Los

135

Ernst Ludwig KirchnerTanzende Akte

In Evening Sale - Moderne und Zeitgenössische Kun...

Diese Auktion ist eine LIVE Auktion! Sie müssen für diese Auktion registriert und als Bieter freigeschaltet sein, um bieten zu können.
Sie wurden überboten. Um die größte Chance zu haben zu gewinnen, erhöhen Sie bitte Ihr Maximal Gebot.
Ihre Registrierung wurde noch nicht durch das Auktionshaus genehmigt. Bitte, prüfen Sie Ihr E-Mail Konto für mehr Details.
Leider wurde Ihre Registrierung durch das Auktionshaus abgelehnt. Sie können das Auktionshaus direkt kontaktieren über +49 (0)221 9257290 um mehr Informationen zu erhalten.
Sie sind zurzeit Höchstbietender! Um sicher zustellen, dass Sie das Los ersteigern, melden Sie sich zum Live Bieten an unter , oder erhöhen Sie ihr Maximalgebot.
Geben Sie jetzt ein Gebot ab! Ihre Registrierung war erfolgreich.
Entschuldigung, die Gebotsabgabephase ist leider beendet. Es erscheinen täglich 1000 neue Lose auf lot-tissimo.com, bitte starten Sie eine neue Anfrage.
Das Bieten auf dieser Auktion hat noch nicht begonnen. Bitte, registrieren Sie sich jetzt, so dass Sie zugelassen werden bis die Auktion startet.
Bieten ist beendet
Ernst Ludwig KirchnerTanzende Akte
Sie interessieren sich für den Preis dieses Losest?
Preisdatenbank abonnieren
Köln

Ernst Ludwig Kirchner
Tanzende Akte

Original-Lithographie auf gelbem Papier 59,4 x 51 cm (65,9/66,9 x 56,2 cm) Unten links mit Bleistift signiert 'EL Kirchner', rechts höchstwahrscheinlich von Erna Schilling bezeichnet "Handdruck". Eines von 7 Exemplaren in diesem Zustand (dieser Abzug im Werkverzeichnis erwähnt). - Vereinzelte kurze Randeinrisse; im Unterrand mit alter Knickspur. Das Papier im Passepartout-Ausschnitt minimal geblichen.

Gercken 680 II; Dube L. 252

Wir danken Günther Gercken, Lütjensee, für wissenschaftliche Beratung und ergänzende Auskunft.

Provenienz
Erich Heckel, Nachlass, Hemmenhofen

Literatur
Vgl. Magdalena M. Moeller (Hg.), Ernst Ludwig Kirchner in Berlin, Ausst. Kat. Brücke Museum Berlin, München 2008, insbesondere die Kapitel 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") und 13 ("Die Straßenszenen") sowie Kat. Nr. 55 mit Farbtafel ("Tanzende Akte", Exemplar Staatliche Museen zu Berlin, Kupferstichkabinett)

Kirchners faszinierende Lithographie „Tanzende Akte“ von 1914 liegt hier in einem Handabzug aus dem Besitz von Erich Heckel vor. Dieses Blatt zeichnet sich durch die relative Klarheit seiner großen Form, seiner Binnenzeichnung und durch die satten tonalen Kontraste aus. Individuelle Künstlerabzüge von Hand differieren häufig in Bezug auf die Verteilung und Dichte der Farbe, wie auch der Plattenton verschieden intensiv ausfallen kann. Es kommt nicht nur zu feinen Differenzen in diesen gewollten Zufallseffekten, sondern auch zu möglichen kleinen Verschiebungen in den Ausdruckswerten. Kirchner kombinierte in diesem schwarz auf farbigem Papier abgezogenen Steindruck verschieden starke Abschattierungen, sowohl in den beiden Figuren - besonders in den Köpfen - wie im Fond, der in diesem Motiventwurf unbestimmt und von eher malerischer Wirkung ist. Überaus expressiv korrespondieren die hinterlegten homogenen schwarzen Flächen zum synchronen Bewegungsmoment der beiden Tänzerinnen, die sich an den Händen halten und geschmeidig nach links und rechts leicht auseinanderbiegen. Die weiblichen Körper werden in ihrer Silhouette zusätzlich durch die dunkle Folie modelliert, ihre Erotik durch die Kontraste gesteigert. Durch die formale wie inhaltliche Konzentration entsteht ein spannungsvolles Moment, unterstrichen durch den gedrehten Wechsel der körperlichen Ansichten und die Intimität der ganz aufeinander bezogenen Blicke. Dies unterstreicht die isolierte Tanzbewegung, die sich in der schönen Gestik ganz zu verlieren scheint. Doch ist sie nicht Selbstzweck, sondern auch Vorwand und auf einen Betrachter gerichtet.
Die Lithographie lässt die wichtigen Themenkomplexe der Berliner Zeit anklingen: die Aktdarstellungen im Atelier, Gerda und Erna Schilling als die favorisierten neuen Modelle, das hingeworfene schnelle Skizzieren von Bewegung im Raum, das Erlebnis großstädtischen Nachtlebens. Die intensive künstlerische Übertragung von Erfahrungen kulminiert in dieser Zeit, um 1913/1914, in den berühmten „Berliner Straßenszenen“. Die auch hier betonte und zugespitzte Überlängung der Gestalten entspricht der neuen Stilisierung, wie auch kompositorisch die wirkungsmächtige Frontalität der Figuren verwandt erscheint. „Tanzende Akte“ von 1914 gewichten als lithographisches Meisterwerk die absolute Parallelität in den von Kirchner benutzten Ausdrucksmitteln.





