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Wilhelm Lehmbruck, Kleine Sinnende

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Wilhelm Lehmbruck, Kleine Sinnende
Gips, Ocker getönt, mit Schellack. Höhe 53,2 cm. Seitlich am Sockel rechts signiert 'W. LEHMBRUCK'. Eines von ca. 12 Exemplaren in dieser Fassung. Guss Anfang der 1920er Jahre. - In sehr schöner Erhaltung.

Schubert 55 C. a. 6.

Provenienz
Galerie H. Tannenbaum, Mannheim (1920er Jahre); Sammlung Dr. Hohenemser, Frankfurt am Main; Familienbesitz Hessen; Privatsammlung

Literatur
Museum Giersch (Hg.), Expressionismus im Rhein-Main-Gebiet. Künstler - Händler - Sammler, Frankfurt am Main 2011, Kat. Nr. 97 mit ganzseitiger Farbabb. S. 273 (unser Exemplar)

Die „Kleine Sinnende“ gehört neben der „Knienden“ und dem „Gestürzten“ zu den bekanntesten Bildwerken von Wilhelm Lehmbruck. Zu Beginn des Pariser Aufenthalts um 1910/1911 entstanden, dokumentiert sie seine Auseinandersetzung mit den formreduzierten Skulpturen Aristide Maillols.
Die „Kleine Sinnende“ entstand im Zusammenhang mit einer Reihe von Figuren kleineren Formats, mit denen Lehmbruck auf der Suche nach neuen Ausdrucksmöglichkeiten für die Tektonik, Bewegung und die Oberflächenbeschaffenheit seiner Plastiken war. In diesem Sinne schuf er eine sensibel gestaltete, leicht gedrehte, aber in sich weitgehend geschlossene weibliche Figur mit verschränkten Armen und gesenktem Kopf. Einzig das nach vorn gestellte rechte Bein bricht aus der gebundenen Silhouette aus. Das um die Beine geschlungene Tuch besitzt primär eine stabilisierende Funktion, kann aber auch als erotisches Moment gedeutet werden. Trotz der klassischen Proportionen ging es Lehmbruck weniger um eine naturalistische Darstellung als vielmehr um Konzentration und Verdichtung eines spezifisch zurückgenommenen, stillen Ausdrucks.
Bei der „Kleinen Sinnenden“ handelt es sich um eine der mit Gips gebundenen und zum Teil mit Schellack veredelten Güsse, die Lehmbruck ganz bewusst wählte, um die Patina farblich individuell gestalten zu können und der Statuette eine zeitlos-glänzende Eleganz zu verleihen. Die zum Aufruf kommende Plastik hat mit der Galerie Tannenbaum in Mannheim und der Sammlung der Frankfurter Familie Hohenemser eine ausgezeichnete Provenienz. Die ca. 12 Exemplare wurden in den 1920er Jahren von Tannenbaum und dem Kunstsalon Schames, Frankfurt, vertrieben.
Wilhelm Lehmbruck, Kleine Sinnende
Plaster, tinted ochre, with shellac. Height 53.2 cm. Signed 'W. LEHMBRUCK' on the side of the base. One of approx. 12 casts in this version. Cast beginning of the 1920s. - Very fine condition.

Schubert 55 C. a. 6.

Provenance
Galerie H. Tannenbaum, Mannheim (1920s); Dr. Hohenemser Collection, Frankfurt am Main; family ownership, Hesse; private collection

Literature
Museum Giersch (ed.), Expressionismus im Rhein-Main-Gebiet. Künstler - Händler - Sammler, Frankfurt am Main 2011, cat. no. 97 with full-page col.ill. p. 273 (our cast)

Along with the “Kniende” and the “Gestürzter”, the “Kleine Sinnende” is among Wilhelm Lehmbruck’s most famous figures. Created around 1910/11, at the beginning of his stay in Paris, it documents his exploration of the reductive forms of Aristide Maillol’s sculptures.
The “Kleine Sinnende” was created in connection with a number of smaller-format pieces, which Lehmbruck used to search for new expressive possibilities for the structure, movement and surface quality of his work. In keeping with this, he has created a sensitively composed female figure that twists slightly but features a largely cohesive form, with her arms crossed and head bowed. Only her right leg, which is extended forward, breaks out of the unified silhouette. The drapery wrapped around the legs primarily serves a stabilising function, but it can also be interpreted as an erotic element. In spite of the figure’s classical proportions, Lehmbruck was less concerned with a naturalistic depiction than the concentration and distillation of a distinctively understated, quiet expression.
The “Kleine Sinnende” is among the casts done in plaster (sometimes embellished with shellac) – a material very deliberately chosen by Lehmbruck so that he could individually define the tone of their patina and provide the statuettes with a timelessly radiant elegance. Coming from Tannenbaum gallery in Mannheim and the collection of the Hohenemser family from Frankfurt, the sculpture up for auction here possesses an excellent provenance. The approximately 12 casts were distributed in the 1920s by Tannenbaum and the Kunstsalon Schames in Frankfurt.
Wilhelm Lehmbruck, Kleine Sinnende
Gips, Ocker getönt, mit Schellack. Höhe 53,2 cm. Seitlich am Sockel rechts signiert 'W. LEHMBRUCK'. Eines von ca. 12 Exemplaren in dieser Fassung. Guss Anfang der 1920er Jahre. - In sehr schöner Erhaltung.

