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Trennlinie

Sale: 409 / Modern Art and Sidelines of the German Avantgarde, Dec. 06. 2013  
Lot: 335  
Barlach, Ernst 
Der Zweifler, 1930. 
Result (incl. 22% surcharge): 30,561 EUR / 42,174 $
Estimate: 30,000 EUR / 41,400 $  
Yes,
I'd like
to receive future offers:

Ernst Barlach


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Ernst Barlach - Der Zweifler  
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Lot: 335
Ernst Barlach
1870 Wedel/Holstein - 1938 Rostock
Der Zweifler. 1930.
Bronze with light brown glazing patina.
Schult 385. Laur 470. Verso with name as well as foundry mark "H. Noack Berlin". Presumably one of 27 unnumbered copies that have been cast posthumously since 1938. Laur mentions an overall edition of 46 copies. 51,5 x 27,5 x 21 cm (20,2 x 10,8 x 8,2 in).

Accomapnied by an expertise issued by Ernst Barlach licence administration, Ratzeburg, dated 30 October, 2013.

EXHIBITION: Ernst Barlach 1870 - 1938, Galerie Alex Vömel Düsseldorf, 1 - 31 October, 1951, cat. no. 20.
Ernst Barlach. Plastik Zeichnungen Druckgraphik, Städtische Galerie Munich, 7 August - 4 October, 1959, cat. no. 48.
Ernst Barlach. Plastik und Graphik, Galerie Valentien Stuttgart, October/November 1965, cat. no. 10.
Ernst Barlach. 1870-1970, Ministerium für Kultur der Deutschen Demokratischen Republik, Deutsche Akademie der Künste zu Berlin, January/February 1970, p. 28.
Ernst Barlach. Bronzeplastiken Unbekannte Zeichnungen aus dem Nachlaß in Güstrow, Akademie der Künste der DDR im Pretiosensaal des Dresdner Schlosses, 12 October - 13 November, 1977, cat. no. 26.
Ernst Barlach zum vierzigsten Todestag, Galerie Nierendorf Berlin, 13 September - 5 December, 1978, cat. no. 26 with illu.
Ernst Barlach zum fünfzigsten Todestag. Plastiken Zeichnungen Druckgraphiken, Galerie Nierendorf Berlin, 21 November, 1988 - 14 February, 1989, no. 165 with illu. on p. 67.
Ernst Barlach. Bildhauer der Moderne, Tophane-i Amire Kültür ve Sanat Merkezi Istanbul and Goethe-Institut Teutonia-Haus Istanbul 17 March - 30 April, 2006/Museum für Anatolische Zivilisation Ankara and Goethe-Institut Anakara, 9 May - 4 June, 2006, cat. p. 165 with illu. in colors.

