Peder Severin Krøyer

Estate of the artist (his estate sale: Charlottenborg, Copenhagen, 5-7 December, 1910)
Harry Cordosa, Copenhagen (purchased at the above sale)
Private collection, U.S.A. (sale: Sotheby's, New York, 17 October 1991, lot 129)
Purchased at the above sale by the late owner

Copenhagen, Charlottenborg, Forårsudstillingen, 1902, no. 250
Berlin, Berliner Sezession, 1903, no. 109
Munich, Glaspalast, IX Internationalen Kunstaustellung, 1905, no. 693
Venice, Biennale: Ottava esposizione internazionale d'arte della citta di Venezia, 1909, no. 35
Copenhagen, Charlottenborg, P. S. Krøyer 1851 - 1909, Kunstforeningens Udstilling, 1910, no. 296
Brighton, Public Art Galleries, Exhibition of Work by Modern Danish Artists, 1912, no. 84 (leant by Harry Cordosa, one of six works by the artist in the exhibition)
Copenhagen, The Hirschsprung Collection; Skagen, Skagens Museum, Krøyer, an international perspective, 2011-12, no. 130, illustrated in the catalogue

Hans Christian Christensen, P.S. Krøyer. Fortegnelse over hans Oliemalerier, Copenhagen, 1923, no. 698
Peter Michael Hornung, P.S. Krøyer, 1851-1909, Stockholm, 1987, pp. 124ff
Finn Terman Frederiksen, Krøyer Eufori, Randers, 2001, p. 87
Peter Michael Hornung, Peder Severin Krøyer, Copenhagen, 2002, pp. 324- 327
Peter Michael Hornung, Peder Severin Krøyer, Copenhagen, 2005, p. 325, catalogued & illustrated

Oil on canvas laid on board. The board is flat, even, and ensuring a stable support. The artist's brushwork and impasto is very well preserved. Ultra-violet light reveals a circa 21cm horizontal repair through the man's left knee and background in the centre of the composition, strokes of intermitting retouching to the right framing edge and along the lower edge, and numerous carefully applied smaller strokes primarily to the standing's man waistcoat and trousers. The appearance is very good and this work is ready to hang. Presented in a gilt frame with a nameplate.
"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."

Selected by Max Liebermann (lot 26) for the Secession Exhibition in Berlin in 1903, Wine Harvest in the Tyrol was the most ambitious composition Krøyer undertook on his visits to Südtirol after 1900. Krøyer and his family frequented the area over several years on account of his fragile health, for rest cures and to take the mountain air. Staying at Schloss St Valentin in Eppan (Appiano), surrounded by panoramic views of the Alps and by the vineyards of this wine-growing region, Krøyer drew and painted a number of landscape studies, culminating in the present work, painted in the autumn of 1901. Though a far cry from his beloved Skagen, the Austrian hills with their distinctive clear light provided ample inspiration for the Dane. The dappled autumn sunshine falling through the vines is masterfully observed and impressionistic in style.

The pastel study for this painting is in the collection of the Hirschsprung Museum, Copenhagen.