Paul Klee

Estate of the artist
Otto Ralfs, Braunschweig (acquired from the above circa 1934)
Lily Klee, Bern (after 1946)
Daniel-Henry Kahnweiler, Paris (acquired from the above)
Berggruen & Cie., Paris (acquired from the above in 1958)
Galerie Jacques Benador, Geneva (acquired from the above circa 1958)
Galerie Riehntor, Basel
Sale: Ketterer, Munich, 20th June 1969, lot 687
Marlborough Fine Art Ltd., London (acquired in 1972)
Galerie Athénée, Triesenberg (acquired from the above in 1974)
Saidenberg Gallery, New York (acquired from the above in 1975)
Acquired from the above by the present owner in 1979

Stockholm, Svensk-Franska Konstgalleriet, Beaudin, Gris, Kremadec, Klee, Lascaux, Léger, Manolo, Masson, Picasso, Roger, Roux, 1947, no. 52
Stockholm, Svensk-Franska Konstgalleriet, Paul Klee, 1949, no. 48
Geneva, Galerie Benador, Paul Klee, 1959, no. 11, illustrated in the catalogue
Basel, Kunsthalle, Paul Klee. 1879 - 1940. Gesamtausstellung, 1967, no. 147, illustrated in the catalogue
New York, Saidenberg Gallery, Paul Klee: A Retrospective Exhibition, 1969, no. 46, illustrated in colour in the catalogue
New York, Saidenberg Gallery, Honoring the Centenary of the Birth of Paul Klee. An Exhibition of Oils, Watercolors, Mixed Media and Drawings by Paul Klee. Dating from 1913 to 1940, 1979, no. 45

Denys Chevalier, Paul Klee, New York, 1979, p. 76
Philippe Comte, Paul Klee, Paris, 1989, illustrated n.p.
Paul Klee Stiftung (ed.), Paul Klee Catalogue Raisonné 1934-1938, Bern, 2003, vol. VII, no. 6548, illustrated p. 42

Executed on wove paper, attached to the artist's mount at two points on the top edge and two points on the bottom edge; the artist's mount is held in all four corners to the framer's mount. There is a watermark, intrinsic to the nature of the support, running down the extreme right edge. There are artist's pinholes to all four corners. There is a tiny flattened crease towards the top right corner and there are flattened creases to all four edges of the artist's mount. Apart from some overall surface dirt, possibly intrinsic to the artist's process, this work is in very good condition. Colours: Overall deeper and richer; the browns are more red and the blues are stronger in the original.
"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."

Executed in 1934, a year after the National Socialists came to power and following the closure of the Bauhaus in Dessau, the programmatic title of the present work, Entfliegen (Flying Away) seems to reflect the artist's state of mind during this turbulent period. By Christmas of 1933 Klee had left Germany and returned to his native Bern. The shock of moving to Bern after being in the forefront of the modern art movement at the Bauhaus in Dessau and his apprehensions about the impending fate of Germany, left Klee in a deeply troubled state of mind.

The title of the present work, Entfliegen appears to allude to Klee's personal situation. The composition with its twisted colour spaces evokes a maze, which instead of opening onto a larger central space that would grant respite, appears to lead instead towards a tighter intermingling of lines in the centre. The mysterious and dominant purple arrow, pointing towards the upper right-hand corner beyond the spatial boundaries of the composition, appears to allude to the title, indicating movement and flight.

The work is recorded under number 1934 10 (10) in the Artist's Work Catalogue at the Klee Stiftung, Bern.

COMP: 432D07009_COMP
Paul Klee in his studio at the Bauhaus, Weimar 1922