Oil on canvas. Lower right monogrammed and dated. Signed and dated on the reverse. Once more signed and dated, as well as titled on the stretcher. 83 x 96 cm. The background shows the basalt mountain "Geisingberg" near Altenberg in the eastern part of the Ore Mountains. In the artist's original frame. The work is registered in the Hermann Gerlinger Collection with the number SHG 530 a. [CH]. - Atmospheric depiction of a magical winter landscape in Saxony. - In the artist's original frame. - With his reduced palette, the simplified forms and a fascinating play of shadows, Heckel created a very special, timeless aesthetic. - In the 1920s, Heckel went on several trips and excursions and showed an increased preference for landscape subjects in which he sought to combine topographical accuracy with elements of an atmospheric landscape. The work is registered in the Erich Heckel Estate, Hemmenhofen on Lake Constance. We are grateful to Mrs Renate Ebner and Mr Hans Geissler for the kind support in cataloging this lot. LITERATURE: Paul Vogt, Erich Heckel, Recklinghausen 1965, no. 1928-5. Andreas Hüneke, Erich Heckel, vol. 2 (1919-1964), Munich 2017, p. 168, no. 1928-5 (illu.). Paul Vogt, Erich Heckel, Recklinghausen 1965, no. 1928-5 (black-and-white illu.). Villa Grisebach Auktionen, Berlin, 211th auction, Klassische Moderne, May 31, 2013, cat. no. 401 (illu.). Werner Murrer, Lisa Marei Schmidt, Daniel J. Schreiber (eds.), ex. cat. Unzertrennlich - Rahmen und Bilder der Brücke-Künstler, Brücke-Museum, Berlin, November 16, 2019 - March 15, 2020, Buchheim-Museum der Phantasie, Bernried, March 26 - July 5, 2020, Cologne 2020, p. 243 (illu.).
Erich Heckel. Bilder aus den Jahren 1906-1930, Städtisches Museum / Kunsthütte Chemnitz, March 18 - April 30, 1931, cat. no. 87. Erich Heckel, Kestner-Gesellschaft, Hanover, October 3 - November 3, 1935, cat. no. 44. Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022)
Thomas Geissler Collection, Berlin/Großbeeren. Private collection Berlin (from 2001). Art dealer Ron Krausz, Munich. Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032, acquired from the above in 2013)
Towards the end of the 1920s, Siddi and Erich Heckel made numerous trips to neighboring European countries and to various regions in Germany. The Heckel couple visited the snow-covered mountains of the Erzgebirge, where Heckel had spent his early childhood, they traveled to Lake Constance, to Würzburg, to the Bavarian Alps, but also to the Swiss Alps, to the south of France, both to Provence and to the southwest with the Pyrenees, the Basque Country and the area around Bordeaux. In the year this work was created, the couple even traveled to Denmark and Sweden. The expressive and boisterous works of the young "Brücke" member gradually gave way to a calmer pictorial world in which the composition structure gained in clarity and the reference to reality became clearer. The figurative, which used to play such an important role, now became a secondary matter or - as in the present painting - was negated. Instead, Heckel staged a panoramic landscape composition with a particular strength derived from the contrast between light and dark in the reduced, almost monochrome color palette. Tranquillity and vastness, as well as a thick blanket of snow that is reminiscent of a fairytale, characterize the mood of this landscape. Heckel skilfully guides the viewer's gaze over the gentle, snow-covered hills and fir forests of the Erzgebirge, to the point where the monochrome gradually transforms into color, and various shades of blue and green, rosé and delicate violet suddenly unfold. Heckel's special flair for effective pictorial composition becomes evident in the composition of this landscape. [CH]
Atmospheric landscape in good condition. Tiny pinpoint corrections in the sky. Very few tiny losses of color not further noticeable due to the thin application of paint. A few small brown spots. The condition report was compiled in daylight with the help of an ultraviolet light and to the best of knowledge.
