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Adolf HölzelFenster "Lesende"
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Beschreibung
Adolf Hölzel
Fenster "Lesende"
Bleiverglastes Glasfenster, teils mit Schwarzlot bemalt 107 x 33 cm Gerahmt (jüngere Bleirahmung 109 x 36 cm), mit Aufhängevorrichtung. Unten rechts datiert und bezeichnet: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Stellenweise mit einigen kleinen fachmännischen Restaurierungen.
Venzner G III 1.1 (dort irrtümlich "1929" datiert, "offenbar nicht erhalten")
Provenienz
Dr. Willi Fulda, Lauta-Werk, Lausitz; 1947 durch Erbschaft an den Vorbesitzer; Lempertz Auktion Moderne Kunst 684, 21.11.1992, Los 193; Privatsammlung Nordrhein-Westfalen; seitdem in Familienbesitz
Literatur
Wolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, S. 164-166 mit Anm. 317 S. 210, Abb. S. 273; vgl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, Auss. Kat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, S. 90 ff., insbesondere S. 92 f.
Wie Katharina Erling hervorhob, stammt das seinerzeit verschollen geglaubte Fenster - wie auch der dazugehörige angebotene Entwurf (siehe Los 191) - für das Bibliothekszimmer von Dr. Willi Fulda im Lauta-Werk, Lauta/Lausitz, aus Hölzels wichtiger und letzten Schaffensperiode. In zahlreichen Pastellen beschäftigte der Künstler sich damals bekanntlich mit den Gesetzmäßigkeiten und Wirkungen von Farben und Formen im Licht, erscheinen sie doch wie leuchtende abstrakte Entwürfe für imaginäre Glasfenster. Die Gestaltung mit transparentem Glas krönte seine künstlerischen Bestrebungen. „Denn wenn Hölzel eine absolute Malerei, in Analogie zur Musik ganz aus den Mitteln heraus entwickelt, oder, um einen anderen Terminus zu gebrauchen, eine ‚musikalische Malerei' vorgeschwebt hat: Hier haben seine Intentionen die reinste Verwirklichung gefunden, konnten Beabsichtigtes und Erreichtes zu weitgehender Deckung kommen“ (Wolfgang Venzmer, Adolf Hölzel, op. cit S. 127). 1973 hatte Adolf Saile von der Werkstatt Saile in Stuttgart den Verfasser des Werkverzeichnisses auf das Fenster im Bibliothekszimmer in Lauta, dem damaligen Aluminiumwerk „Albert Zimmermann“, aufmerksam gemacht. Es war nur in einem Schwarz-Weiß-Foto dokumentiert. Wie K. Erling hervorhob, ist das vorliegende, 1926 datierte Werk nach dem frühen Auftrag von 1918 für die Glasfenster-Gestaltung im Festsaal der Firma Bahlsen in Hannover „das erste in der traditionellen Art der Bleiverglasung ausgeführte Glasfenster von Adolf Hölzel. Wie der Forschung bisher unbekannt geblieben ist, leitet dieses Fenster Mitte der 20er Jahre eine erneute Auseinandersetzung Hölzels mit dem Medium Farbglas ein. (…) Kurz nach Fertigstellung des Fensters war es in Stuttgart ausgestellt.“ (zit. nach dem Kat. Moderne Kunst, Lempertz Auktion 21. 11. 1992, S. 46/47).
Die zeitgenössische Kritik zeigte sich von der Wirkung des kristallinen Werkes mit seiner rhythmisierten, wie metaphysischen Farblandschaft förmlich bezaubert. Hölzel gewichtete die pyramidale Komposition sowohl durch die Farbverteilung wie durch eine verschmelzende Integration von motivisch-figurativen und kosmisch-landschaftlichen Elementen. Das Stuttgarter Tagblatt vom 26. Oktober 1926 kommentierte: „Im Ausstellungsraum der Glasmalerei-Werkstätte von V. Saile, Neckarstraße, ist zur Zeit ein Glasfenster von Hölzel ausgestellt. Es ist herrlich. Hölzel hat seinerzeit mit seinen großen, in der Prachtentfaltung der Farbe ganz aus eigenen Kompositionsprinzipien geschaffenen Glasfenstern für Hannover viel Aufsehen erregt. Nun verwendet er in kleinerem Rahmen seine vielfach neuen und verfeinerten Erfahrungen über das Leben und Wirken der Farbe. (…) Als echte Kinder des Lichtes nehmen diese Farben jeden Strahl der Sonne auf und steigern ihn zu märchenhaftem Glanz. In Stufungen von warmem und kaltem Grün, vollem Rot und kühlem Rosa, dunkelglühenden Tönen und scharfem, hellem Gelb. Das ganze aber bekommt durch blaue Scheiben, die in größeren ovalen Formen mit sicherster Ökonomie verteilt sind, die bestimmende Note, die dieses Glitzern und Funkeln, Leuchten und symphonische Rauschen, schön und beruhigt zusammenfaßt. Es ist meisterlich.“ (Lempertz op.cit., S. 47)
Adolf Hölzel
Fenster "Lesende"
Leaded glass window, partly painted with black solder 107 x 33 cm Framed (recent lead frame 109 x 36 cm), with hanging device. Dated and inscribed lower right: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Partially with a few minor professional restorations.
