- 401
Alexej von Jawlensky
Estimate
200,000 - 300,000 USD
bidding is closed
Description
- Alexej von Jawlensky
- Grosse Variation: Nach Dem Frühlingsegen (Large Variation: After The Spring Blessings)
- Signed with the initials A.vJ (lower left); dated 1916 (lower right); inscribed, titled Grosse Variation, numbered and dated N. 3 1916 and inscribed St. Prex, Nach dem Frühlingsregen (on the verso)
- Oil on linen finished paper mounted on card
- 20 7/8 by 13 3/4 in.
- 53 by 34.9 cm
Provenance
Redfern Gallery, London
Galerie La Motte, Geneva
Leonard Hutton Galleries, New York
Marlborough Gallery, London
Roman Nobert Ketterer (and sold: Galerie La Motte, Geneva, 1971, lot 80)
Private Collection, Switzerland (and sold: Lempertz, Cologne, December 3, 2010, lot 13)
Acquired at the above sale by the present owner
Galerie La Motte, Geneva
Leonard Hutton Galleries, New York
Marlborough Gallery, London
Roman Nobert Ketterer (and sold: Galerie La Motte, Geneva, 1971, lot 80)
Private Collection, Switzerland (and sold: Lempertz, Cologne, December 3, 2010, lot 13)
Acquired at the above sale by the present owner
Exhibited
London, Redfern Gallery, Alexej von Jawlensky 1864-1941, 1956, no. 34
London, Redfern Gallery, Michael Ayrton, Jawlensky, Vieira da Silva, 1959, no. 69
London, Redfern Gallery, Alexej von Jawlensky, 1960, no. 7, illustrated in color in the catalogue
Geneva, Galerie La Motte, 1962, no. 294
New York, Leonard Hutton Galleries, A Centennial Exhibition of Paintings by Alexej von Jawlenksy, 1965, no. 34
London, Marlborough Gallery, Kandinsky and his friends, no. 61, illustrated in color in the catalogue
London, Redfern Gallery, Michael Ayrton, Jawlensky, Vieira da Silva, 1959, no. 69
London, Redfern Gallery, Alexej von Jawlensky, 1960, no. 7, illustrated in color in the catalogue
Geneva, Galerie La Motte, 1962, no. 294
New York, Leonard Hutton Galleries, A Centennial Exhibition of Paintings by Alexej von Jawlenksy, 1965, no. 34
London, Marlborough Gallery, Kandinsky and his friends, no. 61, illustrated in color in the catalogue
Literature
Roman Nobert Ketterer, Moderne Kunst V, Lugano, 1968, no. 57, illustrated p. 71
Clemens Weiler, Alexej Jawlensky, Köpfe, Gesichte, Meditationen, Hanau, 1970, no. 118
Roman Nobert Ketterer, Moderne Kunst VII, Lugano, 1971, no. 55, illustrated in color p. 106
Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, Alexej von Jawlensky: Catalogue Raisonné of the Oil Paintings 1914-1933, vol. II, Munich, 1992, no. 839, illustrated p. 141
Clemens Weiler, Alexej Jawlensky, Köpfe, Gesichte, Meditationen, Hanau, 1970, no. 118
Roman Nobert Ketterer, Moderne Kunst VII, Lugano, 1971, no. 55, illustrated in color p. 106
Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, Alexej von Jawlensky: Catalogue Raisonné of the Oil Paintings 1914-1933, vol. II, Munich, 1992, no. 839, illustrated p. 141
Condition
Executed on paper mounted on card; the card is sound and slightly bowed at the center. There are artist pinholes at all four corners. The colors are bright. There are a few minor surface stains in the upper portion of the composition near the corners. Under UV light no inpainting is apparent. 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.
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.
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.
Catalogue Note
Painted in 1916, Grosse Variation: Nach Dem Frühlingsegen is a vibrant composition dating from the height of Jawlensky's Expressionist style. Made up of strong, animated colors delineated by bold contours, this abstract composition leads the viewer's eye from the foreground to the top of the composition. The range of intense blue, yellow and deep red tones is typical of Jawlensky's expressionist palette that characterized his paintings of this period.
The spontaneous brushstrokes and the juxtaposition of bright and cool tones reflect the influence of Van Gogh and Cézanne. In 1905 Jawlensky's works were exhibited at the Salon d'Automne in Paris alongside those of the Fauve artists, who were to play the most important role in the development of Jawlensky's style in the following years. His abandoning of representational function of color in favor of a more spontaneous, expressive one is strongly reminiscent of Matisse's work at the height of his Fauve period. Grosse Variation: Nach Dem Frühlingsegen represents a synthesis 🦹of these various artistic influence🐈s into a personal and unique language.