LANDSCHAFT B. L.
Paul KleeLANDSCHAFT B. L.
27 November 2020 • Milan

27 November 2020 • Milan

27 November 2020 • Milan

LANDSCHAFT B. L.
LANDSCHAFT B. L.
LANDSCHAFT B. L.
LANDSCHAFT B. L.
LANDSCHAFT B. L.
LANDSCHAFT B. L.
40

Paul Klee

LANDSCHAFT B. L.

Estimate: 70,000 - 90,000 EUR

Paul Klee

LANDSCHAFT B. L.

Estimate: 70,000 - 90,000 EUR
Current bid:75,000EUR
(5 bids, reserve met)
Lot closes:13:55 mins
November 27, 03:39 PM (GMT)

Description

PAUL KLEE 

1879 - 1940

LANDSCHAFT B. L.


signed

watercolour on chalk primed paper laid on card

Executed in 1931


(firmato

acquerello su carta gessata applicata su cartoncino

Eseguito nel 1931)


cm 21x33,5; inches 8.27 by 13.19

Framed: cm 48,3x61,5x4,3; inches 19.01 by 24.21 by 1.69


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Condition report

This work is in good overall condition. The signature on the upper left is faded. There are traces of pinholes by the four corners. There are two traces of glue to the center of the upper margin and to the center of the lower margin, visible under raking light. There are two scratches by the lower left quadrant, visible under raking light. (IN GENERALE, L'OPERA E' IN BUONE CONDIZIONI CONSERVATIVE. LA FIRMA IN ALTO A SINISTRA E' SBIADITA. VI SONO TRACCE DI FORI PUNTIFORMI IN CORRISPONDENZA DEI QUATTRO ANGOLI. VI SONO DUE TRACCE DI COLLA AL CENTRO DEL MARGINE SUPERIORE E AL CENTRO DEL MARGINE INFERIORE, VISIBILI ALLA LUCE RADENTE. VI SONO DUE GRAFFI NEL QUADRANTE INFERIORE SINISTRO, VISIBILI ALLA LUCE RADENTE.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Provenance

Richard Doetsch-Benziger, Basel (probably by 1933)
Estate of Richard Doetsch-Benziger, Basel
Stuttgart, Kunstkabinett, 20-21 May 1960, lot 292
Galerie Roman Norbert Ketterer, Campione d'Italia
Galleria Narciso, Turin
Private collection, Turin
Acquired from the above by the present owner (Ivi acquistato dall'attuale proprietario)

Literature

Margrit Bosshard-Rebmann, Paul Klee, Basel, 1953, n. 51
Roman Norbert Ketterer, Moderne Kunst III, Gemalde, Aquarelle, Zeichnungen, Campione d'Italia, 1966, n. 107, illustrated in colour
Paul Klee Foundation (ed.), Paul Klee. Catalogue raisonné, vol. 6, Bern, 2002, n. 5575, illustrated p. 121

Exhibited

Basel, Kunsthalle Basel, Moderne deutsche Malerei aus Privatbesitz, 1933, n. 101
Basel, Galerie d'Art Moderne Marie-Suzanne Feigel, Paul Klee. Tafelbilder und Aquarelle aus Privatbesitz, 1949, n. 38
Basel, Kunstmuseum Basel, Sammlung Richard Doetsch-Benziger. Malerei, Zeichnung und Plastik, 1956, n. 188, illustrated in the catalogue
Turin, Galleria d'Arte Narciso, L'occhio del collezionista oltr'Alpe, 1979, n. 22, illustrated in the catalogue
Bolzano, Museo d'Arte Moderna, Garten der Luste. Zwei zeitgenossische Maler und einige ihrer Vorlaufer Baruchello, Fahlstrom, Wols, Klee, Duchamp, 1998, n. 77, illustrated in colour

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.)


“Solo l’astrazione del transitorio rimase. Il mondo era il mio soggetto, anche se non era il mondo visibile. La pittura polifonica è superiore della musica in quanto, qui, l’elemento del tempo diventa l’elemento dello spazio”

(Paul Klee, On Modern Art, London & Boston, 1979, n.p.)