Emil Nolde

Estate of the artist
Wilhelm Landmann, Mannheim & Toronto (acquired  from the above through the Stadtische Kunsthalle, Mannheim circa 1916 & thence by descent)
Josefowitz Collection (acquired from the above in 1990)
Acquired by the present owner in 1998

Frankfurt am Main, Emil Nolde, 1918, no. 13
Amsterdam, Stedelijke Museum, 1939-45
Toronto, Art Gallery of Ontario, 1946
Toronto, Art Gallery of Ontario, 1961
London, Whitechapel Gallery, Emil Nolde, 1996, illustrated in colour in the catalogue

The Artist's Handlist, 1910, c no. 552
The Artist's Handlist, 1930, '1915 Stilleben J (Messingpferd, Kissen etc.)'
Dr. Martin Urban, Emil Nolde: Catalogue Raisonné of the Oil Paintings (1915-1951), London, 1990, vol. 2, no. 639, illustrated p. 33

The canvas is not lined. UV examination reveals a thin intermittent line of retouching along the extreme upper and left edges. The canvas is very slightly undulating. There are some hairline cracks to some of the white pigment impastoes, which currently appear stable. There are some localised areas of paint shrinkage, mainly to the darker pigments, and inherent to the drying process. Otherwise, this work is in overall good condition.
"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."

The present work forms part of a series inspired by the objects that surrounded Nolde in his studio. The carefully arranged objetcs, a brass horse, a delicate porcelain doll and an East Asian clay figure, lead the viewer into the work. Perhaps the most striking element is the wonderful cushion cover with an  intricate, exotic pattern which was in fact designed by the artist himself and later knitted by his wife Ada.

Nolde's choice of subject can be traced back to an extraordinary voyage with the Medical and Demographic Expedition to German New Guinea, in 1913, where the artist and his wife Ada visited Russia, Korea, Japan, China, Manila and the Palau Islands. From this journey, he brought back exotic sculptures and porcelain works, which were then used in a variety of still life compositions. Like other Expressionist artists of the time, Nolde was fascinated by the primitive nature of eastern and exotic cultures and sought to incorporate their distinctive decorative elements into his work.

The present work is a delightful celebration of unexpected juxtapositions, and indeed Nolde revelled in depicting such arrangements: 'It seems to me that the best solution is attained when the finest works of art of the most diverse periods and quite different genres are placed or hung next to each other, provided that they really go together as regard to their colour and form, the most different works of art in juxtaposition set themselves off from one another and thereby heighten the effect' (Emil Nolde quoted in P. Vergo & F.Lunn, Emil Nolde, London 1996, p. 149).