Lot 119
  • 119

PAUL KLEE | Heisser Abend im Hafen (Hot Evening in the Harbour)

Estimate
80,000 - 120,000 GBP
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Description

  • Paul Klee
  • Heisser Abend im Hafen (Hot Evening in the Harbour)
  • signed Klee (upper left); dated 1925, titled and numbered n. 1. on the artist's mount
  • watercolour and Spritztechnik on paper laid down on the artist's mount
  • image size: 18.1 by 25.5cm., 7 1/4 by 9 7/8 in.
  • mount size: 28 by 39cm., 11 by 15 3/4 in.
  • Executed in 1925.

Provenance

Mali Latzko, Vienna (acquired by 1925)
Private Collection, Germany (sale: Dr. Ernst Hauswedell, Hamburg, 7th June 1969, lot 665)
Private Collection, Germany (purchased at the above sale)
Thence by descent to the present owner

Literature

Paul Klee Foundation (ed.), Paul Klee. Catalogue raisonnĂ© 1923-1926, Bern, 2000, vol. 4, no. 3722, illustrated p. 299

Condition

Executed on cream laid paper and laid down on the artist's mount. The edges are deckled. There are some very faint creases to the sheet along the upper edge which are likely inherent to the medium. There is a faint diagonal line of discoloration to the left of the composition (measuring approx. 6cm.) 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."

Catalogue Note

'Only abstraction of the transitory remained. The world was my subject, even though it was not the visible world. Polyphonic painting is superior to music in that, here, the time element becomes the spatial element' (Paul Klee, On Modern Art, London & Boston, 1979, n.p.)