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Emil Nolde Sold at Auction Prices

Painter, Etcher, Lithographer, Engraver, Sculptor, Flower painter, Still life painter, b. 1867 - d. 1956

(born 1867 Nolde, Germany; died 1956 Seebull, Germany) German painter. Originally named Emil Hansen, Emil Nolde trained to become a wood carver. Working during the day, Nolde took classes at night at the arts and crafts school and funded his career by painting a series of postcards from which he was able to make a large enough profit with to abandon woodcarving and devote his time solely to art. He changed his last name to the name of his birthplace when he married in 1902. In 1906 Nolde was invited by the members of the Die Brucke Movement to join them, but only stayed for a year despite their similar color palette and leanings towards primitivism. Nolde preferred to work on his own and did not like being associated with any one movement. Most of Nolde’s work consists of landscapes, seascapes, and scenes taken from his Northern German homeland, where he spent the majority of his life painting. In 1927 Nolde moved to Seebull in northern Germany, where he remained the rest of his life. In 1937 Nolde’s work became a highlight of Nazi Germany’s Degenerate Art exhibit, and in 1941 the Third Reich prohibited him from painting. Nevertheless Nolde continued to paint quite actively during this period, creating his famed ‘unpainted pictures’. Only after the war ended was Nolde acknowledged for his artistic achievements and as a result became the recipient of numerous awards. After his death his former residence at Seebull was converted into the Nolde Foundation, a museum of his work.

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  • Emil Nolde 1867–1956
    Apr. 03, 2025

    Emil Nolde 1867–1956

    Est: CHF80,000 - CHF120,000

    Emil Nolde 1867–1956 Tulpen und Iris, nach 1945 Aquarell auf Papier unten links signiert Nolde. rückseitig Sammlungs–Stempel m 16 34,1 x 47,3 cm

    Artcurial Beurret Bailly Widmer
  • Emil Nolde 1867–1956
    Apr. 03, 2025

    Emil Nolde 1867–1956

    Est: CHF60,000 - CHF80,000

    Emil Nolde 1867–1956 Rote Amaryllis und gelbe Tulpen Aquarell auf Japanpapier unten rechts der Mitte signiert Nolde. 33,6 x 47,2 cm

    Artcurial Beurret Bailly Widmer
  • Emil Nolde 1867–1956
    Apr. 03, 2025

    Emil Nolde 1867–1956

    Est: CHF80,000 - CHF120,000

    Emil Nolde 1867–1956 Schiffe an der Pier im Hamburger Hafen, 1910 Aquarell auf Japanpapier unten rechts signiert Nolde. 34,1 x 47,3 cm

    Artcurial Beurret Bailly Widmer
  • EMIL NOLDE (German, 1867-1956)
    Mar. 23, 2025

    EMIL NOLDE (German, 1867-1956)

    Est: $7,000 - $9,000

    Dampfer (groß, dunkel), 1910 Etching and tonal etching h. 12 w. 15-3/4 in. (subject) (Steamer, large, dark), signed in pencil lower right, one of about 41 total printed impressions in four states (likely the fourth state, of which approximately 30 were printed), printed by Carl Sabo, Berlin, framed, Ref: Schiefler & Mosel 135 overall: 21-1/2 x 24-1/2 in. (frame)

    Butterscotch Auction Gallery LLC
  • Emil Nolde
    Mar. 22, 2025

    Emil Nolde

    Est: €150 - €250

    Emil Nolde 1867 Nolde bei Tondern - 1956 Seebüll - "Drei Hexen und zwei langhaarige Wesen" - Holzschnitt/Papier. 3,8 x 10,2 cm. 24,6 x 18,5 cm. Auf Passepartout befestigt. - Echtheitszertifikat liegt vor. - Lit.: WVZ. Schiefler-Mosel H 174 II. Nolde wurde zum Holzschnitzer ausgebildet und wurde Mitte der 1890er Jahre freier Maler. 1906-07 trat Nolde der Künstlergruppe "Brücke" bei. Das Nazi-Regime erklärt seine Kunst 1937 als "entartet" und verbot ihm 1941 das Malen. Nolde aquarellierte heimlich und vollendete 1.300 "Ungemalte Bilder". Nach dem Krieg erhielt Nolde zahlreiche Ehrungen.

    Das Kunst- und Auktionshaus Kastern GmbH & Co KG
  • Emil Nolde Poppies and coneflowers (Rudbeckia). Circa 1930/35
    Mar. 19, 2025

    Emil Nolde Poppies and coneflowers (Rudbeckia). Circa 1930/35

    Est: €125,000 - €150,000

    Emil Nolde 1867 Nolde/Kreis Tondern - 1956 Seebüll Poppies and coneflowers (Rudbeckia). Circa 1930/35 Signed "Nolde" in black pen lower right. Watercolour on Japan. Sheet size: 45 x 27.1 cm. Mounted on the backing cardboard in the corners and in two places on the side edges of the sheet. Framed (73.5 x 55 cm). An expert report from Sylvia Kovacek, Vienna, is available. Foto-Expertise von Prof. Dr. Manfred Reuther, Klockries, 4. April 2019. Das Aquarell ist im Archiv von Prof. Manfred Reuther unter der Nummer "Nolde A-125/2019 registriert und dokumentiert Provenienz: Collection of Adalbert and Thilda Colsman, Langenberg / Private collection, Germany / Sylvia Kovacek, Vienna / Private collection, Rhineland

    Neumeister
  • EMIL NOLDE (1867-1956). Porträt. watercolour and brush and India ink on pap
    Mar. 07, 2025

    EMIL NOLDE (1867-1956). Porträt. watercolour and brush and India ink on pap

    Est: £15,000 - £20,000

    EMIL NOLDE (1867-1956). Porträt. watercolour and brush and India ink on paper18 7/8 x 13 7/8 in. (48 x 35.2 cm.).

