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Emil Nolde on Sale Now at Auction

Emil Nolde (1867-1956)  Please Register/Login to access your Invaluable Alerts

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Emil Nolde (German 1867-1956) V $ 15,000

Estimate: $9,000 - $15,000

Description: oil on canvas 18 x 22" Private collection Paris COA By DR. Ellie Bernard

Condition Report: excellent

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Live Auction: 13 days 5 hours

Starting bid: $500 (0 bids)

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Attributed to EMIL NOLDE (Germany, 1867-1956)

Estimate: $2,000 - $4,000

Description: Medium: Watercolor on Paper, Date: 1940s, Size: 10 x 14 in. Private Collection (Framed Art)

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Live Auction: 5 hours 24 minutes

Starting bid: $950 (0 bids)

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Nachbarn.

Estimate: €5,000 - €7,000

Description: Radierung mit Kaltnadel auf Kupferdruckkarton von "Van Gelder" Zonen. (1918). Ca. 21,5 ; 26 cm (Blattgröße ca. 60 : 46 cm). Eines von mindestens 12 Exemplaren. Signiert unten rechts. Schiefler/Mosel R 202 II (von IV). Vereinzelte Fleckchen, die äußeren Kanten etwas gebräunt. Verso etwas unregelmäßig gebräunt. Das großformatige Blatt in altersgemäß sehr gutem Zustand.

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Live Auction: 36 days 17 hours

Starting bid: €3,300 (0 bids)

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Dampfer (Kl.).

Estimate: €9,000 - €10,000

Description: Radierung auf Bütten von "Van Gelder" Zonen mit Wz. "Bekröntes Lilienwappen". (1910). Ca. 16 : 24 cm (Blattgröße ca. 40 : 44 cm). Eines von mindestens 17 Exemplaren. Signiert unten rechts, bezeichnet "I.5" unten links. Schiefler/Mosel 130.∆∆Provenienz: ∆Sammlung Gustav Schiefler, Hamburg;∆Ketterer, Auktion 403, München 19.4.2013, Los 475. Unter dem ehemaligen Passepartout schwach gebräunt. Allgemein in sehr gutem Zustand.

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Live Auction: 36 days 17 hours

Starting bid: €7,000 (0 bids)

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Schiefer Turm in Soest.

Estimate: €1,500 - €1,800

Description: Radierung und Aquatinta in Blau auf festem, gelblichem Velin. (1906). Ca. 19 : 15 cm (Blattgröße ca. 38 : 27 cm). Signiert unten rechts. Schiefler/Mosel/Urban 54 II (von IV). Erschienen für die Lotterie der Kölner Künstlerbundausstellung, Karlsruhe. Im Passepartoutausschnitt etwas lichtrandig, sehr vereinzelte Stockfleckchen, sonst allgemein gut.

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Live Auction: 36 days 17 hours

Starting bid: €1,100 (0 bids)

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Stehende Frau (klein).

Estimate: €4,000 - €4,800

Description: Lithographie auf dünnem Japanbütten. (1911). Ca. 17 : 5 cm (Blattgröße ca. 30 : 20,5 cm). Eines von 20 nummerierten Exemplaren. Signiert unten rechts. Schiefler/Mosel L 47. Durchgehend kaum merklich fleckig (Stockfleckchen), sonst in sehr gutem Zustand.

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Live Auction: 36 days 17 hours

Starting bid: €3,000 (0 bids)

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Nolde, Emil: Segler

Estimate: €4,000 - €5,000

Description: "Segler" Kaltnadel auf Kupferdruckkarton. 1907. 18,5 x 14 cm (44 x 30,9 cm). Signiert "Emil Nolde" und datiert sowie betitelt. Schiefler/Mosel R 64 II. Prachtvoller, prägnanter Abzug des zweiten und endgültigen Zustandes, nach Entfernung der waagerechten Striche im linken Bildrand und der Ätzflecke rechts unten, mit hauchzartem, leichtem Plattenton, der die Stille des Motivs herrlich unterstreicht, und mit sehr breitem Rand. Nach Noldes eigenen Aufzeichnungen wurde das Blatt in einer Auflage von mindestens 29 Exemplaren gedruckt, neben zwei Probedrucken im ersten Zustand (vgl. Schiefler/Mosel R 64). Gedruckt bei Otto Felsing, Berlin. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

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Live Auction: 23 days 13 hours

Starting bid: €4,000 (0 bids)

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Nolde, Emil: Dampfer (groß dunkel)

