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On heavily textured van Gelder Zonen wove paper. Signed lower right. Titled twice in the lower margin.
Schiefler-Mosel reports an edition size of 22 copies for this condition, and a total of 33 copies for all conditions.
Fantastic scenes, which nevertheless repeatedly recall those from myth, fairy tales, the Bible, or history, yet are probably not clearly identifiable, multiply in Emil Nolde’s work during these years. He occasionally distorted concretely identifiable scenes or blended them to create entirely new meanings. Although Nolde permanently had an apartment in Berlin, he even wanted to build his own house there in 1929 (with Mies van der Rohe). However, he never felt artistically at home there, always remaining attached to the world of myth, legend, and fairy tales of his youth, to rural life and the light, clouds, air, and landscape of Schleswig. In fact, apart from a few depictions of people, there are no Berlin subjects in his work. Nolde’s only foray into contemporary reality was his work in the port of Hamburg in 1910. He preferred reverie.
