Lot 55
Frame image
Raumbeispiel
55
Hermann Max Pechstein
Morgen am Garder See, 1929.
Oil on canvas
Estimate:
€ 140,000 / $ 149,800 Sold:
€ 177,800 / $ 190,246 (incl. surcharge)
Morgen am Garder See. 1929.
Oil on canvas.
Signed (in ligature) and dated in lower right. 80.5 x 87.5 cm (31.6 x 34.4 in).
• A last paradise: Pechstein spent the last carefree summers in Rowe/Pomerania between 1927 and 1933, before the dramatic political changes.
• First exhibited and published in color in 1930.
• In a special lighting mood and with fresh and cool colors, Pechstein shows the early morning hours on the lakeshore with the still bluish cold reflections of the rising sun.
PROVENANCE: Private collection Southern Germany (acquired in the 1970s).
Ever since family-owned.
EXHIBITION: Münchener Neue Secession, Deutsche Kunstausstellung München, Glaspalast, Munich, May 30 to early October 1930, cat. no. 1820.
101. Grosse Frühjahrsausstellung, Kunstverein Hanover, February 26 - April 18, 1933, cat. no. 275.
LITERATURE: Aya Soika, Max Pechstein. Catalogue raisonné of oil paintings, vol. 2 (1919-1954), Munich 2011, S. 403, cat. no. 1929/6 (fig.).
Georg Jacob Wolf, Deutsche Kunstausstellung in München, in: Die Kunst für alle, vol. 45, issue 11, Aug. 1930, p. 338 (fig.).
Leo Spik Auktionen, Berlin, 480th auction, December 6/7, 1972, p. 23, lot no. 139 (full-page illu., plate 45).
"Spent the past summer up at the Baltic again, an oasis, didn't hear nor read anything about the disgusting political machine that mauls across Germany polluting the youth."
Hermann Max Pechstein, 1930, quoted from: Aya Soika, catalogue raisonné, vol. II, p. 80.
"Black night. It's 3 o'clock. I am fully awake. I step outside, I see it in the mist, walking down to the stream, it blurs in the silverish distance. I delve into this mysterious strangeness, row the boat upstream. I left the village. The mist billows even stronger, the sun's coming up, soon, up at Garder Lake, I can see it rise. Rowing into its eastern tributary, I can see the eel creels' poles and the long black barges with my friends, the local fishermen checking their creels. Now I am about to start working, sketching them going about their business, later I will use colors to take this wonderful morning home with me. [.] Far beyond the lake, the Revekol towers in blue, some of the barges have set their sails, homeward to Garde. [.] The morning gold is fading and I return."
Max Pechstein in Rowe, 1931, quoted from: ex. cat. Zwei Männer - ein Meer. Pechstein und Schmidt-Rottluff an der Ostsee, Pommersches Landesmuseum, Greifswald 2015, p. 113.
Oil on canvas.
Signed (in ligature) and dated in lower right. 80.5 x 87.5 cm (31.6 x 34.4 in).
• A last paradise: Pechstein spent the last carefree summers in Rowe/Pomerania between 1927 and 1933, before the dramatic political changes.
• First exhibited and published in color in 1930.
• In a special lighting mood and with fresh and cool colors, Pechstein shows the early morning hours on the lakeshore with the still bluish cold reflections of the rising sun.
PROVENANCE: Private collection Southern Germany (acquired in the 1970s).
Ever since family-owned.
EXHIBITION: Münchener Neue Secession, Deutsche Kunstausstellung München, Glaspalast, Munich, May 30 to early October 1930, cat. no. 1820.
101. Grosse Frühjahrsausstellung, Kunstverein Hanover, February 26 - April 18, 1933, cat. no. 275.
LITERATURE: Aya Soika, Max Pechstein. Catalogue raisonné of oil paintings, vol. 2 (1919-1954), Munich 2011, S. 403, cat. no. 1929/6 (fig.).
Georg Jacob Wolf, Deutsche Kunstausstellung in München, in: Die Kunst für alle, vol. 45, issue 11, Aug. 1930, p. 338 (fig.).
Leo Spik Auktionen, Berlin, 480th auction, December 6/7, 1972, p. 23, lot no. 139 (full-page illu., plate 45).
"Spent the past summer up at the Baltic again, an oasis, didn't hear nor read anything about the disgusting political machine that mauls across Germany polluting the youth."
Hermann Max Pechstein, 1930, quoted from: Aya Soika, catalogue raisonné, vol. II, p. 80.
