As of May 15, 2024

Ernst Ludwig Kirchner

Lot 406
Passantenknäuel und Elektrische, 1914
Line etching

9.8 x 7.9 in (24.9 x 20.0 cm)

Lot 406
Passantenknäuel und Elektrische, 1914
Line etching
9.8 x 7.9 in (24.9 x 20.0 cm)

Estimate:
€ 25,000 - 35,000
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
Line etching. Signed. One of only five known copies. On wove paper. 24.9 x 20 cm. Sheet: 40,4 x 34,7 cm.
Kirchner also used the motif for a drawing (sketchbook 40, l. 8) and a painting "Leipziger Straße mit elektrischer Bahn" (1914, Gordon 368, Museum Folkwang, Essen). [CH].
- One of only five known copies, one of which is museum-owned: Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles. - The motif is closely related to Kirchner's most famous group of works "Berlin Street Scenes" (1913-1915) and can also be found in a very similar form in his painting "Leipziger Straße mit elektrischer Bahn" (1914, Museum Folkwang, Essen). - In the past 30 years, only two different copies of this rare etching have been offered on the international auction market (source: artprice).
LITERATURE: Gustav Schiefler, Die Graphik Ernst Ludwig Kirchners, vol. 1 (until 1916), Berlin-Charlottenburg 1926, no. R 182. Annemarie and Wolf-Dieter Dube, E. L. Kirchner. Das graphische Werk, Munich 1967, no. R 183. Günther Gercken, Ernst Ludwig Kirchner. Kritisches Werkverzeichnis der Druckgraphik, vol. 3. (1912-1916), Bern 2015, no. 656. ------ Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 262f., SHG no. 377 (illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 339, SHG no. 761 (illu.).
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)
Hermann Gerlinger Collection, Würzburg (with the collector's stamp Lugt 6032)
In October 1911, Ernst Ludwig Kirchner moved from the then rather provincial town of Dresden to Berlin, a metropolis with all the freedoms and liberties of a big city. Kirchner, a man of "seismographic sensitivity" (Buchheim 1956), must have felt the pulse of the city as a constant assault on his senses. He was attracted by the erotic flair, the accelerated tempo of constantly changing impressions. He sketched his way through the panorama: art dealers, critics and cocottes, bohemians and violin-playing beggars, journalists and gigolos, the big businessman, the small hustler and, again and again, women. A little romantic, a little sentimental, but at the same time a tough Venus, the cocotte is undoubtedly the epitome of the "asphalt jungle" at the end of the Wilhelmine era. She was one of the amusements on offer in the streets and squares of Berlin, a gaudy flower in the shopping basket of the circulating money business. And her "doings" are among the popular motifs of the "Berlin Street Scenes" created in the years 1913 to 1915. In addition to numerous drawings, watercolors, pastels and paintings, it is above all the etchings in which the artist depicted the hectic nightlife of the metropolis on the eve of the First World War. Kirchner captured the nocturnal hustle and bustle on Leipziger Strasse, a glamorous Berlin boulevard, in greater detail than in other paintings with similar motifs. Streetcars, street lamps, neon signs and pedestrians under arcades lined with stores convey a sense of the jittery pace of a modern city. On the left, in the foreground, we see two dressed up ladies - in Kirchner's street scenes these are usually cocottes - and two elegant men in tall hats following them. In the middle, a fully occupied streetcar of line 88 pushes forward between the two classicist guardhouses on Leipziger Platz: everything happens simultaneously and demands the viewer's immediate attention. [MvL]
In good condition. Broad margin with isolated faint handling creases and pressure marks. Top edge minimally crimped in places and with two tiny tears (each approx. 3 mm). In the outermost areas of the margin here and there minimally unfresh.
Lot Details
Line etching. Signed. One of only five known copies. On wove paper. 24.9 x 20 cm. Sheet: 40,4 x 34,7 cm.
Kirchner also used the motif for a drawing (sketchbook 40, l. 8) and a painting "Leipziger Straße mit elektrischer Bahn" (1914, Gordon 368, Museum Folkwang, Essen). [CH].
- One of only five known copies, one of which is museum-owned: Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles. - The motif is closely related to Kirchner's most famous group of works "Berlin Street Scenes" (1913-1915) and can also be found in a very similar form in his painting "Leipziger Straße mit elektrischer Bahn" (1914, Museum Folkwang, Essen). - In the past 30 years, only two different copies of this rare etching have been offered on the international auction market (source: artprice).
LITERATURE: Gustav Schiefler, Die Graphik Ernst Ludwig Kirchners, vol. 1 (until 1916), Berlin-Charlottenburg 1926, no. R 182. Annemarie and Wolf-Dieter Dube, E. L. Kirchner. Das graphische Werk, Munich 1967, no. R 183. Günther Gercken, Ernst Ludwig Kirchner. Kritisches Werkverzeichnis der Druckgraphik, vol. 3. (1912-1916), Bern 2015, no. 656. ------ Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 262f., SHG no. 377 (illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 339, SHG no. 761 (illu.).
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)
Hermann Gerlinger Collection, Würzburg (with the collector's stamp Lugt 6032)
In October 1911, Ernst Ludwig Kirchner moved from the then rather provincial town of Dresden to Berlin, a metropolis with all the freedoms and liberties of a big city. Kirchner, a man of "seismographic sensitivity" (Buchheim 1956), must have felt the pulse of the city as a constant assault on his senses. He was attracted by the erotic flair, the accelerated tempo of constantly changing impressions. He sketched his way through the panorama: art dealers, critics and cocottes, bohemians and violin-playing beggars, journalists and gigolos, the big businessman, the small hustler and, again and again, women. A little romantic, a little sentimental, but at the same time a tough Venus, the cocotte is undoubtedly the epitome of the "asphalt jungle" at the end of the Wilhelmine era. She was one of the amusements on offer in the streets and squares of Berlin, a gaudy flower in the shopping basket of the circulating money business. And her "doings" are among the popular motifs of the "Berlin Street Scenes" created in the years 1913 to 1915. In addition to numerous drawings, watercolors, pastels and paintings, it is above all the etchings in which the artist depicted the hectic nightlife of the metropolis on the eve of the First World War. Kirchner captured the nocturnal hustle and bustle on Leipziger Strasse, a glamorous Berlin boulevard, in greater detail than in other paintings with similar motifs. Streetcars, street lamps, neon signs and pedestrians under arcades lined with stores convey a sense of the jittery pace of a modern city. On the left, in the foreground, we see two dressed up ladies - in Kirchner's street scenes these are usually cocottes - and two elegant men in tall hats following them. In the middle, a fully occupied streetcar of line 88 pushes forward between the two classicist guardhouses on Leipziger Platz: everything happens simultaneously and demands the viewer's immediate attention. [MvL]
In good condition. Broad margin with isolated faint handling creases and pressure marks. Top edge minimally crimped in places and with two tiny tears (each approx. 3 mm). In the outermost areas of the margin here and there minimally unfresh.

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