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Lot 136
Paul Klee (1879-1940)
Ausblick aus e. Wald
Closed16 May 2018
Price Realised
USD 225,000
More Information
Paul Klee (1879-1940)
Ausblick aus e. Wald
signed 'Klee' (upper right); dated, numbered and titled '1914 137 Ausblick aus e. Wald' (on the artist's mount)
watercolor on paper laid down on card
Sheet size: 6 7/8 x 8 in. (17.6 x 20.3 cm.)
Mount size: 7 5/8 x 9 in. (19.5 x 23.8 cm.)
Painted in 1914
Ausblick aus e. Wald
signed 'Klee' (upper right); dated, numbered and titled '1914 137 Ausblick aus e. Wald' (on the artist's mount)
watercolor on paper laid down on card
Sheet size: 6 7/8 x 8 in. (17.6 x 20.3 cm.)
Mount size: 7 5/8 x 9 in. (19.5 x 23.8 cm.)
Painted in 1914
Paul Klee (1879-1940)
Ausblick aus e. Wald
signed 'Klee' (upper right); dated, numbered and titled '1914 137 Ausblick aus e. Wald' (on the artist's mount)
watercolor on paper laid down on card
Sheet size: 6 7/8 x 8 in. (17.6 x 20.3 cm.)
Mount size: 7 5/8 x 9 in. (19.5 x 23.8 cm.)
Painted in 1914
Ausblick aus e. Wald
signed 'Klee' (upper right); dated, numbered and titled '1914 137 Ausblick aus e. Wald' (on the artist's mount)
watercolor on paper laid down on card
Sheet size: 6 7/8 x 8 in. (17.6 x 20.3 cm.)
Mount size: 7 5/8 x 9 in. (19.5 x 23.8 cm.)
Painted in 1914
Galerie Neue Kunst (Hans Goltz), Munich (acquired from the artist).
Private collection (acquired from the above, October 1916).
Vömel-Suermondt collection, Dusseldorf (1929).
Private collection, Wuppertal (acquired from the above, 1952).
Schwartz collection, Meerbusch (1971).
Marlborough Fine Art, Ltd., London (acquired from the above).
Fischer Fine Art, Ltd., London (1972).
Yayoi Gallery, Tokyo.
Nantenshi Gallery, Tokyo (by 1977).
Private collection (acquired from the above, October 1916).
Vömel-Suermondt collection, Dusseldorf (1929).
Private collection, Wuppertal (acquired from the above, 1952).
Schwartz collection, Meerbusch (1971).
Marlborough Fine Art, Ltd., London (acquired from the above).
Fischer Fine Art, Ltd., London (1972).
Yayoi Gallery, Tokyo.
Nantenshi Gallery, Tokyo (by 1977).
G.J. Wolf, "Kunst. Die Neue Münchner Sezession I (Vorschau)," München-Augsburger Abendzeitung, no. 54, 23 February 1915, p. 4.
T. Tzara, ed., Dada 4-5: Anthologie Dada, 15 May 1919 (illustrated).
R. Suter-Raeber, "Paul Klee: Der Durchbruch zur Farbe und zum abstrakten Bild," Paul Klee: Das Frühwerk, 1883-1922, exh. cat., Städtische Galerie im Lenbachhaus, Munich, 1979, p. 156 (illustrated).
C. Hopfengart, Klee: Vom Sonderfall zum Publikumsliebling, Stationen seiner öffentlichen Resonanz in Deutschland, 1905-1920, Mainz, 1989, p. 41.
M. Franciscono, Paul Klee: His Work and Thought, Chicago, 1991, p. 220.
J. Anger, Modernism and the Gendering of Paul Klee, Ph.D. Diss., Brown University, Providence, 1997, p. 65.
K. Lochmaier, Die Galerie “Neue Kunst—Hans Goltz” München 1912-1927: Aspekte der Vermittlung zeitgenössischer Kunst im ersten Drittel des 20. Jahrhunderts, Ph.D. Diss., Universität Gesamthochschule Kassel, 1998, p. 190, note 543.
A.M. Ehrmann-Schindlbeck, M. Schmid and F.-J. Verspohl, Paul Klee in Jena 1924, exh. cat., Stadtmuseum Göhre, Jena, 1999, p. 126, no. 1914/137.
O. Okuda, "Paul Klee: Buchhaltung, Werkbezeichnung und Werkprozess," Radical Art History: Internationale Anthologie, Zurich, 1997, p. 385.
The Paul Klee Foundation, ed., Paul Klee: Catalogue Raisonné, 1913-1918, Bonn, 2000, vol. 2, p. 184, no. 1237 (illustrated).
O. Okuda, “Erinnerungsblick und Revision, Über den Werkprozess Paul Klees in den Jahren 1919-1923,” Beiträge, Bern, 2000, pp. 159-172 (illustrated, p. 168).
O. Okuda and J. Pech, “Paul Klee—Max Ernst, Eine Chronologie,” In Augenhöhe: Paul Klee, Frühe Werke im Blick auf Max Ernst, exh. cat., Max Ernst Museum, Bruhl, 2006, p. 181 (illustrated in Anthologie Dada, p. 178).
