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Wilhelm Lehmbruck

Germany (Duisburg 1881 -  Berlin 1919 ) Wikipedia® : Wilhelm Lehmbruck
LEHMBRUCK Wilhelm Büste Der Knienden (geneigter Frauenkopf)

Lempertz
Jun 1, 2018
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Artworks in Arcadja
286

Some works of Wilhelm Lehmbruck

Extracted between 286 works in the catalog of Arcadja
Wilhelm Lehmbruck - Kniende, Groß

Wilhelm Lehmbruck - Kniende, Groß

Original 1911
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Lot number: 369
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WILHELM LEHMBRUCK Kniende, groß. Drypoint on light tan imitation Japan paper, 1911. 349x250 mm; 13 3/4x9 7/8 inches, full margins. Third state (of 3). Signed and titled in pencil, lower margin. A superb, richly-inked, early impression with warm plate tone and all the scratch marks in the background distinct. Petermann 13.
Wilhelm Lehmbruck - Büste Des Emporsteigenden Jünglings (bust Of The Ascending Youth)

Wilhelm Lehmbruck - Büste Des Emporsteigenden Jünglings (bust Of The Ascending Youth)

Original
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Lot number: 3256
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Description: WILHELM LEHMBRUCK (Duisburg 1881 - 1919 Berlin) Büste des Emporsteigenden Jünglings (Bust of the Ascending Youth). 1913. Stone cast, lifetime. Height: 53.3 cm. We thank Prof. Dieter Schubert for his kind assistance and for confirming the authenticity of the work as well as its classification as a lifetime cast, University of Heidelberg, 14 April 2018. Provenance: - Private collection, Duisburg, received directly from the artist. - From the descendants of the first owner to the present private collection, Germany. Literature: - Schubert, Dietrich: Wilhelm Lehmbruck, Catalogue raisonné der Skulpturen, 1898-1919, Worms 2001, showing other casts pp. 275-77, no. 69.A6. - Schubert, Dietrich: Wilhelm Lehmbruck: Büste des emporsteigenden Jünglings, in: Schwarz, Dieter (ed.): Lehmbruck, Brancusi, Leger, Bonnard, Klee, Fontana, Morandi, Düsseldorf 1997, pp. 10-33. Wilhelm Lehmbruck is amongst the most important sculptors of the 20th century. His forms with their stretched, elongated figures are unique. His sculpture was strongly influenced by the work of Rodin and Maillol, upon which he expanded to create his own very expressive sculptural style. Following his studies at the Kunstakademie Düsseldorf, Lehmbruck moved to Paris in 1910. He frequented the Café du Dôme, where he met sculptors such as Brancusi, Archipenko and Modigliani. There, he also encountered the technique of cast stone, or "cast cement" as it was also called at the time, and which was already being used by Brancusi. In the Middle Ages, stone castings were used for large sculptures on churches, yet the process was employed mostly for architectural purposes until the beginning of the 20th century. New cement mixtures allowed for greater artistic possibilities which were met with Lehmbruck's joy for experimentation. His sculptures are not always made of the material from which they appear to be. Lehmbruck tinted his stone casts with beige, ochre, blue, grey and reddish hues so that each casting always produced an original. By 1911 he had already expressed to Julius Meier-Graefe his preference for stone casting. Lehmbruck's most important works were created in the decade between 1910 and the artist's untimely death in 1919. The bust offered here was cast during the artist's lifetime and is part of Lehmbruck's monumental sculpture "Der Emporsteigende Jüngling" (Rising Youth), which was produced in 1913-1914. Larger than life, and with attenuated, elongated and stretched limbs, a young man stands on a thin plinth with his body erect, the right leg supporting the weight of his body, while the left rests on a stone or lump of earth. Very characteristic of Lehmbruck's work is his design of effectually architectural figures which have often been compared to Gothic architecture, as can be seen in the buttress-like appearance of the man\’s left leg. The figure evokes an ambiguous response, the viewer unsure whether the man is actually rising or waiting rather hesitantly. Of the two arms crossed in front of his chest, the left points upwards with his hand, yet his head is inclined downwards, paying more attention to the resting left foot. The "Rising Youth" appears pensive. Lehmbruck thus creates multiple layers of tension that can be directly experienced by the viewer. The historical situation just before World War I undoubtedly had some influence here. While the "Emporsteigende Jüngling" recalls the artist\’s "Große Kniende", its similarity to the "Großen Sinnenden", with which it could enter into dialogue, has often been emphasised even though the artist created both figures independently of one another. Although they face each other in the Leopold Museum, they are situated at slight angles in order to create a distance between the two despite the proximity. The Museum in Winterthur (Switzerland) also exhibits the two busts vis-à-vis, which creates a very nice effect. The stone cast presented here is particularly beautiful in its details, as seen in the very pronounced strands of hair on the back of the head which have been lost in later castings. Today there are only three known casts of this quality from the lifetime of the artist: one in Winterthur, one in a private collection in Germany and the one offered here. --------------- WILHELM LEHMBRUCK (Duisburg 1881 - 1919 Berlin) Büste des Emporsteigenden Jünglings. 