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Georg Scholz

(1890 -  1945 ) Wikipedia® : Georg Scholz
SCHOLZ Georg Zeitungsträger

Jun 1, 2018
Find artworks, auction results, sale prices and pictures of Georg Scholz at auctions worldwide.
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Variants on Artist's name :

Schulz Georg


Along with Georg Scholz, our clients also searched for the following authors:
Fernand Leger, Paul Cezanne, Pierre Bonnard, Auguste Rodin, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet
Artworks in Arcadja

Some works of Georg Scholz

Extracted between 27 works in the catalog of Arcadja
Georg Scholz - Zeitungsträger

Georg Scholz - Zeitungsträger

Starting price:


Net Price
Lot number: 328
Georg Scholz (1890 - 1945) Lot 328: Georg Scholz, Zeitungsträger, 1921/1923 Description: Signed.Published in "Die Schaffenden", vol. IV, 4th portfolio ("Neue Veristen und Konstruktivisten"), Euphorion Verlag, Berlin 1923, sheet 9. One of 125 proofs.In its motif the lithograph follows two watercolours painted in 1921 with the title "Arbeit schändet" (work defiles), depicted in reverse. With the editions in "Die Schaffenden" and the reproduction in the magazine "Der Gegner" (edited by Wieland Herzfelde) in 1922/1923, it is considered to be the best-known and "most circulated graphic print by Scholz\”. (Georg Scholz 1982, op. cit., p. 37) Dimensions: 20 x 22 cm (30.9 x 40.8 cm)
Georg Scholz - Nächtlicher Lärm (nightly Noise)

Georg Scholz - Nächtlicher Lärm (nightly Noise)

Original 1919


Gross Price
Lot number: 5
Georg Scholz

1890 - 1945


and dated
(lower right); signed
Georg Scholz
, titled and dated

on the stretcher

oil on canvas

56.8 by 51cm.

22 3/8 by 20 1/8 in.

Painted in 1919.slautern (probably acquired from the artist; until at least 1980)
Galerie Schlichtenmaier, Grafenau

Galerie Brockstedt, Hamburg

Galerie Michael Hasenclever, Munich

Marvin & Janet Fishman, Milwaukee (acquired from the above by 1990. Sold: Sotheby's, London,
The Marvin & Janet Fishman Collection: German Art from Expressionism to Resistance
, 18th October 2000, lot 48)

Purchased at the above sale by the present owner
Exhibited Berlin, Novembergruppe,
Grosse Berliner Kunstausstellung
, 1919, no. 1258
Karlsruhe, Galerie des Bezirksverband Bildender Künstler,
Realistische Kunst der 20er Jahre in Karlsruhe
, 1980, no. 140, illustrated in the catalogue (titled 
Nächtlicher Schrei

Waldkirch, Georg-Scholz-Haus,
Georg Scholz, Malerei, Zeichnung, Druckgraphik
, 1990, illustrated in colour in the catalogue

Milwaukee, Art Museum; Berlin, Berlinische Galerie, Museum für Moderne Kunst, Photographie und Architektur; Frankfurt-am-Main, Schirn Kunsthalle; Emden, Kunsthalle, Stiftung Henri Nannen; New York, The Jewish Museum; Omaha, Joslyn Art Museum & Atlanta, The High Museum,
The Marvin and Janet Fishman Collection: Art in Germany 1909-1936. From Expressionism to Resistance
, 1990-92, no. 137, illustrated in colour in the catalogue

Paris, Musée National d'Art Moderne & Barcelona, Centre de Cultura Contemporània,
Visions Urbaines/Visiones Urbanas. Europa 1870-1993
, 1994, illustrated in colour in the catalogue

The Hague, Museum Paleis Lange Voorhout; Brussels, Palais des Beaux-Arts; Gent, Snoeck-Ducaju & Zoon; Stockholm, Liljevalchs Konsthall & Helsinki, Helsingin Taidenhalli,
Art et Résistance. Les Peintres allemands de l'entre-deux-guerres - La Collection Marvin et Janet Fishman
, 1995-96, no. 142, illustrated in colour in the catalogue

Venice, Palazzo Grassi,
German Expressionism: Art and Society
, 1997-98, no. 96, illustrated in colour in the catalogue

Munich, Haus der Kunst,
Die Nacht
, 1998-99, no. 339, illustrated in colour in the catalogue

Karlsruhe, Städtische Galerie,
Die 20er Jahre in Karlsruhe
, 2005-06, illustrated in colour in the catalogue
Literature Matthias Politycki,
Taifun über Kyoto
, Hamburg, 1993, detail illustrated in colour on the cover
Ronald J. Comer,
Abnormal Psychology
, New York, 1995, illustrated in colour p. 182

Tom Kristensen,
, Copenhagen, 1998, illustrated in colour on the cover

Dennis Crockett,
German Post-Expressionism: The Art of the Great Disorder 1918-1924
, Pennsylvania, 1999, fig. 90, illustrated p. 117

Felicia H. Sternfeld,
Georg Scholz, Monographie und Werkverzeichnis
, Frankfurt, 2004, no. 20, illustrated p. 479
Georg Scholz served in the First World War from the summer of 1915 until 1918,

and was wounded just a few months before its end. Painted in 1919, the present

work reflects the horror and suffering he had witnessed during the war, as well as

the violence and oppression during the years that followed in struggling Weimar

Germany. No doubt inspired by the quintessential Expressionist image, Edvard
The Scream
(fig. 1),
Nächtlicher Lärm

employs expressive, contrasted
colours and sharp, violent shapes to convey the depth of human suffering and terror.