    Christie's
  • Emil Nolde (1867, Nolde, district of Tønder - 1956, Seebüll)
    Dec. 07, 2024

    Emil Nolde (1867, Nolde, district of Tønder - 1956, Seebüll)

    Est: -

    Emil Nolde (1867, Nolde, district of Tønder - 1956, Seebüll) offset, mixed lot of mountain postcards with the associated book "Emil Nolde, die Bergpostkarten", 12 Nolde postcards plus 4 duplicates, no. 38 and 39 of the unknown postcards as well as 19 other mountain postcards, signs of age, postcards mostly inscribed and used Nolde postcards: No. 1 (+ 1 dup.), No. 2, No. 3, No. 4, No. 5 (+ 1 dup.), No. 7 (+2 dup.), No. 8, No. 11, No. 26, No. 27, No. 28 Emil Nolde (1867, Nolde, Kreis Tondern - 1956, Seebüll) Offset, Konvolut Bergpostkarten mit zugehörigem Buch "Emil Nolde, die Bergpostkarten", 12 Nolde Postkarten plus 4 Duplikate, Nr. 38 und 39 der unbekannten Postkarten sowie 19 weitere Bergpostkarten, Altersspuren, Postkarten mehrheitlich beschriftet und gelaufen Nolde-Postkarten: Nr. 1 (+ 1 Dup.), Nr. 2, Nr. 3, Nr. 4, Nr. 5 (+ 1 Dup.), Nr. 7 (+2 Dup.), Nr. 8, Nr. 11, Nr. 26, Nr. 27, Nr. 28

    Auktionshaus HanseArt
  • Emil Nolde (1867 Nolde - Seebüll 1956) – Dahlien und Rudbeckien (Dahlias and rudbeckias)
    Dec. 05, 2024

    Emil Nolde (1867 Nolde - Seebüll 1956) – Dahlien und Rudbeckien (Dahlias and rudbeckias)

    Est: €50,000 - €70,000

    Watercolour on Japon. (Circa 1935). C. 26 x 23 cm. Signed upper right.

    Karl & Faber
  • Emil Nolde (1867 Nolde - Seebüll 1956) – Dampfer und Segelboote (Steam ship and sail boat)
    Dec. 05, 2024

    Emil Nolde (1867 Nolde - Seebüll 1956) – Dampfer und Segelboote (Steam ship and sail boat)

    Est: €50,000 - €70,000

    Watercolour and brush and India ink on Japon. (c. 1920/25). C. 35 x 47 cm. Signed lower right.

    Karl & Faber
  • Emil Nolde (1867 Nolde - Seebüll 1956) – Figuren am Strand (Sylt) (Figures on the beach (Sylt))
    Dec. 05, 2024

    Emil Nolde (1867 Nolde - Seebüll 1956) – Figuren am Strand (Sylt) (Figures on the beach (Sylt))

    Est: €60,000 - €80,000

    Watercolour on Japon. (1949). C. 35.5 x 48 cm.

    Karl & Faber
  • Untitled (Landscape in Rutebüll / Utenrast)
    Dec. 05, 2024

    Untitled (Landscape in Rutebüll / Utenrast)

    Est: €50,000 - €70,000

    Property from an Important Private European Collection Emil Nolde 1867 - 1956 Marschlandschaft (überschwemmte Wiesen, Bauernhäuser) signed Nolde (lower right) watercolour and ink on Japan paper 35 x 47,2 cm; 13¾ x 18⅝ in. Executed circa 1920. The Scholarly Advisory Board of Stiftung Seebüll Ada und Emil Nolde has confirmed the inclusion of the work in a future catalog raisonné of the watercolors and drawings by Emil Nolde (1867–1956), Fr.A.2896. __________________________________________________________________________ Provenant d’une Importante Collection Particulière Européenne Emil Nolde 1868 - 1956 Marschlandschaft (überschwemmte Wiesen, Bauernhäuser) signé Nolde (en bas à droite) aquarelle et encre sur papier japonais 35 x 47,2 cm; 13¾ x 18⅝ in. Exécuté vers 1920. Le Scholarly Advisory Board of Stiftung Seebüll Ada und Emil Nolde a confirmé l'inclusion de l'œuvre dans un futur catalogue raisonné des aquarelles et dessins d'Emil Nolde (1867-1956), Fr.A.2896.

    Sotheby's
  • Emil Nolde (1867 Nolde - Seebüll 1956) – Im Wirthaus (Cospeda) (Tavern scene (Cospeda))
    Dec. 05, 2024

    Emil Nolde (1867 Nolde - Seebüll 1956) – Im Wirthaus (Cospeda) (Tavern scene (Cospeda))

    Est: €15,000 - €20,000

    Watercolour on cream wove paper. (1908). C. 36 x 49 cm. Signed lower right.

    Karl & Faber
  • Emil Nolde (1867 Nolde - Seebüll 1956) – Bärtiger Apostelkopf mit geschlossenen Augen (en face) (Bearded apostle head with closed eyes (en face))
    Dec. 05, 2024

    Emil Nolde (1867 Nolde - Seebüll 1956) – Bärtiger Apostelkopf mit geschlossenen Augen (en face) (Bearded apostle head with closed eyes (en face))

    Est: €10,000 - €15,000

    Watercolour, indian ink and pen on thin wove paper (with watermark "JOYNSON`S"). (c. 1909). C. 27 x 31 cm. Signed lower right.

    Karl & Faber
  • Emil Nolde (1867 Nolde - Seebüll 1956) – Kirche und Schiff, Sonderburg (Church and ship, Sonderburg)
    Dec. 05, 2024

    Emil Nolde (1867 Nolde - Seebüll 1956) – Kirche und Schiff, Sonderburg (Church and ship, Sonderburg)

    Est: €7,000 - €10,000

    Coloured lithograph on wove paper. (1907). C. 49 x 32 cm (sheet c. 61 x 43 cm). One of 37 copies. Signed lower right. Titled "Kirche u. Schiff" by Ada Nolde lower centre and inscribed "Aufl. Nr. 14" lower left.

    Karl & Faber
  • Emil Nolde (1867 - 1956): Musician
    Dec. 04, 2024

    Emil Nolde (1867 - 1956): Musician

    Est: $10,000 - $20,000

    Emil Nolde 1867-1956 Musician watercolor on paper signed lower right

    Abell Auction
  • Freihafen Hamburg
    Dec. 04, 2024

    Freihafen Hamburg

    Est: €3,000 - €5,000

    Emil Nolde 1867 - 1956 Freihafen Hamburg signed in pencil woodcut on wove paper sheet (visible): 300 by 400 mm. 11¾ by 15¾ in. Executed in 1910; this impression is from the edition of 12.

    Sotheby's
  • Junger Mann
    Dec. 04, 2024

    Junger Mann

    Est: €2,000 - €3,000

    Emil Nolde 1867 - 1956 Junger Mann signed in pencil and inscribed woodcut on vellum image: 213 by 155 mm. 8⅜ by 6⅛ in. sheet: 335 by 242 mm. 13¼ by 9½ in. Executed in 1917; this impression is from the edition of 17.

