Albert Birkle

Neue Münchner Galerie (Richard Hiepe), Munich (acquired from the artist in 1977)
Private Collection, Germany (acquired from the above in 1978)
Sale: Ketterer, Munich, 14th May 2004, lot 200
Private Collection, Germany (purchased at the above sale)
Sale: Ketterer, Munich, 19th June 2009, lot 267
Purchased at the above sale by the present owner

The board is stable. UV examination reveals some scattered spots of retouching to the sitter's face, predominantly the nose and cheek bones. There are four minor spots of retouching to the upper right corner and to the centre of the upper edge. There is a diagonal line of retouching across the lower left corner (approx. 3cm. long) and some scattered spots of retouching to the sitter's coat. There are minor paint losses along all four edges, most prominently along the lower part of the left edge. There is an artist's pin hole to the lower centre and there are fine lines of stable craquelure to the sitter's cheek bones as well as to the trees in the background in the lower left corner of the composition. The board is very slightly undulating along the lower edge. This work is in overall 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."

Born in Berlin in 1900 to an artistic family, Albert Birkle’s early work was often closely associated in tone and subject matter to that of the Neue Sachlichkeit artists George Grosz and Otto Dix. Depicted bust length, in three-quarter view and amongst an outdoor setting, Birkle also refers back to the patrician portraits of the Renaissance masters, such as Giovanni Bellini, who wanted to present their subjects as belonging to the world at large. Renowned in particular for his visceral and expressive portraits which sometimes hovered on the verge of cruel caricature, Birkle originally trained as a decorative painter before studying at the University of Fine Arts in Berlin between 1918 and 1924. Although Birkle was celebrated enough within Germany to represent the country at the Venice Biennale in 1936, the changing political climate of the time made life increasingly difficult for him. In 1937 his art was declared ‘degenerate’ and he was forbidden from painting, although he was able to carry out commissions as a war artist during the Second World War. Following the end of the conflict, Birkle focussed increasingly on creating religious scenes and decorations for churches.

Painted in 1923, Selbstbildnis mit der Frisierhaube (Self-portrait with Hairnet) is an assured representation of a young artist at the very beginning of his career. The reference to Der schwäbische Kerle as part of the inscription alludes to his family’s Swabian ancestry.