Venzner G III 1.1 (there erroneously dated "1929", "offenbar nicht erhalten")
Provenance
Dr. Willi Fulda, Lauta-Werk, Lausitz; 1947 by inheritance to the previous owner; Lempertz Auktion Moderne Kunst 684, 21 Nov. 1992, Lot 193; Private collection North-Rhine Westphalia; since then in family possession
Literature
Wolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, p. 164-166 with annot. 317 p. 210, illus. p. 273; cfl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, exhib. cat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, p. 90 ff., especially p. 92 f.
As Katharina Erling has emphasised, Hölzel's window - once believed to be lost - for Dr Willi Fulda's library room at the Lauta factory in the Lusatian town of Lauta is from the important final period of the artist's work, just as the corresponding design also on offer (see lot 191). It is well-known that, at that time, the artist was examining the laws and the effects of colours and forms in light by means of numerous pastels, which actually look like luminous abstract designs for imaginary stained glass windows. His compositions using transparent glass crowned his efforts as an artist. “Because if Hölzel developed an absolute painting entirely out of its own means - in analogy to music - or if, to utilise a different term, he was envisioning a 'musical painting': here his intentions found their purest realisation, here intentions and achievements could become largely congruent” (Wolfgang Venzmer, Adolf Hölzel, op. cit., p. 127). In 1973 Adolf Saile from the Saile workshop in Stuttgart drew the author of the catalogue raisonné's attention to the window in the library room in Lauta, at what was then known as the “Albert Zimmermann” aluminium factory. It was documented only in a black-and-white photo. As K. Erling pointed out, the present work dated to 1926 was - after the early commission of 1918 to design the stained glass in the reception hall of the Bahlsen company in Hanover - “the first stained glass window by Adolf Hölzel carried out in the traditional manner of leaded windows. Scholars have previously remained unaware that this window initiated Hölzel's renewed occupation with the medium of coloured glass in the mid-1920s. […] Shortly after the window's completion, it was exhibited in Stuttgart.” (cited from Kat. Moderne Kunst, Lempertz Auktion 21 Nov. 1992, pp. 46/47).
Contemporary critics proved veritably enchanted with the effect of the crystalline work, with its rhythmic, quasi-metaphysical chromatic landscape. Hölzel weighted the pyramidal composition through the distribution of colour as well as an integrative merging of the
Full description on lot-tissimo.com
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Adolf Hölzel
Fenster "Lesende"
Bleiverglastes Glasfenster, teils mit Schwarzlot bemalt 107 x 33 cm Gerahmt (jüngere Bleirahmung 109 x 36 cm), mit Aufhängevorrichtung. Unten rechts datiert und bezeichnet: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Stellenweise mit einigen kleinen fachmännischen Restaurierungen.
Venzner G III 1.1 (dort irrtümlich "1929" datiert, "offenbar nicht erhalten")
Provenienz
Dr. Willi Fulda, Lauta-Werk, Lausitz; 1947 durch Erbschaft an den Vorbesitzer; Lempertz Auktion Moderne Kunst 684, 21.11.1992, Los 193; Privatsammlung Nordrhein-Westfalen; seitdem in Familienbesitz
Literatur
Wolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, S. 164-166 mit Anm. 317 S. 210, Abb. S. 273; vgl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, Auss. Kat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, S. 90 ff., insbesondere S. 92 f.
Wie Katharina Erling hervorhob, stammt das seinerzeit verschollen geglaubte Fenster - wie auch der dazugehörige angebotene Entwurf (siehe Los 191) - für das Bibliothekszimmer von Dr. Willi Fulda im Lauta-Werk, Lauta/Lausitz, aus Hölzels wichtiger und letzten Schaffensperiode. In zahlreichen Pastellen beschäftigte der Künstler sich damals bekanntlich mit den Gesetzmäßigkeiten und Wirkungen von Farben und Formen im Licht, erscheinen sie doch wie leuchtende abstrakte Entwürfe für imaginäre Glasfenster. Die Gestaltung mit transparentem Glas krönte seine künstlerischen Bestrebungen. „Denn wenn Hölzel eine absolute Malerei, in Analogie zur Musik ganz aus den Mitteln heraus entwickelt, oder, um einen anderen Terminus zu gebrauchen, eine ‚musikalische Malerei' vorgeschwebt hat: Hier haben seine Intentionen die reinste Verwirklichung gefunden, konnten Beabsichtigtes und Erreichtes zu weitgehender Deckung kommen“ (Wolfgang Venzmer, Adolf Hölzel, op. cit S. 127). 1973 hatte Adolf Saile von der Werkstatt Saile in Stuttgart den Verfasser des Werkverzeichnisses auf das Fenster im Bibliothekszimmer in Lauta, dem damaligen Aluminiumwerk „Albert Zimmermann“, aufmerksam gemacht. Es war nur in einem Schwarz-Weiß-Foto dokumentiert. Wie K. Erling hervorhob, ist das vorliegende, 1926 datierte Werk nach dem frühen Auftrag von 1918 für die Glasfenster-Gestaltung im Festsaal der Firma Bahlsen in Hannover „das erste in der traditionellen Art der Bleiverglasung ausgeführte Glasfenster von Adolf Hölzel. Wie der Forschung bisher unbekannt geblieben ist, leitet dieses Fenster Mitte der 20er Jahre eine erneute Auseinandersetzung Hölzels mit dem Medium Farbglas ein. (…) Kurz nach Fertigstellung des Fensters war es in Stuttgart ausgestellt.“ (zit. nach dem Kat. Moderne Kunst, Lempertz Auktion 21. 11. 1992, S. 46/47).
