Los

217

Rudolf SchlichterSchaubudeLithostein. 42,5/43,5 x 31,5 x 2 cm. Unten links seitenverkehrt

In Modern Art

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Rudolf SchlichterSchaubudeLithostein. 42,5/43,5 x 31,5 x 2 cm. Unten links seitenverkehrt
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Rudolf Schlichter
Schaubude

Lithostein. 42,5/43,5 x 31,5 x 2 cm. Unten links seitenverkehrt signiert 'Rudolf Schlichter'. - An den Rändern vereinzelt mit Materialausbrüchen. Mittig mit kaum wahrnehmbarem Fettfleck.

Provenienz
Privatsammlung Berlin

Ausstellungen
Halle/Saale 2016 (Kunstverein "Talstrasse"), Eros und Apokalypse, außer Katalog

Literatur
Mitteldeutsche Zeitung vom 23.6.2016; Kunstmarkt.com 30.8.2016

Visionär apokalyptische Szenerien, „Bilder der biblischen Geschichte […], Darstellungen von Schlachten und blutigen Greueltaten“ zeichnete Rudolf Schlichter nach eigener Aussage schon als Kind (zit. nach Ausst. Kat. Rudolf Schlichter. Gemälde, Aquarelle, Zeichnungen, Tübingen/Wuppertal/München 1993, S. 9). Später, nach seinem Studium an der Akademie Karlsruhe, bot sich ihm wie manch anderem seiner Künstlerkollegen im schillernden Nachtleben Berlins der 'Roaring Twenties' Raum, seinen sadomasochistischen Phantasien Ausdruck zu verleihen. Seit 1919 in Berlin, arbeitete er für Heartfield und Herzfelde als Illustrator und wurde Mitglied der Kommunistischen Partei. Mit George Grosz gründete er fünf Jahre später eine kommunistische Künstlervereinigung, die „Rote Gruppe“. Mit Grosz verband ihn darüber hinaus eine enge Freundschaft, zeitweise bewohnten sie in Berlin gemeinsam ein Gartenhaus. Möglicherweise war es dieses Grundstück, auf dem der Lithostein 2016 gefunden wurde, als Pflasterstein herumgedreht. Unversehrt hat sich die Zeichnung erhalten. Ob aber überhaupt jemals von dem Stein lithographische Abzüge gemacht worden sind, ist ungewiss; erhalten hat sich wohl keiner. Die in der „Schaubude“ gezeigte Szene ist zwischen Bordell, Varieté, Kostümparty und Film zu verorten. Verteilte Halbmonde und die arabisch-türkische Bekleidung des Paares im vorderen Bildgrund sind Reminiszenzen an das osmanische Reich, wobei die ohnehin zu dem Zeitpunkt schon aus der Mode gekommenen Knöpfstiefelchen, unpassend zur Haremshose, Schlichters Obsession für dieses Schuhwerk ins Bild rücken. Der halbierte, männliche Torso, qua seinen Hörnern zum ‚Affen gemacht', ist zum tatenlosen Zuschauer sexueller Übergriffe verdammt. Die Aquarelle „Filmtürken“ und „Armeniergreuel“ von 1920/1921 zeugen von Schlichters Interesse an der orientalischen Kulisse, die in der UFA-Stadt Berlin mit entsprechenden Filmthemen gefördert wurde (s. Ausst. Kat. 1993, op.cit. S. 108, 109).

Rudolf Schlichter
Schaubude

Lithographic stone. 42.5/43.5 x 31.5 x 2 cm. Signed 'Rudolf Schlichter' inverted lower left. - Isolated loss of material in the margins. A barely perceptible grease stain at the centre.

Provenance
Private Collection, Berlin

Exhibitions
Halle/Saale 2016 (Kunstverein "Talstrasse"), Eros und Apokalypse, aside from catalogue

Literature
Mitteldeutsche Zeitung dated 23 Jun. 2016; Kunstmarkt.com 30 Aug. 2016

According to Rudolf Schlichter's own account, he was already drawing visionary apocalyptic scenes, “images from Biblical history […], depictions of battles and bloody atrocities” as a child (cited in exhib. cat. Rudolf Schlichter: Gemälde, Aquarelle, Zeichnungen, Tübingen/Wuppertal/Munich 1993, p. 9). Later, following his studies at the academy in Karlsruhe, the dubious nightlife of Berlin in the 'Roaring Twenties' offered him (along with a number of fellow artists) room for expressing his sadomasochistic fantasies. In Berlin from 1919, he worked for Heartfield and Herzfelde as an illustrator and became a member of the Communist Party. Five years later he founded a Communist artists association, the “Rote Gruppe” (Red group), together with George Grosz. He was additionally bound to Grosz by a close friendship, and for a time the two of them lived together in a garden building in Berlin. This may have been the property where the lithographic stone was found in 2016: it had been turned upside down and used as a paving stone. The drawing was preserved unscathed. However, it is uncertain whether lithographic prints were ever actually made from the stone; none seem to have been preserved. The scene presented in the “Schaubude” is to be identified somewhere between a bordello, cabaret, costume party and film. The scattered crescent moons and the couple in foreground's Arabic-Turkish clothing recall the Ottoman Empire, although the button-up boots - which do not fit with the harem pants and had already gone out of fashion by that point anyway - introduce Schlichter's obsession with this footwear into the image. The bisected male torso, “made a monkey” through his horns, is damned to become the idle observer of sexual transgressions. The watercolours “Filmtürken” and “Armeniergreuel” from 1920/1921 demonstrate Schlichter's interest in the oriental scenery promoted through corresponding cinematic themes in Berlin, the home of the UFA film studios (see exhib. cat. 1993, op. cit., pp. 108, 109).
Rudolf Schlichter
Schaubude

Lithostein. 42,5/43,5 x 31,5 x 2 cm. Unten links seitenverkehrt signiert 'Rudolf Schlichter'. - An den Rändern vereinzelt mit Materialausbrüchen. Mittig mit kaum wahrnehmbarem Fettfleck.