1913. Steinguss, Lebzeit. Höhe: 53,3 cm. Wir danken Prof. Dieter Schubert für die freundliche Hilfe und für die Bestätigung der Authentizität dieses Werkes sowie dessen Einordnung als Lebzeitguss, Universität Heidelberg, 14. April 2018. Provenienz: - Privatsammlung Duisburg, direkt vom Künstler erhalten. - Von den Nachfahren des Erstbesitzers direkt in den heutigen deutschen Privatbesitz. Literatur: - Schubert, Dietrich: Wilhelm Lehmbruck, Catalogue raisonné der Skulpturen, 1898-1919, Worms 2001, Darstellung anderer Güsse S. 275-77, Nr. 69.A6. - Schubert, Dietrich: Wilhelm Lehmbruck: Büste des Emporsteigenden Jünglings, in: Schwarz, Dieter (Hrsg.): Lehmbruck, Brancusi, Leger, Bonnard, Klee, Fontana, Morandi, Düsseldorf 1997, S. 10-33. Wilhelm Lehmbruck zählt zu den bedeutendsten Bildhauern des 20. Jahrhunderts. Seine Formgebung, seine gedehnten Körper sind einzigartig. Sein Werk ist stark von Rodin und Maillol beeinflusst und übersteigt dieses durch eine sehr expressive Formgestaltung. Nach dem Studium an der Düsseldorfer Kunstakademie zieht Lehmbruck 1910 nach Paris. Er frequentiert das Café du Dôme, wo er Bildhauer wie Brancusi, Archipenko und Modigliani trifft. Hier begegnet er auch der Technik des Steingusses, oder des „Cementgusses\“ wie er in dieser Zeit auch genannt wird, und welcher von Brancusi bereits verwendet wird. Im Mittelalter nutzte man Steingüsse für grosse Skulpturen an Kirchen, das Verfahren wird jedoch hauptsächlich bis Anfang des 20. Jahrhunderts architektonisch eingesetzt. Neue Zementmischungen ermöglichen aber mehr künstlerische Möglichkeiten, was der Experimentierfreudigkeit Lehmbrucks entgegenkommt. Seine Skulpturen sind nicht immer aus dem Material, aus dem sie zu sein vorgeben. Lehmbruck tönt seine Steingüsse beige, ockerfarben, bläulich, grau, rötlich, so dass bei den verschiedenen Ausformungen immer ein jeweiliges Original entsteht. Bereits 1911 äussert er gegenüber Julius Meier-Graefe, dass er den Steinguss präferiert. Die bedeutendsten Werke Lehmbrucks entstehen in dem Jahrzehnt zwischen 1910 und dem frühen Tod des Künstlers 1919. Die angebotene Büste ist zu Lebzeiten des Künstlers gegossen und ist ein Teil von Lehmbrucks monumentaler Skulptur „Der Emporsteigende Jüngling\“ (Abb. 1), welche 1913/14 konzipiert wird. Überlebensgross und mit dünnen, verlängert wirkenden, gedehnten Gliedern steht der junge Mann im Raum über einer dünnen Plinthe. Mit streng aufgerichtetem Körper stemmt das rechte Standbein das Gewicht des Körpers, während das linke auf einem Stein oder einem Erdklumpen ruht. Sehr charakteristisch für das Werk Lehmbrucks ist die Gestaltung von geradezu architektonischen Figuren, oft verglich man sie mit der Gotik, wirkt doch zum Beispiel das linke Bein fast wie ein Strebepfeiler. Der Mann macht einen zwiespältigen Eindruck, man ist sich unsicher, ob er nun tatsächlich emporsteigt oder eher zögernd zuwartet. Von den beiden vor der Brust verschränkten Armen weist der Linke mit der Hand zeigend nach oben, jedoch ist der Kopf nach unten geneigt, eher auf den ruhenden linken Fuss achtend. Der "Emporsteigende" wirkt nachdenklich. Lehmbruck schafft dadurch eine vom Betrachter unmittelbar erfahrbare, vielschichtige Spannung. Es ist bestimmt so, dass auch die historische Situation so kurz vor dem Ersten Weltkrieg hier miteinfliesst. Der "Emporsteigende Jüngling" erinnert an die „Große Kniende\“ und oft wird seine Nähe zur „Großen Sinnenden\“ betont, mit der er in Dialog treten könnte, auch wenn der Künstler beide Figuren unabhängig voneinander schafft. Im Leopold Museum stehen sie einander zwar gegenüber, aber leicht schräg gestellt, um trotz Nähe eine Distanz zwischen beiden aufzubauen. Auch das Museum in Winterthur zeigt zurzeit die beiden Büsten vis-à-vis, was eine sehr schöne Wirkung erzeugt. Der vorliegende Steinguss ist besonders schön in den Details, wie zum Beispiel den sehr ausgeprägten Haarsträhnen am Hinterkopf, welche bei späteren Güssen verloren gegangen sind. Heute kennt man nur drei Güsse dieser Qualität und aus der Lebzeit: Derjenige in Winterthur, ein Exemplar in Privatbesitz in Deutschland und das hier angebotene.
Wilhelm Lehmbruck - Büste Der Knienden (geneigter Frauenkopf)

