Teufel. 1904.
Bronze with dark brown patina.
With relief monogram in ligature in left of base. Inscribed: "Modelliert v. Th.Th. Heine" in rear of base. Copy from an edition of unknown print run. With base: 40,8 x 18,5 x 22,4 cm (16 x 7,2 x 8,8 in).

Excellent cast in mint condition.

PROVENANCE: Private collection Southern Germany (in family possession for ca. 80 years).

EXHIBITION: Münchner Secession, Munich 1904, cat. no. 196.
Deutscher Künstlerbund, Berlin 1905, no. 245.
Brakls Moderne Kunsthandlung, Munich 1905.
Berliner Secession, Berlin 1911, no. 312.
XIII. Ausstellungen der Münchner Neuen Secession, Munich 1927, no. 451.
Gedächtnisausstellung Thomas Theodor Heine, Herzog Anton Ulrich-Museum, Brunswick, no. 210.
Deutsche Bildhauer 1900-1933, Bukarest 1976, no. 55.
Jugendstil, Palais des Beaux Arts, Brussels 1977, cat. no. 170 with illu. p. 115.
Die Prinzregentenzeit, Münchner Stadtmuseum, Munich 1988, cat. no. 6.2.3.13a with illu. p. 449.
Art Nouveau. Jugendstil, Tokyo, no. 38.
Paradis perdus. L'Europe symboliste, Montreal 1995, no. 151.
Thomas Theodor Heine. Der Biss des Simplicissimus, Galerie im Lenbachhaus, München/Bröhan-Museum, Berlin, 2000/2001.
(Each different copy).

LITERATURE: Hermann Esswein, Thomas Theodor Heine (Moderne Illustratoren 1), Munich/Leipzig o.F. (1904), p. 49.
Wilhelm Michel, Das Teuflische und das Groteske in der Kunst, Munich 1911, pp. 91f with illu. 78.
Armin Trübenbach, Thomas Theodor Heine. Leben und Werk in Hinblick auf sein karikaturistisches Schaffen und publizistisches Wollen (Dissertation), Berlin 1956, p. 26.
Thomas Raff, Helmut Friedel (publisher), Heines Plastiken Teufel und Engel, in: Thomas Theodor Heine. Der Biss des Simplicissimus. Das künstlerische Werk, vol. 1, Munich 2000, illu. 286 (copy from collection of Lenbachhaus Munich).

Thomas Theodor Heine's name is nowadays associated primarily with the magazine 'Simplicissimus', which the artist shaped to a great extent with his caricatures. Heine's talent for drawing was evident while he was still young and his cartoons of teachers caused him to be expelled from school. In 1884 he began to study painting at the Düsseldorf Academy under Eduard von Gebhardt and Peter Janssen. The paintings Thomas Theodor Heine did while at the Academy reveal a stylistic commitment to Impressionism. Heine moved to Munich in 1889. When Albert Langen founded a publishing house in Paris in 1893, Heine stopped working for 'Die Fliegenden Blätter'. Two years later he became a co-founder of 'Simplicissimus' and was the chief draughtsman employed by the magazine. Thomas Theodor Heine also illustrated books (including Hugo von Hofmannsthal's 'Der Kaiser and die Hexe') and worked on books for 'Die Insel' magazine. He illustrated Thomas Mann's 'Wälsungenblut'. Today, however, Heine's illustrations take second place to his commercial graphics although little remains of what was a comprehensive œuvre. Heine's supreme achievement was poster design, at that time a new field of advertising. His '11 Scharfrichter' ['11 Executioners'] is only one superlative example, which ranks with the work of a Toulouse-Lautrec.

In 1922 Thomas Theodor Heine was appointed a regular member of the Prussian Academy of Art in Berlin. He subsequently showed drawings at major exhibitions (Internationale Kunstausstellung, Dresden 1926, Mánes Exhibition, Prague 1934). In later years Heine again devoted himself more intensively to painting but much of this work was destroyed in bombing raids so that it is difficult nowadays to assess his qualities as a painter. Thomas Theodor Heine was a consummate draughtsman. Max Liebermann regarded Heine as 'the greatest German draughtsman' and Lovis Corinth believed Heine 'could do anything he set his mind to'. Heine's versatility and prolific output exerted a profound and lasting aesthetic influence on 'Simplicissimus'. During the second world war Thomas Theodor Heine fled via Prague to Oslo and ultimately Stockholm, where he continued to work productively and successfully until his death in 1948.