Franz Marc

Elisabeth Erdmann-Macke, Berlin (a gift from Maria and Franz Marc)
Dr Wolfgang Macke, Bonn (by descent from the above)
Dr Til Macke, Bonn (by descent from the above)
Galerie Pels-Leusden, Berlin 
Private Collection, Germany (acquired from the above on 5th June 1980)
Thence by descent to the present owner in 1997

Dresden, Galerie Neue Kunst, Franz Marc. Aquarelle - Zeichnungen - Graphik, 1927, no. 106 (titled as Blaue Kuh mit goldenem Baum)
Bonn, Haus der Städtischen Kunstsammlungen, Kunst des 20. Jahrhundert aus Privatbesitz in Bonn und Umgebung, 1963, no. 69 (titled as Kuh hinter goldenem Baum)
Berlin, Galerie Pels-Leusden, Franz Marc. Gouachen, Aquarelle und Zeichnungen. August Macke. Gemälde, Pastelle, Aquarelle, Zeichnungen und Plastik, 1977-78, no. 60
Berlin, Galerie Pels-Leusden, Jubiläumsausstellung, 1980, no. 98
Munich, Städtische Galerie im Lenbachhaus, Franz Marc 1880-1916, 1980,  no. 178, illustrated in colour in the catalogue
Berlin, Brücke-Museum (& travelling in Germany), Franz Marc. Zeichnungen und Aquarelle, 1989-90, no. 117, illustrated in colour in the catalogue
Paris, Musée d'Art Moderne de la Ville de Paris, Figures du Moderne 1905-1914, 1992-93, no. 345, illustrated in colour in the catalogue 
Halle, Stiftung Moritzburg, Kunstmuseum des Landes Sachen-Anhalt, Franz Marc. Die Magie der Schöpfung, 2006, no. 22, illustrated in colour in the catalogue

Alois J. Schardt, Franz Marc, Berlin, 1936, no. IV-1913-7
Klaus Lankheit, Franz Marc, Katalog der Werke, Cologne, 1970, no. 772,  illustrated p. 247
Magdalena M. Moeller, Franz Marc, Zeichnungen und Aquarelle, Stuttgart, 1989, no. 117, illustrated in colour n.p.
Andreas Hüneke, Franz Marc. Zitronenpferd und Feuerochse. 100 Grafiken, Leipzig, 1990, no. 74, illustrated in colour p. 78
Annegret Hoberg & Isabelle Jansen, Franz Marc, The Complete Works, Works on paper, Postcards, Decorative Arts and Sculpture, London, 2004, no. 324, illustrated in colour p. 322

Executed on a postcard sent from Franz Marc's wife Maria to her good friend Lisbeth Macke. The post card in sandwiched between the mount and has not been examined fully unframed. There is a flattened crease running diagonally across the upper left corner. There is a very small loss to the gold leaf across the width of the tree about half way up the trunk and a small remnant of tape on the verso of the postcard. There is some time staining and faint handling marks in places. 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."

Schwarze Kuh hinter Baum is a painted postcard sent from Franz Marc’s wife Maria to her good friend Lisbeth Macke, wife of fellow artist August Macke. It showcases a very personal side of the artist’s œuvre. At the time it was painted, in 1913, it was very popular to send such hand decorated and personalised post cards and indeed the opening line reads: ‘Dear Lisbeth, You should get another post card greeting. The production is buoyant…’ These cards are wonderful for their spontaneity and directness and the present work is an especially beautiful example. Amongst the select group of recipients of Marc’s greeting cards were interesting personalities such as poet Else Lasker-Schüler and artists Wassily Kandinsky, Gabriele Münter and Paul Klee. Today almost all of Marc’s postcards are permanently in public collections and the present work is one of the very few examples still in private hands.

comp: 431L16004_8SN7R_comp
caption: illustration of the verso