    Sotheby's
  • Nolde, Emil: Akt
    Nov. 30, 2024

    Nolde, Emil: Akt

    Est: €6,000 - €8,000

    Akt Radierung mit Aquatinta in Blaugrün auf festem Van Gelder Zonen-Bütten. 1906. 19,4 x 14,8 cm (41,5 x 27,8 cm). Signiert "Emil Nolde" und datiert sowie vom Drucker signiert "OFelsing" und bezeichnet. Schiefler/Mosel 34 II. Druck von der verstählten Platte, aus der Gesamtauflage von 66 Exemplaren, 20 davon waren 1907 der Jahresgabe der Künstlergruppe Brücke beigegeben, neben weiteren sieben Exemplaren des ersten Zustandes. Noldes erster radierter Akt bildet den Auftakt einer Reihe von zehn Aktmotiven, die er in den Jahren 1907 bis 1908 schuf. Das frühe Blatt aus der Brücke-Zeit in einem prachtvollen Druck mit breitem Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

    Bassenge Auctions
  • Nolde, Emil: Hamburg, Landungsbrücke
    Nov. 30, 2024

    Nolde, Emil: Hamburg, Landungsbrücke

    Est: €3,000 - €4,000

    Hamburg, Landungsbrücke Radierung mit Aquatinta auf Velin. 1910. 30,2 x 40,5 cm (44 x 52 cm). Signiert "Emil Nolde". Schiefler/Mosel 139 III. Während seines ersten Aufenthaltes in Hamburg schuf Nolde außer diesem Motiv noch 18 weitere Radierungen. Im Februar 1910 war er wegen seiner Einzelausstellung in der Commeter’schen Kunsthandlung nach Hamburg gereist und blieb dort länger als geplant, weil sich ihm im Hafen eine völlig neue Welt von Schornsteinen und Kränen, Eisenbrücken, Docks, Barkassen und Schleppern auf der Elbe zeigte. Druck des endgültigen Zustandes mit der dunklen Tonätzung; einer der späteren Abzüge, hier ohne das Wasserzeichen. Gedruckt in einer Gesamtauflage von mindestens 40 Exemplaren bei Genthe, Hamburg bzw. Sabo, Berlin. Ausgezeichneter Druck mit hellem, körnig-fleckigem Plattenton, mit nuancierter Flächenätzung und mit breitem Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

    Bassenge Auctions
  • Emil Nolde, Drei Männer im Gespräch (Drei Bauern), 1908-1909
    Nov. 30, 2024

    Emil Nolde, Drei Männer im Gespräch (Drei Bauern), 1908-1909

    Est: €16,000 - €18,000

    Signed 'Nolde' lower right in brown India ink. With a photo-certificate from Manfred Reuther, Seebüll Ada and Emil Nolde Foundation, dated 2 Nov. 2023. The work is registered in the Nolde Archive under no. "Nolde Z - 290/2023". The ink brush drawing belongs to a group of comparable drawings and paintings, such as ‘Marktleute’ from 1906 and ‘Marktleute’ (1908, cat. rais. 244) and ‘Bauern (Viborg)’ (1908, cat. rais. 246).

    Kunsthaus Lempertz KG
  • Emil Nolde, Mutter und Kind, 1913
    Nov. 30, 2024

    Emil Nolde, Mutter und Kind, 1913

    Est: €6,000 - €8,000

    Signed and titled by Ada Nolde and inscribed "Aufl. Nr. 3".

    Kunsthaus Lempertz KG
  • Emil Nolde, Frauenkopf I, 1912
    Nov. 30, 2024

    Emil Nolde, Frauenkopf I, 1912

    Est: €8,000 - €10,000

    Signed. One of six proofs.

    Kunsthaus Lempertz KG
  • Emil Nolde, Segler, 1907
    Nov. 30, 2024

    Emil Nolde, Segler, 1907

    Est: €4,000 - €6,000

    Signed and dated. One of at least 29 proofs.

    Kunsthaus Lempertz KG
  • Emil NOLDE (1867-1956)
    Nov. 30, 2024

    Emil NOLDE (1867-1956)

    Est: CHF100 - CHF200

    Sailors Lithograph, signed and dated 10 33 x 44.5 cm, frame: 51.5 x 63 cm It is a reprint!

    Galerie Moenius
  • Emil Nolde, Marschlandschaft, Circa 1930
    Nov. 29, 2024

    Emil Nolde, Marschlandschaft, Circa 1930

    Est: €100,000 - €120,000

    Signed 'Nolde' lower right in brown India ink. The scientific advisory board of the Stiftung Seebüll Ada and Emil Nolde examined the original work on 19 September 2024 and will include it in a future catalogue raisonné of Emil Nolde's watercolours and drawings. Contrasting and highly expressive tones of blue, yellow and green as well as a fluidly light application of the colours transform Emil Nolde’s northern German “Marschlandschaft” into a dramatic visual arrangement. Like no artist before him, he captures his native landscape – with its broad plains, squat farmhouses and endless expanse of sky – through the fireworks of his colours. For Nolde, there was nothing monotonous about the nature here. Its colours and atmosphere change constantly, reflecting the power of natural phenomena. The present watercolour was probably created in western Schleswig, where Emil and Ada Nolde had purchased the Utenwarf farmhouse. In contrast to his time spent on the idyllic island of Als in the Baltic Sea, Nolde found the more inhospitable landscape and the often rough weather in western Schleswig more artistically interesting: "I was yearning for lofty and free air, for an austere and strong beauty, like that which the western coast, with its broad expanse of sky and the clouds above the marshes and water, provides with particular extravagance in the harsh seasons.” (cited in: Emil Nolde, Welt und Heimat, Cologne 2002, p. 147). With “Marschlandschaft”, a remarkably well-preserved watercolour by Nolde is coming up for sale. Created around 1930, it is among those works from the best period of his oeuvre which display particularly intense colours.

