Dr Guido Bagier, Germany (acquired directly from the artist)
Galerie Wilhelm Grosshennig, Düsseldorf
Karl Ströher, Darmstadt (acquired from the above 1953)
Thence by descent to the present owner

Los Angeles, Los Angeles Museum; Portland, Museum of Art & Spokane, Grace Campbell Memorial Building, The Blue Four, 1926-27, no. 34 (titled Holy Head Moonlight)
Seattle, University of Washington, Henry Art Gallery, The Blue Four, 1927, no. 9 (titled Holy Head: Moonlight)
Hollywood, Braxton Gallery, The Blue Four, 1930, no. 46, (titled Holy Head: Moonlight)
Darmstadt, Landesmuseum, Kunst unserer Zeit, Sammlung K. Ströher, 1954, no. 84, illustrated in the catalogue
Wiesaden, Nassausischer Kunstverein, Neues Museum, Kunst unserer Zeit. Sammlung Karl Ströher, 1954, no. 95, illustrated in the catalogue
Darmstadt, Landesmuseum, Sammlung Karl Ströher, 1965-66, no. 48, illustrated in the catalogue
Darmstadt, Landesmuseum, Bildnerische Ausdrucksformen 1910-1960, Sammlung Karl Ströher, 1970, n.n., illustrated in the catalogue

Clemens Weiler, Alexej von Jawlensky, Cologne, 1959, no. 265, illustrated p. 246
Dr Erika Pohl, Ursula Ströher & Gerhard Pohl, Karl Ströher, Sammler und Sammlung, Ferpicloz, 1982, illustrated p. 125
Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, Alexej von Jawlensky, Catalogue raisonné of the Oil Paintings 1914-1933, London, 1992, vol. II, no. 1123, illustrated p. 332

Oil on paper, laid down on Japan paper which is then attached to a board alongside each edge. UV examination reveals two small areas of retouching at the centre of the upper edge and a further small spot; there is a line of retouching approximately 3cm. long across the upper right corner, another small area of retouching to the centre of the lower edge and two further spots to the lower part of the right edge and the right part of the lower edge. There is a handling mark which fluoresces slightly to the upper part of the right edge. There is a small and fine line of stable craquelure to the upper left corner and a few tiny fly spots in places. The colours are fresh and 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."

Dating to 1922, Heilandsgesicht: Mondlicht (Verheissung) is a superb example of Alexej von Jawlensky’s series of Saviour’s Faces. The present work depicts Christ’s face as an icon with his eyes closed. Features, such as eyes, nose, mouth and hair are articulated with few lines, reducing the representation to its absolute essence. The palette is predominantly composed of cool tones and the expression of calm and serenity is amplified by bringing the face into close up. 

Looking to Jওawlensky’s œuvre, this work marks a radical departure in style from the powerful vibrant colours of the artist’s Munich years, and towards a paler palette with delicate and translucent application of paint. Such stylistic transition is closely connected to the traumatic experience of the artist’s expulsion from Germany in 1914, which forced him into exile in Switzerland. Having been forced to desert his social circle and living in straitened circumstances, the artist’s outlook on life and creative motivations changed. In his art, Jawlensky began to work in a new kind of serial painting, that was to become characteristic for the remainder of his career. Jawlensky concentrates on few subjects: the view from his window in Saint Prex and the human face. However, the sheer extent of each series is impressive demonstrating his urge to experiment, and revealing the full potential that lay in formal and chromatic variants.

The artist’s fascination with the human face became dominant from 1917. Following from his series of Mystical Heads, the characteristics of the Saviour’s Face series are the angel-like, and strongly symmetrical faces in frontal representation, formally reminiscent of Russian icons. The rigorously geometric elements in the present work foretell the artist’s future development towards stronger abstraction. The wisdom sign as represented in the work marks a spiritual conception of art and the work may reflect Jawlensky’s preoccupation at this time with questions of the divine-human relationship and life after death. In Saint Prex, Jawlensky read books on Indian yogis, which appear to have had an impact on his painting. Stylistically, Jawlensky no longer uses his distinctive black outlines but resorts to fine outlines in pencil which remain visible through the paint. Individual brush strokes mark out facial features, hair, neck and mouth, which are initially outlined, becoming a cluster of linear paint strokes. Jawlensky's faces become increasingly abstract, no longer depictions of the seen, but lyrical expressions of inward states emanating a mystical radiance, the products of the artist’s inner visio𝔉n, more original and innovatory than any of Jawlensky’s previous work.

Following yea💃rs of exile in Switzerland, Jawlensky moved to Wiesbaden in 1922 where an exhibition of his work organised by his close friend Galka Scheyer had been received favourably the previous year. Jawlensky married Marianne von Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas. This newly found stability seems to be directly reflected in the contentedness of the present work.

Between 1924 and 1933 the present work was with Galka Scheyer, a painter, dealer and collector who was instrumental in the foundation of Die Blauen Vier in 1924 (the group which included Wassily Kandinsky, Lyonel Feininger and Paul Klee as well as Jawlensky) and keenly promoted the work of these artists in the United States, encouraging greater recognition for their work outside Europe. In Galka Scheyer’s care, the work was exhibited in Los Angeles before entering the collection of Dr Guido Bagier, editor of the art magazine Feuer -Monatsschrift für Kunst und künstlerische Kultur, author and film maker. Letters document Jalwenksy’s desire to have Bagier write a book aboutꦬ𓆉 him.