Kunstauktionshaus Leipzig | Schütte Kunstauktionen GmbH

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122

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123

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124

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125

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126

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127

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CURT QUERNER (1904 Börnchen - 1976 Kreischa) Nude , 1929 Oil on wood, 42.5 x 33 cm, inscribed on the reverse: Regina Querner signed for Kurt Querner, certificate of authenticity available. Provenance: Private collection Berlin Curt Querner was born on April 7, 1904 in Börnchen near Possendorf, Saxony. His parents were both deaf, which influenced him at an early age. Querner originally trained as a locksmith and worked in various factories in Freital, Glashütte and Bannewitz until 1926. Alongside his work, he began to study art on his own and made his first attempts at drawing and watercolors. From 1926, Querner increasingly devoted himself to art and began studying at the Dresden Academy of Art, where he was influenced by Otto Dix, among others. Querner developed into a representative of New Objectivity, an art movement characterized by realistic and socially critical depictions. In the 1930s, Querner lived in Dresden and was part of a circle of artists that also included Otto Griebel and Wilhelm Lachnit. During the Nazi era, his political convictions and his art brought him into conflict with the regime. His works were classified as "degenerate" and he increasingly withdrew from the public art scene. After the Second World War, Querner returned to Saxony and continued his artistic work. He mainly created portraits, landscapes and still lifes, which are notable for their precise depiction and emotional depth. In 1971, he was awarded the Käthe Kollwitz Prize by the Academy of Arts in Berlin. Curt Querner died on March 10, 1976 in Kreischa, Saxony. Today, his work is regarded as a significant contribution to New Objectivity and to German art of the 20th century. The painting shows a female nude in a natural yet powerful pose. The woman is standing on a fabric-covered pedestal, with one leg raised and her gaze directed downwards. The composition emphasizes the plasticity and physicality of the figure through the targeted use of light and shadow. The background is kept simple, placing the focus entirely on the figure. The color palette is warm and harmonious, with subtle nuances that bring the skin tones to life. The careful elaboration and the realistic depiction testify to the artist's technical mastery.

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128

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900 EUR

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129

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MEL RAMOS (1935 Sacramento - 2018 Oakland) Gee Gee , 1997 Color lithograph, 73 x 65.8 cm, copy 144/200, signed in pencil lower right, numbered lower left. Mel Ramos, born on July 24, 1935 in Sacramento, California, was an important American artist and a central figure of the Pop Art movement. He came from a Portuguese family and showed an early interest in art. Ramos studied at Sacramento State College (now California State University, Sacramento), where he graduated in 1958. He then taught art at various institutions, including California State College in Hayward (now California State University, East Bay). In the 1960s, Mel Ramos gained international fame for his figurative paintings, which often depicted idealized female nudes in connection with consumer goods. His works, which are characterized by a mixture of eroticism and consumer criticism, were often interpreted as an homage to pop culture. Ramos' works have been exhibited worldwide, including at the Museum of Modern Art (MoMA) in New York and in other renowned museums and galleries. In addition to his artistic activities, Ramos lived in Oakland, California, and occasionally in Horta de San Juan, Spain. He remained active in Oakland until his death on October 14, 2018, leaving behind a significant artistic legacy. His works are now an integral part of pop art history and continue to be appreciated internationally. The color lithograph "Gee Gee" by Mel Ramos depicts an iconic image that reflects the artist's unmistakable style. Against a bright yellow background, an idealized female figure can be seen in a sensual pose, her body harmoniously integrated into a circular logo. The composition combines elements of pop art with an homage to the aesthetics of advertising, making the work both provocative and playful. The precise elaboration of the figure and the bold colors underline Ramos' masterful technique and his ironic approach to consumer culture and eroticism.

