Paul Klee

Daniel-Henry Kahnweiler, Paris (until 1938)
Karl Nierendorf, Cologne, Berlin & New York (acquired in 1938)
Galka Scheyer, Braunschweig, New York, San Francisco & Hollywood (acquired in 1939)
Earl Stendahl Gallery, Los Angeles
Stanley Arnold, New York
Private Collection

Berlin, Galerie Goldschmidt & Wallerstein, Paul Klee, Gemälde und Aquarelle; G. H. Wolf, Plastiken, 1926
Zurich, Kunsthaus, Ausstellung, 1926, no. 24
Wiesbaden, Neues Museum, August-Ausstellung, 1926, no. 15
Dresden, Galerie Ernst Arnold, Sonderausstellung von 100 Gemälden und Aquarellen von Paul Klee aus den Jahren 1908-1926, 1926
Berlin, Kartell der vereinigten Verbände bildender Künstler Berlins, Landesausstellungsgebäude am Lehrter Bahnhof, Grosse Berliner Kunstausstellung. Sonderausstellung, die Abstrakten: Feininger, Jawlensky, Kandinsky, Klee, 1927, no. 1145
New York, Nierendorf Galleries, Paul Klee. A Choice Collection of the Master's Work, 1938, no. 20
San Francisco Museum of Modern Art, Paul Klee, 1939, no. 7
Los Angeles, Stendahl Art Galleries, Paul Klee, 1940
New York, Nierendorf Gallery, Paul Klee, 1941, illustrated in the catalogue
Cincinnati Art Museum, Paintings by Paul Klee and Mobiles and Stabiles by Alexander Calder, 1942
Bern, Kunstmuseum, Paul Klee. Ausstellung in Verbindung mit der Paul Klee-Stiftung, 1956, no. 538 (with incorrect medium)

Karl Nierendorf, ed., Paul Klee, Paintings, Watercolors 1913 to 1939, New York, 1941, no. 19, illustrated
Paul Klee Stiftung, ed., Paul Klee Catalogue Raisonné 1923-1926, vol. IV, Bern, 2000, no. 3920, illustrated p. 390 (listed with incorrect medium)

The composition is in stable condition. The tactile paint layer is in good condition: the muted colors appear to have maintained their original hues and the small localized areas of flaking were consolidated with gelatin. The existing sites of inpainting were left in place. The paper, which has been thinned, exhibited some tears at the edges, and had light vertical folds presumable from having been rolled, was lined with thin Japanese tissue and wheat paste to provide support and to protect it from damage in handling. The support was hinged to ragboard with Japanese tissue hinges and wheat paste. The above condition report was prepared for the current owner by Marjorie Shelley in 2006. The condition remains as stated above.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.