M. Baumgartner, "'C'est à Weimar que fleurit une plante qui ressemble à la dent de sorcière,' Paul Klee aus der Sicht der Surrealisten,” Polyphone Resonanzen. Paul Klee und Frankreich—La France et Paul Klee, Berlin, 2010, pp. 63-64 (illustrated in Anthologie Dada, p. 62, fig. 1).
A. Bourneuf, Paul Klee: The Visible and the Legible, Chicago, 2015, p. 60 (illustrated in color, p. 61, fig. 1.15).
S.M.I. Kaufmann, Paul Klee als Druckgraphiker: Zwischen Invention und Reproduktion, Berlin, 2015, p. 93 (illustrated in color, p. 97, pl. 87).
O. Okuda, “Paul Klee: Gedanken an die Schlacht, 1914,” Nolde, Klee & Der Blaue Reiter, die Sammlung Braglia, exh. cat., Fondazione Gabriele e Anna Braglia, Lugano, 2015, p. 69 (illustrated in color, p. 71, fig. 2).
M. Baumgartner and N. Zimmer, Paul Klee et les surréalistes, exh. cat., Zentrum Paul Klee, Bern, 2016, pp. 8, 40, 328 and 342 (illustrated in Anthologie Dada, p. 9, no. 5).
M. Baumgartner, “Paul Klee: De Dada au surréalisme,” Paul Klee, L’ironie à l’oeuvre, exh. cat., Centre Georges Pompidou, Musée national d'art moderne, Paris, 2016, p. 91 (illustrated in Anthologie Dada, fig. 2).
T. Tzara, ed., Dada 4-5: Anthologie Dada, 15 May 1919 (illustrated).
R. Suter-Raeber, "Paul Klee: Der Durchbruch zur Farbe und zum abstrakten Bild," Paul Klee: Das Frühwerk, 1883-1922, exh. cat., Städtische Galerie im Lenbachhaus, Munich, 1979, p. 156 (illustrated).
C. Hopfengart, Klee: Vom Sonderfall zum Publikumsliebling, Stationen seiner öffentlichen Resonanz in Deutschland, 1905-1920, Mainz, 1989, p. 41.
M. Franciscono, Paul Klee: His Work and Thought, Chicago, 1991, p. 220.
J. Anger, Modernism and the Gendering of Paul Klee, Ph.D. Diss., Brown University, Providence, 1997, p. 65.
K. Lochmaier, Die Galerie “Neue Kunst—Hans Goltz” München 1912-1927: Aspekte der Vermittlung zeitgenössischer Kunst im ersten Drittel des 20. Jahrhunderts, Ph.D. Diss., Universität Gesamthochschule Kassel, 1998, p. 190, note 543.
A.M. Ehrmann-Schindlbeck, M. Schmid and F.-J. Verspohl, Paul Klee in Jena 1924, exh. cat., Stadtmuseum Göhre, Jena, 1999, p. 126, no. 1914/137.
O. Okuda, "Paul Klee: Buchhaltung, Werkbezeichnung und Werkprozess," Radical Art History: Internationale Anthologie, Zurich, 1997, p. 385.
The Paul Klee Foundation, ed., Paul Klee: Catalogue Raisonné, 1913-1918, Bonn, 2000, vol. 2, p. 184, no. 1237 (illustrated).
O. Okuda, “Erinnerungsblick und Revision, Über den Werkprozess Paul Klees in den Jahren 1919-1923,” Beiträge, Bern, 2000, pp. 159-172 (illustrated, p. 168).
O. Okuda and J. Pech, “Paul Klee—Max Ernst, Eine Chronologie,” In Augenhöhe: Paul Klee, Frühe Werke im Blick auf Max Ernst, exh. cat., Max Ernst Museum, Bruhl, 2006, p. 181 (illustrated in Anthologie Dada, p. 178).
M. Baumgartner, "'C'est à Weimar que fleurit une plante qui ressemble à la dent de sorcière,' Paul Klee aus der Sicht der Surrealisten,” Polyphone Resonanzen. Paul Klee und Frankreich—La France et Paul Klee, Berlin, 2010, pp. 63-64 (illustrated in Anthologie Dada, p. 62, fig. 1).
A. Bourneuf, Paul Klee: The Visible and the Legible, Chicago, 2015, p. 60 (illustrated in color, p. 61, fig. 1.15).
S.M.I. Kaufmann, Paul Klee als Druckgraphiker: Zwischen Invention und Reproduktion, Berlin, 2015, p. 93 (illustrated in color, p. 97, pl. 87).
O. Okuda, “Paul Klee: Gedanken an die Schlacht, 1914,” Nolde, Klee & Der Blaue Reiter, die Sammlung Braglia, exh. cat., Fondazione Gabriele e Anna Braglia, Lugano, 2015, p. 69 (illustrated in color, p. 71, fig. 2).
