Max Klinger

Galerie Brutscher, Munich (by 1964)
Kurt Liebermeister, Munich

Dresden, Große Kunstausstellung, 1912
Munich, Haus der Kunst, Secession, Europäische Kunst um die Jahrhundertwende, 1964, no. 269

Willy Pastor, Max Klinger, Berlin, 1918, p. 85, illustrated
Renate Hartleb, 'Die Geschichte der Max Klinger Sammlung im Museum der Bildenden Künste Leipzig. Biographie', in Herwig Guratsch, Max Klinger. Bestandskatalog der Bildwerke, Gemälde und Zeichnungen im Museum der Bildenden Künste, Leipzig, 1996, p. 34

The canvas is unlined with a thin adhesive residue on the reverse. Ultraviolet light reveals a number of retouchings which are minor given the overall size of the painting, mainly near the left and right edges, notably: in the light blue sky pigments in the upper-left corner and a handful of small areas below in the sea the largest of which is circa 2 by 6cm (there is a thin vertical scratch in this area), a small circa 3 by 8cm area in the sea to the right of the figures and a second slightly smaller area nearby, some strokes in the upper right corner in the sky, and clustered tiny spots in the upper-left quadrant, which are just visible to the naked eye. The painting is in good overall condition. Presented in a simple narrow white-painted frame.
"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."

A first version of the present work was conceived and executed by Klinger in 1883-84 as one of ten wall murals for the Villa Albers in Berlin, depicting sea allegories (see Alexander Dückers, Max Klinger, Berlin, 1976, p. 112). Smaller in size and unsigned, this first version is now in the collection of the National Gallery, Berlin. Affected by dry rot, the interior of Villa Albers had to be dismantled in 1889. Following the disposal of the murals, Klinger painted the present work circa 1912 as a réplique for a reconstruction of the interior of the Villa Albers to be shown at the Große Kunstausstellung Dresden of that year.