Estimate: €22,000 - €25,000

Description: * Dampfer (groß dunkel) Radierung auf JW Zanders-Bütten. 1910. 30,7 x 40 cm (44,8 x 57,2 cm). Signiert "Emil Nolde", von Ada Nolde betitelt "Dampfer (gr. dkl.). Auflage mindestens 30 Ex. Schiefler/Mosel R 135 IV. Die Kraft der Naturelemente Luft und Wasser, dazu das vom Menschen gemachte und eingesetzte Feuer bilden das Grundmotiv des Blattes, das kaum die Topographie des Hamburger Hafens zeigt. Die Existenz von vier verschiedenen Druckzuständen reflektiert Noldes schrittweise Weiterentwicklung des Motivs. Der vorliegende vierte Zustand ist der dunkelste in dieser Reihe, mit dramatisch variierten Aquatintawerten, die Nolde auf der sorgsam und immer etwas unterschiedlich von Hand eingefärbten Platte in diesem Fall mit einer gewissen Transparenz im Vordergrund handhabt, die fein korrespondiert mit der spektakulär herausleuchtenden Helligkeit dort, wo der Dampfer am Bug die Gischt aufwirbelt. Unter den bedeutenden "Hamburger-Hafen"-Radierungen von Emil Nolde ist der "Dampfer" das atmosphärisch dichteste, dunkelste Blatt. Seine kontrapunktische Position gegenüber dem leichten, luftigen "Dampfer (groß hell)" betont Nolde mit der von ihm selbst oder seiner Frau Ada jedem Blatt beigefügten Bezeichnung. Schiefler/Mosel verzeichnen in diesem endgültigen Zustand mindestens 30 Exemplare, neben insgesamt elf Abzügen in den früheren Zuständen. Brillanter, toniger und reich nuancierter Druck mit herrlich differenzierter Tonätzung, mit dem vollen Rand, rechts und unten mit dem Schöpfrand. Selten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

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Live Auction: 23 days 13 hours

Starting bid: €22,000 (0 bids)

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Emil Nolde (1867-1956) Sonnenblumen und kleine Blüten 13 3/4 x 17 3/8 in (35.1 x 44.6 cm)

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Description: Emil Nolde (1867-1956) Sonnenblumen und kleine Blüten 13 3/4 x 17 3/8 in (35.1 x 44.6 cm) , Painted circa 1930 Professor Dr. Manfred Reuther, director of the Ada and Emil Nolde Stiftung, Seebüll, has kindly confirmed the authenticity of this work. Nolde's flower still lives serve as an important platform for his experiments with form and color, while also providing emotional succor at difficult points in his career. They figure both as the only subject matter, close up and taking over the entire composition, or foregrounded in religious or genre subject pieces. The present lot was painted circa 1930, almost certainly in his garden at Seebüll where he moved in 1927. There he oversaw the construction of an artist's studio and main house as well as an extensive garden reclaimed from the heavy marshland surrounding the plot. Nolde and his wife Ada planted sunflowers which began to make more regular appearances in his work. He wrote to his friend Hans Fehr in September 1928: 'The sunflowers grow very high and I stand amazed and thankful with my head bent backwards in front of their beauty' (M. Reuther, ed., Emil Nolde: mein Garten voller Blumen, Koln, 2014, p. 31-32). The focus on sunflowers also reveals the artist's admiration for the work of Vincent Van Gogh whose own very intuitive and expressive use of color and painting technique was a great influence. Emil Nolde first developed an interest in floral themes as a powerful source of artistic inspiration when he helped his mother in the garden of their family farm. 'I often walked with her in the garden...and so could not help but watch all the flowers as they grew, blossomed and shone forth... ' (E. Nolde, Das eigene Leben (1867-1902), Cologne, 1994, p. 120). He also spent several summers on the island of Als with Ada and was particularly impressed by the small but beautifully kept flower gardens of the fishermen's cottages. They inspired him to establish and maintain extensive gardens filled with a wide variety of local and exotic plants and flowers at his houses at Utenwarf and later at Seebüll. He also made numerous drawings of the exotic plants and flowers he encountered on his trip to Papua New Guinea in 1913-1914 – an expedition sponsored by the German government which kept part of the island as a German colony. He later said that 'in spite of my travel in all directions, my art is rooted in my native soil, here in the narrow land between the two seas' (quoted in Emil Nolde, London, Whitechapel Gallery, 1995, p. 67). A strong sense of place and an attachment to the land and the sea permeates his oeuvre and helps us understand his decision to change his surname in 1902 from Hansen to Nolde, the name of the village on the Danish-German border where he was born. By 1930 Nolde had already firmly established his career and reputation both at home and internationally. He had forged links with Die Brücke, the Berlin Secessionists and the Blaue Reiter group, exhibiting with them but rarely maintaining a long term relationship with any movement. His use of highly expressive, often non-representational color and a gestural, fluid painting technique made him a prime target for the National Socialist critics. His paintings figured prominently in the Degenerate Art exhibition organized by the Nazis in 1937 and he was forbidden to paint in public or private. Despite this censorship, Nolde painted a large number of watercolors in the first half of the 1940s which he called his 'Unpainted Pictures'. They offered the opportunity not only to immerse himself in his art and build a protective layer of the natural world around him, but also to experiment extensively with the use of color in an emotive way, free from the restrictions of narrative. Whilst he made many drawings exploring his subject matter in detail at the beginning of his career, the finished works, either in oil or in watercolor take on a more abstracted and loosely painted approach, concentrating on the composition and the balance of color and light. He wrote: 'Colors as the painter's materials; colors in their own independent existence; crying and laughing, dreams and joy, hot and holy like love songs and eroticism, like singing and wonderful chorals' (quoted in M. Reuther, ed., op. cit., p. 23).

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