43
Erich Heckel
Fränzi stehend (Stehendes Kind), 1910/11.
Woodcut in colors. from the sawn-up printing bl...
Prix d´après-vente: € 95,000 / $ 104,500
Fränzi stehend (Stehendes Kind). 1910/11.
Woodcut in colors. from the sawn-up printing block in black, green and red.
Signed and dated “1911”. Monogrammed in the printing block. One of 44 known copies from this printing state. On firm wove paper. 37.4 x 27.6 cm (14.7 x 10.8 in). Sheet: 53,8 x 40 cm (21,1 x 15,7 in).
Sheet 1 from the VI. annual portfolio of "Die Brücke", published in 1911. The woodcut was presumably made after a drawing in late 1910. [CH]
The "Brücke": Expressionism on Paper – The Passion of a German Collector
More works from the collection are offered in our Modern Art Day Sale on Saturday, December 7, 2024, and in the parallel Online Sale (auction ends December 15, 2024).
• Iconic color woodcut from the best “Brücke” period.
• In 2025, the Neue Galerie in New York, will honor the artist with his first solo exhibition in an American museum (October 9, 2025 - January 12, 2026).
• Strong, splendid print with radiant colors and in an excellent condition.
• Part of a Hessian private collection for over 50 years.
• Prints of this famous color woodcut are part of important collections like the Städel Museum, Frankfurt am Main, the Museum Folkwang, Essen, the Los Angeles County Museum of Art, and the National Gallery of Victoria, Melbourne.
PROVENANCE: Private collection, Hesse (acquired in 1970, Kornfeld & Klipstein, Bern).
Family-owned ever since.
LITERATURE: Renate Ebner, Andreas Gabelmann, Erich Heckel. Catalogue raisonné of prints, vol. 1: 1903-1913, Munich 2021, no. 423 H b 1 (of b 2).
Gerhard Söhn, Handbuch der Original-Graphik in deutschen Zeitschriften, Mappenwerken, Kunstbüchern und Katalogen, vol. 2, Düsseldorf 1990, no. 216-2.
Annemarie and Wolf-Dieter Dube, Erich Heckel. Das graphische Werk, vol. 1: Holzschnitte, New York 1964, no. H 204 b 2 (of c).
- -
Kornfeld and Klipstein, Bern, auction 137, Modern Art, June 17-19, 1970, lot 531 (w. color plate).
Woodcut in colors. from the sawn-up printing block in black, green and red.
Signed and dated “1911”. Monogrammed in the printing block. One of 44 known copies from this printing state. On firm wove paper. 37.4 x 27.6 cm (14.7 x 10.8 in). Sheet: 53,8 x 40 cm (21,1 x 15,7 in).
Sheet 1 from the VI. annual portfolio of "Die Brücke", published in 1911. The woodcut was presumably made after a drawing in late 1910. [CH]
The "Brücke": Expressionism on Paper – The Passion of a German Collector
More works from the collection are offered in our Modern Art Day Sale on Saturday, December 7, 2024, and in the parallel Online Sale (auction ends December 15, 2024).
• Iconic color woodcut from the best “Brücke” period.
• In 2025, the Neue Galerie in New York, will honor the artist with his first solo exhibition in an American museum (October 9, 2025 - January 12, 2026).
• Strong, splendid print with radiant colors and in an excellent condition.
• Part of a Hessian private collection for over 50 years.
• Prints of this famous color woodcut are part of important collections like the Städel Museum, Frankfurt am Main, the Museum Folkwang, Essen, the Los Angeles County Museum of Art, and the National Gallery of Victoria, Melbourne.
PROVENANCE: Private collection, Hesse (acquired in 1970, Kornfeld & Klipstein, Bern).
Family-owned ever since.
LITERATURE: Renate Ebner, Andreas Gabelmann, Erich Heckel. Catalogue raisonné of prints, vol. 1: 1903-1913, Munich 2021, no. 423 H b 1 (of b 2).
Gerhard Söhn, Handbuch der Original-Graphik in deutschen Zeitschriften, Mappenwerken, Kunstbüchern und Katalogen, vol. 2, Düsseldorf 1990, no. 216-2.
Annemarie and Wolf-Dieter Dube, Erich Heckel. Das graphische Werk, vol. 1: Holzschnitte, New York 1964, no. H 204 b 2 (of c).
- -
Kornfeld and Klipstein, Bern, auction 137, Modern Art, June 17-19, 1970, lot 531 (w. color plate).
