Franz von Stuck

Overall the condition of the bronze is good with wear and some minor dirt to the patina consistent with age. There are a few small spots of white paint to the surface. There are a few faint black marks to the left of the face. A metal mount is fixed to the back for hanging the relief.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Stuck's high relief of Ludwig van Beethoven is amongst the most arresting depictions of the romantic composer. The veneration of Beethoven amongst the artists of the fin-de-siècle reached its apex with the exhibition of the Vienna Secession in 1902 (the 75^th anniversary of his death), which was entirely dedicated to the great composer.

Franz von Stuck first created his polychrome plaster Portrait of Beethoven in 1900. Of the few examples known, one is in the Musée d'Orsay in Paris. The model was also produced in a small bronze edition of which the present model is a fine example.
The contrast between Beethoven's three-dimensional head and the surrounding plane from which it emerges is indebted to Arnold Böcklin's powerful polychrome papier mâché Shield with the Head of Medusa (sold in these rooms on 14 November 2007, lot 253, to the Musée d'Orsay), the first example of which dates to 1885. The motif underscores the portrait's mask-like character. Stuck actually based the portrait upon the life-mask of the composer which was taken by Franz Klein in 1812.

RELATED LITERATURE
Masques de Carpeaux à Picasso, ex. cat. Musée d'Orsay, Paris, 2008, pp. 148-152 & 240, cat. 140