Asta: 535 / Evening Sale with Collection Hermann Gerlinger del 09 dicembre 2022 a Monaco di Baviera Lot 52


Karl Schmidt-Rottluff
Mondschein, 1919.
Olio su tela
Stima: € 600,000 / $ 594,000
Mondschein. 1919.
Oil on canvas.
Grohmann pp. 196/289. Signed and dated in right margin below center. Once more signed and titled "Mondschein" on the reverse. Numbered "7" and "112", as well as inscribed "Gebhard" by a hand other than that of the artist. With the labels of Galerie Alfred Flechtheim, Düsseldorf, there numbered "[..] 415", and of Galerie Ferdinand Möller, Berlin. 87 x 101 cm (34.2 x 39.7 in).
• A year after the end of WW I, Schmidt-Rottluff attained a stronger sensitivity and a whole new confidence in the color through his observations of man and nature.
• The year this work was made, Schmidt-Rottluff married the photographer Emy Frisch (1884–1975).
• A museum-quality declaration of love.
• As early as in 1920, Ernst Gosebruch identified the magic of this intimate work which was of great importance to the artist.
• Significant provenance: from the renowned collection of Klaus Gebhard, textile manufacturer in Wuppertal and a patron of Expressionism.
• Presented at the Berlin Galerie Ferdinand Möller the same year it was made

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

PROVENANCE: Galerie Ferdinand Möller, Berlin (with the label on the reverse).
Galerie Alfred Flechtheim, Düsseldorf (1921, with the label on the reverse).
Collection Klaus Gebhard (1896-1976), Elberfeld/Wuppertal.
Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032).

EXHIBITION: Sonderausstellung Schmidt-Rottluff, Galerie Ferdinand Möller, Berlin-Schöneberg, Dec. 1919-March 1920.
Munch und die Brücke. Werke von Edward Munch, Erich Heckel, E. L. Kirchner, Otto Mueller, Emil Nolde, Max Pechstein, Schmidt-Rottluff, Galerie Alfred Flechtheim, Düsseldorf, November 15 - December 15, 1921, no. 35.
Presumably Frühjahrsausstellung, Akademie der Künste zu Berlin 1924, cat. no. 197.
Galerie Ernst Arnold, Dresden, 1927, cat. no. 20.
Karl Schmidt-Rottluff zum 100. Geburtstag, Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, June 3 - August 12, 1984, cat. no. 34 (with illu. on cover).
Karl Schmidt-Rottluff, Retrospektive, Kunsthalle Bremen, June 16 - September 10, 1989; Städtische Galerie im Lenbachhaus, Munich, September 27 - December 3, 1989, cat. no. 205 (with black-and-white illu., plate 71, exhibition view 1919, p. 88).
Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001).
Frauen in Kunst und Leben der "Brücke", Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig, September 10 - November 5, 2000, cat. no. 136 (with illu. on p. 217).
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Das andere Ich. Porträts 1900-1950, Staatliche Galerie Moritzburg, Landeskunstmuseum Sachsen-Anhalt, Halle (Saale), April 6 - June 15, 2003, cat. no. 266 (no illu.).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Vienna, June 1 - August 26, 2007, cat. no. 58 (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. 354f. (with illu.).
Schmidt-Rottluff. Form, Farbe, Ausdruck!, Buchheim Museum, Bernried, September 29, 2018 - February 3, 2019, pp. 234f. (with illu.).

LITERATURE: Wilhelm Reinhold Valentiner, Karl Schmidt-Rottluff, Leipzig 1920 (illu. 16).
Wilhelm Reinhold Valentiner, Karl Schmidt-Rottluff, in Jahrbuch der jungen Kunst, vol. 1, Leipzig 1920, pp. 189-212, 1920 (illu. 1).
Karl Scheffler, Karl Schmidt-Rottluff, in Kunst und Künstler, vol, 18, Berlin 1920, pp. 274-280, illu. on p. 279.
Wilhelm Reinhold Valentiner, Schmidt-Rottluff, in: Der Cicerone, vol. 12, June 1920, pp. 455-476, illu. 1.
Ernst Gosebruch, Schmidt-Rottluff, in: Genius, vol. 2, 1920, pp. 5-20, illu. on p. 11.
Will Grohmann, Karl Schmidt-Rottluff, Stuttgart 1956, pp. 67, 98, 196 (with illu.), 289.
Gerhard Wietek, Karl Schmidt-Rottluff in Hamburg und Schleswig-Holstein, Neumünster 1984, p. 143 (with illu.).
Eberhard Roters, Galerie Ferdinand Möller: die Geschichte einer Galerie für Moderne Kunst in Deutschland, 1917-1956, Berlin 1984, pp. 45, 37 (exhibition view 1919).
Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 389, SHG no. 673 (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 89, SHG no. 185 (with illu.).
Katja Schneider (editor), Moderne und Gegenwart. Das Kunstmuseum in Halle, Munich 2008, pp. 116f. (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Gemeinsames Ziel und eigene Wege. Die "Brücke" und ihr Nachwirken, Munich 2009, p. 46, illu. 28.