    Kunsthaus Lempertz KG
  • Emil Nolde, Kirchenfiguren II - Mann und Frau, 1913
    Nov. 29, 2024

    Emil Nolde, Kirchenfiguren II - Mann und Frau, 1913

    Est: €300,000 - €350,000

    Signed 'Emil Nolde' upper right in black and additionally signed and titled 'Emil Nolde Kirchenfiguren II' verso on the stretcher in back brush. - Printed paper label of Galerie Hans Goltz, Munich, verso on the stretcher, therein handwritten name of artist, title and no. "9793" as well as printed label of Galerie Wilhelm Grosshennig, Düsseldorf, and label of "XXVIII Exposition Biennale Internationale des Beaux Arts Venise 1956", thereon typewritten name of artist, title and lender "Dr. Bernhard Sprengel, Hannover". “Dualisms were provided a great deal of room in my pictures and also in my graphic works. With or against one another: man and woman, pleasure and pain, deity and devil. The colours were also opposed to each other: cold and warm, light and dark, weak and bold. Usually, however, after one colour or colour harmony had been sounded – as though it were a matter of course – one colour defined the other, feeling the way through the palette’s entire splendid sequence of colours entirely on the basis of emotion and without a thought, in pure sensual surrender and the joy of giving form […] Colours living a life of their own, crying, laughing, dream and happiness, hot and holy, like love songs and eroticism, like chants and chorales! Colours oscillating in the timbre of silver and bronze bells, heralding happiness, passion and love, blood and death,” writes Nolde regarding the years he spent in Arolsen and Berlin from 1911 to 1913 (cited in idem, Mein Leben, Köln 1976, p. 205). Surveying Nolde’s work as a painter, his strong interest in depicting sculpture stands out: statues of the Madonna, sculptures and masks from Oceania and by Native Americans, statues of Buddha and faience works. In this context he took advantage both of his own collections and, from 1911, increasingly those of Berlin’s ethnological museum as well; Nolde had rented a flat and studio in Berlin during those years and primarily spent the winter months there. “When winter came again I stood, following an inner urge, in the Egyptian and Coptic sections of the museums; I went to the Tanagras and to the Romanesque and Gothic statues, always drawing all of these rich forms and also colours. – This provided a more profound penetration into the essential than mechanical images and reproductions do, even if my drawings were only very cursory. – In my later still lifes, which were often painted freely, several of these object-based perceptions make their return” (ibid., p. 223). Thus, on the one hand, artefacts are arranged into still lifes and, on the other, these same objects find their way into his world of motifs and inspire him to an extremely expressionistic realisation of, for example, historical themes from the Bible, featuring subjects such as the nine-part cycle on the “Leben Christi” (Urban 421-423, 477-482), or also from Nordic mythology, such as “Mann und Weibchen” or “Kerzentänzerinnen” – characteristic figures featuring bizarre and striking physiognomies in ecstatic movement and bold tonality (see Urban 515 and 512). While his fellow artists from the Brücke group or also those in Paris were dedicating their attention more to non-Western, or specifically African sculpture, Nolde was also searching for the distinctive, interesting and also the foreign element in European sacred sculpture. In the still life “Kirchenfiguren II” the figure of an apostle – the book may identify him as Matthew – and the kneeling donor figure depicting a king’s daughter from a medieval group centred around St George have been made the same size and united together. Both wooden sculptures – as well as a Madonna with a saint which Nolde depicted in his painting “Kirchenfiguren I” (see Urban 549) – were exhibited in Kiel’s Thaulow ethnological museum, which was later destroyed, and they are now to be found in Schloss Gottorf in Schleswig. The two preparatory drawings in the Nolde-Stiftung Seebüll show the apostle and the princess as individual figures. In the large-format painting, on the other hand, they fill the blue space of the picture, which has been painted in with broad brushstrokes and without further detail (surely a Marian allusion) – harmoniously united, they gaze with mild seriousness at the viewer opposite them. The gesture of intercession thus no longer applies to the original situation from which Nolde had taken it and is instead addressed directly to the viewer. The “still life” is rare on account of its large size; it was already presented at important exhibitions early on and is from the famous Sprengel collection of Hanover.

    Kunsthaus Lempertz KG
  • EMIL NOLDE
    Nov. 29, 2024

    EMIL NOLDE

    Est: CHF70,000 - CHF100,000

    EMIL NOLDE (Nolde 1867–1956 Seebüll) Dahlias and Delphinium. Watercolour on Japan paper. Signed lower right: Nolde. 34.5 × 47.7 cm. Provenance: - Leopold Reidemeister, Berlin. - Paul Nordmann, Berlin, acquired in the 1930s from the above owner, and thence by descent. - Sale Grisebach, Berlin, 25.11.1988, Lot 81. - Private collection, Germany, acquired at the above auction. The strong colors of the yellow, orange and red dahlias jump out at the eye like fireworks and enliven the comparatively neutral background. Their bright yellow accentuates the delphinium blossoms and forms a bouquet of flowers with them that blooms wildly from the turquoise vase. The arrangement evokes the vitality and joy of nature; the only orange dahlia is positioned in the middle like a rising sun. It not only freshens up the composition of the watercolor, but also brightens up any interior by bringing soothing nature in all its dynamic and colorful splendor inside. Nolde’s technique of watercolor on Japanese paper allows the flowers to flow out of their forms and merge into one another, with certain brushstrokes in turn creating clear structure and giving the work depth. With yellow and blue as well as violet and orange, Nolde creates an interplay of contrasts and atmosphere, which is enhanced by the light-dark ground. The provenance of this work goes back to Leopold Reidemeister, the first director of the Brücke Museum in Berlin. The museum, which opened in 1967, is dedicated to the Dresden artist community “Die Brücke”, to which Nolde also belonged since 1906/07. * The full tax is charged on this item marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration. ------------------------------------------------- EMIL NOLDE (Nolde 1867–1956 Seebüll) Dahlien und Rittersporn. Aquarell auf Japanpapier. Unten rechts signiert: Nolde. 34,5 × 47,7 cm. Provenienz: - Leopold Reidemeister, Berlin. - Paul Nordmann, Berlin, in den 1930er-Jahren von Obigem erworben und durch Erbschaften an die nächsten Generationen. - Auktion Grisebach, Berlin, 25.11.1988, Los 81. - Privatsammlung Deutschland, an obiger Auktion erworben. Wie Feuerwerke springen die kräftigen Farben der gelben, orangen und roten Dahlien dem Auge entgegen und beleben den vergleichsweise neutralen Hintergrund. Ihr leuchtendes Gelb akzentuiert zugleich die Blüten des Rittersporns und bildet mit diesen ein Blumenbouquet, welches wild aus der türkisfarbenen Vase erblüht. Das Arrangement gibt die Lebenskraft und -freude der Natur wieder, wobei die einzige orangefarbene Dahlie wie eine aufgehende Sonne in der unteren Bildhälfte mittig positioniert ist. Dieses frische Aquarell erhellt jedes Interieur, indem es die wohltuende Natur in seiner dynamischen und farbenfrohen Pracht in den Raum transportiert. Noldes Technik von Aquarell auf Japanpapier lässt die Blumen ihrer Form entfliessen und ineinander übergehen, wobei bestimmte Pinselstriche wiederum klare Strukturen schaffen und dem Werk eine Tiefe verleihen. Mit Gelb und Blau sowie Violett und Orange kreiert Nolde ein kontrastreiches und stimmungsvolles Zusammenspiel, welches durch den Hell-Dunkel-Hintergrund verstärkt wird. Die Provenienz dieses Werks geht auf Leopold Reidemeister zurück, den ersten Direktor des Brücke Museums Berlin. Das im Jahre 1967 eröffnete Museum ist der Dresdener Künstlergemeinschaft "Die Brücke" gewidmet, zu welcher auch Nolde 1906/07 angehörte. Dieses mit * (Asterisk) bezeichnete Objekte ist vollumfänglich mehrwertsteuerpflichtig, d. h. bei diesen Objekten wird die MWST auf den Zuschlagspreis plus Aufgeld berechnet. Käufer, die eine rechtsgültig abgestempelte Ausfuhrdeklaration vorlegen, erhalten die MWST rückvergütet.

