Lago Maggiore. Um 1930.
Woodcut.
Signed. On Japan paper. 39 x 50 cm (15.3 x 19.6 in). Sheet: 42,7 x 58 cm (16,8 x 22,8 in).
Released as annual bonus of the Karl-Hofer-Society in Berlin in 1960. [CH].

• Intensive, deep black print.
• Schmidt-Rottluff created an atmospheric depiction of Lake Maggiore and the surrounding mountainous landscape with a strong light and dark contrast.
• Using very different techniques, the artist divides the pictorial surface into four levels: a lively foreground with a typical local house and vegetation, a small strip of sky, the mountain landscape and the lake that reflects it.
• Between 1927 and 1929, Schmidt-Rottluff traveled to the Ticino several times, visiting, among other places, Ascona on Lago Maggiore.

PROVENANCE: Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032).

EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001).
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017).
Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022).

LITERATURE: Ernest Rathenau (ed.), Karl Schmidt-Rottluff. Das graphische Werk seit 1923, New York 1964, no. 32.
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Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 411, SHG no. 737 (illu., p. 410).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 114, SHG no. 257 (illu.).

"The woodcut must be from about 1930, originally it was supposed to be a color woodcut. For reasons that can no longer be explained, this did not happen. Since the block had been preserved by chance and the Hoferges. recently asked me [..], the block came back into my hands, I had it printed and they agreed."
Karl Schmidt-Rottluff on the origin of this woodcut, quoted from: Ernest Rathenau (ed.), Karl Schmidt-Rottluff. Das graphische Werk seit 1923, New York 1964, no. 32.

The print image strong and differentiated in the sky. Isolated minimal handling creases.