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314

George GroszCaféhaus II Schwarze Tuschfederzeichnung auf chamoisfarbenem pergamentartigen Papier.

In Modern Art

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George GroszCaféhaus II Schwarze Tuschfederzeichnung auf chamoisfarbenem pergamentartigen Papier.
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
George Grosz
Caféhaus II

Schwarze Tuschfederzeichnung auf chamoisfarbenem pergamentartigen Papier. 32,9 x 21 cm. Unter Glas gerahmt. Unten rechts mit Bleistift signiert und nummeriert 'GROSZ II' sowie links schwer leserlich betitelt 'Cafe [haüs]'. - Mit bräunlichen kleinen Flecken am linken Rand, einem winzigen Ausriss am Oberrand und mit kleinen Einstichlöchern.

Mit einer Bestätigung von Ralph Jentsch, Berlin/Rom, vom 10. Oktober 2017. Die Arbeit wird in das Werkverzeichnis der Papierarbeiten von George Grosz aufgenommen.

Provenienz
Atelier des Künstlers 1915; Privatsammlung Hamburg; Graphisches Kabinett Kunsthandel Wolfgang Werner, Bremen (mit rückseitigem Aufkleber auf dem Rahmenkarton); Sammlung Klaus J. Jacobs, Zürich

Ausstellungen
Berlin/Düsseldorf/Stuttgart 1994/1995 (Neue Nationalgalerie/Kunstsammlung Nordrhein-Westfalen/Staatsgalerie Stuttgart), George Grosz: Berlin - New York, außer Katalog (mit rückseitigem Aufkleber auf dem Rahmenkarton)

George Grosz setzt in den Jahren 1915/1916 das schnelle, quirlige Leben und die Wirren der modernen Großstadt Berlin mittels eines stakkatohaft temporeichen Zeichenstils in übereinander gesetzten detailreichen Szenen um und hält so die Ungleichzeitigkeit des Gleichzeitigen, des einzigen Augenblicks fest. Seine besondere zeichnerische Auffassung dieser ersten Jahre des I. Weltkriegs zeigt George Grosz auch in verschiedenen druckgraphischen Zyklen. Unsere Szenerie findet sich in ähnlicher Weise in anderen Kaffeehausdarstellungen wie etwa in den berühmten Mappen „Ecce Homo“ und „Kleine Grosz Mappe“ (vgl. Dückers M II, 4; S I, 41). Detailreich und scheinbar mit Röntgenblick zeigt Grosz dort den Revolver durch den Stoff der Jackettasche eines Kartenspielers, wie er gerne auch Damen unbekleidet unter ihren langen Röcken und Korsagen vorbeieilen lässt (vgl. Dückers M II, 4 und M II 3). Auch in unserer Zeichnung wird das Bildpersonal messerscharf, unschön charakterisiert und selbst die Hunde werden als bedauernswerte Geschöpfe dem Tritt des Kellners ausgesetzt. Die typische Szene des Sozialkritikers Grosz mag hier in besonderem auf die Schließung des am Berliner Ku'damm bis 1915 ansässigen „Café des Westens“ Bezug nehmen - als welche sie u.a. auch ausgestellt war -, die Spinnen hängen von den Decken und der zu den leeren Tischen mit nur zwei kleinen Gläsern herbeieilende Kellner zeigt bereits halb skelettierte Züge. Pyramidal in die Höhe gestaffelte, ins Schwanken geratende Perspektiven verweisen in Grosz' Straßen- wie in seinen Kaffeehausszenen dieser Jahre auf die labilen sozio-ökonomischen Verhältnisse.

George Grosz
Caféhaus II

Black pen and ink drawing on chamois-coloured parchment-like paper. 32.9 x 21 cm. Framed under glass. Signed and numbered 'GROSZ II' in pencil lower right and barely legibly titled 'Cafe [haüs]' left. - Small brownish spots in left margin, a minute tear and small punctures in upper margin.

With a confirmation from Ralph Jentsch, Berlin/Rome, dated 10 October 2017. The work is to be included in the catalogue raisonné of the works on paper by George Grosz.

Provenance
Artist's studio 1915; Private collection Hamburg; Graphisches Kabinett Kunsthandel Wolfgang Werner, Bremen (label on frame backing verso); Klaus J. Jacobs Collection, Zurich

Exhibitions
Berlin/Düsseldorf/Stuttgart 1994/1995 (Neue Nationalgalerie/Kunstsammlung Nordrhein-Westfalen/Staatsgalerie Stuttgart), George Grosz: Berlin - New York, beside catalogue (label on frame backing verso)

In 1915/16 George Grosz used a staccato-like and rapid style of drawing to transpose the fast-paced, bustling life and tumult of the modern metropolis Berlin into richly detailed, superimposed scenes - thus capturing the synchronicity of the dyssynchronous, the individual moment. George Grosz also presented his distinctive graphic concept during these initial years of World War I in various cycles of prints. Our scenery can be found in a similar form in other images of cafes, for example: in the famous portfolios “Ecce Homo” and “Kleine Grosz Mappe” (see Dückers M II, 4; S I, 41). There, richly detailed and seemingly observed with X-ray vision, Grosz has revealed a revolver through the cloth of one of the card players' jacket pocket; the artist likewise enjoyed depicting women rushing past, who are seen naked beneath their long skirts and corsages (see Dückers M II, 4 and M II 3). In our drawing, as well, the figures are characterised in a biting and unappealing manner, and even the dogs are pitiable creatures exposed to the waiters' kicks. Here this typical scene of the social critic Grosz may particularly refer to the closing of the “Café des Westens”, located in Berlin's Kurfürstendamm until 1915: spiders hang from the ceiling and the features of the waiter rushing to the empty tables with just two little glasses are already half skeletonised. In Grosz's street and cafe scenes of these years, the perspectives which are piled up into teetering pyramids point to the unstable socio-economic conditions.
George Grosz
Caféhaus II

Schwarze Tuschfederzeichnung auf chamoisfarbenem pergamentartigen Papier. 32,9 x 21 cm. Unter Glas gerahmt. Unten rechts mit Bleistift signiert und nummeriert 'GROSZ II' sowie links schwer leserlich betitelt 'Cafe [haüs]'. - Mit bräunlichen kleinen Flecken am linken Rand, einem winzigen Ausriss am Oberrand und mit kleinen Einstichlöchern.