    Koller Auctions
  • Emil Nolde ”Porträt Stephanie Wiesand im Profil”
    Nov. 29, 2024

    Emil Nolde ”Porträt Stephanie Wiesand im Profil”

    Est: €20,000 - €30,000

    ”Porträt Stephanie Wiesand im Profil” Signed lower right: Nolde.

    Grisebach
  • Emil Nolde ”Porträt Stephanie Wiesand en face”
    Nov. 29, 2024

    Emil Nolde ”Porträt Stephanie Wiesand en face”

    Est: €25,000 - €35,000

    ”Porträt Stephanie Wiesand en face” Signed lower left: Nolde

    Grisebach
  • Emil Nolde ”Gnome”
    Nov. 29, 2024

    Emil Nolde ”Gnome”

    Est: €40,000 - €60,000

    ”Gnome” Signed and dedicated lower left: Nolde an Sauerlandt. On the cardboard backing a label of the Lafayette Parke Gallery, New York

    Grisebach
  • Emil Nolde ”Abendliches Meer und Dampfer”
    Nov. 29, 2024

    Emil Nolde ”Abendliches Meer und Dampfer”

    Est: €60,000 - €80,000

    ”Abendliches Meer und Dampfer” Signed in pen and brown ink lower right: Nolde

    Grisebach
  • Emil Nolde ”Frauenkopf III”
    Nov. 29, 2024

    Emil Nolde ”Frauenkopf III”

    Est: €6,000 - €8,000

    ”Frauenkopf III” Signed

    Grisebach
  • Emil Nolde ”Mühle am Wasser”
    Nov. 29, 2024

    Emil Nolde ”Mühle am Wasser”

    Est: €18,000 - €24,000

    ”Mühle am Wasser” Signed, titled and inscribed: In dieser Faßung ein Druck

    Grisebach
  • Emil Nolde ”Meer im Abendlicht”
    Nov. 28, 2024

    Emil Nolde ”Meer im Abendlicht”

    Est: €80,000 - €120,000

    ”Meer im Abendlicht” Signed in pen and brown ink lower right: Nolde

    Grisebach
  • Emil Nolde ”Frauenporträt mit gelbem Ohrring”
    Nov. 28, 2024

    Emil Nolde ”Frauenporträt mit gelbem Ohrring”

    Est: €80,000 - €120,000

    ”Frauenporträt mit gelbem Ohrring” Signed in pencil lower left: Nolde

    Grisebach
  • Emil Nolde ”Dschunke und Dampfer”
    Nov. 28, 2024

    Emil Nolde ”Dschunke und Dampfer”

    Est: €70,000 - €90,000

    ”Dschunke und Dampfer” Signed in pencil lower right: Nolde

    Grisebach
  • EMIL NOLDE* (Nolde, Burkal Sogn 1867 - 1956 Seebüll)
    Nov. 28, 2024

    EMIL NOLDE* (Nolde, Burkal Sogn 1867 - 1956 Seebüll)

    Est: €20,000 - €40,000

    EMIL NOLDE* (Nolde, Nolde bei Buhrkall 1867 - 1956 Seebüll) Two chameleons by the pond 1923/24 watercolor/paper 34,5 x 48 cm signed Nolde Dr. Martin Urban of the Nolde Foundation, Seebüll has confirmed the authenticity of the watercolor SCHÄTZPREIS / ESTIMATE °€ 20000 - 40000 STARTPREIS / STARTING PRICE °€ 20000 Hans Emil Jansen became famous under the name of his birthplace Nolde in the Danish, formerly Prussian, part of Schleswig-Holstein that had been in existence since the end of the First World War. From 1902 he named himself after the village. At that time he mainly painted “lyrical” landscapes. Nolde always paid particular attention to nature and its artistic interpretation, and today he is one of the most important exponents of German Expressionism and the most important watercolorist of his time. Among the colorful expressionists, Nolde stands out brilliantly with the radicality and luminosity of his coloring. With his powerful color virtuosity, he not only gave watercolors the same value as paintings in his own work, he also regained this genre's lost social reputation. At his father's urging, Nolde initially trained as a carver and draftsman at the Flensburg School of Applied Arts. After six years as a drawing teacher at the St. Gallen trade school, further stations included Adolf Hölzel's private painting school in Dachau and the Académie Julian in Paris. Nolde's increasingly colorful flowers and garden pictures from the Danish island of Alsen impressed the Brücke artists. In 1906 they welcomed Nolde into their midst; However, after a dispute with Schmidt-Rottluff, Nolde left the bridge again the following year. In 1909 Nolde, who had lived in Berlin with his wife Ada since 1904, became a member of the Berlin Secession. When the jury, including Max Liebermann, rejected works by Georg Tappert and other expressionist artists the following year, there was a break and, with Nolde's participation, the formation of the New Secession. This opened its first exhibition on May 15th under the title “Rejected from the Secession Berlin 1910”. From 1913 to 1914, Nolde took part as a draftsman together with Ada in the medical - demographic German - New Guinea expedition of the Reich Colonial Office. At that time he was an avowedly cosmopolitan artist, fascinated by the “exotic strength” of Africa, Central America and Southeast Asia. The journey to the “German South Seas” took place in an orderly manner via Moscow, Siberia, Korea, Japan and China. However, the return journey, via the Suez Canal, France and Switzerland, turned out to be an adventure, especially from August 1914 onwards due to the outbreak of war. Nolde later dedicated a separate volume of memoirs (“World and Homeland”, 1936/1965) to the South Seas voyage. In 1919, 26 watercolors and another 24 sheets from Nolde's famous South Sea voyage were donated to the Berlin National Gallery by the Reich Colonial Office, which had become obsolete due to the war. These watercolors, 24 of which were confiscated by the Nazis in 1937, are considered the highlight of Nolde's oeuvre. It is not known when and where exactly Nolde met the two chameleons he portrayed. Together with a very similar watercolor by Nolde, which also shows two chameleons, the present picture is dated to the period 1923 to 1924 - before the move to Seebüll in North Frisia in 1926. It is possible that neither the extremely pretty watercolor nor any drawing template of any kind were actually created in the wild, but in the Berlin Zoological Garden. However, at least indirectly, the watercolor is certainly a late echo of the South Seas voyage that had such a lasting impact on Nolde and his artistic development. The animal on the right, positioned a little lower, is in some respects a repeat of the other specimen. Even the branches on which the chameleons sit are very similar in their curvature. The blue that surrounds the two reptiles was only applied later and carefully moved around the animals, leaving plenty of paper free. Together with the entire indefinite background, which appears to be dissolved into colored clouds of steam, which evokes and seems to imitate the humid heat of the tropics, the animals create an attractive, rhythmic pattern. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked ° at the estimate), a premium of 24% is added to the highest bid. The mandatory sales tax is added to the sum of the highest bid and the buyer's premium. This amounts to 13% for paintings, drawings, graphic works and sculptures and 20% for photographs and all other items. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.