Schubert 55 C. a. 6.

Provenienz
Galerie H. Tannenbaum, Mannheim (1920er Jahre); Sammlung Dr. Hohenemser, Frankfurt am Main; Familienbesitz Hessen; Privatsammlung

Literatur
Museum Giersch (Hg.), Expressionismus im Rhein-Main-Gebiet. Künstler - Händler - Sammler, Frankfurt am Main 2011, Kat. Nr. 97 mit ganzseitiger Farbabb. S. 273 (unser Exemplar)

Die „Kleine Sinnende“ gehört neben der „Knienden“ und dem „Gestürzten“ zu den bekanntesten Bildwerken von Wilhelm Lehmbruck. Zu Beginn des Pariser Aufenthalts um 1910/1911 entstanden, dokumentiert sie seine Auseinandersetzung mit den formreduzierten Skulpturen Aristide Maillols.
Die „Kleine Sinnende“ entstand im Zusammenhang mit einer Reihe von Figuren kleineren Formats, mit denen Lehmbruck auf der Suche nach neuen Ausdrucksmöglichkeiten für die Tektonik, Bewegung und die Oberflächenbeschaffenheit seiner Plastiken war. In diesem Sinne schuf er eine sensibel gestaltete, leicht gedrehte, aber in sich weitgehend geschlossene weibliche Figur mit verschränkten Armen und gesenktem Kopf. Einzig das nach vorn gestellte rechte Bein bricht aus der gebundenen Silhouette aus. Das um die Beine geschlungene Tuch besitzt primär eine stabilisierende Funktion, kann aber auch als erotisches Moment gedeutet werden. Trotz der klassischen Proportionen ging es Lehmbruck weniger um eine naturalistische Darstellung als vielmehr um Konzentration und Verdichtung eines spezifisch zurückgenommenen, stillen Ausdrucks.
Bei der „Kleinen Sinnenden“ handelt es sich um eine der mit Gips gebundenen und zum Teil mit Schellack veredelten Güsse, die Lehmbruck ganz bewusst wählte, um die Patina farblich individuell gestalten zu können und der Statuette eine zeitlos-glänzende Eleganz zu verleihen. Die zum Aufruf kommende Plastik hat mit der Galerie Tannenbaum in Mannheim und der Sammlung der Frankfurter Familie Hohenemser eine ausgezeichnete Provenienz. Die ca. 12 Exemplare wurden in den 1920er Jahren von Tannenbaum und dem Kunstsalon Schames, Frankfurt, vertrieben.
Wilhelm Lehmbruck, Kleine Sinnende
Plaster, tinted ochre, with shellac. Height 53.2 cm. Signed 'W. LEHMBRUCK' on the side of the base. One of approx. 12 casts in this version. Cast beginning of the 1920s. - Very fine condition.

Schubert 55 C. a. 6.

Provenance
Galerie H. Tannenbaum, Mannheim (1920s); Dr. Hohenemser Collection, Frankfurt am Main; family ownership, Hesse; private collection

Literature
Museum Giersch (ed.), Expressionismus im Rhein-Main-Gebiet. Künstler - Händler - Sammler, Frankfurt am Main 2011, cat. no. 97 with full-page col.ill. p. 273 (our cast)

Along with the “Kniende” and the “Gestürzter”, the “Kleine Sinnende” is among Wilhelm Lehmbruck’s most famous figures. Created around 1910/11, at the beginning of his stay in Paris, it documents his exploration of the reductive forms of Aristide Maillol’s sculptures.
The “Kleine Sinnende” was created in connection with a number of smaller-format pieces, which Lehmbruck used to search for new expressive possibilities for the structure, movement and surface quality of his work. In keeping with this, he has created a sensitively composed female figure that twists slightly but features a largely cohesive form, with her arms crossed and head bowed. Only her right leg, which is extended forward, breaks out of the unified silhouette. The drapery wrapped around the legs primarily serves a stabilising function, but it can also be interpreted as an erotic element. In spite of the figure’s classical proportions, Lehmbruck was less concerned with a naturalistic depiction than the concentration and distillation of a distinctively understated, quiet expression.
The “Kleine Sinnende” is among the casts done in plaster (sometimes embellished with shellac) – a material very deliberately chosen by Lehmbruck so that he could individually define the tone of their patina and provide the statuettes with a timelessly radiant elegance. Coming from Tannenbaum gallery in Mannheim and the collection of the Hohenemser family from Frankfurt, the sculpture up for auction here possesses an excellent provenance. The approximately 12 casts were distributed in the 1920s by Tannenbaum and the Kunstsalon Schames in Frankfurt.

Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 1-77
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Stichworte: Aristide Maillol, Wilhelm Lehmbruck, Modern & Impressionist Art, 19th-21st Century Art