Whilst Munch presents a more universal, existentialist image of the human
condition, Scholz\’\’\’\’\’\’\’\’s
Nächtlicher Lärm

is deeply rooted in the specific historical and

political reality of the period. The night-time setting metaphorically depicts the

artist\’\’\’\’\’\’\’\’s psychological state, its silence violently pierced by the cry that emanates from

the figure\’\’\’\’\’\’\’\’s mouth and spreads out to embrace the entire space of the composition.

Employing sharp edges and dynamic forms influenced by Futurist art, Scholz
transforms his darkest emotions of fear into a powerful and striking composition.
Georg Scholz - Badische Kleinstadt Bei Tage

Georg Scholz - Badische Kleinstadt Bei Tage

Original 1923


Gross Price
Lot number: 11
Georg Scholz (1890-1945) Badische Kleinstadt bei Tage signed and dated 'G. Scholz. 1922-23.' (lower left); signed, dated and inscribed 'Badische Kleinstadt bei Tage Georg Scholz Grötzingen Dezember 1922 - Januar 1923.' (on the artist's label) oil on board 39¼ x 29¼ in. (99.7 x 74.3 cm.) Painted in December 1922 - January 1923
Special Notice

H. Kahnheimer, Frankfurt, by whom acquired directly from the artist in the 1920s, and thence by descent to the present owner.
Pre-Lot Text
H. Curjel, 'Zur Entwicklung des Malers Georg Scholz', in Das Kunstblatt, vol. 7, October 1923, p. 256 (details illustrated pp. 260-261). C. Einstein & P. Westheim, eds., Europa Almanach, vol. I, Potsdam, 1925, p. 54 (detail illustrated). Erstes Kunstheft der Juryfreien, Berlin, 1927, p. 57 (illustrated). Exh. cat., Georg Scholz: ein Beitrag zur Diskussion realistischer Kunst, Karlsruhe, 1975, no. V 7, pp. 92-94. Exh. cat., Realistische Kunst der 20er Jahre in Karlsruhe, Karlsruhe, 1980, no. 151 (illustrated fig. 33). Exh. cat., Kunst in Karlsruhe 1900-1950, Karlsruhe, 1981 (illustrated p. 53). M. Angermeyer-Deubner, Neue Sachlichkeit und Verismus in Karlsruhe 1920-1933, Karlsruhe, 1988, p. 124 (illustrated fig. 110, p. 245). Exh. cat., Neue Sachlichkeit, Magischer Realismus, Bielefeld, 1990, p. 36 (illustrated). E. Grill, 'Todesursache Kleinstadt: Nach der Betrachtung des Bildes "Kleinstadt bei Tag (1921)" von Georg Scholz', in Allmende, vols. 32-33, Zurich, 1992, pp. 93-97. S. Michalski, Neue Sachlichkeit, Cologne, 1992 p. 9 (illustrated; with incorrect description). M. Koch, 'Neue Sachlichkeit', in Weltkunst, vol. 64, no. 22, 1994, p. 3219 (illustrated). M. Klant, Bildende Kunst: Sehen, Verstehen, Gestalten 3, Hannover, 1995, p. 21 (illustrated; with incorrect description). M. Plümpe, Georg Scholz: Darstellung von Arbeit und Technik, Marburg, 1995, no. 30 (illustrated). D. Crockett, German Post-Expressionism: The Art of the Great Disorder, 1918-1924, University Park, Pennsylvania, 1999, p. 120. E. Pontiggia, La Nuova oggettività e altre cose: Il mondo di Emilio Bertonati, Milan, 2000, p. 66 (illustrated; dated '1924' and titled 'Paesaggio presso Berghausen'). G. Presler, 'Stellung nehmen zur Gegenwart', in Art, no. 8, 2001, p. 46 (illustrated). F.H. Sternfeld, Georg Scholz (1890-1945): Monographie und Werkverzeichnis, Cologne, 2003, no. 38, p. 370 (illustrated p. 480).
Karlsruhe, Große Deutsche Kunstausstellung, May - October 1923 Mannheim, Kunsthaus, Georg Scholz, Gemälde, Graphik, Aquarelle, 1924. Berlin, Landes-Ausstellungsgebäude am Lehrter Bahnhof, Juryfreie Kunstschau, 1924 no. 1339 (illustrated). Mannheim, Städtische Kunsthalle, Neue Sachlichkeit: Deutsche Malerei seit Expressionismus, June - September 1925, no. 101; this exhibition later travelled to Chemnitz, Städtisches Museum Kunsthütte, December 1925 - January 1926, no. 126. Essen, Museum Folkwang, Die Malerei nach dem Kriege : Ausstellung der Maler Beckmann, Chirico, Davringhausen, Derain, Dix, Gross, Hofer, Kanoldt, Kretzschmar, Mense, Scholz und Schrimpf, December 1926, no. 63. Berlin, Landes-Ausstellungsgebäude am Lehrter Bahnhof, Juryfreie Kunstschau Berlin, 1927. Berlin, Berlinische Galerie, Stationen der Moderne, September 1988 - January 1989, no. 6/20 (illustrated p. 233' dated '1922' and titled 'Kleinstadt bei Tag'). Karlsruhe, Staatliche Kunsthalle, Georg Scholz: Gemälde, Druckgraphik, October 1990 - January 1991, no. 16, pp. 34 & 69 (illustrated p. 36; titled 'Kleinstadt bei Tage'). Mannheim, Kunsthalle, Neue Sachlichkeit: Bilder auf der Suche nach der Wirklichkeit, figurative Malerei der zwanziger Jahre, September 1994 - January 1995, p. 89. On loan to the Kunstmuseum Basel, 2009-2015.
Georg Scholz - „exotische Prinzessin“