Ernst Ludwig Kirchner
Tanzende Akte

Lithograph on yellow paper 59.4 x 51 cm (65.9/66.9 x 56.2 cm) Signed 'EL Kirchner' in pencil lower left, inscribed "Handdruck" lower right, most probably by Erna Schilling. One of 7 proofs in this state (this proof mentioned in the catalogue raisonné). - Occasional short marginal tears; lower margin with old fold trace. The paper minimally faded in mat opening.

Gercken 680 II; Dube L. 252

We would like to thank Günther Gercken, Lütjensee, for scientific advice and additional information.

Provenance
Erich Heckel, Estate, Hemmenhofen

Literature
Cf. Magdalena M. Moeller (ed.), Ernst Ludwig Kirchner in Berlin, exhib. cat. Brücke Museum Berlin, Munich 2008, especially chapters 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") and 13 ("Die Straßenszenen") as well as cat. no. 55 with colour plate ("Tanzende Akte", proof from Staatliche Museen zu Berlin, Kupferstichkabinett)

Kirchner's fascinating lithograph “Tanzende Akte”, of 1914, is found here in a handmade proof from the collection of Erich Heckel. This sheet is distinguished by the relative clarity of its large form, the drawing within the contours and the deep tonal contrasts. Individual, handmade artist's proofs often differ with regard to the distribution and density of their ink, and the tone of the plate can also turn out to vary in intensity. This leads not just to fine differences among these deliberately chance effects, but also to the possibility of small shifts in expressive values. In this lithograph printed in black on coloured paper, Kirchner has combined shades that vary in intensity - in the two figures, particularly in their heads, as well as the background, which is undefined in this sketch of the motif and displays a largely painterly effect. Thoroughly expressive, the underlying fields of homogenous black correspond to the synchronous momentum of the two dancers, who hold hands and sinuously bend slightly apart to the left and right. The silhouettes of the female figures are additionally modelled through this dark ground, their eroticism heightened through the contrasts. The formal and thematic concentration creates a charged aspect that is underscored through the rotated alternation of the figural views and the intimacy of the gazes directed entirely towards one another. This underlines the isolated dance movement, which seems to become entirely lost in the beautiful gesture. However, it is not just an end in itself but also a pretext and is directed towards the viewer.
The lithograph resonates with the important thematic complexes of the Berlin period: the studies of nudes in the studio, Gerda and Erna Schilling as the preferred new models, the quick sketching of movement in space thrown down on the page, the experience of urban nightlife. The intense artistic translation of experiences culminated in this period, around 1913/1914, in the famous “Berliner Straßenszenen”. The elongation of the figures, which is also emphasised and amplified here, is in keeping with the new stylisation, just as the striking frontality of the figures also appears compositionally related. As a lithographic masterpiece, “Tanzende Akte” of 1914 highlights the absolute parallelism in the means of expression utilised by Kirchner.





