Acquired by the present owner in 1956

Hermann Raum, Die bildende Kunst der BRD und Westberlins, Leipzig, 1977, p. 28
Karl Bernhard Wohlert & Markus Eisenbeis, Karl Hofer. Werkverzeichnis der Gemälde, Köln, 2008, vol. III, no. 2196 B, illustrated p. 63 (with erroneous details)

The canvas is not lined. UV examination reveals a line of retouching (approx 2cm. long) to the centre of the upper edge, as well as a spot of retouching towards the upper right corner and a further small area to the centre of the figure's back, both infilling paint loss. There is a small area of restoration visible to the canvas within the red pigment towards the centre of the lower edge. There are some fine lines of stable craquelure and a few very tiny flecks of paint loss in places. This work is in overall 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."

Karl Hofer is regarded one of the most prominent figures of Expressionism. Although never directly associated with Die Brücke, he was deeply impressed by their simplified forms and strong, non-representational colours, which were meant to jolt the viewer and provoke an emotional response. In 1909, August Macke visited Hofer in Paris. In a letter he reports: ‘Hofer is a very impressive painter; he is of huge talent and appeared almost euphoric. I am not easily impressed by a living artist, but he really struck me as a person and also as artist’ (Letter to Sofie Gerhard, Paris, 13th October 1909, quoted in Hartwig Garnerus, Karl Hofer 1878-1955, Exemplarische Werke, Sammlung Hartwig Garnerus, Heidelberg, 1998, p. 20).

Mädchen mit Orange was painted in 1947 only a few years after the end of World War II, a time of great hardship for Hofer. In 1934 he had been dismissed from his teaching post at the Kunstschule in Berlin-Charlottenburg and in 1937 his works had been removed from German museums, a selection of which were going to be exhibited at the 1937 exhibition of Entartete Kunst (Degenerate Art) i🐼n Munich. Under the Nazi regime, Hofer was banned from painting and unable to exhibit and in 1943 a large part of his artistic output was destroyed irrevocably during 🌃an air raid on Berlin.

By 1947, Hofer was beginning to recover from this experience. The vivid palette and calm optimism of the present work, reflect his newfound positivity. Holding an orange, a delicacy unavailable during wartime, the central figure gazes through an open window tow💎ards a brighter future.

Combining these elements Mädchen mit Orange is a wonderful example of Hꦫofer’s unique Classic-Romantic style which set him apart from his fellow Expressionists such as Ernst Ludwig Kirchner, Karl Schmidt-Rottluff and Oskar Kokoschka.