ARTWORKS

Emil Nolde (1867 - 1956)
Marschlandschaft mit Gewitterhimmel
Executed circa 1930-1935. Watercolor on paper, 33x45,5 cm. Signed lower right: Nolde.

The authenticity of this work has been confirmed by the late Professor Dr Martin Urban and Dr Manfred Reuther of the Nolde Stiftung, Seebüll.

Provenance. Galerie Raymond Thomas, Munich;
Charles Tabachnik, Toronto (sale: Sotheby's, New York, 19th November 1986, lot 14);
Sotheby`s, Impressionist & Modern Art Day Sale 09/02/2012 L12005, lot 161.

Literature. Avant-Garde and Europe / Avantgarde und Europa. Catalogue of the exhibition. Hagen, 2023. Reproduced on page 52.

Lot notes. Marschlandschaftmitgewitterhimmel, painted during Nolde's final stay in Seebül in Northern Germany, is a superb example of the artist's characteristically dreamy landscapes. Deeply influenced by the natural world, Nolde executed a series of watercoloursemphasising his close attachment to his homeland and heightening its evocative beauty. The  enveloping tonal gradations lend this work an aura of suspense and stillness, a landscape lacking in human life but richly populated with the energy of the approaching thunderstorm. The present work is testament to the artist's enduring exploration of, and experimentation with, this very organic medium. The sinuous lines of the clouds tantalise the viewer into the kaleidoscopic composition. One of the most independent of the German Expressionists, Nolde adhered to the credo of the Dresden-based group known as Die  Brücke from 1906 to 1907, which instilled his practice with a sense of urgency of expression and emphasis on colour.

Balthasar Van Der Ast (Middleburg 1593/94 - 1657 Delft)
A Still Life with a Basket of Flowers, Fruit and Shells
Oil on panel, 37 x 68 cm. Framed dimensions: 56 x 87 x 4.3 cm. Signed lower left: B vander ast

Provenance. Orazio Canossa (d. 1673), Palazzo Canossa, Mantua, recorded in the inventory of his collection dated 15 May 1673, as hanging in one of a sequence of rooms towards the court: "Un quadretino bislongo su l'asse con cornice di pero nero sopra del quale vi sono dipinti varii fiori et fruti di mano del Vander fiamengo con zendalina verde da coprirlo vechia e rotta con bachetta di ferro";
By inheritance to his brother Luigi Canossa (c. 1629-1681), Verona. Possibly the work recorded in the posthumous inventory of Luigi Canossa's paintings dated 11 August 1687, as hanging in the third room facing the River Adige, under no. 297: "uno detto frutere et fiori";
Thence by family descent, recorded in the inventory of the Canossa collection dated 18 September 1781, as hanging in the first room of the Gallery, facing the River Adige: "N. 44. Un quadro fiori in asse di B. Vanderast"; and still in the collection in 2001;
With Quadrifolio, Milan, 2005;
With Johnny Van Haeften Limited, London, 2005;
Private collection, England, (2005-to the present day).

Literature. A. Avena, 'La Galleria Canossa nel 1781', Madonna Verona, VII, 1913, p. 101, no. 44. U. Meroni (ed.), Lettere e altri documenti intorno alla storia della pittura. Raccolte di quadri a Montova nel sei-settecento. Galleria Gonzaga del ramo principale. Galleria Gonzaga del ramo de Vescovado. Galleria Canossa, Monzambano 1976, p. 88 (incorrectly refers to the inventory citation to Pieter van Laer). M. S. Tisato Premi, "I Canossa collezionisti di quadri secondo un ineditio inventario del secolo XVII", Studi Storic. Veronesi Luigi Simeoni, XXVII-XXIX, 1978-79, p. 157. F. Rossi, Mill'altre maraviglie ristrette in angustissimo spacio: un repertorio dell'arte fiamminga e olandese a Verona tra. Cintaie Sedento venice 2001, pp. 123, 17, reproduced in colour on p. 181, fig. 71 and pp. 182-83, figs. 71a and 716.

André Derain (1880-1954)
La route des Vers (dans le département du Lot)
1912. Oil on canvas, 22.4 × 27.3 cm. Signed on the reverse: A Derain

Provenance.
Galerie Kahnweiler, Paris;
Acquired from the above by the family of the previous owner;
Sotheby's, London, Impressionist & Modern Art Day Sale, 23 June 2011, lot 346.

