EMIL NOLDE (1867-1956)
EMIL NOLDE (1867-1956)
EMIL NOLDE (1867-1956)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE COLLECTION
EMIL NOLDE (1867-1956)

Dahlien (gelb un violett) in blauer Vase

Details
EMIL NOLDE (1867-1956)
Dahlien (gelb un violett) in blauer Vase
signed ‘Nolde.’ (lower right)
watercolour on Japan paper
17 5⁄8 x 12 1⁄2 in. (44.7 x 31.8 cm.)
Executed circa 1930-1935
Provenance
Nolde Stiftung Seebüll, until at least 1970.
Fischer Fine Art, London.
Private collection, United Kingdom, by whom acquired from the above before 1980, and thence by descent to the present owner in 2010.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Further details
Prof. Dr. Manfred Reuther, Klockries, has confirmed the authenticity of this work.
Artist's Resale Right Regulations 2006 apply to this lot. You must pay us an extra amount equal to the resale royalty and we will pay the royalty to the appropriate authority. Please see the Conditions of Sale for further information.

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Lot Essay

'They are such calm and beautiful hours when one sits or moves about between the fragrant and blossoming flowers; I really wish to give my pictures something of this beauty.'
(Emil Nolde quoted in Emil Nolde: My Garden Full of Flowers, exh. cat., Cologne, 2009, pp. 23-24)

Flowers held an important symbolism for Nolde. They were intrinsically tied to the memories of his childhood home, where he could distinctly recall walking through the gardens with his mother at a young age while she tended to the plants, her delicate hands picking roses and shaving their sharp thorns away from their stems. They were also, to his mind, a vivid example of the eternal cycle of birth, life and death that underpinned nature. Entranced by their beauty, yet aware of their transience and ephemerality, Nolde saw these blooms as the romantic, almost tragic symbol of life itself: 'The blossoming colors of the flowers and the purity of these colors; I loved them so very much. I loved the flowers in the context of their destiny: shooting up, blossoming, glowing, pleasing, sloping down, fading, and ending up cast in the pit. Our human destiny is not always as consequent or beautiful' (quoted in ibid., p. 24).

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