Provenienz
Privatsammlung Berlin

Ausstellungen
Halle/Saale 2016 (Kunstverein "Talstrasse"), Eros und Apokalypse, außer Katalog

Literatur
Mitteldeutsche Zeitung vom 23.6.2016; Kunstmarkt.com 30.8.2016

Visionär apokalyptische Szenerien, „Bilder der biblischen Geschichte […], Darstellungen von Schlachten und blutigen Greueltaten“ zeichnete Rudolf Schlichter nach eigener Aussage schon als Kind (zit. nach Ausst. Kat. Rudolf Schlichter. Gemälde, Aquarelle, Zeichnungen, Tübingen/Wuppertal/München 1993, S. 9). Später, nach seinem Studium an der Akademie Karlsruhe, bot sich ihm wie manch anderem seiner Künstlerkollegen im schillernden Nachtleben Berlins der 'Roaring Twenties' Raum, seinen sadomasochistischen Phantasien Ausdruck zu verleihen. Seit 1919 in Berlin, arbeitete er für Heartfield und Herzfelde als Illustrator und wurde Mitglied der Kommunistischen Partei. Mit George Grosz gründete er fünf Jahre später eine kommunistische Künstlervereinigung, die „Rote Gruppe“. Mit Grosz verband ihn darüber hinaus eine enge Freundschaft, zeitweise bewohnten sie in Berlin gemeinsam ein Gartenhaus. Möglicherweise war es dieses Grundstück, auf dem der Lithostein 2016 gefunden wurde, als Pflasterstein herumgedreht. Unversehrt hat sich die Zeichnung erhalten. Ob aber überhaupt jemals von dem Stein lithographische Abzüge gemacht worden sind, ist ungewiss; erhalten hat sich wohl keiner. Die in der „Schaubude“ gezeigte Szene ist zwischen Bordell, Varieté, Kostümparty und Film zu verorten. Verteilte Halbmonde und die arabisch-türkische Bekleidung des Paares im vorderen Bildgrund sind Reminiszenzen an das osmanische Reich, wobei die ohnehin zu dem Zeitpunkt schon aus der Mode gekommenen Knöpfstiefelchen, unpassend zur Haremshose, Schlichters Obsession für dieses Schuhwerk ins Bild rücken. Der halbierte, männliche Torso, qua seinen Hörnern zum ‚Affen gemacht', ist zum tatenlosen Zuschauer sexueller Übergriffe verdammt. Die Aquarelle „Filmtürken“ und „Armeniergreuel“ von 1920/1921 zeugen von Schlichters Interesse an der orientalischen Kulisse, die in der UFA-Stadt Berlin mit entsprechenden Filmthemen gefördert wurde (s. Ausst. Kat. 1993, op.cit. S. 108, 109).

Rudolf Schlichter
Schaubude

Lithographic stone. 42.5/43.5 x 31.5 x 2 cm. Signed 'Rudolf Schlichter' inverted lower left. - Isolated loss of material in the margins. A barely perceptible grease stain at the centre.

Provenance
Private Collection, Berlin

Exhibitions
Halle/Saale 2016 (Kunstverein "Talstrasse"), Eros und Apokalypse, aside from catalogue

Literature
Mitteldeutsche Zeitung dated 23 Jun. 2016; Kunstmarkt.com 30 Aug. 2016

According to Rudolf Schlichter's own account, he was already drawing visionary apocalyptic scenes, “images from Biblical history […], depictions of battles and bloody atrocities” as a child (cited in exhib. cat. Rudolf Schlichter: Gemälde, Aquarelle, Zeichnungen, Tübingen/Wuppertal/Munich 1993, p. 9). Later, following his studies at the academy in Karlsruhe, the dubious nightlife of Berlin in the 'Roaring Twenties' offered him (along with a number of fellow artists) room for expressing his sadomasochistic fantasies. In Berlin from 1919, he worked for Heartfield and Herzfelde as an illustrator and became a member of the Communist Party. Five years later he founded a Communist artists association, the “Rote Gruppe” (Red group), together with George Grosz. He was additionally bound to Grosz by a close friendship, and for a time the two of them lived together in a garden building in Berlin. This may have been the property where the lithographic stone was found in 2016: it had been turned upside down and used as a paving stone. The drawing was preserved unscathed. However, it is uncertain whether lithographic prints were ever actually made from the stone; none seem to have been preserved. The scene presented in the “Schaubude” is to be identified somewhere between a bordello, cabaret, costume party and film. The scattered crescent moons and the couple in foreground's Arabic-Turkish clothing recall the Ottoman Empire, although the button-up boots - which do not fit with the harem pants and had already gone out of fashion by that point anyway - introduce Schlichter's obsession with this footwear into the image. The bisected male torso, “made a monkey” through his horns, is damned to become the idle observer of sexual transgressions. The watercolours “Filmtürken” and “Armeniergreuel” from 1920/1921 demonstrate Schlichter's interest in the oriental scenery promoted through corresponding cinematic themes in Berlin, the home of the UFA film studios (see exhib. cat. 1993, op. cit., pp. 108, 109).

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR

 

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