Lot 452
Image du cadre
Raumbeispiel
452
Ernst Ludwig Kirchner
In Hemdhose (Frau in Hose, Berlin), Um 1913.
Watercolor and pencil drawing
Estimation:
€ 40,000 / $ 42,800 Résultat:
€ 65,000 / $ 69,550 ( frais d'adjudication compris)
In Hemdhose (Frau in Hose, Berlin). Um 1913.
Watercolor and pencil drawing.
Bottom right signed. Dated and titled on the reverse and with the estate stamp of the Kunstmuseums Basel (Lugt 1570 b), as well as with the hand-written registration number "A Be/Bi 2". On smooth wove paper. 52.3 x 37.6 cm (20.5 x 14.8 in), the full sheet. [CH].
• Large-size depiction of a scene from the artist's private environment.
• From the sought-after Berlin period: 1913 was the last year of the artist group "Brücke".
• Through the narrow image space and the immediacy of the frontal perspective, Kirchner put the female figure at the center of the bold and provocative depiction.
The work is documented at the Ernst Ludwig Kirchner Archive, Wichtrach/Bern.
PROVENANCE: From the artist's estate (Davos 1938, Kunstmuseum Basel 1946, with the hand-numbered estate stamp on the reverse).
Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart (1954).
Galerie Nierendorf, Berlin (1969).
Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032).
EXHIBITION: E. L. Kirchner zum fünfundzwanzigsten Todestag, Galerie Nierendorf, Berlin, June 18 - October 17, 1963, cat. no. 38 (with illu.).
Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loann from the Collection Hermann Gerlinger, 1995-2001).
Frauen in Kunst und Leben der Brücke. "Brücke"-Almanach 2000, Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf, Schleswig, September 10 - November 5, 2000, cat. no. 119 (with illu. on p. 197)
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 158 (with illu.).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
Brückenschlag: Gerlinger - Buchheim, Buchheim Museum der Phantasie, Bernried am Starnberger See, October 28, 2017 - February 25, 2018, pp. 162f. (with illu.).
LITERATURE: Heinz Spielmann (editor), Die Maler der Brücke. Collection Hermann Gerlinger, Stuttgart 1995, p. 260, SHG no. 373 (with illu.).
Hermann Gerlinger, Katja Schneider (editor.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle 2005, p. 334, SHG no. 753 (with illu.).
Watercolor and pencil drawing.
Bottom right signed. Dated and titled on the reverse and with the estate stamp of the Kunstmuseums Basel (Lugt 1570 b), as well as with the hand-written registration number "A Be/Bi 2". On smooth wove paper. 52.3 x 37.6 cm (20.5 x 14.8 in), the full sheet. [CH].
• Large-size depiction of a scene from the artist's private environment.
• From the sought-after Berlin period: 1913 was the last year of the artist group "Brücke".
• Through the narrow image space and the immediacy of the frontal perspective, Kirchner put the female figure at the center of the bold and provocative depiction.
The work is documented at the Ernst Ludwig Kirchner Archive, Wichtrach/Bern.
PROVENANCE: From the artist's estate (Davos 1938, Kunstmuseum Basel 1946, with the hand-numbered estate stamp on the reverse).
Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart (1954).
Galerie Nierendorf, Berlin (1969).
Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032).
EXHIBITION: E. L. Kirchner zum fünfundzwanzigsten Todestag, Galerie Nierendorf, Berlin, June 18 - October 17, 1963, cat. no. 38 (with illu.).
Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loann from the Collection Hermann Gerlinger, 1995-2001).
Frauen in Kunst und Leben der Brücke. "Brücke"-Almanach 2000, Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf, Schleswig, September 10 - November 5, 2000, cat. no. 119 (with illu. on p. 197)
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017).
Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 158 (with illu.).
Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022).
Brückenschlag: Gerlinger - Buchheim, Buchheim Museum der Phantasie, Bernried am Starnberger See, October 28, 2017 - February 25, 2018, pp. 162f. (with illu.).
LITERATURE: Heinz Spielmann (editor), Die Maler der Brücke. Collection Hermann Gerlinger, Stuttgart 1995, p. 260, SHG no. 373 (with illu.).
Hermann Gerlinger, Katja Schneider (editor.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle 2005, p. 334, SHG no. 753 (with illu.).
After the formative "Brücke" years in Dresden, E. L. Kirchner followed his artist colleagues Hermann Max Pechstein and Otto Mueller to the metropolis Berlin in 1911. Around 1900, the city had not only risen to become one of the most exciting cultural centers, but was also the fastest growing place in Europe. After the turn of the century, life was raging there; department stores, bars, cabarets, and dance halls were built overnight. City dwellers in search of amusement found satisfaction there, while Kirchner found a large variety of motifs for his works. The simultaneity of glamour and misery, of poverty, unemployment and prostitution, of modernity, upheaval and glamorous prosperity, as well as the fast pace of life, the hustle and bustle and the diverse crowd of people living in a confined space overwhelmed the artist and inspired him so that he eventually attained a more mature style, the so-called "Berlin style". Works from these years are among the most distinguished accomplishments of his artistic oeuvre.
In 1912, the artist met the sisters Erna and Gerda Schilling in one of the new dance halls. They came from humble backgrounds, both performed as nightclub dancers and probably also dabbled in prostitution for a while. In the years that followed, they were the artist's favorite models, and Erna, the younger of the two sisters, became Kirchner's lifelong confidant and companion. She presumably also served Kirchner as model for the present drawing with watercolor, which she fills from the top to the bottom of the sheet, clad only in underwear and in a confident pose. With this piquant depiction of figures in his Berlin studio, Kirchner created an image between emancipated permissiveness and intimacy, between bohemianism and down-to-earthness, in which the Wilhelminian Period already seems to have been overcome and the zeitgeist of a new era seems to prevail. [CH]
In 1912, the artist met the sisters Erna and Gerda Schilling in one of the new dance halls. They came from humble backgrounds, both performed as nightclub dancers and probably also dabbled in prostitution for a while. In the years that followed, they were the artist's favorite models, and Erna, the younger of the two sisters, became Kirchner's lifelong confidant and companion. She presumably also served Kirchner as model for the present drawing with watercolor, which she fills from the top to the bottom of the sheet, clad only in underwear and in a confident pose. With this piquant depiction of figures in his Berlin studio, Kirchner created an image between emancipated permissiveness and intimacy, between bohemianism and down-to-earthness, in which the Wilhelminian Period already seems to have been overcome and the zeitgeist of a new era seems to prevail. [CH]
452
Ernst Ludwig Kirchner
In Hemdhose (Frau in Hose, Berlin), Um 1913.
Watercolor and pencil drawing
Estimation:
€ 40,000 / $ 42,800 Résultat:
€ 65,000 / $ 69,550 ( frais d'adjudication compris)