Die zeitgenössische Kritik zeigte sich von der Wirkung des kristallinen Werkes mit seiner rhythmisierten, wie metaphysischen Farblandschaft förmlich bezaubert. Hölzel gewichtete die pyramidale Komposition sowohl durch die Farbverteilung wie durch eine verschmelzende Integration von motivisch-figurativen und kosmisch-landschaftlichen Elementen. Das Stuttgarter Tagblatt vom 26. Oktober 1926 kommentierte: „Im Ausstellungsraum der Glasmalerei-Werkstätte von V. Saile, Neckarstraße, ist zur Zeit ein Glasfenster von Hölzel ausgestellt. Es ist herrlich. Hölzel hat seinerzeit mit seinen großen, in der Prachtentfaltung der Farbe ganz aus eigenen Kompositionsprinzipien geschaffenen Glasfenstern für Hannover viel Aufsehen erregt. Nun verwendet er in kleinerem Rahmen seine vielfach neuen und verfeinerten Erfahrungen über das Leben und Wirken der Farbe. (…) Als echte Kinder des Lichtes nehmen diese Farben jeden Strahl der Sonne auf und steigern ihn zu märchenhaftem Glanz. In Stufungen von warmem und kaltem Grün, vollem Rot und kühlem Rosa, dunkelglühenden Tönen und scharfem, hellem Gelb. Das ganze aber bekommt durch blaue Scheiben, die in größeren ovalen Formen mit sicherster Ökonomie verteilt sind, die bestimmende Note, die dieses Glitzern und Funkeln, Leuchten und symphonische Rauschen, schön und beruhigt zusammenfaßt. Es ist meisterlich.“ (Lempertz op.cit., S. 47)
Adolf Hölzel
Fenster "Lesende"
Leaded glass window, partly painted with black solder 107 x 33 cm Framed (recent lead frame 109 x 36 cm), with hanging device. Dated and inscribed lower right: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Partially with a few minor professional restorations.
Venzner G III 1.1 (there erroneously dated "1929", "offenbar nicht erhalten")
Provenance
Dr. Willi Fulda, Lauta-Werk, Lausitz; 1947 by inheritance to the previous owner; Lempertz Auktion Moderne Kunst 684, 21 Nov. 1992, Lot 193; Private collection North-Rhine Westphalia; since then in family possession
Literature
Wolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, p. 164-166 with annot. 317 p. 210, illus. p. 273; cfl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, exhib. cat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, p. 90 ff., especially p. 92 f.
As Katharina Erling has emphasised, Hölzel's window - once believed to be lost - for Dr Willi Fulda's library room at the Lauta factory in the Lusatian town of Lauta is from the important final period of the artist's work, just as the corresponding design also on offer (see lot 191). It is well-known that, at that time, the artist was examining the laws and the effects of colours and forms in light by means of numerous pastels, which actually look like luminous abstract designs for imaginary stained glass windows. His compositions using transparent glass crowned his efforts as an artist. “Because if Hölzel developed an absolute painting entirely out of its own means - in analogy to music - or if, to utilise a different term, he was envisioning a 'musical painting': here his intentions found their purest realisation, here intentions and achievements could become largely congruent” (Wolfgang Venzmer, Adolf Hölzel, op. cit., p. 127). In 1973 Adolf Saile from the Saile workshop in Stuttgart drew the author of the catalogue raisonné's attention to the window in the library room in Lauta, at what was then known as the “Albert Zimmermann” aluminium factory. It was documented only in a black-and-white photo. As K. Erling pointed out, the present work dated to 1926 was - after the early commission of 1918 to design the stained glass in the reception hall of the Bahlsen company in Hanover - “the first stained glass window by Adolf Hölzel carried out in the traditional manner of leaded windows. Scholars have previously remained unaware that this window initiated Hölzel's renewed occupation with the medium of coloured glass in the mid-1920s. […] Shortly after the window's completion, it was exhibited in Stuttgart.” (cited from Kat. Moderne Kunst, Lempertz Auktion 21 Nov. 1992, pp. 46/47).
Contemporary critics proved veritably enchanted with the effect of the crystalline work, with its rhythmic, quasi-metaphysical chromatic landscape. Hölzel weighted the pyramidal composition through the distribution of colour as well as an integrative merging of the
Full description on lot-tissimo.com
Evening Sale - Moderne und Zeitgenössische Kunst
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