Lot Details
Oil on canvas. Lower right monogrammed and dated. Signed and dated on the reverse. Once more signed and dated, as well as titled on the stretcher. 83 x 96 cm. The background shows the basalt mountain "Geisingberg" near Altenberg in the eastern part of the Ore Mountains. In the artist's original frame. The work is registered in the Hermann Gerlinger Collection with the number SHG 530 a. [CH]. - Atmospheric depiction of a magical winter landscape in Saxony. - In the artist's original frame. - With his reduced palette, the simplified forms and a fascinating play of shadows, Heckel created a very special, timeless aesthetic. - In the 1920s, Heckel went on several trips and excursions and showed an increased preference for landscape subjects in which he sought to combine topographical accuracy with elements of an atmospheric landscape. The work is registered in the Erich Heckel Estate, Hemmenhofen on Lake Constance. We are grateful to Mrs Renate Ebner and Mr Hans Geissler for the kind support in cataloging this lot. LITERATURE: Paul Vogt, Erich Heckel, Recklinghausen 1965, no. 1928-5. Andreas Hüneke, Erich Heckel, vol. 2 (1919-1964), Munich 2017, p. 168, no. 1928-5 (illu.). Paul Vogt, Erich Heckel, Recklinghausen 1965, no. 1928-5 (black-and-white illu.). Villa Grisebach Auktionen, Berlin, 211th auction, Klassische Moderne, May 31, 2013, cat. no. 401 (illu.). Werner Murrer, Lisa Marei Schmidt, Daniel J. Schreiber (eds.), ex. cat. Unzertrennlich - Rahmen und Bilder der Brücke-Künstler, Brücke-Museum, Berlin, November 16, 2019 - March 15, 2020, Buchheim-Museum der Phantasie, Bernried, March 26 - July 5, 2020, Cologne 2020, p. 243 (illu.).
Erich Heckel. Bilder aus den Jahren 1906-1930, Städtisches Museum / Kunsthütte Chemnitz, March 18 - April 30, 1931, cat. no. 87. Erich Heckel, Kestner-Gesellschaft, Hanover, October 3 - November 3, 1935, cat. no. 44. Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022)
Thomas Geissler Collection, Berlin/Großbeeren. Private collection Berlin (from 2001). Art dealer Ron Krausz, Munich. Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032, acquired from the above in 2013)
Towards the end of the 1920s, Siddi and Erich Heckel made numerous trips to neighboring European countries and to various regions in Germany. The Heckel couple visited the snow-covered mountains of the Erzgebirge, where Heckel had spent his early childhood, they traveled to Lake Constance, to Würzburg, to the Bavarian Alps, but also to the Swiss Alps, to the south of France, both to Provence and to the southwest with the Pyrenees, the Basque Country and the area around Bordeaux. In the year this work was created, the couple even traveled to Denmark and Sweden. The expressive and boisterous works of the young "Brücke" member gradually gave way to a calmer pictorial world in which the composition structure gained in clarity and the reference to reality became clearer. The figurative, which used to play such an important role, now became a secondary matter or - as in the present painting - was negated. Instead, Heckel staged a panoramic landscape composition with a particular strength derived from the contrast between light and dark in the reduced, almost monochrome color palette. Tranquillity and vastness, as well as a thick blanket of snow that is reminiscent of a fairytale, characterize the mood of this landscape. Heckel skilfully guides the viewer's gaze over the gentle, snow-covered hills and fir forests of the Erzgebirge, to the point where the monochrome gradually transforms into color, and various shades of blue and green, rosé and delicate violet suddenly unfold. Heckel's special flair for effective pictorial composition becomes evident in the composition of this landscape. [CH]
Atmospheric landscape in good condition. Tiny pinpoint corrections in the sky. Very few tiny losses of color not further noticeable due to the thin application of paint. A few small brown spots. The condition report was compiled in daylight with the help of an ultraviolet light and to the best of knowledge.
