Max Pechstein

Hermann Münchenhausen, Ratzeburg (a gift from the artist)
Lady Simon (by descent from the above; sale: Christie's, London, 17th October 2000, lot 44)
Purchased at the above sale by the present owner

Stanford, Cantor Center for Visual Arts, Stanford University (on loan)

Aya Soika, Max Pechstein, Das Werkverzeichnis der Ölgemälde, 1905-1918, Munich, 2011, vol. I, no. 1909/37, illustrated in colour p. 193
Bernhard Fulda & Aya Soika, Max Pechstein: The Rise and Fall of Expressionism, Berlin, 2012, illustrated in colour p. 76

The canvas is not lined and examination under UV light does not appear to reveal signs of retouching. There is some craquelure, in particular to the thicker pigments, and there is some minor pigment shrinkage in places. There are some flecks of pigment loss to the extreme edges, predominantly to the centre of the lower edge. 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."

Dated to 1909, Kurische Braut is an important work from Max Pechstein’s formative first trip to Nidden on the Baltic Coast. The Expressionists held a deep fascination for folk art and the exotic, partly inspired by countless trips to the Museum für Völkerkunde, and equally by Gauguin's paintings of Tahiti. Driven by the desire to experience life at one with nature, Pechstein sought to flee the frenzy of city life, and immerse himself in a more peaceful, ‘primitive’ environment where he could paint en plein air. In 1909, Pechstein travelled to the Baltic Coast and discovered Nidden, a small fishing village, with a surrounding landscape unspoiled by civilisation. Max Pechstein immediately fell for its natural, preindustrial landscape, which allowed him to experience perfect harmony with the countryside. This newly found freedom led him to explore his creativity without inhibitions and develop his own, mature style. He showed great interest in the customs and lifestyle of the local people and imitated their way of life by walking barefoot and by growing a beard. Pechstein made an effort to be accepted by the villagers, who initially did not want to sit for him, by volunteering to help out on fishing trips.

In his portrait Curonian Bride Pechstein demonstrates wonderful attention to the intricate details of the traditional wedding dress, depicting the sitters head dress and jewellery with incredibleaccuracy. Stylistically, Pechstein’s quick and feathery brush strokes still draw heavily on Vincent van Gogh and Paul Cézanne, Bernhard Fulda and Aya Soika, however, place the present portrait as an important stylistical milestone within the artist’s œuvre: 'His preoccupation with light and its reflections, as evident on the girl’s cheekbones and on her sleeves, showed his indebtedness to the impressionist tradition. And yet his composition also showed many of the elements which he was going to develop further in subsequent months, in particular the build-up of tensions between boldly rendered planes of starkly contrasting colours, and the emphasis placed on contours' (Bernhard Fulda & Aya Soika, Max Pechstein: The Rise and Fall of Expressionism, Berlin, 2012, p. 75).