San Giorgio Maggiore in Venice, Emil Nolde
Emil Nolde
San Giorgio Maggiore in Venice
DE
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Emil Nolde

San Giorgio Maggiore in Venice, 1924


Blatt
345 x 448 mm
Physical Description
Watercolour on Japanese laid paper
Inventory Number
17906
Object Number
17906 Z
Acquisition
Acquired in 2019 as a bequest from Ulrike Crespo from the Karl Ströher Collection
Status
Can be presented in the study room of the Graphische Sammlung (special opening hours)

Texts

About the Work

In 1924, Nolde visited Italy, a land of longing for countless artists. In Venice he painted, among other things, the island of San Giorgio Maggiore with the monastery of the same name. He usually had paper and his paintbox with him when he roamed the city. That enabled him to commit the light of the setting sun directly to paper, even if he undoubtedly also enhanced it atmospherically in the process. Nolde had a special fondness for the intense vibrancy of watercolour paints and the way they blended when applied wet-on-wet.

About the Acquisition

The Städel Museum has the photographer, psychotherapist, philanthropist, and long-time Frankfurt resident Ulrike Crespo (1950–2019) to thank for more than ninety works ranging from classical modernism to American pop art. The paintings, drawings, and prints by Wassily Kandinsky, Otto Dix, Oskar Schlemmer, Max Ernst, Jean Dubuffet, Cy Twombly, and others originally belonged to the holdings of her grandfather, the Darmstadt-based industrialist Karl Ströher (1890–1977), who amassed an extensive art collection after World War II.

Work Data

Basic Information

Title
San Giorgio Maggiore in Venice
Draughtsman
Period Produced
Object Type
Physical Description
Watercolour on Japanese laid paper
Material
Technique
Geographic Reference
Label at the Time of Manufacture
Signiert unten rechts (mit der Feder in Braun): Nolde.
Watermark
  • Nicht vorhanden

Property and Acquisition

Institution
Departement
Collection
Creditline
Städel Museum, Frankfurt am Main
Picture Copyright
© Nolde Stiftung Seebüll
Acquisition
Acquired in 2019 as a bequest from Ulrike Crespo from the Karl Ströher Collection

Work Content

Motifs and References

Iconclass

Primary
Secondary

Research and Discussion

Provenance

Object History
...
verkauft an Yvonne Hagen (1918-2005), Berlin/Paris, ca. 1948
verkauft durch Virginia Hammersmith Fontaine (1915-1991) und Paul Emile Fontaine (1913-1996), Frankfurt/Darmstadt an Karl Ströher (1890-1977), Darmstadt, 1958
Nachlass Karl Ströher, 1977
an seine Enkelin Ulrike Crespo (1950-2019), Frankfurt am Main
Vermächtnis an das Städelsche Kunstinstitut, Frankfurt am Main, 2019.

Information

Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:

  • the type of acquisition and/or the way the object changed hands
  • the owner's name and place of residence
  • the date on which it changed hands

The successive ownership records are separated from each other by a semicolon.

Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.

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Last update

19.02.2024