Kraft, Berlin
Sale: Ball-Graupe, Berlin, March 1932, lot 31
Private Collection, South Africa
Kunsthandlung Resch, Gauting
Galerie für alte und neue Kunst Alexander Gebhardt, Munich
Acquired from the above by the father of the present owners

Berlin, F. Gurlitt, Werke deutscher Meister aus Privatbesitz, 1915, no. 35
Düsseldorf, Kunstverein, 1950, no. 2
Hannover, Landesmuseum, Lovis Corinth: Gedächtnisausstellung zur 25. Wiederkehr seines Todestages, 1950, no. 77
Cologne, Wallraf-Richartz Museum, Lovis Corinth, 1950
Wolfsburg, Stadthalle, Lovis Corinth: Gedächtnisausstellung zur Feier des hundertsten Geburtsjahres, 1958, no. 124
Cologne, Kunsthalle, Lovis Corinth: Gemälde, Aquarelle, Zeichnungen und Druckgraphische Zyklen, 1976, no. 566

Gert von der Osten, Lovis Corinth. Jahresgabe des Kunstvereins Hannover, Munich, 1955, illustrated p. 6
Charlotte Berend-Corinth, Die Gemälde von Lovis Corinth, Werkkatalog, Munich, 1958, no. 626, illustrated p. 627
Charlotte Berend-Corinth, Lovis Corinth, Die Gemälde, Werkverzeichnis, Munich, 1992, no. 626, illustrated p. 657

The canvas is not lined and there do not appear to be any signs of retouching visible under UV light. There are scattered tiny fly spots and fine lines of stable craquelure in places. There are a few spots of paint loss in areas to the more thickly applied pigment. The impasto is otherwise very well preserved and this work is in good original 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."

Chrysanthemen und Lilien, painted in 1914, is a wonderful example of the expressive and vigorous, painterly style of Lovis Corinth's mature œuvre. Writing about the artist’s late works, Georg Bussmann commented: 'He rejoices in painting wet upon wet, in painting colour upon colour, in smudging them and then stopping suddenly and simply allowing them to glow' (Georg Bussmann, 'Lovis Corinth: The Late Works' in German Art in the Twentieth Century. Painting and Sculpture 1905-1985 (exhibition catalogue), Royal Academy of Arts, London, 1985, p. 436).

Corinth held a deep-seated ambition to be at the forefront of artistic development which drove him to explore new subject matters, howeveꩲr, still lifes remained a recurring theme throughout his career. His recovery from a stroke, which he suffered in 1911, inspired an intense interest in the simple, intimate intricacies of daily life and a renewed enthusiasm for still lifes.

Corinth was determined to demonstrate that German art could keep up with the international avant garde. When elected pres🐲ident of the Berlin Secession in 1915 he organised an exhibition to illustrate the advancement of German art and included some of his still lifes. Characteristic of Corinth’s flower still lifes are the deep tones of red and 🦩orange as well as the contrasting highlights of the white lilies. In the present work, the rich impasto, slightly abstracted background and high level of expressiveness is a modern celebration of this traditional subject matter.