- 319
Alexej von Jawlensky
Estimate
40,000 - 60,000 GBP
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Description
- Alexej von Jawlensky
- Grosses Stillleben: Rosen in ultramarinblauer Vase (Large still life: roses in an ultramarine blue vase)
- signed with the artist's monogram (lower left) and dated 36 (lower right); signed A. Jawlensky, dated 1936 VI and inscribed N9 on the reverse
- oil on linen-finish paper laid down on board
- 24.8 by 17.5cm., 9 3/4 by 6 7/8 in.
Provenance
Estate of the Artist
Galerie Grosshennig, Düssedorf (acquired by 1961)
Private Collection, Germany (circa 1980s)
Thence by descent to the present owner
Galerie Grosshennig, Düssedorf (acquired by 1961)
Private Collection, Germany (circa 1980s)
Thence by descent to the present owner
Exhibited
St. Gallen, Galerie Im Erker, Alexej von Jawlensky, 1958
Cologne, Galerie Aenne Abels, Alexej von Jawlensky, 1958, no. 48
Bonn, Städtische Kunstsammlungen, Alexej Jawlensky - Adolf Hölzel, 1958, no. 32 (titled as Rosen in blauer Vase)
Berlin, Haus am Waldsee, Alexej von Jawlensky, 1958, no. 83
Düsseldorf, Galerie Grosshennig, Alexej von Jawlensky, 1961, illustrated in colour in the catalogue
Düsseldorf, Galerie Grosshennig, Auserlesene Meisterwerke des 19. und 20. Jahrhunderts, 1962, n.n., illustrated in colour in the catalogue
Cologne, Galerie Aenne Abels, Alexej von Jawlensky, 1958, no. 48
Bonn, Städtische Kunstsammlungen, Alexej Jawlensky - Adolf Hölzel, 1958, no. 32 (titled as Rosen in blauer Vase)
Berlin, Haus am Waldsee, Alexej von Jawlensky, 1958, no. 83
Düsseldorf, Galerie Grosshennig, Alexej von Jawlensky, 1961, illustrated in colour in the catalogue
Düsseldorf, Galerie Grosshennig, Auserlesene Meisterwerke des 19. und 20. Jahrhunderts, 1962, n.n., illustrated in colour in the catalogue
Literature
Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, London, 1991, vol. III, no. 2010, illustrated p. 287
Condition
Oil on linen-finished paper laid down on board. The board is stable and there do not appear to be any signs of retouching visible under UV light. There are pin holes to all four corners. There is a tiny loss to the paper at the centre of the lower edge. This work is in overall 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."
"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."
Catalogue Note
Painted in 1936, the present still life is a wonderfully vivid composition. With its strong colours and vigorous brushwork, this work reflects the profound impression the Fauves made on the artist. Enriched by these influences the present work is a wonderful testimony to the artist's evolution of a personal style, marking the painter's maturation into one of the most important German Expressionist artists.
In his memoires, dictated to Lisa Kümmel in 1937, Jawlensky recalls: 'At that time I was painting mostly still lifes because in them I could more easily find myself. I tried in these still life paintings to go beyond the material objects and express in colour and form the thing which was vibrating within me, and I achieved some good results' (quoted in Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, op. cit., p. 30)