Karl Blechen

Julius and Clara Freund, Berlin and Winterthur
The Estate of Julius Freund (by descent from the above; forced sale: Galerie Theodor Fischer, Lucerne, Sammlung Julius Freund, 21 March 1942, lot 37)
Dr Alexander von Frey, Lucerne (purchased at the above sale)
Einsatzstab Reichsleiter Rosenberg (by exchange with the above)
Hermann Göring (acquired from the above) 
Adolf Hitler (a gift from the above; on deposit with the 'Führerbau' in Munich from 1942)
Recovered by the Allies from the Altaussee salt mines in Austria and sent to the Munich Central Collecting Point (inv. no. 9386)
Bundesrepublik Deutschland (returned from the Munich Central Collecting Point on 6 June 1949; on loan to the Kurpfälzisches Museum der Stadt Heidelberg, Heidelberg 1967-2009)
Restituted to the heirs of Julius Freund in 2009

Heidelberg, Kurpfälzisches Museum der Stadt Heidelberg (permanent collection 1967-2009)
Berlin, Nationalgalerie, Carl Blechen. Zwischen Romantik und Realismus, 1990, no. 71

Paul Ortwin Rave, 'Karl Blechen', Denkmäler deutscher Kunst, Berlin 1940, p. 149, no. 153, catalogued 
Peter-Klaus Schuster, Carl Blechen. Zwischen Romantik und Realismus, Berlin, 1990, p. 125, no. 71, catalogued & illustrated
Günther Haase, Die Kunstsammlung Adolf Hitler. Eine Dokumentation, Berlin 2002, p. 209, listed in facsimile of the Hitler Collection inventory (inv. no. 2278)
Nancy H. Yeide, Beyond the Dreams of Avarice: The Hermann Goering Collection, Dallas, 2009, p. 423, no. B11

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Structural Condition The structural arrangement of paper laid onto panel (with 2 vertical batons on the reverse) would appear to have been applied in order to secure a long tear or fracture in the paper which runs across the width of the painting. There are also some slightly raised areas across the paper where the paper is not evenly attached to the panel. Paint surface The damage to the paper mentioned above is visible under natural light as well as under ultraviolet light and runs across the width of the paint surface. The retouchings covering this certainly appear to be rather excessive and are also visible in strong natural light. Only a few other small, scattered retouchings are visible in natural light. Summary The painting would therefore appear to have suffered from a significant damage in the past and the work required to reduce the visibility of the damage in natural light would be complicated due to medium of oil on paper. The paper support would need to be removed from the panel, treated and laid either onto acid free card or perhaps re-laid onto the existing panel. The excessive and discoloured retouchings could be removed and the damage retouched with more suitable materials.
"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."

While in the collection of Julius Freund, the painting carried the title Mühle in der sächsischen Schweiz, which was presumably why Rave (who never saw the painting) classified it among the works Blechen made during his sojourn in Saxony in 1823.

However, as Helmut Börsch-Supan posits in the 1990 Berlin exhibition catalogue, the angular rock formations point to the landscape of the Harz mountains, possibly even the Bodetal (Bode Valley), which Blechen visited in 1833. The broad, geometric brushstrokes, and bright supernatural palette, are also typical of his work of this later period.