As of May 15, 2024

Ernst Ludwig Kirchner

Lot 408
Straßenszene (Passanten auf der Straße), 1928
Pen and India ink drawing

13.6 x 10.4 in (34.5 x 26.5 cm)

Lot 408
Straßenszene (Passanten auf der Straße), 1928
Pen and India ink drawing
13.6 x 10.4 in (34.5 x 26.5 cm)

Estimate:
€ 10,000 - 15,000
Auction: 21 days

Ketterer Kunst GmbH & Co KG

City: Munich
Auction: Jun 08, 2024
Auction number: 554
Auction name: Modern Art Day Sale

Lot Details
Ink brush and Pen and India ink drawing over pencil. With the estate stamp of the Kunstmuseum Basel (Lugt 1570 b) and the hand-written registration number "F Da / Bb 10" on the reverse. On smooth off-white paper. 34.5 x 26.5 cm. , almost the full sheet.
With a pencil sketch "Zwei Frauen mit Hut", around 1910, on the reverse. [CH].
- A densely rendered drawing showing a multi-figure composition from a fascinating perspective. - Painted on both sides: with a much earlier pencil sketch of two women (around 1910) on the reverse. - Inspired by a trip he made to Germany in 1926, E. L. Kirchner revisited the motif of his famous "Berlin street scenes" from 1913/14. - At this time, Kirchner began to regard form as completely two-dimensional: Pictorial elements overlap and permeate one another, separate representational elements appear in a unified form. - During these years, he also created similar "street scenes" in oil, among them "Straßenbild vor dem Friseurladen" (Galerie Neue Meister, Staatliche Kunstsammlungen, Dresden), "Straße mit Passanten bei Nachtbeleuchtung" (Museum Frieder Burda, Baden-Baden) and "Straßenszene" (Milwaukee Art Museum).
This work is documented in the Ernst Ludwig Kirchner Archive, Wichtrach/Bern.
LITERATURE: Claus von Manteuffel, Hans Bollinger, Wolfgang Henze and Roman Norbert Ketterer (ed), Ernst Ludwig Kirchner. Zeichnungen und Pastelle, Stuttgart/Zürich 1979, cat. no. 87 (full-page illu. in black and white). Anton Henze, E. L. Kirchner. Leben und Werk, Stuttgart/Zürich 1980. Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 280f., SHG no. 412 (illu., p. 280). Ulrich Pfarr, Reiz, Kälte und Entfesselung. Strassenszenen, in: Ernst Ludwig Kirchner. Leben ist Bewegung, Galerie der Stadt Aschaffenburg, Landesmuseum Oldenburg, 1999/2000, pp. 46-61 (illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 360, SHG no. 802 (illu., p. 361).
Ernst Ludwig Kirchner, Kunstkabinett Klihm, Munich, September 16 - November 24, 1969, cat. no. 59 (illu.). Ernst Ludwig Kirchner. Die Deutschlandreise 1925/26, Kunstsammlungen Chemnitz, May 13 - August 5, 2007, cat. no. 89 (full-page illu., p. 257). Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022)
Artist's estate (Davos 1938, Kunstmuseum Basel 1946). Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart (1954). Kunstkabinett Klihm, Munich (until 1970). Private collection. Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032)
In 1925/26, E. L. Kirchner traveled to Germany for the first time after many years. In the winter of 1925/26, Kirchner visited Frankfurt am Main, Chemnitz and Dresden and eventually Berlin, before returning to Davos for a while before setting off on another trip to Dresden in June 1926. During his stay, Kirchner saw the comprehensive collection of his friend and patron Carl Hagemann for the first time, visited the Städel Museum in Frankfurt, the "Galerie der Moderne" at the Kunstsammlungen Chemnitz, the most important art museums in Berlin, the "Internationale Kunstausstellung" in Dresden and got to know the dancers Mary Wigman and Gret Palucca, and fell in love with modern expressive dance. After years of living in seclusion in Switzerland, the artist now breathed the once familiar city air again and gathered many new impressions, which he expressed in drawings, prints and paintings over the months and years that followed. "The trips were very enlightening for me" (E. L. Kirchner, 26.9.1926, in: Lothar Grisebach (ed.), E. L. Kirchner's Davoser Tagebuch, Stuttgart 1997, no. 185, p. 108). Kirchner wrote, not quite veraciously, that he had received "no artistic inspiration at all" from the trip, although this is easy to refute in many respects. After 1926, he created both a few cityscapes inspired by his so-called " Germany journey" as well as some street scenes, which, of course, revisit the subject of the famous street scenes from 1913/14, in terms of style, however, they represent an entirely different, new creative phase: Although they are characterized by great vibrancy and dynamics, the hectic pace and immediacy of the fleeting moment typical of the Berlin years has given way to a more elaborate composition, an almost architectural construction and ornamental arrangement of the surface: in the present drawing, too, the pictorial elements overlap and permeate one another, geometricall abstract forms, swirls, hatchings, gaps and dark areas are placed closely together to form a common shape. The pedestrians on the sidewalk in the foreground are designed as flat, almost ornamental shapes and forms. Globe-shaped lamps are lined up in the background, steam rises and the architecture provides stability to the composition. Kirchner created a metropolitan moment that, despite the inherent dynamic of strangers rushing past each other, brings Ernst Ludwig Kirchner's masterful draftsmanship to life in its sophisticated, painterly construction. [CH]