"Fränzi stehend" is, without doubt, one of the artist's most important color woodcuts, in a balanced color scheme of black, green, and red, showing the most famous and most frequently depicted model of Heckel, Kirchner, and Pechstein. Erich Heckel sketched the standing young Fränzi in his new studio on Falkenbrücke 2a in Dresden, which he had just set up in late October or early November of 1910. In the background, we see a wall covering that had just been made for the new studio. It shows a hilly landscape with characteristic pine trees, a creative exploration of the "Etruscan art" the artist had encountered on his trip through Italy in 1909. Heckel also used this drawing with its eye-catching background for the woodcut "Fränzi stehend" in black, red, and green, first published in the artists' group's annual publication. This 1911 edition was dedicated to Heckel.
The unique character of this woodcut is in the innovative printing technique: before staining, the designated areas for the colors were sawn out of the wooden block, stained separately, and then reassembled for printing. This way Heckel made sure that the printed colors did not overlap at the edges, and he attained this unprecedented brilliance and two-dimensional purity. The work shows Franziska Fehrmann (1900-1950), known as Fränzi. She was about 10 years old when the men of the Brücke discovered the child and hired her as their model. In 1945/46, Max Pechstein recalls impressed: "When we were together in Berlin [1909], Heckel, Kirchner, and I decided to work on the lakes around Moritzburg near Dresden [..] When I arrived in Dresden and stayed in the old shop in Friedrichstadt, we discussed how to realize our plan. We had to find two or three people who were not professional models and could therefore guarantee us gestures that had not been trained in studios and at academies. I remembered my old friend, the janitor at the Academy [..] He referred us to the wife of a deceased artist and her two daughters. I explained to her our sincere artistic intentions. She visited us at our place in Friedrichstadt, and since she found a familiar environment, she agreed to her daughters accompanying us to Moritzburg [..] We lived in absolute harmony, worked, and bathed. If we were short of a male model, one of the three of us would jump in. Now and then the mother, the fearful hen, would show up to make sure that nothing bad had happened to her ducklings swimming on the pond of life." (Max Hermann Pechstein, Erinnerungen, edited by Leopold Reidemeister, Wiesbaden 1960, pp. 41-43.)
There are so many that Fränzi and her sister Marcella were even honored with an entire exhibition. (Der Blick auf Fränzi und Marcella, Zwei Modelle der Brücke-Künstler Heckel, Kirchner und Pechstein, ed. by Norbert Nobis, Sprengel Museum Hannover, 2010) Fränzi achieved something extraordinary with her presence alone: she managed to get the inner "Brücke" circle - except Schmidt-Rottluff, who was staying in Dangast around that time - to work together. Their perspectives of the motifs from the Moritzburg ponds and the Dresden studios resembled each other and continued to live on in their paintings, making her an inimitable icon of the true "Brücke" style around 1910. The woodcut “Fränzi stehend” is one of the most beautiful, indeed iconic sheets of the Dresden “Brücke”. [MvL]
___
The "Brücke": Expressionism on Paper – The Passion of a German Collector
The Hessian collector recollects his first encounter with Expressionist art to this day: it was shortly after the end of World War II that he was struck by Karl Schmidt-Rottluff paintings on a visit to the Frankfurter Kunstkabinett. The gallery was one of the first in Germany to offer art lovers an opportunity to see works by the artists of the "Brücke" group again, as they had been ostracized as "degenerate" by the Nazis. One of the main reasons behind Hanna Bekker von Rath's decision to open the place on Börsenplatz in Frankfurt in 1947 was to provide a forum for these artists after the dark years of Nazi rule and to reintroduce them to the public. “These works blew me away” is how the collector recalls his initial reaction to the exhibits. He liked Schmidt-Rottluff's rugged, woodcut-like style and subsequently also developed a liking for the other members of the “Brücke”, whose style was so different from what had previously been considered “beautiful”. Together with his wife – who was particularly interested in the works of Otto Mueller and Emil Nolde – he visited many more exhibitions at the Frankfurt Kunstkabinett and other galleries.
Nevertheless, it was about more than just admiring them. In 1962, the couple bought their first Expressionist work at auction in Stuttgart – from Roman Norbert Ketterer, the uncle of the current owner of Ketterer Kunst: Ernst Ludwig Kirchner's woodcut "Drei Akte im Wald" from 1933 marked the beginning of the couple's extensive collection of "Brücke" prints.
