Vente: 496 / Evening Sale 06 décembre 2019 à Munich Lot 144

Erich Heckel
Hafeneinfahrt, 1916.
Estimation: € 250,000 / $ 275,000
Description de l'objet
Hafeneinfahrt. 1916.
Tempera on canvas.
Hüneke 1916-30. Signed in lower right. Verso of the stretcher signed and titled. 83 x 96.5 cm (32.6 x 37.9 in).
A tempera work from 1915, the drawings "Hafenmole" and "Hafenausfahrt" from 1916, as well as the etching "Hafeneinfahrt in Ostende" (Dube R137), also made in 1916, must be seen in direct connection with this work offered here.
In his catalog raisonné Andreas Hüneke points out that the topographic setting depicted in this work does not suggest Ostende as place of origin, but the port entrance of Blankenberge between Ostende and Zeebrügge. [CE].
- Impression of his fateful place.
- From the work group of the very symbolic Flemish landscapes.
- Early exhibitions at Schames, Frankfurt, and Goltz, Munich

PROVENANCE: Collection Gustav Ferdinand Jung (1878-1943), Hagen (acquired before 1932, ever since in possession of the family).

EXHIBITION: Erich Heckel, Kunstsalon Ludwig Schames, Frankfurt, April 1919, no. 32.
Erich Heckel, Kestner-Gesellschaft Hanover, January 15 - February 25, 1919, no. 39.
Galerie Neue Kunst - Hans Goltz, München, V. Gesamtschau, September-October 1919, no. 23 (verso with fragmentarily preserved label).
Gemälde der Brücke-Sammlungen Gerlinger + Buchheim, Buchheim Museum, Bernried, since February 26, 2019.

LITERATURE: Sotheby’s, London, December 2, 1981, lot 142 (with illu.).
Paul Vogt, Erich Heckel. Recklinghausen 1965, no. 1916-19, p. 162 (with illu.).

Called up: December 6, 2019 - ca. 18.22 h +/- 20 min.

At first sight this harbor entrance looks unsuspicious. Erich Heckel painted it just like many other motifs he rendered in Ostende in 1916, when the harbor town in Northern Belgium was occupied by German troops. Heckel had been stationed there since April 1916, and he used much of his spare time to make drawings, paintings and woodcuts of the surroundings. Even though he had volunteered for military service as early as in 1914, he was not permitted for front line activities for physical reasons, which is why he decided to do a paramedic training in Berlin. In the following he did service in various places in Flanders, where Walter Kaesbach, scientific assistant of Ludwig Justi at the Nationalgalerie, coincidentally was his supervisor. Both knew and liked each other. Kaesbach made sure that Heckel’s duty-roster would leave enough free time for artistic activities, so that he could develop both his style and his range of themes. Other artist would also benefit from the friendship with Kaesbach, his unit comprised, for instance, the Berlin painter Max Kaus, Otto Herbig and Anton Kerschbauer, as well as the jurist and poet Ernst Morwitz. Heckel also became acquainted with Max Beckmann in Ostende, who had been transferred from the Eastern front line to Flanders. ”I am well aware of how fortunate I was, as I could spent most of my days at the sea as a free man. I went swimming a lot, from time to time I did a little drawing – what a favorable situation“, wrote Heckel in a letter to the Hamburg judge, art collector and critic Gustav Schiefler on October 1, 1915. Just a few miles away from the trench warfare on the western front line Heckel served his time until October 1918. It is quite remarkable that Erich Heckel was able to capture his motifs in an overall positive spirit despite all the atrocity he was surrounded by. He was fascinated by the elementary forces of wind and the water that incessantly pounded the coast of Flanders, the play of the clouds and the rays of the sun that reflect on the water like a million flashes of lightning culminating in tremendous color expressions. This is how he paid indescribable homage to Flanders.
In terms of war operations Ostende was a relatively quiet place for Heckel. However, it is surprising to see with how much intensity Heckel rendered the motif. It remains almost entirely untouched by the surrounding strain: like a captain who pilots his ship through rough sea into this safe harbor protected by the mole’s strong walls and the mighty towering custom house. Remnants of the breaking waves reach far into the harbor as if the two moles in left and right can’t stop them. The sky appears in hard sunset light, the sun above the calm sea’s horizon breaks its yellow in a blazing red while the coastline still breathes its warm air. Amid the terrors of war the ”Hafeneinfahrt“ appears like a rescuing symbol, so powerful that it helped Heckel to make it through the war. Devoting himself to painting and literature and the opportunity to share this devotion with a few friends meant great luck for him.
The progressive Kestner-Gesellschaft in Hanover showed Erich Heckel's ”Hafeneinfahrt“ as early as in January 1919. In the following Heckel’s gallerist Ludwig Schames showed the work along with paintings from Otto Mueller in Frankfurt am Main. In the fall of 1919 Hans Goltz, art dealer and pioneer of Modern Art, showcased Heckel’s “Hafeneinfahrt” at his ‘Galerie Neue Kunst’ in Munich. It can be assumed that the collector Gustav Ferdinand Jung from Hagen acquired the work from Goltz. Jung was born into an industrialist family in Hagen in 1878, so he had sufficient means to buy contemporary art upon visits at galleries in Berlin and in Munich. Additionally, he was in close personal contact with artists represented in his collection, among them Erich Heckel, Ernst Ludwig Kirchner, Christian Rohlfs and others. The vast collection remained in Erfurt until the death of his wife Hildegard, sister of the sculptor Hans Walther, in 1976 and was then distributed among their children. [MvL]

Commission, taxes et droit de suite
Cet objet est offert avec imposition régulière ou avec imposition différentielle.

Calcul en cas d'imposition différentielle:
Prix d'adjudication jusqu'à 500 000 € : 32 % de commission.
Prix d'adjudication supérieur à 500 000 € : montants partiels jusqu'à 500 000 € 32 % de commission, montants partiels supérieurs à 500 000 € : 27 % de commission.
La commission comprend la TVA, laquelle ne figure cependant pas sur la facture.

Calcul en cas d'imposition régulière:
Prix d'adjudication jusqu'à 500 000 € : 25 % de commission majorée de la TVA légale
Prix d'adjudication supérieur à 500 000 € : montants partiels jusqu'à 500 000 € 25 % de commission, montants partiels supérieurs à 500 000 € : 20 % de commission, à chaque fois majorés de la TVA légale.

Si vous souhaitez appliquer l'imposition régulière, merci de bien vouloir le communiquer par écrit avant la facturation.

Calcul en cas de droit de suite:
Concernant les objets réalisés par un artiste dont le décès remonte à moins de 70 ans, des droits de suite seront facturés qui s'élèvent à 1,5 % majorés de la TVA légale