Detailed street scene from the Davos years in good condition. Isolated small creases in the margins. Isolated tiny foxed spots. Upper center, above the woman's head and upper right with small discolorations and brown stains. The lower right corner of the sheet with a small stain or brownish discoloration in the tip. [EH]
Lot Details
Ink brush and Pen and India ink drawing over pencil. With the estate stamp of the Kunstmuseum Basel (Lugt 1570 b) and the hand-written registration number "F Da / Bb 10" on the reverse. On smooth off-white paper. 34.5 x 26.5 cm. , almost the full sheet.
With a pencil sketch "Zwei Frauen mit Hut", around 1910, on the reverse. [CH].
- A densely rendered drawing showing a multi-figure composition from a fascinating perspective. - Painted on both sides: with a much earlier pencil sketch of two women (around 1910) on the reverse. - Inspired by a trip he made to Germany in 1926, E. L. Kirchner revisited the motif of his famous "Berlin street scenes" from 1913/14. - At this time, Kirchner began to regard form as completely two-dimensional: Pictorial elements overlap and permeate one another, separate representational elements appear in a unified form. - During these years, he also created similar "street scenes" in oil, among them "Straßenbild vor dem Friseurladen" (Galerie Neue Meister, Staatliche Kunstsammlungen, Dresden), "Straße mit Passanten bei Nachtbeleuchtung" (Museum Frieder Burda, Baden-Baden) and "Straßenszene" (Milwaukee Art Museum).
This work is documented in the Ernst Ludwig Kirchner Archive, Wichtrach/Bern.
LITERATURE: Claus von Manteuffel, Hans Bollinger, Wolfgang Henze and Roman Norbert Ketterer (ed), Ernst Ludwig Kirchner. Zeichnungen und Pastelle, Stuttgart/Zürich 1979, cat. no. 87 (full-page illu. in black and white). Anton Henze, E. L. Kirchner. Leben und Werk, Stuttgart/Zürich 1980. Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 280f., SHG no. 412 (illu., p. 280). Ulrich Pfarr, Reiz, Kälte und Entfesselung. Strassenszenen, in: Ernst Ludwig Kirchner. Leben ist Bewegung, Galerie der Stadt Aschaffenburg, Landesmuseum Oldenburg, 1999/2000, pp. 46-61 (illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 360, SHG no. 802 (illu., p. 361).
Ernst Ludwig Kirchner, Kunstkabinett Klihm, Munich, September 16 - November 24, 1969, cat. no. 59 (illu.). Ernst Ludwig Kirchner. Die Deutschlandreise 1925/26, Kunstsammlungen Chemnitz, May 13 - August 5, 2007, cat. no. 89 (full-page illu., p. 257). Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022)
Artist's estate (Davos 1938, Kunstmuseum Basel 1946). Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart (1954). Kunstkabinett Klihm, Munich (until 1970). Private collection. Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032)
In 1925/26, E. L. Kirchner traveled to Germany for the first time after many years. In the winter of 1925/26, Kirchner visited Frankfurt am Main, Chemnitz and Dresden and eventually Berlin, before returning to Davos for a while before setting off on another trip to Dresden in June 1926. During his stay, Kirchner saw the comprehensive collection of his friend and patron Carl Hagemann for the first time, visited the Städel Museum in Frankfurt, the "Galerie der Moderne" at the Kunstsammlungen Chemnitz, the most important art museums in Berlin, the "Internationale Kunstausstellung" in Dresden and got to know the dancers Mary Wigman and Gret Palucca, and fell in love with modern expressive dance. After years of living in seclusion in Switzerland, the artist now breathed the once familiar city air again and gathered many new impressions, which he expressed in drawings, prints and paintings over the months and years that followed. "The trips were very enlightening for me" (E. L. Kirchner, 26.9.1926, in: Lothar Grisebach (ed.), E. L. Kirchner's Davoser Tagebuch, Stuttgart 1997, no. 185, p. 108). Kirchner wrote, not quite veraciously, that he had received "no artistic inspiration at all" from the trip, although this is easy to refute in many respects. After 1926, he created both a few cityscapes inspired by his so-called " Germany journey" as well as some street scenes, which, of course, revisit the subject of the famous street scenes from 1913/14, in terms of style, however, they represent an entirely different, new creative phase: Although they are characterized by great vibrancy and dynamics, the hectic pace and immediacy of the fleeting moment typical of the Berlin years has given way to a more elaborate composition, an almost architectural construction and ornamental arrangement of the surface: in the present drawing, too, the pictorial elements overlap and permeate one another, geometricall abstract forms, swirls, hatchings, gaps and dark areas are placed closely together to form a common shape. The pedestrians on the sidewalk in the foreground are designed as flat, almost ornamental shapes and forms. Globe-shaped lamps are lined up in the background, steam rises and the architecture provides stability to the composition. Kirchner created a metropolitan moment that, despite the inherent dynamic of strangers rushing past each other, brings Ernst Ludwig Kirchner's masterful draftsmanship to life in its sophisticated, painterly construction. [CH]
Detailed street scene from the Davos years in good condition. Isolated small creases in the margins. Isolated tiny foxed spots. Upper center, above the woman's head and upper right with small discolorations and brown stains. The lower right corner of the sheet with a small stain or brownish discoloration in the tip. [EH]

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