He never had a specific system, says the collector. However, he avoided acquiring pieces that “many others had as well”. He was particularly interested in works produced in small numbers, pieces with a unique feature such as an additional coat of paint, or works that the artist used as trial proofs. But first and foremost, says the collector, “I made my purchases based on my taste”
The unique character of this woodcut is in the innovative printing technique: before staining, the designated areas for the colors were sawn out of the wooden block, stained separately, and then reassembled for printing. This way Heckel made sure that the printed colors did not overlap at the edges, and he attained this unprecedented brilliance and two-dimensional purity. The work shows Franziska Fehrmann (1900-1950), known as Fränzi. She was about 10 years old when the men of the Brücke discovered the child and hired her as their model. In 1945/46, Max Pechstein recalls impressed: "When we were together in Berlin [1909], Heckel, Kirchner, and I decided to work on the lakes around Moritzburg near Dresden [..] When I arrived in Dresden and stayed in the old shop in Friedrichstadt, we discussed how to realize our plan. We had to find two or three people who were not professional models and could therefore guarantee us gestures that had not been trained in studios and at academies. I remembered my old friend, the janitor at the Academy [..] He referred us to the wife of a deceased artist and her two daughters. I explained to her our sincere artistic intentions. She visited us at our place in Friedrichstadt, and since she found a familiar environment, she agreed to her daughters accompanying us to Moritzburg [..] We lived in absolute harmony, worked, and bathed. If we were short of a male model, one of the three of us would jump in. Now and then the mother, the fearful hen, would show up to make sure that nothing bad had happened to her ducklings swimming on the pond of life." (Max Hermann Pechstein, Erinnerungen, edited by Leopold Reidemeister, Wiesbaden 1960, pp. 41-43.)
There are so many that Fränzi and her sister Marcella were even honored with an entire exhibition. (Der Blick auf Fränzi und Marcella, Zwei Modelle der Brücke-Künstler Heckel, Kirchner und Pechstein, ed. by Norbert Nobis, Sprengel Museum Hannover, 2010) Fränzi achieved something extraordinary with her presence alone: she managed to get the inner "Brücke" circle - except Schmidt-Rottluff, who was staying in Dangast around that time - to work together. Their perspectives of the motifs from the Moritzburg ponds and the Dresden studios resembled each other and continued to live on in their paintings, making her an inimitable icon of the true "Brücke" style around 1910. The woodcut “Fränzi stehend” is one of the most beautiful, indeed iconic sheets of the Dresden “Brücke”. [MvL]
___
The "Brücke": Expressionism on Paper – The Passion of a German Collector
The Hessian collector recollects his first encounter with Expressionist art to this day: it was shortly after the end of World War II that he was struck by Karl Schmidt-Rottluff paintings on a visit to the Frankfurter Kunstkabinett. The gallery was one of the first in Germany to offer art lovers an opportunity to see works by the artists of the "Brücke" group again, as they had been ostracized as "degenerate" by the Nazis. One of the main reasons behind Hanna Bekker von Rath's decision to open the place on Börsenplatz in Frankfurt in 1947 was to provide a forum for these artists after the dark years of Nazi rule and to reintroduce them to the public. “These works blew me away” is how the collector recalls his initial reaction to the exhibits. He liked Schmidt-Rottluff's rugged, woodcut-like style and subsequently also developed a liking for the other members of the “Brücke”, whose style was so different from what had previously been considered “beautiful”. Together with his wife – who was particularly interested in the works of Otto Mueller and Emil Nolde – he visited many more exhibitions at the Frankfurt Kunstkabinett and other galleries.
Nevertheless, it was about more than just admiring them. In 1962, the couple bought their first Expressionist work at auction in Stuttgart – from Roman Norbert Ketterer, the uncle of the current owner of Ketterer Kunst: Ernst Ludwig Kirchner's woodcut "Drei Akte im Wald" from 1933 marked the beginning of the couple's extensive collection of "Brücke" prints.
He never had a specific system, says the collector. However, he avoided acquiring pieces that “many others had as well”. He was particularly interested in works produced in small numbers, pieces with a unique feature such as an additional coat of paint, or works that the artist used as trial proofs. But first and foremost, says the collector, “I made my purchases based on my taste”
43
Erich Heckel
Fränzi stehend (Stehendes Kind), 1910/11.
Woodcut in colors. from the sawn-up printing bl...
Prix d´après-vente: € 95,000 / $ 104,500
Commission, taxes et droit de suite
Cet objet est offert avec imposition régulière ou avec imposition différentielle.
Calcul en cas d'imposition différentielle:
Prix d’adjudication jusqu’à 800 000 euros : frais de vente 32 %.
Des frais de vente de 27% sont facturés sur la partie du prix d’adjudication dépassant 800 000 euros. Ils sont additionnés aux frais de vente dus pour la partie du prix d’adjudication allant jusqu’à 800 000 euros.
