Emil Nolde

Kleeman Galleries, New York
Fischer Fine Arts Ltd., London
Acquired from the above by the late owner in April 1979

New York, Kleeman Galleries, Emil Nolde Watercolours, 1958, no. 21

Executed on Japan paper, not laid down, attached to the mount at all four corners, floating in the mount. There are two small areas of paper skinning to the top right corner, both smaller than 0.5cm. sq., and a very small triangle of paper skinning to the centre of the top edge. There are some tiny nicks at intermittent intervals to the edges of the work. There are some scattered dark stain spots, possibly foxing, mainly to the bottom left quadrant and just below the jaw line of the figure. Apart from a couple of light creases to the upper right edge, this work is in good condition. Colours: Overall fairly accurate although warmer and more subtle 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."

Frauenkopf provides a magnificent demonstration of the techniques that made Nolde a master of working on paper. In this work he uses the texture of the support to blend the vibrant palette of purple and blue, allowing the different tones to diffuse into one another. The artist acknowledged that he often found greater freedom in the medium of watercolour: 'With infinite labour I finally achieved that freer, broader and more fluent manner of depiction for which an especially thorough understanding and re-examination of the structure and character of the paper and the inherent possibilities of colour are indispensable. But at the same time, it demands above all a capacity for developing the sensitivity of one's eye' (E. Nolde, Reisen-Ächtung-Befreiung 1919-1946, Cologne, 1967, p. 27).