    Widder Auctions
  • Emil Nolde: Tingel-Tangel II
    Nov. 28, 2024

    Emil Nolde: Tingel-Tangel II

    Est: €8,000 - €12,000

    NOLDE, EMIL 1867 Nolde - 1956 Seebüll Title: Tingel-Tangel II. Date: 1907. Technique: Colour lithograph on paper. Depiction Size: 32,5 x 48cm. Sheet Size: 37,5 x 54cm. Notation: Signed, dated and inscribed. Frame/Pedestal: Framed. This work was created in an edition of 12 copies. Provenance: - Private Collection Rhineland-Palatinate Literature: - Schiefler, Gustav/Mosel, Christel: Emil Nolde - Das graphische Werk, vol. II, Holzschnitte, Lithographien und Hektographien, Cologne 1996 (2nd ed.), cat. rais. no. 26 II, ill. Explanations to the Catalogue Emil Nolde Germany Die Brücke Modern Art Prints 1900s Framed Group of Figures Works on paper Lithograph Woman Estimated shipping costs for this lot: Germany: 52,94 Euro plus 10,06 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 138,66 Euro plus 26,34 Euro VAT additional shipping insurance

    Van Ham Kunstauktionen
  • Emil Nolde: Marschlandschaft
    Nov. 28, 2024

    Emil Nolde: Marschlandschaft

    Est: €40,000 - €60,000

    NOLDE, EMIL 1867 Nolde - 1956 Seebüll Title: Marschlandschaft. Date: Ca. 1940. Technique: Watercolour and India ink on Japan. Measurement: 17 x 13,5cm. Notation: Signed lower right: Nolde. Frame/Pedestal: Craftsman's frame. Not examined out of the frame. There is a photographic expertise on this work by Prof. Dr Martin Reuther, Stiftung Seebüll Ada und Emil Nolde, dated 8 May 2017. It is registered in the archive under the number "Nolde1-21/2017". According to Prof. Dr Reuther, the work was created around 1940 and thus belongs to the series of Nolde's "Unpainted Paintings". Provenance: - Private Collection North Rhine-Westphalia - Small-format watercolour from the series of 'Unpainted Paintings' created between 1938 and 1945 - His marshland landscapes with their high, picture-filling skies are among the most sought-after motifs - The dominant blue-green-black colouring with the delicate yellow accents creates a stormy, turbulent scene in which the marsh landscape seems to dissolve Explanations to the Catalogue Emil Nolde Germany Die Brücke Modern Art 1940s Craftman's frame. Not examined out of the frame Landscape Works on paper Watercolour and India ink Sea Estimated shipping costs for this lot: Arrangement after the auction.

    Van Ham Kunstauktionen
  • Emil Nolde: Abendhimmel über der Marsch
    Nov. 27, 2024