M. Baumgartner and N. Zimmer, Paul Klee et les surréalistes, exh. cat., Zentrum Paul Klee, Bern, 2016, pp. 8, 40, 328 and 342 (illustrated in Anthologie Dada, p. 9, no. 5).
M. Baumgartner, “Paul Klee: De Dada au surréalisme,” Paul Klee, L’ironie à l’oeuvre, exh. cat., Centre Georges Pompidou, Musée national d'art moderne, Paris, 2016, p. 91 (illustrated in Anthologie Dada, fig. 2).
Kunstverein München, Neue Münchner Secession, February-March 1915, no. 72.
Kunsthaus Zürich; Kunsthalle Basel and Frankfurt, Kunstsalon Schames, Neue Münchner Secession, January-March 1916, no. 33 (Basel, no. 46).
Munich, Galerie Neue Kunst (Hans Goltz), Vierte Gesamtausstellung, August-October 1916, p. 9, no. 60.
Munich, Galerie Neue Kunst (Hans Goltz), Moderne Graphik von Daumier bis zu den Expressionisten, 1917, p. 24
Kunstverein Jena, Paul Klee und Albert Bloch, December 1917-January 1918.
Berlin, Galerie Alfred Flechtheim, Paul Klee, October-November 1929, no. 7 (titled Ovale Landschaft).
Dusseldorf, Galerie Alfred Flechtheim and Saarbrücken, Staatliches Museum, Paul Klee: Aquarelle, Zeichnungen und Graphik aus 25 Jahren, February-April 1930, p. 7, no. 25.
Dusseldorf, Kunstverein für die Rheinlande und Westfalen in Verbindung, Paul Klee, June-July 1931, no. 102 (dated 1915).
Hannover, Kestner-Gesellschaft, Paul Klee, May-June 1952, p. 10, no. 25 (dated 1917 and titled Ohne Titel).
Dusseldorf, Galerie Alex Vömel, Paul Klee, August Macke, Olbilder, Aquarelle, Zeichnungen, October 1952, no. 3.
Kunsthalle Düsseldorf, Düsseldorfer Kaufleute sammeln moderne Kunst: 125 Jahre Industrie-und Handelskammer zu Düsseldorf, 1831-1956, May-July 1956, no. 152 (illustrated, pl. 83).
London, Marlborough Fine Art, Ltd., Important Drawings, Watercolours and Graphics of the 19th and 20th Centuries, March-April 1971, p. 35, no. 30 (illustrated in color, p. 25).
London, Fischer Fine Art, Ltd., A Journey into the Universe of Art: From Courbet and Corot to Bacon, Moore and Lindner, June-July 1972, no. 30 (illustrated).
London, Fischer Fine Art, Ltd., Universe of Art II: A Selection of Important Works by 19th and 20th Century Artists, November-December 1972, no. 24 (illustrated in color).
Kunsthaus Zürich; Kunsthalle Basel and Frankfurt, Kunstsalon Schames, Neue Münchner Secession, January-March 1916, no. 33 (Basel, no. 46).
Munich, Galerie Neue Kunst (Hans Goltz), Vierte Gesamtausstellung, August-October 1916, p. 9, no. 60.
Munich, Galerie Neue Kunst (Hans Goltz), Moderne Graphik von Daumier bis zu den Expressionisten, 1917, p. 24
Kunstverein Jena, Paul Klee und Albert Bloch, December 1917-January 1918.
Berlin, Galerie Alfred Flechtheim, Paul Klee, October-November 1929, no. 7 (titled Ovale Landschaft).
Dusseldorf, Galerie Alfred Flechtheim and Saarbrücken, Staatliches Museum, Paul Klee: Aquarelle, Zeichnungen und Graphik aus 25 Jahren, February-April 1930, p. 7, no. 25.
Dusseldorf, Kunstverein für die Rheinlande und Westfalen in Verbindung, Paul Klee, June-July 1931, no. 102 (dated 1915).
Hannover, Kestner-Gesellschaft, Paul Klee, May-June 1952, p. 10, no. 25 (dated 1917 and titled Ohne Titel).
Dusseldorf, Galerie Alex Vömel, Paul Klee, August Macke, Olbilder, Aquarelle, Zeichnungen, October 1952, no. 3.
Kunsthalle Düsseldorf, Düsseldorfer Kaufleute sammeln moderne Kunst: 125 Jahre Industrie-und Handelskammer zu Düsseldorf, 1831-1956, May-July 1956, no. 152 (illustrated, pl. 83).
London, Marlborough Fine Art, Ltd., Important Drawings, Watercolours and Graphics of the 19th and 20th Centuries, March-April 1971, p. 35, no. 30 (illustrated in color, p. 25).
London, Fischer Fine Art, Ltd., A Journey into the Universe of Art: From Courbet and Corot to Bacon, Moore and Lindner, June-July 1972, no. 30 (illustrated).
London, Fischer Fine Art, Ltd., Universe of Art II: A Selection of Important Works by 19th and 20th Century Artists, November-December 1972, no. 24 (illustrated in color).
Please note that the present lot is displayed with a loaner frame for the exhibition, which is available for purchase.