled "Straße im Norden" on the reverse. 50 x 70.5 cm (19.6 x 27.7 in).
[KT].
• Motif and colors of adolescent radicalness.
• Works by the artist from this early creative period are almost exclusively museum-owned.
• Made on the island of Alsen at Emil Nolde's, whom Schmidt-Rottluff could win as a Brücke member in 1906.
• Extremely rare work from the early creative period, which is rarely found on the auction market (source: artprice.com).
• Comprehensive exhibition history
.

The work is documented in the archive of the Karl and Emy Schmidt-Rottluff Foundation, Berlin.

PROVENANCE: Galerie Rosenbach, Hanover.
Collection Hermann Gerlinger, Würzburg (acquired from the above in 1987, with the collector's stamp Lugt 6032).

EXHIBITION: Karl Schmidt-Rottluff, Retrospektive, Kunsthalle Bremen, June 16 - September 10, 1989; Städtische Galerie im Lenbachhaus Munich, September 27 - December 3, 1989, p. 220, cat. no. 24 (with illu. in black-and-white, plate. 5)
Vincent van Gogh und die Moderne 1890-1914, Museum Folkwang, Essen, August 11 - November 4, 1990; Vincent van Gogh Museum, Amsterdam, November 16, 1990 - February 18, 1991, no. 154.
Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001).
Farben des Lichts, Paul Signac und der Beginn der Moderne von Matisse bis Mondrian, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, December 1, 1996 - February 16, 1997/ Musée de Grenoble, March 9 - May 25, 1997/ Kunstsammlungen zu Weimar, June 15 - August 31, 1997, cat. no. 103.
Die Brücke in Dresden. 1905-1911, Dresdner Schloss, Staatliche Kunstsammlungen Dresden, Galerie Neue Meister, October 20, 2001 - January 6, 2002, cat. no. 78 (with illu.).
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Die Brücke und die Moderne, 1904-1914: an exhibition at the Bucerius-Kunst-Forum, Hamburg, October 17, 2004 - January 23, 2005, cat. no. 119 (with illu.).
Im Rhythmus der Natur: Landschaftsmalerei der "Brücke". Meisterwerke der Sammlung Hermann Gerlinger, Städtische Galerie, Ravensburg, October 28, 2006 - January 28, 2007, p. 64 (with illu.).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 5 (with illu.).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
Brückenschlag: Gerlinger – Buchheim, Buchheim Museum, Bernried, October 28, 2017 - February 25, 2018, pp. 64-65 (with illu.).
Schmidt-Rottluff. Form, Farbe, Ausdruck!, Buchheim Museum, Bernried, September 29, 2018 - February 3, 2019, pp. 122-123 (with illu.).
Brücke und Blauer Reiter, Von der Heydt-Museum, Wuppertal, November 21, 2021 - February 27, 2022; Kunstsammlungen Chemnitz, March 27 - June 26, 2022; Buchheim Museum, Bernried, July 16 - November 13, 2022, p. 260 (with illu.).

LITERATURE: Hermann Gerlinger, Noldes Beiträge zu den Aktivitäten der "Brücke", in: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 53-55, here p. 55, annotation 14.
Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 207, SHG no. 262 (with illu.).
Hermann Gerlinger, Heinz Spielmann (eds.), Brücke-Almanach 1998, Lyonel Feininger, Karl Schmidt-Rottluff, Erich Heckel. Künstlerfreundschaften, Schleswig Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig 1998, p. 145 (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 33, no. 37 (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Gemeinsames Ziel und eigene Wege. Die „Brücke“ und ihr Nachwirken, Munich 2009, pp. 46, 53, illu. 27.

Called up: December 9, 2022 - ca. 17.44 h +/- 20 min.