Exhibitions.
Paris, Musée de l'Orangerie des Tuileries, Derain, 1954-55, no. 32 (titled 'Paysage');
Hagen, Osthaus Museum, European Avant-Garde: Painting in the Focus of Modernity, 29 September 2023 - 7 January 2024.

Literature. M. Kellermann, André Derain: Catalogue raisonné de l'œuvre peint, 1895-1914, vol. I, Paris, 1992, p. 211 (illustrated p. 130); Avant-Garde and Europe / Avantgarde und Europa, exh. cat., Hagen, 2023, pp. 9, 44-45, illustrated.

Jan Griffier the Elder (1645/52-1718)
An extensive Mosan capriccio river landscape, with moored boats and groups of figures
Oil on copper, 52.8 × 59.7 cm. Signed lower right: J. GRiFFiER

Its earlier owner, Helene Tepelmann, née Vieweg, ran the family publishing firm, Vieweg Verlag, in Braunschweig, after the death of her father, Heinrich Vieweg (1826-1890). She also played an active part in the family's art collection. In 1873 the Viewegs had bought Wendhausen Castle in Lower Saxony, where they set up a paper mill and gathered a large collection of paintings and antiques. Under Helene's care, the display at the castle made it a notable cultural centre until the Second World War.

Provenance. Helene Tepelmann, née Vieweg (d. 1939), Wendhausen Castle, Lower Saxony; her posthumous sale, Lempertz, Cologne, 1 February 1940, lot 39;
Private collection, Germany, acquired at the above sale, and thence by descent to his son;
Anonymous sale, Sotheby's, London, 6 December 1995, lot 3.

Lot notes. With its large scale and copper support, this landscape can be compared with the group of sixteen paintings by Griffier, most also on copper, believed to have entered the collection of Prince Eugene of Savoy (1663-1736) soon after the artist died in 1718. Many of them are now in the Galleria Sabauda, Turin. The work was probably painted around 1700, while Griffier was active in Holland, and shows the strong influence of Herman Saftleven's imaginary Rhine views, or capricci.

Pieter Harmensz Verelst (1618-1678)
Head of a boy
1648. Oil on panel, 36.5 × 33 cm. Signed lower left: P.VE. : 1648 ('VE' in ligature)

Provenance.
Anonymous sale, Lepke, Berlin, 29 March 1927, lot 55;
Anonymous sale, Christie's, London, 13 December 2000, lot 49, where acquired on behalf of the previous owner.

Lot notes. Portraits of children are rare in Pieter Verelst's work, which is made up mainly of Dutch and Italianate genre scenes and formal portraits of single figures in the manner of the young Rembrandt. Verelst trained in Dordrecht, possibly with Benjamin Gerritsz. Cuyp, and settled in The Hague in 1643. In this intimate study, the hair and clothing are loosely sketched, while the face is modelled with care and close attention, giving the portrait a directness that points to a sitter observed from life. The boy has not been identified, but in 1648 the artist's eldest son, Herman, born in 1641, would have been seven, which fits his apparent age. The same features appear in a comparable portrait dated 1643 (Christie's, 2 July 2013, lot 8), so the two panels may show the same child five years apart. No other studies of this kind by Verelst are known.

Pinchus Krémègne (1890-1981)
Paysage
Circa 1920. Oil on canvas, 54.4 × 65 cm. Signed lower right: Kremegne

The authenticity of this work has been confirmed by Mrs Jeannette Kremen.

Provenance.
Galerie Brame & Lorenceau, Paris;
Anon. sale, Sotheby Parke Bernet Inc., New York, 11 December 1980, lot 31;
Anon. sale, Christie's New York East, 9 May 1992, lot 77;
Christie's, London, South Kensington, Sale 5851, Impressionist & Modern Art, 25 November 2009, lot 14.

Exhibitions.
Hagen, Osthaus Museum, European Avantgarde - Painting in the Focus of Modernity, 29 September 2023 - 7 January 2024.

Literature.
Avant-Garde and Europe / Avantgarde und Europa, exh. cat., Hagen, 2023, p. 64, illustrated.