Sale: 520 / Evening Sale, June 18. 2021 in Munich Lot 121000530

Paul Klee
Edelklippe, 1933.
€ 150,000 - 200,000

$ 175,500 - 234,000

Lot description
Edelklippe. 1933.
Klee 6100. Signed in lower right. On glassine. 32 x 42.7 cm (12.5 x 16.8 in), the full sheet.
• From the artist's most sought-after era.
• On display at the most renowned international galleries.
• The work's exhibition history is a prime example for the history of the German art trade in the 1930/40s and the strong influenced flight and migration had on it.
• Klee stages a fanciful landscape in a blaze of colors

PROVENANCE: Alex Vömel, Düsseldorf ( in 1934 accepoted on consignment from the artist and not through Alfred Flechtheim).
Daniel-Henry Kahnweiler, Paris.
Buchholz Gallery - Curt Valentien, Berlin/New York (until 1938).
Karl Nierendorf, Cologne/Berlin/New York (from 1938).
Sotheby's, New York, November 12, 1988, lot 165.
Waddington Galleries Ltd., London.
Galerie Academia, Salzburg.

EXHIBITION: Paul Klee, Buchholz Gallery, New York, 1938, no. 49.
Paul Klee, Buchholz Gallery, New York, 1948, no. 7.
Affinities, Galerie Academia Salzburg-Residenz, 1989, no. 2.
Paul Klee - Wachstum regt sich. Klees Zwiesprache mit der Natur, Saarland Museum, Saarbrücken, March 25 - May 27, 1990; Prinz-Max-Palais, Karlsruhe, June 22 - August 19, 1990, no. 131 (ex. cat. with illu. on p. 191).
Klee - Winter - Kirchner. 1927-1934, Westfälisches Landesmuseum, Münster, January 14 - March 4, 2001, Pinakothek der Moderne, München, March 15 - April 30, 2001.
Paul Klee: Melodie / Rhythmus / Tanz, Museum der Moderne, Salzburg, 2008 (ex. cat. with illu. on p. 259).

LITERATURE: Ulrich Bischoff, Paul Klee, Munich 1992, p. 77.

1933 was an extremely complex year for Paul Klee. The cultural policies of the National Socialists had serious impact on his life and on his work. On April 1, 1931, Paul Klee quot at the Bauhaus in Dessau and began to teach at the State Art Academy in Düsseldorf on July 1, 1931, a post that the academy’s director Walter Kaesbach had proposed to him as early as in 1929. His contract also stipulate a relocation from Dessau to Düsseldorf. Nevertheless, Klee commuted until the beginning of May 1933. Shortly after the Nazi’s came into power in January 1933, he moved into the focus of cultural-political disputes and was publicly defamed in the paper "Völkischer Beobachter", while his house in Dessau was searched in absentia. The Düsseldorf Academy under Walter Kaesbach was also critically eyed; he was suspended from his position at the end of March. Klee's dealer Alfred Flechtheim also decided to stop his gallery activities in Düsseldorf and handed the business over to his colleague Alex Vömel. Paul Klee himself was put on leave with immediate effect on April 21; and was discharged at the end of the year. The first humiliating exhibitions in Mannheim and Dresden had the objective to defame Modernism and also included works by Klee. In October Klee traveled through Switzerland and France; and first thoughts to turn a back on Germany came up. Klee reclaimed his loans from museums and asked galleries to return his consignments. On December 23 Paul Klee signed off in Düsseldorf, as the relocation to Bern would be put into practice.
On January 31 Klee wrote mischievously to his friend, the art historian Will Grohmann: "The year 1933 began with drawings made of outrageous, straight lines." (Quote from: Ex. cat. Paul Klee 1933, Munich 2003, p. 185). It can be assumed that Klee perhaps executed the watercolor “Edelklippe” at the end of February; as it followed the drawing “Es regt sich Ende Februar” (1933). It seems that Klee did not yet feel threatened after the Nazi party came into power at the end of January 1933; the graphic sheets he made around those days do not reveal any respective information. In early April, Hitler had become established politically and extensive changes in social life began to show, Klee reacted fiercely to the new situation: With an extensive group of works of strongly gestural drawings, he took a clear stand on the development: ”Erneuerung der Mannszucht“ (Renewal of Discipline) and ”Wenn die Soldaten degenerieren“ (When Soldiers Degenerate) are the titles of the first drawings in the series of the "Revolutionsblätter" (Revolution Sheets ), as the sculptor Alexander Zschokke, who was a friend of Klee in Düsseldorf and a teacher at the academy, once called them.
In the first quarter of the year Klee produced largely abstract, very colorful works, mostly watercolors or occasionally cool, graphically balanced drawings with combined characters or continuous threads, “lines supposed to be straight”, slightly curved lines that represent a star, a framework or, as it is the case here, describe a landscape, "filled in" with delicate patches of color, the form of the statement is rhythmic like a mosaic, a form that lies serenely and shines like a large, fantastic being in the middle of a forest: the dark blue shines intensely and is supported by the light red alternating with a rather warm orange and a cool light blue. “For Klee, the colored light space is more of a spiritual than a physical phenomenon, it is reflected in it, and the scheme does not presuppose any other world of appearance than that which lives in it. There is no outside and inside ”, wrote the art historian Will Grohmann in the monograph from 1954 (p. 281). On September 21, 1933, Klee reported from Düsseldorf to his wife in Basel about his current work: “It is clear that I am the most unsuitable for reporting, because there is nothing happening at all, except for the all too familiar inner life with its knockdowns. […] Otherwise I would tell you about pictures, if only I could. At the moment I work solely in color and do a few light-dark contrasts, preferably none at all, but that doesn't work; this way I play around a basic tint, at times gray, red, or blue. Most of the time it worked out for the better, but it was very exhausting and the time passed even faster than usual. ”(Quoted from: Ex. cat. Paul Klee 1933, Munich 2003, p. 292). Klee's assessment of his artistic work also applies to the watercolor "Edelklippe" and its blaze of colors. [MvL]

More Images
Buyer's premium, taxation and resale right apportionment for Paul Klee "Edelklippe"
This lot can be purchased subject to differential or regular taxation.

Differential taxation:
Hammer prices up to € 500,000: 32 % buyer's premium
Hammer prices above € 500,000: for the share up to € 500,000: 32%, for the share above € 500,000: 27% buyer's premium
The buyer's premium contains VAT, however, it is not shown.

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

We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.

Resale right apportionment:
Objects made by artists who have not died at least 70 years ago are subject to a resale right apportionment of 2.4% including statutory sales tax.