Wilhelm Lehmbruck - Büste Der Knienden (geneigter Frauenkopf)

Original 1911
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Lot number: 249
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Wilhelm Lehmbruck (1881 - 1919) Lot 249: Wilhelm Lehmbruck, Büste der Knienden (Geneigter Frauenkopf), 1912-1914 Description: Incised signature "W. LEHMBRUCK" on the back lower right. On the inside, a label of Galerie Flechtheim, therein inscirbed "W. Lehmbruck / Geneigter Frauenkopf" by hand and numbered "13419" and a Swiss customs stamp, a label from Kunstmuseums Basel, imprinted "Leihgabe" and inscribed "Lehmbruck / Geneigter Frauenkopf (Büste) / Sammlung Simon" by hand, a label of the art shipping company James Bourlet & Sons Ltd. (London), additional stamps in blue and red and numerations in blue chalk. One of 6 old terracotta figures documented by Schubert, cast in the artist's liftetime. 4 of them are in museum property (Museum Ludwig, Cologne; Germanisches Nationalmuseum, Nuremberg; Kirchner Museum, Davos; Österreichische Galerie, Vienna).On 28 January 1915 the Frankfurt art dealer Ludwig Schames wrote to Georg Swarzenski, who had been director of the Städel'sches Kunstinstitut in Frankfurt am Main since 1906: \“In response to the wish you have so cordially expressed to me, I have the honour to inform you that Lehmbruck indicated to me the price of M 1,100 for the head of a girl in bronze, of which there are three casts, and M 450 for the terracotta head, of which there are likewise 3 casts. I have been permitted to keep both here until you cordially inform me of your decision in the new budget year\” (Städel-Archiv). One year later, in January of 1916, Swarzenski would buy the 1912 terracotta of \“Büste der Knienden\” for the Städtische Galerie (confiscated in 1937, now in the Kirchner Museum Davos, Stiftung Baumgarten-Möller). That leaves at least two more casts in terracotta. And did one of them perhaps find its way into the collection of Hugo Simon by way of the Galerie Flechtheim? Lehmbruck writes about a \“Geneigte Terrakotta\” (Bowed terracotta) in a letter of 1918 to Swarzenski. Finally, in his 1919 monograph on Lehmbruck, Paul Westheim referred to the sculpture under the title: \“Kopf der Knienden, Terrakotta\” (Head of the kneeling woman, terracotta). Thus, indicated materials such as terracotta or sometimes also artificial stone stand for one and the same work! Let us briefly remain with our consideration of the \“Büste der Knienden\” to fill in another aspect. This bust is a singled-out detail from the monumental sculpture of the \“Kniende\”, which Lehmbruck separated in Paris in 1911. Referred to under the title \“Geneigter Frauenkopf\” (Bowed female head) by Anita Lehmbruck, the sculptor \“cut\” the bust either above the breast (the cast now in the Kirchner Museum Davos) or through the middle of the nipples, as can be seen in a typical form in this terracotta from the collection of Hugo Simon. The \“Büste der Knienden\” has been preserved both in terracotta and in tinted cast stone; a few bronze casts of it from the artist's lifetime are known, for example, in the contemporary collection of Sally Falk in Mannheim. By choosing different working materials for use with the same mould, Lehmbruck varied and intensified subtle nuances in the results. The composition or mixture of the artificially developed working materials had a substantial influence on the aesthetic statement and thus also on the number of casts in an edition. A solid cement cast with untreated surface - depending on the proportions of its ingredients, more or less grey in colour - does not have the warmth of a terracotta, for example, and can also scarcely supplant the elemental quality of a plaster version. However, Lehmbruck seems to have speculated with this range of available possibilities and correspondingly demanded they be placed in exhibitions. Their composition varies from subject to subject and from figure to figure: fired terracotta made from reddish or ochre-coloured pigmented clay, poured plaster casts with or without tinting, stucco (a mixture made up of fine sand, plaster and lime), decoration of the surface with pigments or shellac. These empirical statistics can be refined through an itemised analysis of the museum purchases until 1919. When he visited the studio in Paris in 1910/1911, Julius Meier-Graefe was already struck not only by the new form, the nudity which we encounter in traditional materials like plaster, stone (marble) and bronze, but also by the enthusiasm for experimentation of this young German sculptor in Paris, who was additionally working with terracotta, coloured plaster and cast-stone mixtures. He noted the different surfaces and chromatic effects, described the fragmentation, a kind of "slicing up", with which Lehmbruck prepared the way for his sculptures to transfer the feel of traditional work forms from the sculpture of the 19th century into modern art. "Variations", as Meier-Graefe declared in another place, \“that familiarised viewers with the mixing of sizes and malleability. He loved certain turns of the head, the hips, to let the light play on them, and in doing so he uncovered further qualities of his female type\” (Frankfurter Zeitung, 5 January 1932. Printed in: Dietrich Schubert, Die Kunst Lehmbrucks, 2nd rev. edition Dresden 1991, p. 309 ff.).There is no doubt that Lehmbruck, after he considered a figure like the \“Kniende\” complete, had the partial figures - which he scaled to different dimensions - carried out in different materials and colours and then independently singled out the heads, in particular, as busts. Even in the torso, as an independent partial figure from the sculptural canon staged in a new form by Rodin around the turn of the century, Lehmbruck usually kept the head in order to retain the grace of the figural whole even without limbs: Lehmbruck responded to Rodin's harsh approach with a conciliatory gesture. Effect and impression change accordingly, and the unstable and fragile enter the foreground; in their sometimes emphatic turning away from the viewer, they become the vehicle for a harmonious silhouette. On the other hand, with his female and male busts, Lehmbruck presents a special and animate aura which, in spite of all its formal reduction and perhaps also simplification of the visible subject, retains an imaginary personal expression, a convincing gesture. It is this touching grace that captivates the viewer. And the dramatically staged working material plays a key interpretive role. Dimensions: Height 43 cm, width 41.5 cm, depth 21 cm
Wilhelm Lehmbruck - Verzweifelnde Mutter

