Hella Nebelungen, Dusseldorf (acquired in 1958)
Acquired from the above by the present owner in 1958

Magdalene Claesges, Ernst Wilhelm Nay. Werkverzeichnis Aquarelle, Gouachen, Zeichnungen, 1919-1948, Ostfildern, 2012, vol. I, no.47-140, illustrated p. 353

Executed on grey wove paper, not laid down, attached to the mount at the upper two corners and floating in the mount. The right edge is deckled and there are artist's pinholes to all four corners and to the centre of the right, left, and upper edges. The pinhole at the right edge has a tiny associated tear. The sheet is undulating due to the application of medium. There are very fine lines of paint shrinkage in places, most prominently to the green pigment in the upper right corner with some associated flecks of paint loss. There are some fine, flattened creases along the right edge. There is a small loss to the lower left corner. There are faint marks along the upper and lower edges, possibly due to previous framing. 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."

Ernst Wilhelm Nay was a German abstract painter influenced by L'Art Informel. A student of Karl Hofer at the Berlin Art Academy from 1925 until 1928, he was inspired in particular by the art of Kirchner and Matisse as well as older masters including Friedrich and Poussin. In the early 1930s he spent a number of summers in Pomerania on the Baltic coast; his work from this period is characterised by the remarkable energy and movement with which he imbued his figures. Nay exhibited his work widely during this period and also began setting down his artistic theories in written form, leading to the publication of his treatise on colour in 1955.