Vente: 514 / Evening Sale 11 décembre 2020 à Munich Lot 236

Ernst Ludwig Kirchner
Unser Haus, 1918-1922.
Oil on canvas
Estimation: € 500,000 / $ 585,000
Description de l'objet
Unser Haus. 1918-1922.
Oil on canvas.
Gordon 631. Verso signed, dated, titled and inscribed "Davos-Frauenkirch". Lower right signed by Erna Schilling on behalf of Ernst Ludwig Kirchner. 91 x 120.5 cm (35.8 x 47.4 in).
• Only picture of his residence 'In den Lärchen’.
• Kirchner expressed empathy and pride chosing this unusually large format to depict his new home.
• The 'architect’ put focus on a strong building situated in a mountain pasture and surrounded by a sea of lupines.
• From the artist's estate.
• One of the few works the family held back up until today.
• For the first time offered on the international auction market

PROVENANCE: From the artist's estate.
Ever since family -owned.

EXHIBITION: Ernst Ludwig Kirchner 1880-1938, Nationalgalerie Berlin, November 29, 1979 - January 20, 1980; Haus der Kunst, Munich, February 9 - April 13, 1980; Museum Ludwig in der Kunsthalle Köln, April 26 - June 8, 1980; Kunsthaus Zürich, June 20 - August 10, 1980, cat. no. 316 with illu. on p. 260.
Expressionismus aus den Bergen. Kirchner, Bauknecht, Wiegers und die Gruppe Rot-Blau, Kunstmuseum Bern, April 27 - August 19, 2007; Groninger Museum, September 22, 2007 - January 13, 2008; Bündner Museum, Chur, February 16 - May 25, 2008, cat. no. 27, ex. cat. with illu. on p. 47.

LITERATURE: Gustav Schiefler, E. L. Kirchner in Davos, in: Das Kunstblatt, special issue Ernst Ludwig Kirchner, VII/3, 1923, p. 84 with black-and-white illu. (before the revision through ELK)
Lucius Grisebach, Ernst Ludwig Kirchner. 1880-1938, Cologne 1995, p. 174.
Magdalena Moeller/Roland Scotti (editors), Ernst Ludwig Kirchner. Gemälde, Aquarelle, Zeichnungen und Druckgraphik. Eine Ausstellung zum 60. Todestag, Kunstforum Wien, December 8, 1998 - February 28, 1999; Kunsthalle der Hypo-Kulturstiftung, Munich, March 12 - May 30, 1999, ex. cat. with illu. on p. 67.
"I am spending my days down here in Frauenkirch in peace and ease and I'm trying to make the impressions won up there visible so that I can provide for an honorable exhibition. Maybe I can even fit out this year's exhibition exclusively with pictures I made here, as there surely is no lack of them [..]."
Kirchner to Henry van de Velde on October 13, 1918, in: Ernst Ludwig Kirchner, Briefe an Nele, Munich 1961, p. 92.

Called up: December 11, 2020 - ca. 18.03 h +/- 20 min.