Des frais de vente de 22% sont facturés sur la partie du prix d’adjudication dépassant 4 000 000 euros. Ils sont additionnés aux frais de vente dus pour la partie du prix d’adjudication allant jusqu’à 4 000 000 euros.
Le prix de vente inclut la taxe sur la valeur ajoutée, actuellement de 19%.
Calcul en cas d'imposition régulière:
Prix d'adjudication jusqu'à 800 000 € : 27 % de commission majorée de la TVA légale
Prix d'adjudication supérieur à 800 000 € : montants partiels jusqu'à 800 000 € 27 % de commission, montants partiels supérieurs à 800 000 € : 21 % de commission, à chaque fois majorés de la TVA légale.
Prix d'adjudication supérieur à 4.000 000 € : montants partiels supérieurs à 4.000 000 € : 15 % de commission, à chaque fois majorés de la TVA légale.
Si vous souhaitez appliquer l'imposition régulière, merci de bien vouloir le communiquer par écrit avant la facturation.
Calcul en cas de droit de suite:
Pour les œuvres originales d’arts plastiques et de photographie d’artistes vivants ou d’artistes décédés il y a moins de 70 ans, soumises au droit de suite, une rémunération au titre du droit de suite à hauteur des pourcentages indiqués au § 26, al. 2 de la loi allemande sur les droits d’auteur (UrhG) est facturée en sus pour compenser la rémunération liée au droit de suite due par le commissaire-priseur conformément au § 26 UrhG. À ce jour, elle est calculée comme suit :
4 pour cent pour la part du produit de la vente à partir de 400,00 euros et jusqu’à 50 000 euros,
3 pour cent supplémentaires pour la part du produit de la vente entre 50 000,01 et 200 000 euros,
1 pour cent supplémentaire pour la part entre 200 000,01 et 350 000 euros,
0,5 pour cent supplémentaire pour la part entre 350 000,01 et 500 000 euros et
0,25 pour cent supplémentaire pour la part au-delà de 500 000 euros.
Le total de la rémunération au titre du droit de suite pour une revente s’élève au maximum à 12 500 euros.
Calcul en cas d'imposition différentielle:
Prix d’adjudication jusqu’à 800 000 euros : frais de vente 32 %.
Des frais de vente de 27% sont facturés sur la partie du prix d’adjudication dépassant 800 000 euros. Ils sont additionnés aux frais de vente dus pour la partie du prix d’adjudication allant jusqu’à 800 000 euros.
Des frais de vente de 22% sont facturés sur la partie du prix d’adjudication dépassant 4 000 000 euros. Ils sont additionnés aux frais de vente dus pour la partie du prix d’adjudication allant jusqu’à 4 000 000 euros.
Le prix de vente inclut la taxe sur la valeur ajoutée, actuellement de 19%.
Calcul en cas d'imposition régulière:
Prix d'adjudication jusqu'à 800 000 € : 27 % de commission majorée de la TVA légale
Prix d'adjudication supérieur à 800 000 € : montants partiels jusqu'à 800 000 € 27 % de commission, montants partiels supérieurs à 800 000 € : 21 % de commission, à chaque fois majorés de la TVA légale.
Prix d'adjudication supérieur à 4.000 000 € : montants partiels supérieurs à 4.000 000 € : 15 % de commission, à chaque fois majorés de la TVA légale.
Si vous souhaitez appliquer l'imposition régulière, merci de bien vouloir le communiquer par écrit avant la facturation.
Calcul en cas de droit de suite:
Pour les œuvres originales d’arts plastiques et de photographie d’artistes vivants ou d’artistes décédés il y a moins de 70 ans, soumises au droit de suite, une rémunération au titre du droit de suite à hauteur des pourcentages indiqués au § 26, al. 2 de la loi allemande sur les droits d’auteur (UrhG) est facturée en sus pour compenser la rémunération liée au droit de suite due par le commissaire-priseur conformément au § 26 UrhG. À ce jour, elle est calculée comme suit :
4 pour cent pour la part du produit de la vente à partir de 400,00 euros et jusqu’à 50 000 euros,
3 pour cent supplémentaires pour la part du produit de la vente entre 50 000,01 et 200 000 euros,
1 pour cent supplémentaire pour la part entre 200 000,01 et 350 000 euros,
0,5 pour cent supplémentaire pour la part entre 350 000,01 et 500 000 euros et
0,25 pour cent supplémentaire pour la part au-delà de 500 000 euros.
Le total de la rémunération au titre du droit de suite pour une revente s’élève au maximum à 12 500 euros.