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130

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131

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132

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133

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134

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135

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NEO RAUCH (born 1960 in Leipzig, works there) Coxswains , 1990 Color lithograph, 46 x 32 cm (passepartout cut-out), e.a. copy, framed behind glass in passepartout signed and dated (19)90 lower right, inscribed "e.a." lower left. Neo Rauch was born in Leipzig on April 18, 1960 and is one of Germany's most important contemporary painters. He studied at the Academy of Visual Arts Leipzig (HGB) from 1981 to 1986 and was a student of Arno Rink and Bernhard Heisig, two central figures of the so-called Leipzig School. After completing his studies, Rauch initially worked as an assistant at the HGB before devoting himself fully to his artistic career. Rauch is known for his surreal pictorial worlds, which combine elements of realism with fantastic and dreamlike scenes. His works are characterized by a complex visual language that often interweaves historical, political and personal themes. He uses a characteristic color palette and a unique compositional technique that immerses the viewer in an enigmatic yet fascinating atmosphere. Rauch gained international recognition in the 1990s, particularly through his participation in exhibitions such as the Venice Biennale and the documenta in Kassel. His works are represented in renowned museums and collections worldwide, including the Museum of Modern Art in New York and the Pinakothek der Moderne in Munich. Neo Rauch lives and works in Leipzig, where he also works as a mentor for young artists. His works have had a lasting impact on the contemporary art scene and make him one of the central figures of the so-called "New Leipzig School". The work "Steuermänner" shows a dynamic composition dominated by the expressive use of black and yellow. The depiction is both abstract and suggestive, with forms reminiscent of mechanical elements such as wheels, anchors and tools. The powerful brushstrokes and the contrasting colors create an explosive energy that captivates the viewer's gaze. Rauch succeeds in creating an atmosphere of movement and tension in this color lithograph that evokes both technical and symbolic associations. The work is an early example of the artist's unmistakable style, which already demonstrates his preference for narrative ambiguity and an intense visual language.

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135a

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136

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137

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138

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ARNO RINK (1940 Schlotheim - 2017 Leipzig) Graphic portfolio Revolution and Freedom Songs , 1978-81 10 lithographs, each 65 x 49.5 cm (sheet size), copy 45/50, each sheet signed and dated in pencil lower right, titled and numbered lower left. Published by the Ministry of Culture in collaboration with the Institute for Book Design at the Academy of Visual Arts Leipzig on the occasion of the 67th anniversary of the October Socialist Revolution. Original cassette not present, flyleaf with tear (1 cm), 1x margin minimally foxed. Included are: Petrified Horseman (to Pablo Neruda: Great Song) Entombment (to Ferdinand Freiligrath: March Fallen) Captive Knight (to Johann August Bürger: The Peasant to his Serene Lord) Spanish Still Life (to Erich Arendt: Bread and Wine) Spain (to Rafael Alberti: Romance of the Defense of Madrid) Wall of the Fallen (to Johannes R. Becher: The Wall of the Shot) Icarus (to Peter Gosse: Munterung des Dädalus) Via Appia (to Johannes R. Becher: Spartacus) Mourning (to Johannes R. Becher: Germany) Equestrian Combat (to Vladimir Mayakovsky: Left March) The graphic folder "Songs of Revolution and Freedom" deals with songs and texts from various centuries that denounce oppression, encourage people to liberate themselves and call for solidarity. These are timeless themes whose explosive nature and significance have been rekindled time and again throughout history. Rink does not work in a naturalistic or symbolic-expressive manner, but approaches the subject matter on a hauntingly distanced level: instead of imitating the moving pathos and thereby falling into the trap of hackneyedness, he invites the viewer to engage with the depiction independently, to develop their own thoughts and feelings. This results in a more personal, more profound and therefore longer-lasting engagement with the music and the lyrics. In 2019, the portfolio was part of the exhibition "Wars and Crises in the 20th Century" at the Rathaushalle in Frankfurt/Oder. It was shown together with graphic cycles by Bernhard Heisig, Käthe Kollwitz and Dieter Tucholke as well as sculptures by Werner Stötzer and Rolf Biebl.

