Paul Klee

Paul Klee, Dessau/Düsseldorf/Bern (1927-1940)
Galerie Alfred Flechtheim, Berlin (on commission from the artist 1928-1934, inventory no. B 8648)
Galerie Simon (Daniel-Henry Kahnweiler), Paris (on commission from the artist 1928-1934, inventory no. 8648)
Contempora  Art Circle (P. L. Wiener/I. B. Neumann), New York (on commission from the artist 1934 -1935)
New Art Circle (I. B. Neumann), New York (on commission from the artist from 1935 until at least 1936)
Galerie Simon (Daniel-Henry Kahnweiler), Paris (on commission from the artist 1936-1940, inventory no. 8648)
Lily Klee, Bern (1940-1946)
Galerie Louise Leiris, Paris (on commission from Lily Klee from 1940 until at least 1950, inventory no. 8648)
Klee-Gesellschaft, Bern (1946 until at least 1950)
Curt Valentin Gallery, New York (before 1953)
G. David Thompson, Pittsburgh (until 1960)
Galerie Beyeler, Basel (1960-1968)
Brook Street Gallery, London (acquired in 1968)
Private Collection  (acquired circa the 1980s)
By descent to the present owner

Berlin, Galerie Alfred Flechtheim, Paul Klee, 1928, no. 16
Brussels, Galerie Le Centaure, Paul Klee, R. Sintenis, 1928, no. 24
Paris, Galerie Georges Bernheim et Cie, Paul Klee, 1929, no. 23
Düsseldorf, Kunstverein für die Rheinlande und Westfalen in Verbindung mit der Galerie Alfred Flechtheim, Paul Klee, 1931, no. 49
Hartford, Wadsworth Atheneum, Paul Klee, 1936, no. 4
Stockholm, Svensk-Franska Konstgalleriet, Paul Klee, 1949, no. 2
London, The Mayor Gallery, Paul Klee, 1950, no. 1
New York, Curt Valentin Gallery, Paul Klee, 1953, no. 14
Zurich, Kunsthaus ; Düsseldorf, Kunstmuseum & The Hague, Gemeentemuseum, Sammlung G. David Thompson, Pittsburgh / USA, 1960-61, no. 81
Basel, Galerie Beyeler, Klee, 1963, no. 29
Ascona, Galleria Castel-Nuovo, Trudy Neuburg-Coray, Paul Klee. Öl, Aquarell, Zeichnungen. Werke 1910-1940, 1964, no. 9

Will Grohmann, Paul Klee, Stuttgart, 1954, p. 260
Jürg Spiller (ed.) Paul Klee. Das bildnerische Denken. Form- und Gestaltungslehre, Basel/Stuttgart, 1956, illustrated p. 278
Jürgen Glaesemer, Paul Klee. Die farbigen Werke im Kunstmuseum Bern. Gëmalde, fabige Blätter, Hinterglasbilder und Plastiken, Bern, 1976, p. 147
Mark Lawrence Rosenthal, Paul Klee and the Arrow, Dissertation, The University of Iowa, 1979, p. 98
Sadao Wada, Paul Klee and his Travels, Tokyo, 1979, illustrated p. 383
Jenny Anger, ‘Klees Unterricht in der Webereiwerkstatt des Bauhauses’, in Das Bauhaus webt. Die Textilwerkstatt am Bauhaus (exhibition catalogue), Berlin, 1998, p. 38
Josef Helfenstein & Christian Rümelin (ed.), Paul Klee. Catalogue raisonné, Bern, 2001, vol. V, 1927-1930, no. 4356, illustrated p. 109

The masonite board is mounted on a cradled panel. Close inspection reveals a few tiny pinholes - perhaps flyspots - notably in the upper left corner and some abrasion along the edges probably relating to a previous frame. UV light reveals some tiny spots of retouching to repair the holes near the left edge. Otherwise this work is in very good condition.
"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."

We are grateful to Stefan Frey for his assistance with the provenance of this work.