Life in the mountains
The life of the shepherds with their animals on the alp became Kirchner’s central theme. He arrived in Davos for the second time on May 8, 1917, to "complete my cure", as he remarked in a letter to his friend, the architect Henry van de Velde. During the summer Kirchner lived with a nurse in the "Rüesch hut" on the Stafelalp above Frauenkirch. Although he temporarily suffered from paralysis and was not able to write his letters himself, he created landscapes and depictions of his new surroundings that are characterized by an unbroken, elementary will. And yet Kirchner continued to suffer from nightmarish fears and could not find rest. After a visit to the Stafelalp, Henry van de Velde was able to persuade Kirchner to confide in the psychiatrist and psychoanalyst Ludwig Binswanger. From mid-September 1917 Kirchner spent ten months at the Bellevue sanatorium in Kreuzlingen on Lake Constance. After his stay at the sanatorium in Kreuzlingen Kirchner returned to Davos in July 1918 and lived in a hut on Stafelalp owned by the mountain farmer Martin Schmid; Kirchner only moved into a winter-proof farmhouse at the end of September. The building was part of the farmstead “In den Lärchen” above the “Längmatte” in Frauenkirch, and was owned by the Müller family. Kirchner strongly identified with his immediate surroundings, basically lived the life of the dairy farmers and shepherds with the animals on the alpine pastures; he photographed the landscape and the people around him, who encountered the eccentric from Berlin with curiosity and benevolence.
Our house "In den Lärchen"
The house "In den Lärchen", a Grisons farmhouse, is located on the southern edge of the large meadow area below the Stafelalp. At first Kirchner lived and his partner Erna Schilling only occupied the lower floor of the house, from January 1919 on they would use entire house with three bedrooms, a kitchen and a large entrance hall. The property included a barn, a well and a beehouse. “I live down here in Frauenkirch very calmly and well cared for in everything, trying to make the impressions gained up there legible enough so that I will be able to pass my exhibition with honors. Perhaps I can fit out this year's exhibition with pictures from here, there is no shortage of material, only the execution is difficult. I live in a beautiful old house with a kitchen like Rembrandt's studio. "(Kirchner to Henry van de Velde on October 13, 1918, in: Ernst Ludwig Kirchner, Briefe an Nele, Munich 1961, p. 92). The painting “Unser Haus”, titled and dated in large letters on the reverse, was presumably conceived by Kirchner in 1918, however, he did not begin execution before the summer of 1919 and may have changed one or the other detail in 1920 or maybe even later. The painting shows the whitewashed house with the three utility buildings and a stonewall in the garden. In front of it a field of blooming lupines sporting their colors in early summer sprawls out. A green slope with red surfaces rises steeply in the background, reaching up to a row of dark fir trees, with one of the many neighboring mountain huts crouching in front of it. Kirchner ’enhanced’ the “Lärchen” house: the windows appear smaller than they actually are, the foundation of the ground floor is higher, enclosed by a fortified garden wall. Gustav Schiefler, Hamburg judge, art collector, art critic and author of the catalog raisonné of Kirchner's prints, published a photo the artist had made after the painting was first completed in the article “E. L. Kirchner in Davos" for "Das Kunstblatt. Sonderheft Ernst Ludwig Kirchner "(VII / 3, 1923, p. 84) in 1923. In a comparison it is easy to see a slight revision,which Kirchner from time to time did with paintings that actually had been completed. This affects, among others, the cottage garden, the accentuation of the lupines’ pink dense candle, details of the architecture and the extensive contraction in the background. This has to do with Kirchner's devotion to objectifying the motif. Kirchner increasingly developed his Davos style and moved further and further away from the original "Metropolitan Expressionism" of the Dresden and Berlin days.
An artistic transition
Despite his psychological issues and the partial paralysis, Kirchner was extremely productive in Davos in the summer of 1917 and from the summer of 1918 on. Every single place of residence is linked to a multitude of works, and the versatility of the media used is also quite astonishing: In addition to some quite large oil paintings, he created many series of woodcuts and etchings, watercolors and drawings, as well as life-size wooden sculptures. Kirchner began to make wood carvings, produced all kinds of furniture and utensils, like stools, chairs, bed frames and bowls, transferred image drafts to large wooden reliefs, carpets based on Kirchner's motifs were also woven. The large entrance hall became a stage for eventful, informal encounters with the large farming families living in his neighborhood, as well as for guests who visited Kirchner in the secluded mountains, such as Henry van de Velde and his daughter, the artist Nele, the dancer Nina Hard or his brother Walter Kirchner. Just as it had been the case in Dresden or Berlin, Kirchner knew how to transform his studio and his domestic environment into a familiar, albeit exotic place, to invite people to linger and to create artistic motifs. With the stabilization of his health and the consolidation of his living conditions, his mental state also improved. “Unser Haus” is a wonderful example of the beginning change of Kirchner’s style, which he himself compared with the structure of oriental carpets. The colorful motif literally emanates the profound satisfaction and the growing self-confidence about what has been achieved in a life that had by then been as eventful as it had been unstable. [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 2,4 % de la TVA légale incluse.