Vente: 496 / Evening Sale 06 décembre 2019 à Munich Lot 133

Ernst Ludwig Kirchner
Heimkehrende Ziegenherde, 1920.
Oil on canvas
Estimation: € 400,000 / $ 440,000
Description de l'objet
Heimkehrende Ziegenherde. 1920.
Oil on canvas.
Gordon 636. 80 x 90.5 cm (31.4 x 35.6 in).
A woodcut from 1921 with the title "Ziegenherde" (Gercken 1250, Dube H 442, Schiefler H 413) must be seen in direct connection with this work. In addition, there is also a drawing from 1912/1913 titled "Sitzender weiblicher Akt (Erna)", with a draft on its reverse side that presumably was the first draft for the figure of the herder in this painting. [CE].
- From the important collection of Gustav Ferdinand Jung, by which Ernst Gosebruch, former director of Museum Folkwang, was absolutely smitten.
- One of his first mountain views in the Berlin color palette

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

EXHIBITION: Gemälde der Brücke-Sammlungen Gerlinger + Buchheim, Buchheim Museum, Bernried, since February 26, 2019.

"I was absolutely smitten the other day ."
Ernst Gosebruch, former director of Museum Folkwang, about the collection Gustav Ferdinand Jung, Hagen.
"I am so delighted and happy about staying here. On good days I can get some work done and live in peace amidst these good and decent people. In this solitude I fought my way back to life and found a path that enables me to exist despite my suffering. My days of the circus, the harlots and the high society are over. […] I have found new tasks and meaning that lie right here.“ (Ernst Ludwig Kirchner in a letter to Henry van de Velde, 1919. Quote after: Ex. cat. Ernst Ludwig Kirchner. Erlebnis der Berge. Das Kirchner Museum Davos zu Gast in Waiblingen)

Called up: December 6, 2019 - ca. 18.01 h +/- 20 min.

On November 25 in 1916 Eberhard Grisebach, professor for philosopy in Jena and a very caring friend of Kirchner, wrote to Helen Spengler, wife of Lucius Spengler, physician and director of a sanatorium on the Schatzalp in Davos: ”It is very generous of you to accept Kirchner as patient – I do not think that it is in any way possible to integrate this man, who has fled from all of society, anywhere else." (Lothar Grisebach, Maler des Expressionismus im Briefwechsel mit Eberhard Grisebach, Hamburg 1962, p. 54) Kirchner consents and eventually arrived snow-covered Davos after extensive preparations on January 20, 1917. With a short interruption he and his partner Erna Schilling eventually settled there. He set up a studio and piece by piece took all his paintings and belongings from Berlin to his new home in Davos. The new surroundings exerted vehement influence on both the artist's life and work. He seemingly regained the much-needed peace and quiet to execute these excellent depictions of the breath-taking mountain landscape: ”Stafelalp bei Mondschein“ (Museum am Ostwall, Dortmund), ”Rückkehr der Tiere, Stafelalp“ 1919 (Kunstmuseum Basel) to name but a few titles of the new motifs. The triptych ‘Alpleben’ (Kirchner Museum, Davos) is an homage to the life and work of the local peasants. It is an expression of gratitude for helping him to recover and to find peace of mind.
The painting ”Heimkehrende Ziegenherde“ is also part of the group of works that show mountain farmers and their duties, which had also become part of Kirchner’s daily routines. Pictures of the stunning views that the new surroundings offered, of his participation in the life of the countryfolk, and the animal portraits are subject to the same coherent system that accounts for the previously made cityscapes, studio- and street scenes from Dresden and Berlin. The everyday description of the mountainside shows a seamless transition. At times Kirchner seems to recall the accustomed Berlin palette and renders early Davos pictures similarly agitated and expressive, as it is the case with this scene of goats returning from the alps to their wintering grounds.
By omitting perspective Kirchner concentrates several details in one large scene: The goats are scattered on narrow paths across the mountain slopes. Herder and animals are part of nature, exposed to the mountain massif and the deep valleys, while a distant mountain pasture promises protection. Kirchner adores the landscape and pays homage to the scarce life of the farmers who drive their cattle down down from the alp into the village over the steep and narrow path: An enchanting orchestration filled with marvelous color contrasts.
It is not possible to clearly identify the exact date when the collector Gustav Ferdinand Jung from Hagen acquired Kirchner’s ”Ziegenherde“. The gallery owner Ludwig Schames, who represented Kirchner in Frankfurt am Main, shows the exhibition ”Schweizer Arbeiten von E. L. Kirchner“ in 1922; which then traveled to the Kunstverein Erfurt. Accordingly, it is quite likely that this painting was part of the exhibition and that Jung came across it in either Frankfurt or Erfurt. Hagen was in close contact with the Erfurt art- and culture scene, especially with the collector Alfred Hess. Naturally, he was also good friends with Carl Ernst Osthaus, founder of Museum Folkwang in Hagen and Ernst Gosebruch, director of Museum Folkwang until 1933, after the museum had relocated from Hagen to Essen in 1921/22. On December 6, 1935 Gosebruch wrote to his friend Carl Hagemann, renowned collector from Frankfurt am Main: ” – in case you should, as your siblings wish – come to Essen for Christmas, and have a little spare time I recommend a short trip to Hagen to visit Mr.Gustav Jung, Potthof 9, phone 211 12, in order to have a look at his pictures. He mainly owns Kirchner’s works, among them a great variety of show dancers, which you probably know. An even finer picture is the one with female nudes in portrait format and a forest picture, also in portrait format, both count among Kirchner’s best creations. I was totally smitten. Mr. and Mrs. Jung - please mention that you visit them at my recommendation - are a lovely couple. [..].“ (Quote after: Kirchner, Schmidt-Rottluff, Nolde, Nay .. Briefe an den Sammler und Mäzen Carl Hagemann, Hans Delfs et al (editor), Osterfildern 2004, letter 647, p. 507). [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