"Black night. It's 3 o'clock. I am fully awake. I step outside, I see it in the mist, walking down to the stream, it blurs in the silverish distance. I delve into this mysterious strangeness, row the boat upstream. I left the village. The mist billows even stronger, the sun's coming up, soon, up at Garder Lake, I can see it rise. Rowing into its eastern tributary, I can see the eel creels' poles and the long black barges with my friends, the local fishermen checking their creels. Now I am about to start working, sketching them going about their business, later I will use colors to take this wonderful morning home with me. [.] Far beyond the lake, the Revekol towers in blue, some of the barges have set their sails, homeward to Garde. [.] The morning gold is fading and I return."
Max Pechstein in Rowe, 1931, quoted from: ex. cat. Zwei Männer - ein Meer. Pechstein und Schmidt-Rottluff an der Ostsee, Pommersches Landesmuseum, Greifswald 2015, p. 113.
Hermann Max Pechstein's entire artistic work is closely linked to the sea and maritime life. He spent most of his life, especially the summer months, by the sea. Pechstein visited, among others, Dangast on the Jade Bay on the North Sea (1910), the medieval fishing town of Monterosso al Mare on the Ligurian coast in Italy (1913, 1924), the Pacific island group of Palau in the South Seas (1914), and in later years the Baltic island of Usedom (1949), the Bay of Kiel (1952), as well as the North Sea island of Amrum, the fishing village of Nida on the Curonian Spit (1909-1939) and the Baltic Sea resorts of Leba (1921-1945) and Rowe (Rowy) in what was then Pomerania. The artist visited Rowe for the very first time in the summer of 1927, and would return every summer until 1933. Although Rowe was not far from the popular resort Leba, it was still quite difficult to reach, the easiest by boat and with the help of locals. For many years the town did not have proper roads or even electric light, so tourism and thus car and motorboat traffic only began to increase in the 1930s. However, Pechstein enjoyed the peace and seclusion, and was able to fully focus on his painting during his several month long stays far away from the dramatic political developments.
After an eventful spring with an exhibition at Galerie Victor Hartberg in Berlin, as well as his participations in the spring exhibitions of the Berlin Secession, the Academy of Arts in Berlin, the exhibition of the German Artists' Association in Cologne and an exhibition of the Munich New Secession at the Glaspalast, Pechstein embarked on a trip to Rowe with his family on July 2, 1929. This summer he was particularly interested in the nearby Garder Lake (formerly ‘Gardno See’ / today ‘Jezioro Gardno’) and the surrounding landscape with the ‘Revekol’, a quite striking hill in this flat coastal area, as well as the landscape at the mouth of the Lupow (Lupawa). He spent most of his time on the lake, drawing, painting and fishing for pike. He was a member of the "Wehrfischerei" (Weir Fishermen) in Rowe, and in the present painting he also shows the wooden poles protruding from the lake to which the fishermen attached their fishing traps, the so-called "weirs".
Pechstein recalled in his memoirs: "Early in the morning, before sunrise, I was already on the lake with my boat, captured the sunrises and then fished." (Hermann Max Pechstein, Erinnerungen, Stuttgart 1960, p. 115)
Using cool colors, Pechstein captured the atmospheric moment he experienced, the peaceful calm, the very special lighting atmosphere and the fresh temperatures of the early morning hours and makes it tangible for the observer [CH]
After an eventful spring with an exhibition at Galerie Victor Hartberg in Berlin, as well as his participations in the spring exhibitions of the Berlin Secession, the Academy of Arts in Berlin, the exhibition of the German Artists' Association in Cologne and an exhibition of the Munich New Secession at the Glaspalast, Pechstein embarked on a trip to Rowe with his family on July 2, 1929. This summer he was particularly interested in the nearby Garder Lake (formerly ‘Gardno See’ / today ‘Jezioro Gardno’) and the surrounding landscape with the ‘Revekol’, a quite striking hill in this flat coastal area, as well as the landscape at the mouth of the Lupow (Lupawa). He spent most of his time on the lake, drawing, painting and fishing for pike. He was a member of the "Wehrfischerei" (Weir Fishermen) in Rowe, and in the present painting he also shows the wooden poles protruding from the lake to which the fishermen attached their fishing traps, the so-called "weirs".
Pechstein recalled in his memoirs: "Early in the morning, before sunrise, I was already on the lake with my boat, captured the sunrises and then fished." (Hermann Max Pechstein, Erinnerungen, Stuttgart 1960, p. 115)
Using cool colors, Pechstein captured the atmospheric moment he experienced, the peaceful calm, the very special lighting atmosphere and the fresh temperatures of the early morning hours and makes it tangible for the observer [CH]
55
Hermann Max Pechstein
Morgen am Garder See, 1929.
Oil on canvas
Estimate:
€ 140,000 / $ 149,800 Sold:
€ 177,800 / $ 190,246 (incl. surcharge)