Wilhelm Lehmbruck - Verzweifelnde Mutter

Original 1910
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Lot number: 1168
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Wilhelm Lehmbruck (Duisburg 1881 – 1919 Berlin) „Verzweifelnde Mutter\“. 1910 Radierung auf Papier. 11,8×16cm (20,5×29cm) ( 4⅝×6¼in. (8⅛×11⅜in.)). Mit dem Nachlassstempel in Blau und der Signatur von Anita Lehmbruck. Werkverzeichnis: Petermann 5 III.– Abzug außerhalb der Auflage von mind. 20 Exemplaren. [3218] Wilhelm Lehmbruck (Duisburg 1881 – 1919 Berlin) „Verzweifelnde Mutter\“. 1910 Etching on paper. 11,8×16cm (20,5×29cm) ( 4⅝×6¼in. (8⅛×11⅜in.)). With the estate stamp in blue and the signature of Anita Lehmbruck. Catalogue raisonné: Petermann 5 III.– Print outside the edition of at least 20 copies. [3218]
Wilhelm Lehmbruck - Raub I, Weib Ganz

Wilhelm Lehmbruck - Raub I, Weib Ganz

Original 1911
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Lot number: 8
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Wilhelm Lehmbruck (Duisburg 1881-1919 Berlin) \“Raub I, Weib ganz\”, probably 1911, etching, third state (of 3), signed in the plate, estate stamp (heavily faded), signed by hand by Anita Lehmbruck, plate size 29.2 x 23.6 cm, sheet size 45 x 35.7 cm, Petermann 9, (EW) Illustrated in: Buchheim, Graphik des deutschen Expressionismus, Buchheim Verlag 1959
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