Lot 428
Video
Back side
428
Margarethe Moll
Stehende, 1929.
Bronze with dark brown patina
Estimate:
€ 20,000 / $ 22,000 Sold:
€ 63,500 / $ 69,850 (incl. surcharge)
Stehende. 1929.
Bronze with dark brown patina.
Signed and inscribed "e.a." on the plinth's rear. One of two artist proofs aside from a total of 8 further casts. Height: 62.5 cm (24.6 in).
• Lifetime cast.
• Margarethe Moll was the only German sculptress in the class of Henri Matisse in Paris.
• The artist made her first sculptures even before Käthe Kollwitz, Emy Roeder and Renée Sintenis.
• This sculpture reflects the influences of her encounters with artists such as Zadkine, Archipenko, Brancusi and Léger during her stay in Paris from 1920 to 1931.
• The Museum Wiesbaden shows the comprehensive exhibition "Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne“ from October 13, 2023 to February 18, 2024.
• Works by Margarethe Moll were also part of the exhibition "Die erste Generation. Bildhauerinnen der Berliner Moderne" at the Georg Kolbe Museum, Berlin (2018), as well as the traveling exhibition "Bildhauerinnen. Von Kollwitz bis Genzken" at, among others, the Städtischen Museen Heilbronn (2018/2019).
PROVENANCE: From the artist's estate.
Private collection Northern Germany.
EXHIBITION: Bildhauerinnen. Von Kollwitz bis Genzken, Städtische Museen Heilbronn, Gerhard-Marcks-Haus, Bremen and Museen Böttcherstraße, Bremen, November 2018 - August 2019, cat. no. 40 (diffferent copy).
Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne, Museum Wiesbaden, October 12, 2023 - February 18, 2024, p. 135, fig. 7 and p. 165, full-pahe color illu. (different copy).
LITERATURE: Werner Filmer, Marg Moll. Eine deutsche Bildhauerin 1884-1977, Bergisch Gladbach 2013, fig. p. 85.
Bronze with dark brown patina.
Signed and inscribed "e.a." on the plinth's rear. One of two artist proofs aside from a total of 8 further casts. Height: 62.5 cm (24.6 in).
• Lifetime cast.
• Margarethe Moll was the only German sculptress in the class of Henri Matisse in Paris.
• The artist made her first sculptures even before Käthe Kollwitz, Emy Roeder and Renée Sintenis.
• This sculpture reflects the influences of her encounters with artists such as Zadkine, Archipenko, Brancusi and Léger during her stay in Paris from 1920 to 1931.
• The Museum Wiesbaden shows the comprehensive exhibition "Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne“ from October 13, 2023 to February 18, 2024.
• Works by Margarethe Moll were also part of the exhibition "Die erste Generation. Bildhauerinnen der Berliner Moderne" at the Georg Kolbe Museum, Berlin (2018), as well as the traveling exhibition "Bildhauerinnen. Von Kollwitz bis Genzken" at, among others, the Städtischen Museen Heilbronn (2018/2019).
PROVENANCE: From the artist's estate.
Private collection Northern Germany.
EXHIBITION: Bildhauerinnen. Von Kollwitz bis Genzken, Städtische Museen Heilbronn, Gerhard-Marcks-Haus, Bremen and Museen Böttcherstraße, Bremen, November 2018 - August 2019, cat. no. 40 (diffferent copy).
Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne, Museum Wiesbaden, October 12, 2023 - February 18, 2024, p. 135, fig. 7 and p. 165, full-pahe color illu. (different copy).
LITERATURE: Werner Filmer, Marg Moll. Eine deutsche Bildhauerin 1884-1977, Bergisch Gladbach 2013, fig. p. 85.
Marg Moll is one of the few first-generation sculptresses that immediately gained a foothold in the art world. However, Marg Moll first trained as a painter with Lovis Corinth and her future husband Oskar Moll and she only turned to sculpting in 1905. As early as in the 1920s, Marg Moll regularly exhibited in Germany and abroad. Along with Alexander Archipenko and Constantin Brânçusi, she was one of the most cutting edge artists. As a result of an exhibition at the Neue Secession Berlin in 1915/16, she signed contracts with renowned art dealers such as Wolfgang Gurlitt and Alfred Flechtheim in Berlin or with Galerie Arnold in Breslau and Hans Goltz in Munich.
On a study program in Paris in 1907/08, she met Henri Matisse and was the only German female sculpting student at his Académie, where she developed a cubist style that would make her a pioneer of abstract sculpting. Moll's sculptures focus on the human body, which she modulates into simple volumes. In doing so, she develops a summary, cubist-like formal language that unfolds a subtle rhythm in the play of light. A highlight of her artistic career was an exhibition together with her husband, "Tableaux par Oscar Moll. Sculptures par Marg Moll" at Galerie Georges Petit in Paris in 1932. After the National Socialists had risen to power, Marg Moll was defamed as a “degenerate” artist. Her "Dancer" was not only shown in the "Degenerate Art" exhibition, but was also used as a prop in the National Socialist propaganda film "Venus vor Gericht"(Venus on Trial, 1941). After the war, it was this very sculpture that helped the forgotten artist to her deserved rediscovery and acknowledgment. It was found along with 16 other "degenerate" sculptures in a blocked basement during construction work on the Berlin subway. With this spectacular find, the artist is now perceived in a new way. Her works are shown in exhibitions at, among others, the Georg Kolbe Museum, Berlin and the Kunsthalle Mannheim. The Wiesbaden Museum currently shows the exhibition “Gemischtes Doppel. Die Molls und die Purrmanns" (Mixed Doubles. The Molls and the Purrmanns). [SM]
On a study program in Paris in 1907/08, she met Henri Matisse and was the only German female sculpting student at his Académie, where she developed a cubist style that would make her a pioneer of abstract sculpting. Moll's sculptures focus on the human body, which she modulates into simple volumes. In doing so, she develops a summary, cubist-like formal language that unfolds a subtle rhythm in the play of light. A highlight of her artistic career was an exhibition together with her husband, "Tableaux par Oscar Moll. Sculptures par Marg Moll" at Galerie Georges Petit in Paris in 1932. After the National Socialists had risen to power, Marg Moll was defamed as a “degenerate” artist. Her "Dancer" was not only shown in the "Degenerate Art" exhibition, but was also used as a prop in the National Socialist propaganda film "Venus vor Gericht"(Venus on Trial, 1941). After the war, it was this very sculpture that helped the forgotten artist to her deserved rediscovery and acknowledgment. It was found along with 16 other "degenerate" sculptures in a blocked basement during construction work on the Berlin subway. With this spectacular find, the artist is now perceived in a new way. Her works are shown in exhibitions at, among others, the Georg Kolbe Museum, Berlin and the Kunsthalle Mannheim. The Wiesbaden Museum currently shows the exhibition “Gemischtes Doppel. Die Molls und die Purrmanns" (Mixed Doubles. The Molls and the Purrmanns). [SM]
428
Margarethe Moll
Stehende, 1929.
Bronze with dark brown patina
Estimate:
€ 20,000 / $ 22,000 Sold:
€ 63,500 / $ 69,850 (incl. surcharge)