Georg Scholz - „exotische Prinzessin“

Original 1919


Net Price
Lot number: 33
Lot 33
Georg Scholz
Wolfenbüttel 1890 – 1945 Waldkirch
1919. Oil and gilt stucco relief on wood, mounted in original artist's frame.
59 x 49,3 cm (23 ¼ x 19 ⅜ in.)
Signed and dated in pen and India ink on the reverse: Georg Scholz, 1919. Titled and signed in pencil on the stretcher: \“Exotische Prinzessin\” Georg Scholz.
Sternfeld 22. -
EUR 250.000 – 350.000
US $ 324,000 – 453,000
Provenance: Dr. Theodor Kiefer, Kaiserslautern (acquired from the artist) / On loan to the Pfalzgalerie Kaiserslautern (1975-1996) / Private collection, Northern Germany
Exhibitions: Georg Scholz. Ein Beitrag zur Diskussion realistischer Kunst. Karlsruhe, Badischer Kunstverein, 1975, cat. no. 28, full-page illustration p. 53 / Georg Scholz 1890-1945. Malerei, Zeichnung, Druckgraphik. Waldkirch, Georg Scholz Haus, 1990, full-page colour illustration p. 43
Subject to change - Please refer to our conditions of sale.
Georg Scholz - Deutsche Kleinstadt Bei Tage

Georg Scholz - Deutsche Kleinstadt Bei Tage

Original 1922


Gross Price
Lot number: 201
Georg Scholz (1890-1945) Deutsche Kleinstadt bei Tage signed and dated 'G.Scholz 1922' (lower left) gouache and watercolour on paper image: 15¼ x 11¾ in. (38.9 x 30 cm.) sheet: 20 7/8 x 16 3/8 in. (52.9 x 41.6 cm.) Executed in 1922
Willi Kahnheimer, Berlin until 1935 & London thereafter, by whom acquired in the 1920s-1930s, and thence by descent to the present owner.
F.H. Sternfeld, Georg Scholz 1890-1945, Monographie und Werkverzeichnis, Frankfurt, 2004, no. 234, p. 404 (illustrated p. 504; erroneously dated '1923').
Kleinstadt bei Tag (Small Town by Day) is one of a series of small town caricatures that Georg Scholz produced between 1919 and 1923 in which under the guise of a clean, clear-cut and objective style of painting, he mocked the bourgeois ideal of the small German town and the pleasures and orderliness of life therein.

On his return to Germany from the Front at the end of the First World War, Scholz, tired and hungry had attempted to buy something to eat for himself and his family from a farmer living in such a community. The heartlessness of the farmer, who in response to Scholz's request had pointed the artist in the direction of his compost heap, clearly rankled, and led ultimately to the creation of Scholz's most famous work, his Industriebauern of 1920. This work in turn, was followed by a number of paintings directly critical of the selfishness and petty-minded values of the petit-bourgeois and other small-town inhabitants. Deutsche Kleinstadt bei Tag is a fully-worked watercolour study for an extremely similar oil painting of the same name that serves as a companion piece to another painting on the subject entitled Deutsche Kleinstadt bei Nacht (Sternfeld 38; Herbert Kahnheimer collection) and revealing all the evils of such a small town that emerge under the cover of darkness.

Depicting the apparently ordered, model-train-set-like world of a small town in the clear light of day, something of the sinister and criminal events taking place by night, is also clearly visible in this work. From the overt enjoyment that the fat butcher appears to take in his work to the courteous visit of the local undertaker or the old grandma hurrying to the outhouse, something too is clearly rotten in this apparently model village.
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