Sale: 533 / Modern Art Day Sale and Gerlinger Collection, Dec. 10. 2022 in Munich Lot 482

 

482
Hermann Max Pechstein
Das gelbe Tuch, 1909.
Pen and India ink and color chalks
Estimate:
€ 15,000 / $ 14,100
Sold:
€ 22,500 / $ 21,150

(incl. surcharge)
Das gelbe Tuch. 1909.
Pen and India ink and color chalks.
Bottom right monogrammed. On creme wove paper. 15.1 x 19.1 cm (5.9 x 7.5 in), the full sheet.
Preliminary drawing for the today lost painting of the same name from the same year (cf. Aya Soika, Max Pechstein. Das Werkverzeichnis der Ölgemälde, vol. 1 (1905-1918), Munich 2011, cat. no. 1909/47). [CH].
• The painting of the same name from the same year (Soika 1909/47) is considered lost today.
• In this preparatory drawing, Pechstein already determined the general comcomposition, as well as the figure's posture and colors.
• With his participation in the spring exhibition of the Berlin Secession, Pechstein celebrated his breakthrough the year this work was made.
• Color drawings of this quality are extremely rare on the international auction market
.

PROVENANCE: Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032, since 1971: Tenner).

EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001).
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Die Brücke in Dresden 1905-1911, Dresdner Schloss, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Ocotber 20, 2001 - January 6, 2002, cat. no. 185 (with illu. on p. 175).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 213, pp. 322f. (with illu.).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
Brückenschlag: Gerlinger – Buchheim!, Buchheim Museum, Bernried, Ocotber 28, 2017 - February 25, 2018, pp. 168f. (with illu.).

LITERATURE: Antiquariat Dr. Helmut Tenner, Heidelberg, 83rd auction, Gemälde, Aquarelle, Zeichnungen, Graphik des 15. bis 20. Jahrhunderts, February 20, 1971, lot 739 (with the title "Weibliche Akte am Strand", with illu.).
Heinz Spielmann (ed.), Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 241f., SHG no. 344 (with illu.).
Beate Thurow (ed,), ex. cat. Max Pechstein. Das ferne Paradies (Gemälde, Zeichnungen, Druckgraphik), Städtisches Kunstmuseum Spendhaus, Reutlingen, Ostfildern-Ruit 1995, p. 15 (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle 2005, p. 386, SHG no. 850 (with illu.).
Brückenschlag: Gerlinger - Buchheim!, Museumsführer durch die "Brücke"-Sammlungen von Hermann Gerlinger und Lothar-Günther Buchheim, Bernried 2017, pp. 168f. (with illu., p. 169).

In 1908, the artist initially spent three months in Italy before going to Paris for a nine-month stay in December. Here he encountered the art of the "Fauves", including the works of Henri Matisse, as well as works by Paul Cézanne, which had a lasting impression on him. Shortly afterwards, he was the first "Brücke" artist to leave Dresden for Berlin, where he met his future wife Charlotte "Lotte" Kaprolat, who would frequently sit for him in the years to come. Lotte was also the model, as the artist later confirms in his "Memoirs", in the painting "Das gelbe Tuch" (Soika, 1909/47), created in 1909 and considered lost today. The present depiction, and in particular the group of figures on the left, undoubtedly served as a preliminary drawing. The painting was one of the main works of Pechstein's creative period at that time. In his "Memoirs" he wrote in retrospect: "'Das Gelbe Tuch', the 'Gelben Tulpen' and the landscape were accepted for the Secession. I was the first among my fellow 'Brücke' comrades to achieve this goal." (Pechstein, in: Leopold Reidemeister (ed.), Erinnerungen. Max Pechstein, Munich 1963, p. 33).
At the same time, our drawing with its strong colors, shows great resemblance to the paintings "Nach dem Bade" (Soika 1909/46, lost) and "Zwei Mädchen" (Soika 1909/48, Germanisches Nationalmuseum, Nuremberg). In equal parts, it shows both the pose of the female semi-nude folding her arms over her head in the Nuremberg painting and the pictorial composition of the reclining and standing female nudes in "Nach dem Bade". In this respect, it is also reminiscent of Cézanne's "Les Grandes Baigneuses" (1906, Philadelphia Museum of Art) to a certain extent, but the "Brücke" artist approached the artistic goal he had already defined at that time as "capturing man and nature in one" in a bold, clearly expressionist manner (ibid., p. 50). The drawing alone, with its bright colors, a strong yellow, fresh green and unusual violet, shows him as a self-confident artist who had long left traditional academic color theory behind him. On the occasion of the second collective "Brücke" exhibition in Dresden in 1909, the closely related painting "Nach dem Bade" with a similar motif found mention: "Pechstein is represented with a great public shock [..]. He is even more powerful, more gripping than Kirchner, especially in terms of colors." (Paul Fechter, 6.9., quoted in Soika, vol. 1, p. 201). A few years later, the art historian Max Osborn wrote about the painting "Das Gelbe Tuch" in retrospect: "But no one dared to approach 'Gelbes Tuch' yet. The wild carnality of the two standing women, fabulously modeled, outlined by energetic contours, seemed to dare the utmost in sensual nonchalance [..]" (1922, quoted in: Soika, vol. 1, p. 202).
Pechstein would intensively examine the motif of the female nude in the landscape and the connection between man and nature throughout his life. In August of the year the present drawing was created, Pechstein visited the Moritzburg Ponds together with Kirchner and Heckel for the first time. That year he also spent his first summer in Nida on the Baltic Sea, where he would return to again and again over the following years. Far from the big city, he not only found the retreat he had longed for so much, but also an intense experience of nature that he had always sought and idealized, both in private life and in his art. [CH]



482
Hermann Max Pechstein
Das gelbe Tuch, 1909.
Pen and India ink and color chalks
Estimate:
€ 15,000 / $ 14,100
Sold:
€ 22,500 / $ 21,150

(incl. surcharge)