"It is pure magic how we perceive this merely suggested [..] woman as a lunar goddess, a sacred crescent, a silver soul, simply from the atmosphere of this poetic picture, a picture in which everything is airy and levitating."
Ernst Gosebruch, Schmidt-Rottluff, in: Genius, 1920, S. 10.

Called up: December 9, 2022 - ca. 18.42 h +/- 20 min.

In 1919, Schmidt-Rottluff spent the summer months from June to September with his longtime partner, the photographer Emy Frisch, in the small fishing village Hohwacht on the Baltic Sea. The artist painted a number of important pictures there, among them the self-portrait with hat and the counterpart portrait of Emy. He made paintings for which he used the sandy ground as the stage of the scenes, paintings such as "Juniabend" (fig.) or "Fraun im Grünen" (fig.) in which his wife Emy, along with another person, for instance the art historian and patron Rosa Schapire, takes center stage. "I am, after all, very little satisfied with this summer, which offered an all too fertile soil or the burdening melancholy. All the anguish of the war years is still present, I haven’t been able to free myself from it at all and feel very weak when I am working. I may have regained some confidence in the colors – but that's about it," wrote Schmidt-Rottluff from Hohwacht on August 28, 1919 to his friend and collector, the art historian Wilhelm Niemeyer. (Quoted from: Gerhard Wietek, Schmidt-Rottluff in Hamburg und Schleswig-Holstein, Neumünster 1984, p. 62.) This confession underlines the melancholia the artist evokes in the portrait of his wife Emy in a summer night illuminated by the moon in a harmonious color palette. Complementary contrasts in soft gradations fill the surfaces of this narrow landscape section not far from the Baltic Sea. Pensively feeling its way, the figure moves between green bushes along a sandy path under a purple night sky. Schmidt-Rottluff used the romantic motif of striding and meditating women in coastal landscapes in moonlight several times, a special sensation he had in balmy nights. The war had changed the artist, instead of a new political drive, as was the case with some of his contemporaries, Schmidt-Rottluff had developed a strong sensitivity from the certainty of a connection with the divine, the sacred, the religious. The expression of the paintings is more conciliatory, their forms rounder and more cohesive. There is a wonderful harmony between man and nature, and the vastness of the landscape, which includes the sky, allows the observer to linger in thought. The Berlin gallery of Ferdinand Möller showed the painting the very year it was made. And in 1920, Ernst Gosebruch showed "Mondlicht" and other works from Schmidt-Rottluff in an exhibition at the Kunstmuseum Essen. He described the work that captivated him so much as follows: "It is enchanting how the woman in this light and poetic picture, who is only hinted at, becomes the moon goddess herself, the holy crescent, the silver Selene created merely from the atmosphere." (Quoted from: Heinz Spielmann, in: Sammlung Hermann Gerlinger, Halle 2005, p. 89). [MvL]


Commissione, tassa e diritti di seguito
Questo oggette viene offerto con regime fiscale normale o con imposizione sul margine del profitto.

Calcolo imposizione particolare sul margine del profitto:
Prezzo di aggiudicazione fino a 500.000 €: supplemento del 32%
Prezzo di aggiudicazione superiore a 500.000 €: Parte del prezzo fino a 500.000 € supplemento del 32 %, parte del prezzo che supera i 500.000 € supplemento del 27%
Nel supplemento è compresa l'IVA che tuttavia non compare sulla fattura.

Calcolo regime fiscale normale:
Prezzo di aggiudicazione fino a 500.000 €: supplemento del 25%, maggiorato dell´IVA legale
Prezzo di aggiudicazione superiore a 500.000 €: Parte del prezzo fino a 500.000 € supplemento del 25 %, parte del prezzo che supera i 500.000 € supplemento del 20%, a talvolta maggiorato dell'IVA legale.

La preghiamo di avvisarci prima della fatturazione nel caso in cui desidera applicare il regime fiscale normale.

Calcolo diritti di seguito:
Per gli oggetti realizzati da un artista la cui morte risale a meno di 70 anni, viene fatturata una quota sui diritti di seguito pari all'2,4% IVA legale inclusa.