Galerie Neue Kunst Fides (Rudolf Probst), Dresden (on commission for sale from the artist in 1926)
Alfred Flechtheim, Berlin (on commission for sale from the artist in 1930)
Galerie Simon (Daniel-Henry Kahnweiler), Paris (on commission for sale from the artist in 1934)
Karl Nierendorf, New York (on commission for sale from the artist in 1937)
Ludwig Mies van der Rohe, Chicago (acquired from the above in 1938)
Mr. and Mrs. Stanley B. Resor, Greenwich, Connecticut (a gift from the above in 1938)
Private Collection, United States (by descent from the above)
Acquired from the above

Dresden, Galerie Neue Kunst Fides, Paul Klee, 1926, no. 95
Brussells, Galerie L'Epoque, Paul Klee, 1928, no. 34
Breslau, Schlesisches Museum der bildenen Künste, Paul Klee, 1928
Basel, Kunsthalle Basel, Bauhaus Dessau: J. Albers, L. Feininger, W. Kandinsky, P. Klee, O. Schlemmer, 1929, no. 121
Berlin, Galerie Ferdinand Möller, Blaue Vier. Lyonel Feininger, A. Jawlensky, W. Kandinsky, Paul Klee, 1929, no. 136
Dresden, Galerie Neue Kunst Fides, Paul Klee. Aquarelle aus den Jahren, 1930, no. 52
Paris, Galerie Simon, Paul Klee, 1934
Prague, Vereinigung der bildenden Künstler Manes, Bdova Mánesa, Mezinárodiní Výsava I, 1935-36, no. 17
New York, Nierendorf Gallery, Three Masters of the Bauhaus: Klee, Kandinsky, Feininger, 1937-38

The Paul Klee Foundation & Museum of Fine Arts, Bern, Paul Klee Catalogue Raisonné 1923-1926, vol. IV, London, 2000, no. 4089, p. 471

Executed on creave wove paper mounted on board. The top, left and bottom edges are deckled and the sheet appears to be a little time-darkened. There are a couple very minor studio marks as well as a couple very minor spots of foxing. Meanwhile the board is slightly mat-stained to the extreme outer edges and has a slight crease at bottom right correlating to a minor repair. The 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Rote erde is distinguished not only as a prime example of Klee's abstract oeuvre at the height of his career, but also for its extraordinary history of ownership, linking it to some of the most important figures in the history of modern art.👍 Ultimately the work was given by German architect Ludwig Mies van der Rohe to Mr. and Mrs. Stanley Resor, the husband and wife team that transformed J. Walte🐽r Thompson into a leading advertising firm.

Mrs. Resor had been an early trustee and key supporter of the Museum of Modern Art and developed a close friendship with Alfred H. Barr, its first director. Among her greatest contributions to the museum was her anonymous donation of Salvador Dalí's The Persistence of Memory. In 1937, after an introduction devised by Barr, Mrs. Resor arranged for Mies van der Rohe to trave𝔍l to the United States and gave him his first commission there. The following year Mies emigrated to the United States, a decision that proved transformative for his career and for modern architecture everywhere.