Oil on canvas. Signed and dated in the lower left. Signed, dated, titled and inscribed “XIX 9.” on the stretcher. Inscribed “495” by a hand other than that of the artist on the reverse. 59 x 71 cm. . [CH]. - The catalogue raisonné mentions this work as the first in the series of the “Fugal Paintings”. - With this colorful work and the subsequent work group, Nay achieved rhythmic balance between figuration and abstraction, order and movement. - Formerly part of the collection of the Berlin gallerist Eberhard Seel, 1950-1972 managing director of the Deutscher Künstlerbund, collector and close friend of the artist. - In 1952 the work was part of the early retrospective at Haus am Waldsee, Berlin. - The same year he created a color lithograph and a gouache of the same subject, albeit in different colors. - Early professional highlights: One year before and one year after this work was made, E. W. Nay participated in the Biennale di Venezia (1948 and 1950). LITERATURE: Aurel Scheibler, Siegfried Gohr, Ernst Wilhelm Nay. Catalogue raisonné of oil paintings, vol. 1 (1922-1951), Cologne 1990, no. 456 (illu. in colors). - - Kunsthaus Lempertz, Cologne, 542nd auction, December 4, 1974, p. 99, lot 499 ( illu. in color on p. 65, plate III). Karlheinz Gabler, Bericht über die Zeichnungen, in: exhib. cat. Nay. Zeichnungen, Jahrhunderthalle, Höchst 1976, pp. 8f. Friedrich Weltzien, E. W. Nay. Figur und Körperbild. Kunst und Kunsttheorie der vierziger Jahre, Berlin 2003, p. 275.
E. W. Nay. Arbeiten der Jahre 1924-1952. Retrospektive, Haus am Waldsee, Berlin, May 17 - June 15, 1952, cat. no. 114 (illu.)
Eberhard Seel Collection (1900-1978), Berlin/Cologne (presumably directly from the artist). Private collection, Cologne (acquired from the above, presumably in 1974, Lempertz, Cologne). Galerie Orangerie-Reinz, Cologne (1995). Private collection Hesse (acquired from the above, presumably in 1995). Ever since family-owned
This complex composition in intense colors is in good condition. The brushstroke is very painterly. The painting bordered with black adhesive textile tape around the sides. Overall very minimally soiled, as well as with isolated tiny adhesions and minimal traces of rubbing. Partially with minimal craquelure. Tiny drycracks in the dark brown color field owing to the technique. Small pinholes in the corners of the image. Small tears in the canvas in the upper and lower right corner and in the center of the left and lower edge of the image, there with small losses of color and material in places. Small, expertly retouched spots in the lower left corner of the image. In the upper right black areas with two tiny punctual blemishes, the paint there somewhat brittle, however, difficult to see with the naked eye. 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. Signed and dated in the lower left. Signed, dated, titled and inscribed “XIX 9.” on the stretcher. Inscribed “495” by a hand other than that of the artist on the reverse. 59 x 71 cm. . [CH]. - The catalogue raisonné mentions this work as the first in the series of the “Fugal Paintings”. - With this colorful work and the subsequent work group, Nay achieved rhythmic balance between figuration and abstraction, order and movement. - Formerly part of the collection of the Berlin gallerist Eberhard Seel, 1950-1972 managing director of the Deutscher Künstlerbund, collector and close friend of the artist. - In 1952 the work was part of the early retrospective at Haus am Waldsee, Berlin. - The same year he created a color lithograph and a gouache of the same subject, albeit in different colors. - Early professional highlights: One year before and one year after this work was made, E. W. Nay participated in the Biennale di Venezia (1948 and 1950). LITERATURE: Aurel Scheibler, Siegfried Gohr, Ernst Wilhelm Nay. Catalogue raisonné of oil paintings, vol. 1 (1922-1951), Cologne 1990, no. 456 (illu. in colors). - - Kunsthaus Lempertz, Cologne, 542nd auction, December 4, 1974, p. 99, lot 499 ( illu. in color on p. 65, plate III). Karlheinz Gabler, Bericht über die Zeichnungen, in: exhib. cat. Nay. Zeichnungen, Jahrhunderthalle, Höchst 1976, pp. 8f. Friedrich Weltzien, E. W. Nay. Figur und Körperbild. Kunst und Kunsttheorie der vierziger Jahre, Berlin 2003, p. 275.
E. W. Nay. Arbeiten der Jahre 1924-1952. Retrospektive, Haus am Waldsee, Berlin, May 17 - June 15, 1952, cat. no. 114 (illu.)
Eberhard Seel Collection (1900-1978), Berlin/Cologne (presumably directly from the artist). Private collection, Cologne (acquired from the above, presumably in 1974, Lempertz, Cologne). Galerie Orangerie-Reinz, Cologne (1995). Private collection Hesse (acquired from the above, presumably in 1995). Ever since family-owned
This complex composition in intense colors is in good condition. The brushstroke is very painterly. The painting bordered with black adhesive textile tape around the sides. Overall very minimally soiled, as well as with isolated tiny adhesions and minimal traces of rubbing. Partially with minimal craquelure. Tiny drycracks in the dark brown color field owing to the technique. Small pinholes in the corners of the image. Small tears in the canvas in the upper and lower right corner and in the center of the left and lower edge of the image, there with small losses of color and material in places. Small, expertly retouched spots in the lower left corner of the image. In the upper right black areas with two tiny punctual blemishes, the paint there somewhat brittle, however, difficult to see with the naked eye. The condition report was compiled in daylight with the help of an ultraviolet light and to the best of knowledge.
Ernst Wilhelm Nay 
