Sale: 520 / Evening Sale, June 18. 2021 in Munich Lot 121000526

 
121000526
Hermann Max Pechstein
Rote Häuser, 1922.
Oil on canvas
Estimate:
€ 200,000 - 300,000

 
$ 234,000 - 351,000

+
Lot description
Rote Häuser. 1922.
Oil on canvas.
44.3 x 60.8 cm (17.4 x 23.9 in).
The same subject can be found in a signed and dated watercolor from 1922. (Lit.: Zwischen Tradition und Moderne. Ölbilder, Zeichnungen, Graphik, Plastik, catalog 38, Galerie Rosenbach, Hanover 1988, cat. no. 162)
Regarding the question of the monogram "MP", Prof. Dr. Aya Soika mentions in her expertise that a number of works with belated "signatures" or "monograms" are known that were not inscribed by the artist.
• Rediscovered in an Americna private collection in 2016.
• The painting of the same name "Rote Häuser" (1923) was also made in Leba and is part of the collection of the Sprengel Museum in Hanover.
• Fascinating bright composition that is borne by the contrast between the calmness of the deserted scene and the dynamic of the looming thunderstorm.
• Strong abstract examination of the motif of the red fisherman's house in vast nature, which Pechstein fancied since his first trips to the North- and the Baltic Sea.
• The motif of the red houses had fascinated Pechstein since his first trips to North- and Baltic Sea and became a popular motif of the "Brücke" artists
.

Accompanied by an expertise issued Prof. Dr. Aya Soika, Berlin, from July 18, 2016.

PROVENANCE: Robert and Ruth Reichman(n), Berlin and New York.
Martin and Lola Lesser, neé Reichman, New York.
Private collection New York (inherited, until 2016).
Private collection Hesse (since 2016, acquired from the above).

LITERATURE: Ketterer Kunst, Auction of Modern Art I, December 10, 2016, lot no. 221.
".. new landscapes, new people, I immersed myself in it .. I got the farmland in back for that, that is a far bigger sphere of action than in Nida.."
Hermann Max Pechstein, 1921, quote from: Aya Soika, Max Pechstein, vol. 1, p. 73.

Essay
Leba in Pomerania was a place of renewal for Pechstein's work and thus of formative importance. Pechstein felt particularly connected to the local landscape and its people. In contrast to the hectic city of Berlin in the years after the First World War, Pechstein seemed to have found a longed-for ideal of a peaceful life there, where Pechstein also met his second wife Marta Möller, the daughter of the owner of a small seaside inn where the Berlin painter and his first wife Lotte stayed. In Leba the artist and his wife had, so to speak, "crossed over" fallen in love with the two children of their innkeepers and thus initiated a time of upheaval in their private lives. Pechstein finally married Marta Möller, who was then just 18 years old after he got divorced from Lotte in September 1923, and Lotte later married Marta's brother Hermann. This spirit of optimism and the originality of this almost untouched landscape impression, which was new to him, shaped his painterly work of this time in a particularly rich manner, so that Pechstein went back to the motifs and the knowledge gained in Leba even after the Second World War.

The summarized-compact forms are based on the forms of Expressionism, but at the same time they go in a direction toward a more abstract and flat style. The compositional closeness to the watercolor with the same subject is astonishing and allows us to fathom out Pechstein's working method based on the rural motifs surrounding him in Leba, which he mostly captured on paper first. Pechstein's intense examination of this motif, which he also showed in the painting "Rote Häuser im Schnee mit Windmühle" (Red Houses in Snow with Windmill, 1922 , whereabouts unknown) from a different perspective and in winter, is probably owed to the unique grouping of the small red fishermen's houses, which he also captured from yet another Perspective in "Rote Häuser" (Red Houses, 1923, Sprengel Museum, Hanover). Even during his previous stays in Dangast and Nidden, Pechstein had repeatedly painted fishermen's houses in the vast, pristine northern German coastal landscape to compensate for the hectic city life in Berlin. Initially, mostly standing in remoteness, like in "Das rote Haus" (The Red House, 1911, The Israel Museum, Jerusalem), but also in an expressively bright red and under an atmospheric sky, as it is the case with our painting which was rediscovered in an American private collection. In "Red Houses" the idyllic tranquility of the highly abstracted, rural motif seems to be shaken by an approaching thunderstorm, which Pechstein masterfully rendered with black and gray cloud formations. The ostensible peace and quiet is deceptive and so "Rote Häuser" can also be understood as an artistic take on of the looming private changes. [JS]
 


Buyer's premium, taxation and resale right apportionment for Hermann Max Pechstein "Rote Häuser"
This lot can only be purchased subject to regular taxation.

Regular taxation:
Hammer prices up to € 500,000: 25 % buyer's premium plus statutory sales tax Hammer prices above € 500,000: for the share up to € 500,000: 25%, for the share above € 500.000: 20% buyer's premium, each plus statutory sales tax

Resale right apportionment:
Objects made by artists who have not died at least 70 years ago are subject to a resale right apportionment of 2% plus statutory sales tax.