    Emil Nolde: Abendhimmel über der Marsch

    Est: €100,000 - €150,000

    NOLDE, EMIL 1867 Nolde - 1956 Seebüll Title: Abendhimmel über der Marsch. Date: 1930/35. Technique: Watercolour on Japan. Measurement: 35 x 48cm. Notation: Signed lower right: Nolde. Frame/Pedestal: Framed. A copy of a photo certificate from Prof. Dr Martin Urban, Emil and Ada Nolde Foundation, Seebüll, dated 11.04.1985, is available for this work. Provenance: - Private collection Rhineland (acquired around 1930) - Private collection Frankfurt - Hauswedell & Nolte, Hamburg, 259th auction, 06-08 June 1985, lot 1186 - Fisher Fine Art, London (acquired from the previous owner in 1985) - Private collection, Germany (acquired from the previous owner in 1985) - Christie's, London, auction 28.11.1989, lot 142 - Private collection Switzerland (acquired from the previous owner in 1989) - Galerie Neher, Essen (acquired from the previous owner in 1990) - Private collection North Rhine-Westphalia (acquired from the previous owner in 1990) Exhibitions: - Galerie Thomas, Munich 1990 - Westphalian State Museum, Münster 1991/92 Literature: - Exhib. cat. Galerie Thomas, 25 Jahre danach, Galerie Thomas, Munich 1990, cat. no. 34, ill - Weltkunst Verlag (ed.): Kunstpreis-Jahrbuch 1985, Deutsche und internationale Auktionsergebnisse, vol. 40.1, Munich 1985, p. 323 - Repro-Holland BV (ed.): World Collectors Annuary, Volume XXXVI, Delft 1985, p. 274 - Weltkunst Verlag (ed.): Art Prize Yearbook 1990, German and International Auction Results, Volume 45.1, Munich 1985, p. 320 - Nolde's mystical experience of nature is particularly well expressed in his luminous marshland landscapes - Closed provenance - His virtuoso watercolour painting and skilful use of colour make his works distinctive Fantastic North One of the leading representatives of expressionism, Emil Nolde, whose pseudonym refers to his home village of Nolde in North Schleswig, became famous above all for his paintings and watercolours of flowers and landscapes, the expressive quality of which is created by the intense luminosity of the colour. Nolde developed his art from within, and any attempts to obtain an academic education remained without consequence. Nolde remained an autodidact, always turning to the freedom of his own self-realisation. He worked as a woodcarver's assistant and carver for a time. His travels took him to Munich, Karlsruhe and Berlin, where he worked in furniture factories. In St. Gallen, Switzerland, he studied the mountains and their inhabitants in detail in small studies and watercolours, which were to have a stylistically formative effect on his further work. Although Nolde visited private art institutions in Munich and Paris, his artistic development did not conform to any school. He mainly studied originals independently, detached from the prevailing canon. The idiosyncratic painting of the Belgian James Ensor and the Norwegian Edvard Munch were formative for him. In Berlin, he was influenced by the objects and figures in the Ethnological Museum, while later impressions from trips to the South Seas are also reflected in his work. In particular, however, Nolde was drawn to the fantastical, twilight atmosphere of the north. He initially settled on the Baltic island of Alsen, and later took up residence in Utenwarf and Seebüll. During his numerous stays on the German and Danish coasts, Nolde was always able to draw new views of small fishing villages and seaside resorts. Ghosts and faces revealed themselves to him in the changing marsh landscape, and his work is often populated by grotesque figures. He created images of a living nature, but mystical and religious themes also consistently shaped his content. Nolde set himself apart from German Impressionism, which he saw as a German-French hybrid art, by emphasising his rural background, which allowed him a particularly authentic approach to reality and its unadulterated, true-to-life reproduction. Although he only belonged to the artists' association “Die Brücke” for a short time, Nolde retained the expressionist basic concept of a unity of art and life throughout. Colouristic Fireworks The watercolour shown here combines closeness to nature with the unadulterated joy of a riot of colour. The view of a sky, whose colour values and light effects change rapidly at twilight, appears entirely on its own, without reference to landscape, without concrete reference to a place or area. No house, no animal, no human being can be seen; any figuration is banned from the picture surface. Nolde renders the impression of nature as pure expressive abstraction in dramatic contrasts. The burning red-orange of the sunset is slowly replaced by the cool deep blue of the incoming night and flares up in a last bright glow. The composition captivates as a colouristic firework, as a painterly answer to the celestial event. Nolde's spontaneous artistic reaction to the overwhelming sensory experience of the rapidly vanishing scenario is reflected in the fluidity of the watercolour, with which the fleeting colours are ecstatically put on paper. The motif is almost absorbed by the magic of the colour and dissolves. What remains is the scenic atmospheric image as an ecstatic celebration of light and colour. Bettina Haiss Explanations to the Catalogue Emil Nolde Germany Die Brücke Modern Art 1930s Framed Landscape Works on paper Watercolour Estimated shipping costs for this lot: Germany: 52,94 Euro plus 10,06 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 138,66 Euro plus 26,34 Euro VAT additional shipping insurance

    Van Ham Kunstauktionen
  • Emil Nolde: Hoher Himmel mit roten Wolken
    Nov. 27, 2024

    Emil Nolde: Hoher Himmel mit roten Wolken

    Est: €80,000 - €120,000

    NOLDE, EMIL 1867 Nolde - 1956 Seebüll Title: Hoher Himmel mit roten Wolken. Date: 1930/35. Technique: Watercolour on Japan. Measurement: 18,5 x 16,5cm. Notation: Signed lower left: Nolde. Frame/Pedestal: Framed. For this work a photo certificate from Prof. Dr. Martin Urban, Emil und Ada Nolde Stiftung, Seebüll, from 23rd October, 1988, is available in copy. Provenance: - Private collection Hamburg - Hauswedell & Nolte, 277. Auction, 10th June, 1989, lot 956 - Private collection NOrth RHine-Westphalia Exhibitions: - Westfälisches Landesmuseum, Münster 1991/92 Literature: - Art Sales Index Ltd. (ed.): The Art Sales Index 1988/89, 21st edition, Weybridge 1989, p. 1560 - Edition M (ed.): International Auction Records Vol. XXIV, New York 1990, n.page. - Exhib. cat. EMIL NOLDE - Aquarell und figürliche Radierungen, Westfälisches Landesmuseum, Münster 1991/92, cat. no. 40, p. 116, ill. - Impressive example of the characteristic Frisian landscape watercolours - Captivates with its strong, harmonious colours - In his watercolours, Nolde always illustrates the pulsating forces of nature Nolde's expansive landscapes Nolde's creative vision is rooted in his beloved homeland of Schleswig-Holstein, near the German-Danish border. He feels such a connection to this flat stretch of land between the North and Baltic Seas that, although he was born Emil Hanson, he adopted the name of his birthplace, ‘Nolde,’ in 1902. Nolde spent most of his life in this area. The remote and expansive landscapes around his house in Utenwarf and later in nearby Seebüll were the source of his art. Sky and Earth in Flux The watercolour ‘High Sky with Red Clouds’ is one of a series of powerful and arresting landscape pieces that Nolde created throughout his career. The artist was keen to depict the sky and the sea as primal forces, often with storm clouds gathering or bathed in an eerie semi-darkness. Below lies the wide pasture landscape. The colours here literally flow over the paper, blurring the boundaries between heaven and earth. Nolde's impressive watercolours, exposed to the region's dramatic weather systems, are charged with emotion and spirituality, in keeping with the tradition of northern romantic painting. ‘I merged with the clouds and moods of my native region,’ Nolde wrote in his autobiography (Emil Nolde, in: Welt und Heimat, Cologne 1965, p. 138). Through shrill colours and simplified forms, Nolde reveals his mystical connection and transcendental experience with his homeland. Explanations to the Catalogue Emil Nolde Germany Die Brücke Modern Art 1930s Framed Landscape Works on paper Watercolour Sky Estimated shipping costs for this lot: Arrangement after the auction.

    Van Ham Kunstauktionen
  • EMILE NOLDE [GERMAN/DANISH] 1867-1956 [ATTRIBUTED] UNTITLED SEASCAPE" OIL ON CANVAS, SIGNED LOWER RIGHT, 51X41CMS, FRAMED.
    Nov. 24, 2024

    EMILE NOLDE [GERMAN/DANISH] 1867-1956 [ATTRIBUTED] UNTITLED SEASCAPE" OIL ON CANVAS, SIGNED LOWER RIGHT, 51X41CMS, FRAMED.

