VX Collection Minkoff - Tableaux mercredi 21 Septembre, 19h

Ferdinand Hodler (1853-1918), "Einmütigkeit", 1912-1913, oil on canvas, 116x169 cm

Provenance: Estate of Ferdinand Hodler 1918, Inv-Nr 127; Hector Hodler, Geneva, 1918-1920; Lina-Emilie Hodler-Ruch, Geneva, 1920-[1923]; Swiss private collection since 1923, then remained in the family until today

Bibliography: Carl Albert Loosli, Generalkatalog: Carl Albert Loosli, Ferdinand Hodler. Leben, Werk und Nachlass, Bern, 1921-1924, no. 423 (Einstimmigkeit [Studie], 1914); Gmelin 1968, pp. 232-233, 234, 236, ill. ; Oskar Bätschmann, Paul Müller, Ferdinand Hodler: Catalogue raisonné der Germälde, Band 3, Die Figurenbilder, Teilband 2, Scheidegger & Spiess, Zürich, 2017, p. 443, no. 1502 [SIK 4575], ill.

Ferdinand Hodler painted "Retreat from Marignano" for the decoration of the National Museum in Zurich, bringing the artist international acclaim. In Hanover, Hodler was commissioned to paint a mural in the Council Chamber of the New Town Hall. The theme of the mural was the Reformation of 1533. "Einmütigkeit" (Unanimity) was completed in May 1913. Hodler's proposal was a culmination of two years work and is spectacular in its virulence of colour. Above all, it is the most rigorous affirmation of his concept of parallelism: a compact frieze of men with raised arms is symmetrically distributed around Dietrich Arnsborg, the orator who takes the oath with his hand over his heart. Painted in Geneva, the 5-metre high and 15-metre long composition was produced on three canvases. *

"Einmütigkeit" is one of the artist's most striking works. This colossal work was preceded by a large number of preparatory studies, however, the work presented here is a unique and rare testimony due to its large size and complex composition illustrating no less than 2/3 of the final fresco. Acquired directly from the artist's heirs in 1923, it has remained in the same family to this day.

*Cantonal Museum of Fine Arts Lausanne

Lot 152

LOT UPDATE

Estimate

CHF 200 000 - 300,000

Adjudicated(excl. fees)

CHF 200 000

Description

Ferdinand Hodler (1853-1918), "Einmütigkeit", 1912-1913, oil on canvas, 116x169 cm

Provenance: Estate of Ferdinand Hodler 1918, Inv-Nr 127; Hector Hodler, Geneva, 1918-1920; Lina-Emilie Hodler-Ruch, Geneva, 1920-[1923]; Swiss private collection since 1923, then remained in the family until today

Bibliography: Carl Albert Loosli, Generalkatalog: Carl Albert Loosli, Ferdinand Hodler. Leben, Werk und Nachlass, Bern, 1921-1924, no. 423 (Einstimmigkeit [Studie], 1914); Gmelin 1968, pp. 232-233, 234, 236, ill. ; Oskar Bätschmann, Paul Müller, Ferdinand Hodler: Catalogue raisonné der Germälde, Band 3, Die Figurenbilder, Teilband 2, Scheidegger & Spiess, Zürich, 2017, p. 443, no. 1502 [SIK 4575], ill.

Ferdinand Hodler painted "Retreat from Marignano" for the decoration of the National Museum in Zurich, bringing the artist international acclaim. In Hanover, Hodler was commissioned to paint a mural in the Council Chamber of the New Town Hall. The theme of the mural was the Reformation of 1533. "Einmütigkeit" (Unanimity) was completed in May 1913. Hodler's proposal was a culmination of two years work and is spectacular in its virulence of colour. Above all, it is the most rigorous affirmation of his concept of parallelism: a compact frieze of men with raised arms is symmetrically distributed around Dietrich Arnsborg, the orator who takes the oath with his hand over his heart. Painted in Geneva, the 5-metre high and 15-metre long composition was produced on three canvases. *

"Einmütigkeit" is one of the artist's most striking works. This colossal work was preceded by a large number of preparatory studies, however, the work presented here is a unique and rare testimony due to its large size and complex composition illustrating no less than 2/3 of the final fresco. Acquired directly from the artist's heirs in 1923, it has remained in the same family to this day.

*Cantonal Museum of Fine Arts Lausanne

Condition report

Bonne tension et planéité de la toile
La toile est en très bon état et ne présente pas de déchirure ou de traces majeures d'oxydation. Elle est toutefois très poussiéreuse.
Le montage sur châssis ne semble pas d'origine. En effet le châssis à clés semble plus récent et les marques de tension de la toile peu marquées.

Une mise sur châssis tardive pourrait expliquer les pertes de couche picturale que l'on peut observer sur l'ensemble et qui semblent intervenir après des contraintes mécaniques (plis, mouvement de la toile). Ces micro lacunes présentes sur l'ensemble sont nombreuses mis s'intègrent bien dans l'esprit d'une étude d'atelier présentant des épargnes volontaires. Elles ne gênent pas la lisibilité de l'œuvre. Elles représentent environ 5% de la couche picturale. La couche de préparation maigre sur une toile de coton est fragile et répond aux sollicitations climatiques et explique ces altérations.

Nous n'avons pas mis en évidence de traces de restauration
Présence d'une couche salissure avec quelques projections et traces de frottement