Wilhelm Lehmbruck

Conceived circa 1913-14

Galerie Nierendorf, Berlin (acquired by 1934)
Leopold Reidemeister, Berlin (acquired from the above)
Reidemeister Collection, Oberwil, Switzerland (by descent from the above)
Acquired by the present owner circa 2000

Dietrich Schubert, Wilhelm Lehmbruck, Catalogue raisonné der Skulpturen,1898-1919, Worms, 2001, no. 76/77 I 3, illustrated p. 289

Attractive patinated terracotta and overall sound structure. There are some very small flecks of abrasion in the surface to the figure's right shoulder and a rectangular 2 by 3cm. area where the patina has been slightly grazed by the removal of a label. There is a 1 by 0.4cm. area of light retouching to the bottom centre of the lower edge at the front of the bust due to a loose fragment in the surface. Otherwise, this work is in very good condition.
"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."

Conceived in Paris in 1913-14, Kopf der Schreitenden (Mädchenkopf sich wendend) marks a pivotal point in Lehmbruck's œuvre. The present work brilliantly defines the attenuation and elongation that was to become Lehmbruck's defining sculptural characteristic. Lehmbruck's sensitive use of material creates a deep unity between the contents and the moulding. The figure with her elegantly elongated neck supporting her head slightly turned to one side conveys a sense of innocence and pensiveness whilst simultaneously emanating a delicate sensuality.

After studying at the Dusseldorf Academy of Art, Lehmbruck moved to Paris in 1910, where he lived at 105, rue de Vagiraud. There he frequented the Café du Dôme, where he met sculptors such as Brancusi, Archipenko and Modigliani. With its diversity of stimulation and its atmosphere pulsating with ever new artistic ideals, Paris was the ideal arena for Lehmbruck to develop his style. Having been an admirer of Rodin's work since 1904 and meeting Aristide Maillol in 1910, the present work is a fine example of how Lehmbruck received stimuli from both artists. Dietrich Schubert noted on Lehmbruck's fascination with Maillol: 'Like Maillol, Lehmbruck became fascinated with the introvert qualities of a figure whereby he concentrated on portraying his models in a composed, sensual state being at one with their spiritual centre' (Dietrich Schubert, Die Kunst Lehmbrucks, Worms, 1990, p. 118, translated from German). Formally less voluptuous than a Maillol (fig. 1), yet rounded and sensual and expressively more delicate than a Rodin, Kopf der Schreitenden (Mädchenkopf sich wendend) is intensely quiet and pensive, if not melancholic.

In the present work, Lehmbruck moves towards an internalization of expression whereby his depiction of elongated limbs becomes a symbol of the spiritual. The concentration on the head further enhances the smooth contours whereby the model's long slender neck takes away the sculpted quality of the work and gives the impression of a diaphanous grace.

Fig. 1, Aristide Maillol, Tête de Port-Vendres, bronze, 1923, Dina Vierny, Paris