Mit einer Bestätigung von Ralph Jentsch, Berlin/Rom, vom 10. Oktober 2017. Die Arbeit wird in das Werkverzeichnis der Papierarbeiten von George Grosz aufgenommen.

Provenienz
Atelier des Künstlers 1915; Privatsammlung Hamburg; Graphisches Kabinett Kunsthandel Wolfgang Werner, Bremen (mit rückseitigem Aufkleber auf dem Rahmenkarton); Sammlung Klaus J. Jacobs, Zürich

Ausstellungen
Berlin/Düsseldorf/Stuttgart 1994/1995 (Neue Nationalgalerie/Kunstsammlung Nordrhein-Westfalen/Staatsgalerie Stuttgart), George Grosz: Berlin - New York, außer Katalog (mit rückseitigem Aufkleber auf dem Rahmenkarton)

George Grosz setzt in den Jahren 1915/1916 das schnelle, quirlige Leben und die Wirren der modernen Großstadt Berlin mittels eines stakkatohaft temporeichen Zeichenstils in übereinander gesetzten detailreichen Szenen um und hält so die Ungleichzeitigkeit des Gleichzeitigen, des einzigen Augenblicks fest. Seine besondere zeichnerische Auffassung dieser ersten Jahre des I. Weltkriegs zeigt George Grosz auch in verschiedenen druckgraphischen Zyklen. Unsere Szenerie findet sich in ähnlicher Weise in anderen Kaffeehausdarstellungen wie etwa in den berühmten Mappen „Ecce Homo“ und „Kleine Grosz Mappe“ (vgl. Dückers M II, 4; S I, 41). Detailreich und scheinbar mit Röntgenblick zeigt Grosz dort den Revolver durch den Stoff der Jackettasche eines Kartenspielers, wie er gerne auch Damen unbekleidet unter ihren langen Röcken und Korsagen vorbeieilen lässt (vgl. Dückers M II, 4 und M II 3). Auch in unserer Zeichnung wird das Bildpersonal messerscharf, unschön charakterisiert und selbst die Hunde werden als bedauernswerte Geschöpfe dem Tritt des Kellners ausgesetzt. Die typische Szene des Sozialkritikers Grosz mag hier in besonderem auf die Schließung des am Berliner Ku'damm bis 1915 ansässigen „Café des Westens“ Bezug nehmen - als welche sie u.a. auch ausgestellt war -, die Spinnen hängen von den Decken und der zu den leeren Tischen mit nur zwei kleinen Gläsern herbeieilende Kellner zeigt bereits halb skelettierte Züge. Pyramidal in die Höhe gestaffelte, ins Schwanken geratende Perspektiven verweisen in Grosz' Straßen- wie in seinen Kaffeehausszenen dieser Jahre auf die labilen sozio-ökonomischen Verhältnisse.

George Grosz
Caféhaus II

Black pen and ink drawing on chamois-coloured parchment-like paper. 32.9 x 21 cm. Framed under glass. Signed and numbered 'GROSZ II' in pencil lower right and barely legibly titled 'Cafe [haüs]' left. - Small brownish spots in left margin, a minute tear and small punctures in upper margin.

With a confirmation from Ralph Jentsch, Berlin/Rome, dated 10 October 2017. The work is to be included in the catalogue raisonné of the works on paper by George Grosz.

Provenance
Artist's studio 1915; Private collection Hamburg; Graphisches Kabinett Kunsthandel Wolfgang Werner, Bremen (label on frame backing verso); Klaus J. Jacobs Collection, Zurich

Exhibitions
Berlin/Düsseldorf/Stuttgart 1994/1995 (Neue Nationalgalerie/Kunstsammlung Nordrhein-Westfalen/Staatsgalerie Stuttgart), George Grosz: Berlin - New York, beside catalogue (label on frame backing verso)

In 1915/16 George Grosz used a staccato-like and rapid style of drawing to transpose the fast-paced, bustling life and tumult of the modern metropolis Berlin into richly detailed, superimposed scenes - thus capturing the synchronicity of the dyssynchronous, the individual moment. George Grosz also presented his distinctive graphic concept during these initial years of World War I in various cycles of prints. Our scenery can be found in a similar form in other images of cafes, for example: in the famous portfolios “Ecce Homo” and “Kleine Grosz Mappe” (see Dückers M II, 4; S I, 41). There, richly detailed and seemingly observed with X-ray vision, Grosz has revealed a revolver through the cloth of one of the card players' jacket pocket; the artist likewise enjoyed depicting women rushing past, who are seen naked beneath their long skirts and corsages (see Dückers M II, 4 and M II 3). In our drawing, as well, the figures are characterised in a biting and unappealing manner, and even the dogs are pitiable creatures exposed to the waiters' kicks. Here this typical scene of the social critic Grosz may particularly refer to the closing of the “Café des Westens”, located in Berlin's Kurfürstendamm until 1915: spiders hang from the ceiling and the features of the waiter rushing to the empty tables with just two little glasses are already half skeletonised. In Grosz's street and cafe scenes of these years, the perspectives which are piled up into teetering pyramids point to the unstable socio-economic conditions.

Modern Art

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