Paul Klee - Evening & Day Editions New York Tuesday, April 23, 2019 | Phillips

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  • Provenance

    Lily Klee, Bern (1940)
    Klee-Gesellschaft, Bern (1946)
    Buchholz Gallery (Curt Valentin), New York (1950) (label on reverse of frame)
    Curt Valentin Gallery, New York (1951)
    Mr. and Mrs. Ralph F. Colin, New York (1955)
    Christie’s New York Modern Paintings, Drawings, Sculpture, from the collection of Mr. and Mrs. Ralph F. Colin, May 10, 1995, lot 30
    Acquired from the above by the current owner

  • Exhibited

    New York, Buchholz Gallery, Paul Klee - Sixty Unknown Drawings, Jan.-Feb., 1951, no. 44 (illustrated no. 46)
    New York, The Museum of Modern Art, Paul Klee Drawings, 1908-1940, (#52.639) (label on reverse of frame); Louisville, J.B. Speed Art Museum, Oct., 1952, no. 34; Poughkeepsie, Vassar College, Jan., 1953; Ann Arbor, University of Michigan, Feb.-March, 1953; St. Louis, Washington University, March-April, 1953; Northampton, Smith College Museum, April-May, 1953; Manchester, The Currier Gallery of Art, May-June, 1953 and Minneapolis, Institute of Arts, June-Aug., 1953
    London, Institute of Arts, Fifty Drawings by Paul Klee (Collection of Curt Valentin, New York), Nov.-Dec., 1953, no. 36. (label on reverse of frame); Berlin, Galerie Schüler, March-April, 1954
    Hanover, Kestner-Gesellschaft, Paul Klee - Max Beckmann, Jan.-Feb., 1954, no. 36 (label on reverse of frame)
    New York, M. Knoedler & Co., Inc., The Colin Collection, April-May, 1960, no. 40 (illustrated)

  • Literature

    The Paul Klee Foundation, ed., Paul Klee: Catalogue Raisonné, vol. V, 1927-1930, Bern, 2001, no. 5288, p. 493 (illustrated).

  • Catalogue Essay

    Working in drawing almost exclusively until 1914, Klee was a master of works on paper. Klee’s lively drawings and prints elicited unexpected responses from his viewers. Many of Klee’s drawings were improvisational and vivified by his signature energetic and thin line. Acting as an instrument of precision, Klee used his line to describe form and used his inks to reveal the delicate quality of paper.

    For this carbon transfer, Klee drew with a needle over an inked surface; the page received the image below as well as any ink transferred by the pressure of the artist’s hand. Carbon transfer was a technically ingenious and autographic method of drawing. Even though Klee’s hand remained invisible, it could be felt palpably pulsating through every inch of this 1930 drawing.


Ältliches Kind II (Elderly Child II)

Carbon drawing, on laid paper watermark MBM, mounted to card by the artist.
drawing sheet 19 x 12 3/8 in. (48.3 x 31.4 cm)
mount 25 5/8 x 19 1/8 in. (65.1 x 47.9 cm)

Signed on the drawing and dated, annotated and titled on the mount '1930 B. 2. ältliches Kind II' in ink, framed.

$20,000 - 40,000 

Sold for $35,000

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Evening & Day Editions

New York Auction 23 April 2019