Emil Nolde

Jolanthe Nolde, Heidelberg (by descent from the artist in 1956)
Thence by descent to the present owners

Heidelberg, Kunstverein, Emil Nolde, Gemälde, Aquarelle, Graphik. Eine Privat-Sammlung, 1958, no. 9, illustrated in the catalogue
Heidelberg, Kurpfälzisches Museum, Emil Nolde, Gemälde aus dem Besitz von Frau Jolanthe Nolde, 1969, illustrated in colour in the catalogue

Artist's Handlist: listed as '1950 Überschleierte Sonne'
Martin Urban, Emil Nolde. Catalogue Raisonné of the Oil-Paintings, London, 1990, vol. II, no. 1342, illustrated p. 595

The canvas is unlined and there is no evidence of retouching under ultra-violet light. This work is in very good original condition. Colours: Overall fairly accurate in the printed catalogue illustration, although slightly frehser in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Executed with a palette of bold, vibrant colours, Überschleierte Sonne is a powerful example of Nolde's breathtaking seascapes. Having grown up in the German maritime province of Schleswig-Holstein, Nolde was often surrounded by nature, which occupied an important place both in his imagination and in his work. The artist once said: 'Often, I stood at the window looking out at the sea for hours. There was nothing except water and sky. There was complete silence except for the occasional hushed ripple of the waves against the stones of the beach' (quoted in Werner Haftmann, Emil Nolde, Cologne, 1978, p. 70, translated from German). Evidently Nolde saw the sea and the sky in something approaching mystical terms, and often returned to these subjects throughout his career.

 

In 1927 Nolde moved to Seebüll in northern Germany, where he remained for the rest of his life. The present work is characteristic of his seascapes executed at Seebüll, on the Frisian coast, which were often devoid of any sign of human life, emphasising the awesome power of nature. In painting compositions dominated by the sun, sea and the sky, Nolde sought to provide not just a representation of nature, but also to express his emotional response to it. As the artist himself proclaimed: 'I think it is most important to give freedom to art and one should not force art into a corset. One should be guided by nature whilst lending a free spirit to one's fantasy and experience. Whatever is depicted, be it truth, fantasy or poetry, the best paintings are the ones which seem true, natural, organic and alive' (quoted in Emil Nolde (exhibition catalogue), Kunsthalle, Cologne, 1973, p. 38, translated from German).