Ernst Ludwig Kirchner
Tanzende Akte

Original-Lithographie auf gelbem Papier 59,4 x 51 cm (65,9/66,9 x 56,2 cm) Unten links mit Bleistift signiert 'EL Kirchner', rechts höchstwahrscheinlich von Erna Schilling bezeichnet "Handdruck". Eines von 7 Exemplaren in diesem Zustand (dieser Abzug im Werkverzeichnis erwähnt). - Vereinzelte kurze Randeinrisse; im Unterrand mit alter Knickspur. Das Papier im Passepartout-Ausschnitt minimal geblichen.

Gercken 680 II; Dube L. 252

Wir danken Günther Gercken, Lütjensee, für wissenschaftliche Beratung und ergänzende Auskunft.

Provenienz
Erich Heckel, Nachlass, Hemmenhofen

Literatur
Vgl. Magdalena M. Moeller (Hg.), Ernst Ludwig Kirchner in Berlin, Ausst. Kat. Brücke Museum Berlin, München 2008, insbesondere die Kapitel 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") und 13 ("Die Straßenszenen") sowie Kat. Nr. 55 mit Farbtafel ("Tanzende Akte", Exemplar Staatliche Museen zu Berlin, Kupferstichkabinett)

Kirchners faszinierende Lithographie „Tanzende Akte“ von 1914 liegt hier in einem Handabzug aus dem Besitz von Erich Heckel vor. Dieses Blatt zeichnet sich durch die relative Klarheit seiner großen Form, seiner Binnenzeichnung und durch die satten tonalen Kontraste aus. Individuelle Künstlerabzüge von Hand differieren häufig in Bezug auf die Verteilung und Dichte der Farbe, wie auch der Plattenton verschieden intensiv ausfallen kann. Es kommt nicht nur zu feinen Differenzen in diesen gewollten Zufallseffekten, sondern auch zu möglichen kleinen Verschiebungen in den Ausdruckswerten. Kirchner kombinierte in diesem schwarz auf farbigem Papier abgezogenen Steindruck verschieden starke Abschattierungen, sowohl in den beiden Figuren - besonders in den Köpfen - wie im Fond, der in diesem Motiventwurf unbestimmt und von eher malerischer Wirkung ist. Überaus expressiv korrespondieren die hinterlegten homogenen schwarzen Flächen zum synchronen Bewegungsmoment der beiden Tänzerinnen, die sich an den Händen halten und geschmeidig nach links und rechts leicht auseinanderbiegen. Die weiblichen Körper werden in ihrer Silhouette zusätzlich durch die dunkle Folie modelliert, ihre Erotik durch die Kontraste gesteigert. Durch die formale wie inhaltliche Konzentration entsteht ein spannungsvolles Moment, unterstrichen durch den gedrehten Wechsel der körperlichen Ansichten und die Intimität der ganz aufeinander bezogenen Blicke. Dies unterstreicht die isolierte Tanzbewegung, die sich in der schönen Gestik ganz zu verlieren scheint. Doch ist sie nicht Selbstzweck, sondern auch Vorwand und auf einen Betrachter gerichtet.
Die Lithographie lässt die wichtigen Themenkomplexe der Berliner Zeit anklingen: die Aktdarstellungen im Atelier, Gerda und Erna Schilling als die favorisierten neuen Modelle, das hingeworfene schnelle Skizzieren von Bewegung im Raum, das Erlebnis großstädtischen Nachtlebens. Die intensive künstlerische Übertragung von Erfahrungen kulminiert in dieser Zeit, um 1913/1914, in den berühmten „Berliner Straßenszenen“. Die auch hier betonte und zugespitzte Überlängung der Gestalten entspricht der neuen Stilisierung, wie auch kompositorisch die wirkungsmächtige Frontalität der Figuren verwandt erscheint. „Tanzende Akte“ von 1914 gewichten als lithographisches Meisterwerk die absolute Parallelität in den von Kirchner benutzten Ausdrucksmitteln.





Ernst Ludwig Kirchner
Tanzende Akte

Lithograph on yellow paper 59.4 x 51 cm (65.9/66.9 x 56.2 cm) Signed 'EL Kirchner' in pencil lower left, inscribed "Handdruck" lower right, most probably by Erna Schilling. One of 7 proofs in this state (this proof mentioned in the catalogue raisonné). - Occasional short marginal tears; lower margin with old fold trace. The paper minimally faded in mat opening.

