Lot 496
Verso
496
Karl Schmidt-Rottluff
Anhänger (Trapezförmiger Bernstein mit Silberlasche), Um 1913.
Silver, cut. Amber, partly sanded and polished
Estimation:
€ 2,000 / $ 2,200 Résultat:
€ 11,250 / $ 12,375 ( frais d'adjudication compris)
Anhänger (Trapezförmiger Bernstein mit Silberlasche). Um 1913.
Silver, cut. Amber, partly sanded and polished.
Wietek 392. With the signature stamp on the reverse of the mounting. Stone: 5.7 x 3.4 x 2.5 cm (2.2 x 1.3 x 0.9 in). Total height: 6,2 cm (2,4 in).
[KT].
• Among the "Brücke" artists, Schmidt-Rottluff creates the most extensive and diverse body of jewelry.
• His jewelry pieces are characterized by their unconventional and artistic handling of material, technique and form, and thus bring forth an aesthetic of their own.
• The artist's jewelry pieces are individual gems, often made especially for a close circle of collectors, friends and family.
• In a fascinating way, the pieces combine characteristic concepts of form from the artists' work between jewelry, collector's item and commodity.
• From the artist's rarest work group on the auction market (source: artprice.com).
PROVENANCE: From the artist's estate.
Collection Hermann Gerlinger, Würzburg.
EXHIBITION: Karl Schmidt-Rottluff-Gemälde: Aquarelle, Grafik, Bernstein, Kunstsammlungen der Stadt Königsberg/Kunstverein Königsberg, Königsberg 1928, cat. no. 65, 66.
Plastik und Kunsthandwerk von Malern des deutschen Expressionismus, Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig, August 28 - Ocotber 2, 1960; Museum für Kunst und Gewerbe, Hamburg, October 14 - November 13, 1960, cat. no. 323.
Karl Schmidt-Rottluff: Das nachgelassene Werk seit den 20er Jahren. Malerei, Plastik, Kunsthandwerk, Brücke-Museum, Berlin, August 20 ,1977 - January 15, 1978, cat. no. 150 (with illu.).
Karl Schmidt-Rottluff: Aquarelle, Farbstiftzeichnungen, Schmuck, Kunstverein Paderborn 1982, cat. no. 10.
Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001).
Kunstmuseum Moritzburg, Halle an der Saale permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Nur für ihre Frauen. Schmuck von Karl-Schmidt-Rottluff, Emil Nolde, Erich Heckel und Ernst Ludwig Kirchner, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Halle (Saale), Ocotber 26, 2003 - January 11, 2004, no. 16 (with illu.).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
Schmidt-Rottluff. Form, Farbe, Ausdruck!, Buchheim Museum, Bernried, September 29, 2018 - February 3, 2019, p. 183 (with illu.).
LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 230f., SHG no. 323 (with illu.).
Gerhard Wietek, Karl Schmidt-Rottluff, Werkverzeichnis der Plastik und des Kunsthandwerks, Munich 2001, no. 392 (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 61, no. 107 (with illu.).
Silver, cut. Amber, partly sanded and polished.
Wietek 392. With the signature stamp on the reverse of the mounting. Stone: 5.7 x 3.4 x 2.5 cm (2.2 x 1.3 x 0.9 in). Total height: 6,2 cm (2,4 in).
[KT].
• Among the "Brücke" artists, Schmidt-Rottluff creates the most extensive and diverse body of jewelry.
• His jewelry pieces are characterized by their unconventional and artistic handling of material, technique and form, and thus bring forth an aesthetic of their own.
• The artist's jewelry pieces are individual gems, often made especially for a close circle of collectors, friends and family.
• In a fascinating way, the pieces combine characteristic concepts of form from the artists' work between jewelry, collector's item and commodity.
• From the artist's rarest work group on the auction market (source: artprice.com).
PROVENANCE: From the artist's estate.
Collection Hermann Gerlinger, Würzburg.
EXHIBITION: Karl Schmidt-Rottluff-Gemälde: Aquarelle, Grafik, Bernstein, Kunstsammlungen der Stadt Königsberg/Kunstverein Königsberg, Königsberg 1928, cat. no. 65, 66.
Plastik und Kunsthandwerk von Malern des deutschen Expressionismus, Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig, August 28 - Ocotber 2, 1960; Museum für Kunst und Gewerbe, Hamburg, October 14 - November 13, 1960, cat. no. 323.
Karl Schmidt-Rottluff: Das nachgelassene Werk seit den 20er Jahren. Malerei, Plastik, Kunsthandwerk, Brücke-Museum, Berlin, August 20 ,1977 - January 15, 1978, cat. no. 150 (with illu.).
Karl Schmidt-Rottluff: Aquarelle, Farbstiftzeichnungen, Schmuck, Kunstverein Paderborn 1982, cat. no. 10.
Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001).
Kunstmuseum Moritzburg, Halle an der Saale permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Nur für ihre Frauen. Schmuck von Karl-Schmidt-Rottluff, Emil Nolde, Erich Heckel und Ernst Ludwig Kirchner, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Halle (Saale), Ocotber 26, 2003 - January 11, 2004, no. 16 (with illu.).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
Schmidt-Rottluff. Form, Farbe, Ausdruck!, Buchheim Museum, Bernried, September 29, 2018 - February 3, 2019, p. 183 (with illu.).
LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 230f., SHG no. 323 (with illu.).
Gerhard Wietek, Karl Schmidt-Rottluff, Werkverzeichnis der Plastik und des Kunsthandwerks, Munich 2001, no. 392 (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 61, no. 107 (with illu.).
In 1913, Karl Schmidt-Rottluff spent the summer months in Nida on the Curonian Spit. His home was a simple fisherman's hut from which he directly experienced the elemental nature of the sea. Among mussel shells, seaweed, and round-cut stones washed up by the Baltic Sea, he discovered the gold of the north, amber. These finds inspired him - far from the Berlin studio - to new jewelry works: to natural pendants, to strung necklaces with smaller chunks of amber between silver links, and later also to rings and brooches in which strong claws grasp the raw amber. In August 1913, he announced to the Oldenburg "Brücke" member and collector Ernst Beyersdorff that he would send some of his "stone finds" (Wietek 2001, p. 108). It is very likely that this pendant was also created in Nida. Schmidt-Rottluff did not ground away the natural irregular shape of the stone. A plastically raised central ridge shows the original porous skin, the smoothly polished sides reveal its transparency. The eyelet for the suspension is designed as a broad silver band rolled up at the end and pinned into the stone without soldering. With such craftsmanship, Schmidt-Rottluff distanced himself from the stereotypical teardrop shapes and shiny metals of bourgeois jewelry. The "Brücke" painters consciously focused on craftsmanship, also or precisely because they were self-taught, exploring the peculiarities of the material and the technical requirements of its processing. For them, art is not just about making, it is, above all, a personal and authentic experience. For their pictures and objects, for their entire world of life, they preferred powerful and original forms. The ancient material amber, a fossilized resin that often has fossil inclusions, meant a challenge in craftsmanship and an artistic commitment for Schmidt-Rottluff. Gerhard Wietek's catalog raisonné shows only four comparable pendants; three later ones are figuratively cut.
Dr. Katja Schneider
Dr. Katja Schneider
496
Karl Schmidt-Rottluff
Anhänger (Trapezförmiger Bernstein mit Silberlasche), Um 1913.
Silver, cut. Amber, partly sanded and polished
Estimation:
€ 2,000 / $ 2,200 Résultat:
€ 11,250 / $ 12,375 ( frais d'adjudication compris)