Fritz Klimsch

There is minor dirt and wear to the surface consistent with age. The patina of the bronze is consistent with the bronze having been outdoors for a period of time. The patina is somewhat dry and has greened in several areas, in particular to the top of the head, the arms at the back, and the hands. The patina has slightly flaked in a few areas, including the back and between the legs, and there are a few small areas of abrasion or scratching, notably to the legs at the back. There is particular wear to the patina to the proper left side of the face. There are a few further minor nicks and scratches. Otherwise the condition is good.
"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."

In his 1924 monograph on Fritz Klimsch the renowned art historian Wilhelm Bode celebrates the sculptor’s unique engagement with artistic tradition. Having gained the Rome Prize at the Berlin Academy in 1894, the young Klimsch travelled to Italy and later to Greece, which had a formative impact on his style and technical excellence.  While he revered classical sculpture and incorporated some of its aspects into his own work, thus following in the tradition of German neoclassical sculptors, he created a synthesis between a static classicism and the vibrant movement of Rodin, whose work had left a deep impression on the artist during a visit to Paris. A co-founder of the Berlin Secession in 1897 together with Max Liebermann and Walter Leistikow, Klimsch largely concentrated on sculpting elegant female nudes, characterised by a simplification of forms and expressive movement. Frühling beautifully exemplifies the sculptor’s individual style: her idealised physique and sense of calm reveal an element of classicism, while the influence of Jugendstil and artistic contemporaries such as Rodin is evident in the elongated forms and languid pose. The young woman appears to awaken from slumber, signalling the birth of spring. 

The plaster model for Frühling was exhibited at the Berlin Academy in 1926, followed by its first cast in bronze in 1932. Until the end of the war this remained the only cast, and its whereabouts are currently unknown. It may be assumed that the present bronze was cast after 1945, when Klimsch gave permission for further casts to be made. Like most of the sculptor’s bronzes, it was produced by the H. Noack foundry, which was established with Klimsch’s support in 1897 and primarily catered for Secession artists.

RELATED LITERATURE
Fritz Klimsch. Eine Auswahl seiner Werke. Mit einer Einleitung von Wilhelm Bode, Frieburg im Breisgau, 1924; H. Braun, Fritz Klimsch. Eine Dokumentation, Cologne, 1991, p. 365