Gercken 680 II; Dube L. 252

We would like to thank Günther Gercken, Lütjensee, for scientific advice and additional information.

Provenance
Erich Heckel, Estate, Hemmenhofen

Literature
Cf. Magdalena M. Moeller (ed.), Ernst Ludwig Kirchner in Berlin, exhib. cat. Brücke Museum Berlin, Munich 2008, especially chapters 4 ("Erna und Gerda Schilling"), 5 ("Varieté und Tanz"), 11 ("Modelle, Kokotten, Prostituierte"), 12 ("Ausbruch ins Paradies: Fehmarn") and 13 ("Die Straßenszenen") as well as cat. no. 55 with colour plate ("Tanzende Akte", proof from Staatliche Museen zu Berlin, Kupferstichkabinett)

Kirchner's fascinating lithograph “Tanzende Akte”, of 1914, is found here in a handmade proof from the collection of Erich Heckel. This sheet is distinguished by the relative clarity of its large form, the drawing within the contours and the deep tonal contrasts. Individual, handmade artist's proofs often differ with regard to the distribution and density of their ink, and the tone of the plate can also turn out to vary in intensity. This leads not just to fine differences among these deliberately chance effects, but also to the possibility of small shifts in expressive values. In this lithograph printed in black on coloured paper, Kirchner has combined shades that vary in intensity - in the two figures, particularly in their heads, as well as the background, which is undefined in this sketch of the motif and displays a largely painterly effect. Thoroughly expressive, the underlying fields of homogenous black correspond to the synchronous momentum of the two dancers, who hold hands and sinuously bend slightly apart to the left and right. The silhouettes of the female figures are additionally modelled through this dark ground, their eroticism heightened through the contrasts. The formal and thematic concentration creates a charged aspect that is underscored through the rotated alternation of the figural views and the intimacy of the gazes directed entirely towards one another. This underlines the isolated dance movement, which seems to become entirely lost in the beautiful gesture. However, it is not just an end in itself but also a pretext and is directed towards the viewer.
The lithograph resonates with the important thematic complexes of the Berlin period: the studies of nudes in the studio, Gerda and Erna Schilling as the preferred new models, the quick sketching of movement in space thrown down on the page, the experience of urban nightlife. The intense artistic translation of experiences culminated in this period, around 1913/1914, in the famous “Berliner Straßenszenen”. The elongation of the figures, which is also emphasised and amplified here, is in keeping with the new stylisation, just as the striking frontality of the figures also appears compositionally related. As a lithographic masterpiece, “Tanzende Akte” of 1914 highlights the absolute parallelism in the means of expression utilised by Kirchner.




Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

Zu Aufgeld und Mehrwertsteuer prüfen Sie bitte das jeweilige Los.

For buyer’s premium and VAT please check particular lot.

AGB

standard | standard



Conditions of sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Commercial Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere due to violation of due dilligence according to §§ 41 ff. KGSG are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Lempertz reserves the right to approve bidders for the auction and especially the right to make this approval dependent upon successful identification in terms of § 1 para. 3 GWG. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid, especially when the bidder cannot be successfully identified in terms of § 1 para. 3 GWG. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence. Further information can be found in our privacy policy at www.lempertz.com/ datenschutzerklärung.html
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400,000 a premium of 25 % calculated on the hammer price plus 16 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an R, the buyer shall pay the statutory VAT of 16 % on the hammer price and the buyer’s premium (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or deceased for less than 70 years (§ 64 UrhG), a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. For payments which amount to EUR 10,000.00 or more, Lempertz is obliged to make a copy of the photo ID of the buyer according to §3 of the German Money Laundry Act (GWG). This applies also to cases in which payments of EUR 10,000.00 or more are being made for more than one invoice. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate. The transfer is subject to successful identification (§ 1 para. 3 GWG) of the bidder and of the person to whom the invoice is transferred. Invoices will only be issued to those persons actually responsible for settling the invoices.
11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages instead of performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Regarding the treatment of personal data, we would like to point out the data protection notice on our website.
Henrik Hanstein, sworn public auctioneer

Vollständige AGBs

Stichworte: Erich Heckel, Lithograph