LITERATURE: Carl Dietrich Carls, Ernst Barlach. Das plastische, graphische und dichterische Werk, Flensburg/Hamburg 1950, p. 129.
Gert von der Osten, Bildwerke in der Landesgalerie Hanover, Hanover 1957, no. 442.
Isa Lohmann-Siems, Gunhild Roggenbuck, Ernst Barlach Haus Hamburg, Stiftung Hermann F. Reemtsma, Plastiken, Handzeichnungen und Autographen, Hamburg 1977, no. 69, with illu on p. 31.
Elmar Jansen, Ernst Barlach. Werke und Werkentwürfe aus fünf Jahrzehnten, Akademie der Künste der DDR/Staatliche Museen zu Berlin (Ost), Berlin 1981, vol. 3, no. 78.
Evelyn Weiss, Gerhard Kolberg, Gemälde, Skulpturen, Environments vom Expressionismus bis zur Gegenwart. Inventory catalog Museum Ludwig Cologne, Cologne 1986, p. 21.
Ernst Barlach. Denkzeichen, Akademie der Künste der DDR/Kulturhistorisches Museum Rostock/Schleswig-Holsteinisches Landesmuseum Schloß Gottorf, Schleswig 1988/89, no. 62.
Cornelia Reiter et al, Kunst des 20. Jahrhunderts. Inventory catalog of Österreichische Galerie des 20. Jahrhunderts, Vienna 1993, p. 41.
Heinz Spielmann, Stiftung und Sammlung Rolf Horn, Schleswig 1995, no. 122.
Anita Beloubek-Hammer, Ernst Barlach. Plastische Meisterwerke, Leipzig 1996, pp. 119, 22f.
A. Bardon, Barlach und die Melancholie, in: Ernst Barlach. Artist of the North, Kunsthalle Rostock, Hamburg/Güstrow 1998, p. 308 and ibidem p. 221.
Ernst Barlach. Mehr als ich, Kunsthalle Kiel, Bielefeld 1998, p. 121.
H. Stockhaus, Ernst Barlach und der Geist seiner Zeit, in: Ernst Barlach. Artist of the North, Kunsthalle Rostock, Hamburg/Güstrow 1998, p. 26.
F. Carlo Schmid, "Also auch Herzenssache". Ernst Barlach als Druckgraphiker, Musée Charlier Bruxelles, Ernst Barlach Stiftung Güstrow, Brüssel/Güstrow 1999, p. 46.
Elisabeth Laur, Volker Probst, Ernst Barlachs Druckgraphik. Ein Forschungsprojekt der Ernst Barlach Stiftung Güstrow, in: Mitteilungen des Museumsverbandes Mecklenburg-Vorpommern e.V., 9th year 2000, p. 24.
Elisabeth Laur, Der Bildhauer als Buchkünstler, in: Anne Buschhoff, Ernst Barlach. Kaviar statt Brot, Kurt Reutti, Sammler und Stifter, Kunsthalle Bremen, Bremen 2001, p. 27.
Ernst Barlach. Wege und Wandlungen. Vom Jugenstil zum Expressionismus, Museumsberg Flensburg, Ribe Kunstmuseum, Ernst Barlach Stiftung Güstrow, Güstrow 2002, no. 26.
Ernst Barlach. Mystiker der Moderne, Ernst Barlach Gesellschaft Hamburg, Hauptkirche St. Katharinen, Hamburg 2003, p. 308.
Volker Probst, Ernst Barlach. Zwischen Himmel und Erde. Plastiken und Graphik, Schloss der pommerschen Herzöge Stettin, Stettin 2005, no. 15.
Ernst Barlach. Retrospektive, The National Museum of Modern Art, Kyoto/The University Art Museum, Tokyo/National University of Fine Arts and Music, Yamanashi Prefectural Museum of Art/Kofu, Kyoto 2006, no. 146.
Each different copy.

The Northern German sculptor and graphic artist Ernst Barlach began his professional education in Hamburg, where he joined the Gewerbeschule in 1888. He continued in 1891 at the Dresden Akademie where he continued his studies of sculpture and became Robert Diez' master pupil. Barlach's thorough academic training was supplemented by two sojourns in Paris in 1895 and 1897. His work was further influenced significantly by a trip to Russia in 1909. The powerful and folk-like style of his sculptures reflect the artists impressions of sturdy rugged farm life and Russian folk art. Barlach also produced graphic illustration cycles for his own plays during this period. The artist settled in Güstrow (Mecklenburg) in 1910. Barlach had his first exhibition at Paul Cassirer's gallery in Berlin in 1917 and was accepted as a full member of the Preußische Akademie der Künste in Berlin in 1919. In the following years Barlach made numerous woodcuts, for example the illustrations for Goethe's "Walpurgisnacht". His autobiography "Ein selbsterzähltes Leben" was published in 1928.

The Preußische Akademie der Künste organised a comprehensive exhibition of his sculptures and graphic works in 1930. The artist was awarded the order Pour la Mérite in 1933. Even though Barlach was still able to complete the "Fries der Lauschenden" for Hermann F. Reemtsma and designed a grave monument for Theodor Däubler in 1935, he was soon defamed by the National Socialists. His works were banned from all museums, churches and public spaces in 1936. Today Ernst Barlach is considered one of the most important sculptors of modern times. Outstanding examples of his Expressionist figures in wood and bronze can be seen in the cathedral in Güstrow, the church of St. Elisabeth Marburg and in the National Gallery in Berlin. [KD].

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