Schmidt-Rottluff's stay on the Baltic Sea island of Alsen in the summer of 1906 obviously was of great significance. Karl Schmidt-Rottluff made the present painting "Straße im Norden“ (Street in the North), dated 1906, during a visit to Emil Nolde in Sjellerupskov near Guderup on Alsen in late Maye/early June that year. In February 1906, Schmidt-Rottluff used a sensational Nolde exhibition at Galerie Arnold in Dresden as an opportunity to motivate the much older artist to join the young artist group. Nolde accepted the invitation and became a member. He asked Schmidt-Rottluff to visit him in Guderup. "Following our invitation, he arrived after a long walk at the small Alsenhaus in the late afternoon, bringing greetings from the young comrades with him. He stayed with us for several weeks. It was very nice. We talked about art and many other things, philosophized the way young painters tend to. I admired his intellect and knowledge and knew little to say when Nietzsche and Kant or luminaries of that kind came up. How was I to know. When we were pressed for work, he moved to the other end of the forest and came to us only when sorrow and loneliness drove him", recalled Emil Nolde in his autobiography "Jahre der Kämpfe" about his guest (Cologne 1967, p. 99), whom he also portrayed on the occasion of the visit. (Fig.)

For the motif of "Straße im Norden", Schmidt-Rottluff probably chose a section of the path that led past the Noldes' house, a former fisherman's house, where they had been living since 1903. (Fig.) Among the artist's early works, this painting is one of the first in larger format. After the first watercolors, which the self-taught artist was given the opportunity to exhibit at the "Kunsthütte" in Chemnitz while he still attended school, and the more sketchy oil paintings, still created in the summer of 1905, the painting of this landscape indicates a phase in which Schmidt-Rottluff was experimenting with both painting technique and the effects of composition and color. Schmidt-Rottluff attained an astonishingly free handling of pure tones with impasto brushstrokes he placed evenly, almost rhythmically across the painting surface. The artist does not emphasize the motif of the houses to a particularly strong degree, he rather asserts it a position as part of the high abstract quality of the depicted locality.

The commencing independent artistic development was described particularly aptly by the art historian Will Grohmann, who wrote in 1956: "at first […] the Neo-Impressionists come to one’s my, but has to conclude that the light brightness comes about without divisionism and without complementary contrasts." Schmidt-Rottluff was obviously enthusiastic about the possible usage of color regardless of the nature he saw. And last but not least, the ubiquitous painting style of van Gogh in connection with the liberating appearance of the "Fauves" around Matisse and the young Derain, may have helped the artist to his light-hearted carefreeness in the present work. The artist no longer places hard and motionless strokes next to one another, instead he frees himself and gives the brushstroke a strong emotional quality. It is the impulsive-gestural approach with which the artist forces the landscape and the contours of the architecture open, in order to interweave them with a structure developed from the brushstroke, as is typical of other works from this phase, for instance in "Der Garten". (Fig.) During his stay on Alsen, Schmidt-Rottluff broke away from so-called atmospheric Impressionism and developed his signature style, which Kirchner called "monumental Impressionism" in his 1913 "Brücke-Chronic".

After his return from Alsen, Schmidt-Rottluff created more paintings in the "Alsen style" in Dresden and in his hometown Rottluff. In the course of the artist's work, the preoccupation with Neo-Impressionism is seen merely as a brief experiment; the small-scale technique does not correspond to Schmidt-Rottluff's quest for a generous, immediate expression of color. The result is a loose, free painting that stands for Schmidt-Rottluff's future free handling of pure tones. "Straße im Norden" from 1906 is a key work from an important stage in the painter's artistic development and also a wonderful example of the artist's style in the summer of 1906. In the following, Schmidt-Rottluff's artistic development would pick up pace. [MvL]



 

Buyer's premium, taxation and resale right compensation for Karl Schmidt-Rottluff "Straße im Norden"
This lot can be purchased subject to differential or regular taxation, artist‘s resale right compensation is due.

Differential taxation:
Hammer price up to 500,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 500,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 500,000 €.
The share of the hammer price exceeding 2,500,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 2,500,000 €.
The buyer's premium contains VAT, however, it is not shown.

Regular taxation:
Hammer price up to 500,000 €: herefrom 25 % premium.
The share of the hammer price exceeding 500,000 € is subject to a premium of 20% and is added to the premium of the share of the hammer price up to 500,000 €.
The share of the hammer price exceeding 2,500,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 2,500,000 €.
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.

Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.

The artist‘s resale right compensation is VAT-exempt.