    Est: -

    EMILE NOLDE [German/Danish] 1867-1956 [attributed] Untitled Seascape" oil on canvas, signed lower right, 51x41cms, framed. Condition fine. Private Collection. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, verification or expertising and for this reason, are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.

    WA Art Auctions
  • EMIL NOLDE (1867 Nolde/Schleswig - 1956 Seebüll)
    Nov. 23, 2024

    EMIL NOLDE (1867 Nolde/Schleswig - 1956 Seebüll)

    Est: €200 - €300

    Schiffe im Hafen Flensburg Kaltnadel auf Velin. 1907. 15,2 x 19,4 cm (21,6 x 28 cm). Schiefler/Mosel R 74 III.

    Dannenberg
  • EMIL NOLDE (1867 Nolde/Schleswig - 1956 Seebüll)
    Nov. 23, 2024

    EMIL NOLDE (1867 Nolde/Schleswig - 1956 Seebüll)

    Est: €4,400 - €6,500

    Grossbauern Strich- und Tonätzung auf dickem, weichem Van Gelder Zonen-Bütten, mit dem vollen Rand. 22,5 x 30,5 cm (56,6 x 45,2 cm). Signiert "Emil Nolde", am unteren Blattrand von Ada Nolde betitelt und unten links bezeichnet "II.2". Schiefler/Mosel R 193 II (von IV). Prachtvoller, nuancierter Druck in verschiedenen Grautönen, mit der differenzierten, wolkigen Tonätzung und nur wenigen tiefschwarzen Partien in den Rändern und dem Arm des linken Mannes. Schiefler/Mosel nennen nur acht Exemplare dieses Zustandes neben fünf in Zustand I und insgesamt 22 für die letzten beiden Zustände.

    Dannenberg
  • EMIL NOLDE (1867 Nolde/Schleswig - 1956 Seebüll)
    Nov. 23, 2024

    EMIL NOLDE (1867 Nolde/Schleswig - 1956 Seebüll)

    Est: €10,000 - €12,000

    "Familie" Holzschnitt auf leichtem Kupferdruckkarton. 1917. 23,4 x 32,3 cm (29,4 x 39,4 cm). Signiert "Emil Nolde" und von Ada Nolde betitelt. Schiefler/Mosel/Urban H 128 II. Provenienz: Privatsammlung Berlin Prachtvoller Druck mit satten Schwärzen, kräftigem Relief und Rand. Eines von wohl 16 Exemplaren. Im späten neunzehnten Jahrhundert herrschte eine generelle Faszination der europäischen Bevölkerung für "exotische" Kulturen der Südsee vor, die durch die allgegenwärtigen und reißerisch angelegten Völkerschauen zusätzlich befeuert wurde. Das öffentliche Interesse führte auch dazu, dass Kunstwerke, die das "primitive" Leben der "exotischen" Naturvölker portraitierten, zunehmend gefragt waren. Besonders Künstler der Avantgarde sahen neben einem lukrativen Markt für die eigenen Werke auch ein anregendes Bildthema mit einer unverfälschten künstlerischen Sprache. Dementsprechend war es keineswegs verwunderlich, dass Emil Nolde zusammen mit seiner Frau Ada im Oktober 1913 über Moskau, Sibirien, Korea, Japan und China in die "deutschen Schutzgebiete" nach Deutsch-Neuguinea als inoffizielle Teilnehmer der "Medizinisch-demographischen Deutsch-Neuguinea-Expedition" reisten. Als das Ehepaar Nolde nach der beschwerlichen Schiffsreise in Deutsch-Neuguinea ankam, traf es vor Ort nicht wie erhofft auf eine von der Zivilisation unbefleckte, naturverbundene Lebensart in den Dörfern, sondern auf eine bereits kolonialisierte Infrastruktur. Ungeachtet der großen Enttäuschung, schuf Nolde eine Vielzahl von Arbeiten, inspiriert von seiner Reise in die exotischen Gefilde. Eine davon ist der vorliegende Holzschnitt, der nach seiner Rückkehr entstand. Dargestellt ist eine dreiköpfige, neuguineanische Familie, die sich unter freiem Himmel zusammengefunden hat. Nolde nutzt die charakteristische Struktur des Holzes, um die intime Atmosphäre der Szene druckgraphisch einzufangen.

    Dannenberg
  • Emil Nolde. König und Mannen.
    Nov. 23, 2024

    Emil Nolde. König und Mannen.

    Est: €650 - €1,000

    Radierung, Kaltnadel und Tonätzung. 1911/1924. 24,5 : 30 cm (38 : 54,5 cm). Signiert, betitelt und mit »I.1« bezeichnet. Auf schwerem Büttenkarton. – Abzug mit besonders kräftiger Tonätzung, möglicherweise ein Probedruck. – Laut Schiefler wurde erst 1924 eine kleine Auflage (14 Exemplare) bei Ruckenbrod gedruckt, gefolgt von den 35 Abzügen, die Paul Wunderlich 1952 von der Originalplatte druckte. – Nachlass Gustav Schiefler. Rechte obere Ecke mit großem, aber leichtem Knick. Schiefler/Mosel/Urban 166 [Keywords: Modern Art ]

    Christian Hesse Auktionen
  • Nolde, Emil (1867-1956) ‘Table company’ 1906, etching, inscribed below, from: Zeitschrift für bildende Kunst 1907, PM 15,1x19,4cm, BM 24x34cm (w.f. 33,7x38cm), spotty
    Nov. 23, 2024

    Nolde, Emil (1867-1956) ‘Table company’ 1906, etching, inscribed below, from: Zeitschrift für bildende Kunst 1907, PM 15,1x19,4cm, BM 24x34cm (w.f. 33,7x38cm), spotty

    Est: -

    Nolde, Emil (1867-1956) ‘Table company’ 1906, etching, inscribed below, from: Zeitschrift für bildende Kunst 1907, PM 15,1x19,4cm, BM 24x34cm (w.f. 33,7x38cm), spotty Nolde, Emil (1867-1956) "Tischgesellschaft" 1906, Radierung, u. bez., aus: Zeitschrift für bildende Kunst 1907, PM 15,1x19,4cm, BM 24x34cm (m.R. 33,7x38cm), fleckig

    Kendzia
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