100
Richard Ziegler
Liegende, 1928.
Pastel
Estimate:
€ 1,000 / $ 1,140 Sold:
€ 938 / $ 1,069 (incl. surcharge)
100
Richard Ziegler
Liegende, 1928.
Pastel
Estimate:
€ 1,000 / $ 1,140 Sold:
€ 938 / $ 1,069 (incl. surcharge)
Liegende. 1928.
Pastel over brown India ink drawing.
Signed lower right. With number "1928/182 lower left. With estate stamp on verso of backing cardboard, there signed by artist's daughter. On delicate laid paper, firmly mounted to backing. 28,8 x 40,5 cm (11,3 x 15,9 in), size of sheet. Backing paper: 46 x 59,5 cm (18,1 x 23,4 in).
PROVENANCE: From artist's estate.
Even though Richard Ziegler had already begun painting in his childhood, it was not before he was 28 that he entirely turned to visual arts. Over the following years he made book illustrations, woodcuts, etchings and oil paintings, he traveled to Switzerland and Italy. In 1925 he settled in Berlin as a freelance artist, where he made both portraits as well as depictions of life in Berlin, strictly complying with New Objectivity. In his very own manner he also integrated elements of Expressionism. Feather, pen and brush were not employed as weapons against society, neither do they render homage to any specific ideals, they merely want to reveal reality from an angle of human solicitousness, fascination and curiosity. [DB]
Pastel over brown India ink drawing.
Signed lower right. With number "1928/182 lower left. With estate stamp on verso of backing cardboard, there signed by artist's daughter. On delicate laid paper, firmly mounted to backing. 28,8 x 40,5 cm (11,3 x 15,9 in), size of sheet. Backing paper: 46 x 59,5 cm (18,1 x 23,4 in).
PROVENANCE: From artist's estate.
Even though Richard Ziegler had already begun painting in his childhood, it was not before he was 28 that he entirely turned to visual arts. Over the following years he made book illustrations, woodcuts, etchings and oil paintings, he traveled to Switzerland and Italy. In 1925 he settled in Berlin as a freelance artist, where he made both portraits as well as depictions of life in Berlin, strictly complying with New Objectivity. In his very own manner he also integrated elements of Expressionism. Feather, pen and brush were not employed as weapons against society, neither do they render homage to any specific ideals, they merely want to reveal reality from an angle of human solicitousness, fascination and curiosity. [DB]
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