Mrs H. Jaffé, Cologne
Dr Karl Zitzmann, Erlangen
Galerie Neumann-Nierendorf, Berlin
Private Collection, North-Rhine-Westphalia
Galerie Utermann, Dortmund
Private Collection, New York
Firmengruppe Ahlers, Herford
Acquired by the present owner circa 2000

Dresden, Galerie Ernst Arnold, Kunst der Gegenwart, 1923 (titled Mondenschein)
Wolfsburg, Volkswagenwerk, Lovis Corinth, Gedächtnisausstellung zur Feier des 100. Geburtstages, 1958
Bielefeld, Kunsthalle, Lovis Corinth 1858-1925, Aquarelle, Gemälde, Pastelle, Zeichnungen, 1974, no. 31, illustrated in colour in the catalogue (titled Walchensee bei Mondschein)
Munich, Städtische Galerie im Lenbachhaus, Lovis Corinth 1858-1925, Gemälde und Druckgraphik, 1975, no. 82, illustrated in the catalogue
Cologne, Wallraf-Richartz-Museum in der Kunsthalle, Lovis Corinth. Gemälde, Aquarelle, Zeichnungen und druckgraphische Zyklen, 1976, no. 68, illustrated in colour in the catalogue (titled Walchensee bei Mondschein)
Regensburg, Ostdeutsche Galerie & Bremen, Kunsthalle, Lovis Corinth. Die Bilder vom Walchensee, Vision und Realität, 1986, no. 20, illustrated in colour in the catalogue
Frankfurt, Schirn Kunsthalle (and travelling), Expressionistische Bilder, Sammlung Firmengruppe Ahlers, 1993-2000, no. 45, illustrated in colour in the catalogue
Berlin, Galerie Pels-Leusden, Lovis Corinth am Walchensee, Späte Bilder, 2002, no. 1, illustrated in 𓃲colour in the catalogue

Weltkunst, Munich, 1972, vol. VI, illustrated p. 377
Horst Uhr, Lovis Corinth, Berkeley, Los Angeles & Oxford, 1990, illustrated pl. 159
Charlotte Berend-Corinth. Lovis Corinth, Die Gemälde, Werkverzeichnis, Munich, 1992, no. 809, illustrated p. 768

The board is stable. There are some small intermittent specks of retouching along the left, upper and right edges, probably due to frame rubbing. There are a few very tiny spots of retouching in the sky to the right half of the composition. All retouching is visible under UV light. Apart from a slight bow in the board, this work is in 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."

The present work depicts the Walchensee, a lake in the small mountain village of Urfeld in Upper Bavaria. Corinth had first visited this site with his family in 1918, and he was so enthusiastic about the landscape that his wife Charlotte Corinth had a house built for him the following year on a hillside overlooking the lake. 'To prevent the possibility of our splendid  view of the Walchensee being spoiled by new houses built by neighbours,' Charlotte recalled several years later, 'we also purchased a meadow lying just below our own house. On one side of it, there was a large tree. Corinth loved this gnarled old tree. He used to sit on a bench underneath it for hours on end, lost in contemplation of the lake and mountains' (quoted in Lovis Corinth (exhibition catalogue), Haus der Kunst, Munich; Nationalgalerie, Berlin; Art Museum, St Louis & Tate Gallery, London, 1996-97, p. 249). This site was a hallowed subject of German Romantic painting, and Corinth enthusiastically reinterpreted it with the aesthetic sensibilities of an Expressionist painter. From 1918 until his death in 1925, Corinth completed almost 80 pictures of the lakeside panorama, never tiring of the majestic vista that lay right outside his villa. Walchensee, Junimond, painted in 1920, is a stunning example of how the artist was able to synthesise the visual grandeur of the nocturnal landscape and his emotional response to it.

In this painting, Corinth depicts the lake and the Alpine horizon, probably on a full moon night. The Alpine silhouette can be seen in the moonlight on the opposite banks of the river in the far distance. These geographical markers are features of almost all the Walchensee pictures, as this was the view that Corinth contemplated every day from his terrace. But as the seasons changed and the time of the day cast a new light over the landscape, the artist would re-examine this scene in his paintings with a fresh, stylistic approach and renewed vigour. In their free and dramatic use of brushwork and tonality, the Walchensee pictures are considered among the most accomplished and stylistically complex compositions of Corinth's œuvre.