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Georg Kolbe

Germany (1877 -  1947 ) Wikipedia® : Georg Kolbe
KOLBE Georg Stehende Frau

Christie's
Jun 22, 2016
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Along with Georg Kolbe, our clients also searched for the following authors:
Henry Moret, Maximilien Luce, Pierre-Auguste Renoir, Edgar Degas, Eugene Boudin, Auguste Rodin, Jean-Louis Forain
Artworks in Arcadja
278

Some works of Georg Kolbe

Extracted between 278 works in the catalog of Arcadja
Georg Kolbe - Meerweibchen

Georg Kolbe - Meerweibchen

Original 1921
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Lot number: 371
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Description:
Georg Kolbe (1877-1947) Meerweibchen signed with monogram (on the top of the base); stamped with foundry mark 'H. NOACK BERLIN FRIEDENAU' (on the back of the base) bronze with brown and red patina Height: 21 ¾ in. (57.8 cm.) Conceived in 1921; this bronze version cast between 1921-1925 Provenance Dr. Franz Herbert Hirschland, New York. Herbert E. Hirschland, Connecticut (by descent from the above). By descent from the above to the present owner.
Georg Kolbe -  Zorn (flamme)

Georg Kolbe - Zorn (flamme)

Original 1923
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Lot number: 327
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Description:
Georg Kolbe, Zorn (Flamme), 1922/1923 Monogrammed 'GK' (joined) on the back right side of the base.With an expertise by Ursel Berger, Berlin, dated 29 March 2016 The rediscovered, life-sized stone version of the sculpture \“Zorn\” (also called \“Flamme\” during Kolbe's lifetime) represents a substantial supplement to Georg Kolbe's known oeuvre. Until now it had been known as a probable work only through a document inscribed by Margrit Schwartzkopff (1903-1969), the photographer and first director of the Georg-Kolbe-Museum in Berlin. Presumably created around 1922/1923, the stone version was set up in the rose garden of the Schniewind family in Neviges. Until January of 2016 it enjoyed an enchanted and reclusive existence there for decades, also after the property changed owners in the 1970s (see comparative illus.). Previously no one had any further knowledge regarding its actual existence, execution and whereabouts (cf. Ursel Berger, Georg Kolbe - Leben und Werk, mit dem Katalog der Kolbe-Plastiken im Georg-Kolbe-Museum, Berlin 1990, p. 262). The artist's plaster model on which the motif was originally based can be detected on a photo of Kolbe's studio (see comparative illus.). A slightly smaller polychrome wooden variation is preserved in the Kolbe Museum (height 166 cm, see Berger 53). \“The enlarged versions executed in stone as well as in wood [...] are by Alfred Dietrich or Josef Gobes, both of whom often worked for the sculptor as stonemasons and had formed a joint studio together at that time [...]. A receipt written by Dietrich and Gobes in June of 1923 for wood-carving work is preserved in the Georg-Kolbe-Museum. It is likely that the stone figure was also produced at that time. [...] The fact that, in 1922/23, Kolbe had several figures produced in stone or wood - instead of the usual bronze - was a result of the inflation crisis: because of money's rampant devaluation, it was scarcely possible to calculate the costs of a time-consuming bronze casting, with the result that Kolbe turned to other materials.\” (Ursel Berger in her expertise).Berger does not exclude the possibility that this figure was developed in connection with a monument design, perhaps a war memorial. This strongly expressive sculpture is to be classified among Kolbe's Expressionist body of work and belongs stylistically to the sequence of comparable sculptures from the early 1920s. These works draw their artistic tension from their intrinsic movement and the formal antagonism between body and drapery. The bronze \“Adagio\” has become the most famous icon of this period, but the stone and wooden sculptures of \“Erwachen\”, \“Törichter Engel\” and \“Nonne\” ought to be mentioned in this context. Inspired by expressive dance, Kolbe uses gesture and form to convey a state of being, aimed at the expression of emotion, of a strong inner movement. Here the possible interpretation is provided through the historically documented titles of \“Zorn\” or \“Flamme\”. At the same time, a high degree of abstraction, aimed at achieving timelessness, and an angular and Cubist-influenced stylisation in the details can be observed and are typical of this phase in his oeuvre. The extensive and stretched movement of the almost life-sized figure is remarkable: the body is thrust backwards and its slight elastic inflection, which derives from the bent knees, becomes more rigid in the upper body, through the arms stretched above and the balled fists. These seem to tear the cloak upwards and away, as though in a gesture of liberation.It was presumably Kolbe himself who wrote in the foreword to the first exhibition of the \“Freie Secession\” in 1919 after the war: \“Disintergration and dissolution are what the war has left behind for us. It seems impossible to halt, rebellion is not yet conceivable. For this very reason our little strength must be gathered together again and again for the coming works. In this sense we consider our exhibition necessary ... We the living want to continue to stir our hands and we devote them to art every day.\” (cited in: Ursel Berger, op. cit. Berlin 1990, p. 64). Works by Wilhelm Lehmbruck were also shown in this exhibition. Georg Kolbe and Karl Schmidt-Rottluff met at his funeral. They travelled to Italy and France together in 1923/1924, and a lifelong friendship would unite them following this epochal rupture and awakening in art. The powerful and expressive spirit of this sculpture by Georg Kolbe may reflect the tumultuous, politically and artistically revolutionary moments of that time.
Georg Kolbe -  Seated Woman

Georg Kolbe - Seated Woman

Original
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Lot number: 40
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Description:
Georg Kolbe * (Waldheim/Saxony 1877–1947 Berlin) Seated woman - (Sitzende), artist´s monogram GK on the stand, bronze with brown patina, 26 x 22 x 26 cm \\\“Seven bronzes were cast in 1928, two in 1929 and one in 1934. The present bronze was cast in 1928 or 1929\\\” (Ursel Berger) The authenticity has been confirmed in writing by Dr. Ursel Berger, Berlin, 23 April 2016. Provenance: Hugo Neithold (1862-1939) Collection, Dresden Thence by descent to the previous owner.
Georg Kolbe - Stehende Frau

Georg Kolbe - Stehende Frau

Original
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Lot number: 35
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Description:
Lot Description

Georg Kolbe (1877-1947)
Stehende Frau

signed with the monogram and stamped with the foundry mark \\‘GUSS H. NOACK FRIEDENAU BERLIN\\’\\’\\’\\’\\’\\’\\’\\’ (on the top of the base)

bronze with dark brown patina

Height: 70 7/8 in. (180 cm.)

Conceived in 1916 and cast in 1920-1921 in an edition of three

Special Notice



Provenance

Galerie Ferdinand Möller, Berlin.
Private collection, Braunschweig, by whom acquired from the above
circa
November 1935, and thence by descent to the present owner.

Pre-Lot Text

PROPERTY FROM AN IMPORTANT GERMAN COLLECTION

Literature

U. Berger,
Georg Kolbe: Leben und Werk
, Berlin, 1990, p. 58 (illustrated fig. 26).
View Lot Notes >
Georg Kolbe - Sitzende

Georg Kolbe - Sitzende

Original 1928
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Gross Price
Lot number: 89
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Description:
Lot Description

Georg Kolbe (1877-1947)

Sitzende

signed with monogram (underneath)

bronze with a brown patina

26 cm. high

Conceived in 1928, seven bronzes are cast in 1928, two in 1929 and one in 1934. The present lot is cast in 1928 or 1929.

Special Notice



Provenance

Hugo Neithold, Dresden.
By descent from the above to the present owner.
View Lot Notes >
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