Max Pechstein

Acquired directly from the artist by the present owner in the 1950s

Zurich, Kunsthaus Zürich, Kunst in Deutschland 1930-1949, Verzeichnis der ausgestellten Werke, 1949
Berlin, Ausstellungshallen am Funkturm, Juryfreie Kunstausstellung, 1953, no. 1033
Berlin, Galerie Gerd Rosen, Max Pechstein, Gemälde aus der Brücke-Zeit und den zwanziger Jahren, 1954, no. 8
Berlin, Charlottenburg Kunstamt & Wolfsburg, Wolfsburg Kunstverein, Max Pechstein, Tuschzeichungen und Aquarelle (und Gemälde) 1923-55, 1960, no. 47
Kiel, Stiftung Pommern, 1997-99 (on loan)
Greifswald, Landesmuseum, 2000-2002 (on loan)
Kiel, Kunsthalle zu Kiel, Die Sammlung, 2007, illustrated in colour in the catalogue 
Kiel, Kunsthalle zu Kiel; Regensburg, Kunstforum Ostdeutsche Galerie Regensburg & Ahlen, Kunstmuseum Ahlen, Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, 2010-11, no. 166, illustrated in colour in the catalogue
Kiel, Kunsthalle zu Kiel, 2004-14 (on loan)

Aya Soika, Max Pechstein: Das Werkverzeichnis der Ölgemälde, Munich, 2011, vol. II, no. 1924/3, illustrated p. 321

The canvas is not lined. UV examination reveals some thin vertical lines of retouching, the most prominent of which are towards the centre of the upper right quadrant - and the longest of which extends intermittently to the lower edge. There are a few small spots of retouching towards the left of the upper edge. There are fine lines of craquelure throughout, with some associated flecks of paint loss. Overall this work is in fairly 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."

In March 1923 Max Pechstein travelled to Zurich for the first time, in order to visit an exhibition at the Kunsthaus Zürich, where 74 of his paintings were being shown. Pechstein enjoyed the sun and light of Switzerland, especially in contrast to Berlin, where a split from his art dealer that year had left him down at heart. This Swiss escapade was made possible by the generosity of one of his patrons, Walter Minnich, who was a Swiss doctor then living in Montreux, on the shores of Lake Geneva. Minnich extended an open invitation to Pechstein, putting him up in a small flat with a view of Lake Geneva and the mountains. In late May Pechstein was on his way to Venice, where he intended to spend some time on Chioggia, a seafaring island in the Venetian lagoon. On his way he paid a brief visit to Minnich in Montreux, before continuing over the Alps to Italy.

Saas-Almagell is about 80 miles due east of Montreux. Pechstein’s rendering of this scene is indicative of an expressionist approach towards form; something is amiss in the layout of paths, the perspective of the foreground house – both are sacrificed to allow for the intimacy of the scene; an entire valley is distorted and foreshortened to allow us, the viewer, the opportunity to experience it as Pechstein had. Spreading out as the composition develops, we follow lines of primitively painted cows through ever darkening greens, purples, blacks, until we reach his vibrant and magical sky. An exceptionally rare and original subject, Pechstein has managed to distill all the hallmarks of German expressionism into his landscape, and the result is quite mesmerising and overwhelming in its expansiveness.