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139

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140

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141

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142

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CORNELIA SCHLEIME (born 1953 in Berlin, works in Berlin and Neuruppin) Girl in a birch forest , 2015 Acrylic, asphalt varnish and shellac on canvas, 100 x 80 cm, signed and dated on the reverse. Cornelia Schleime was born in East Berlin and is a renowned German painter, performer, filmmaker and author. She is one of the most important contemporary artists and is known for her multifaceted works, which often depict women in dream-like scenes. After training as a hairdresser, studying to become a make-up artist and working as a horse groom between 1970 and 1975, Schleime began her studies in graphic art and painting at the Dresden Academy of Fine Arts in 1975, which she completed in 1980. During this time, she was active in the GDR and was part of the subcultural art scene, which opposed the state restrictions. In 1981, she applied to leave the country and moved to the Federal Republic of Germany in 1984. She subsequently developed her artistic practice further and gained international recognition. Her works include paintings, drawings, performances, films and literary works. She has received numerous awards, including the Fred Thieler Prize for Painting and the Hannah Höch Prize. Today Cornelia Schleime lives and works in Berlin and Neuruppin. Her works are represented in major collections and exhibitions worldwide. The work shows a female figure depicted in profile, her face modeled by soft light. The sitter's gaze is pensively directed into the distance, while her bright blonde hair falls over her shoulder in dynamic strands. The blue knitted hat and the light-colored coat with black accents lend the scene a wintry atmosphere. The combination of acrylic, asphalt varnish and shellac creates a multi-layered, tactile surface that reinforces the impression of depth and liveliness. In this work, Cornelia Schleime combines expressive painting with fine detail work to create a haunting, poetic visual language.

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143

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144

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300 EUR

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145

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146

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GUSTAV SEITZ (1906 Mannheim-Neckarau - 1969 Hamburg) Bertolt Brecht , 1956 Bronze from terracotta, 26 x 15 x 13 cm, cast stamp (Guss Barth Rinteln). Provenance: Formerly estate of Gustav Seitz and since then private property Hameln. Seitz was an important German sculptor and draughtsman of figurative realism. His interest in art became apparent at a young age and he trained as a stonemason and sculptor under August Dursy in Ludwigshafen from 1922 to 1924. At the same time, he took drawing lessons at the Gewerbeschule Mannheim. Seitz studied at the Karlsruhe Art Academy from 1924 and continued his training at the Berlin Academy under Karl Albiker from 1925. Seitz's work is characterized by a deep interest in the human figure and its expressive power. His works often show a combination of realistic and expressive elements. After the Second World War, he established himself as one of the leading sculptors of the post-war period in Germany. From 1950 to 1958, he taught as a professor at the Academy of Fine Arts in Berlin, before taking up a professorship at the Academy of Fine Arts in Hamburg in 1964. His best-known works include portraits of prominent personalities such as Bertolt Brecht and Heinrich Mann. Seitz was also known for his sensitive depictions of female figures, which radiate a special intimacy and liveliness. His works have been exhibited internationally and can be found in numerous public and private collections. Gustav Seitz died in Hamburg in 1969, leaving behind an impressive artistic legacy that distinguishes him as one of the most important German sculptors of the 20th century. This impressive bronze bust of the famous playwright Bertolt Brecht, created by Gustav Seitz in 1956, demonstrates the artist's masterful ability to capture personality and character in his portraits. The compact form and reduced size of the sculpture emphasize the intimacy of the work. Brecht's facial expression is both thoughtful and determined, reflecting his intellectual depth and artistic vision. The fine details, such as the structure of the skin and the subtle facial features, testify to Seitz's craftsmanship and his sensitivity to the human physiognomy. The cast stamp "Guss Barth Rinteln" indicates the high quality of the workmanship. This work is not only an important example of 20th century portraiture, but also a testimony to the close connection between Seitz and the cultural elite of his time.

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147

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6,000 EUR

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148

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800 EUR

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149

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8,000 EUR

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150

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600 EUR

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151

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152

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153

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VOLKER STELZMANN (born 1940 in Dresden, works in Berlin) Models , 1974/75 Mixed media on hardboard, 110 x 100 cm, framed, monogrammed and dated (19)74/75 on the lower right, titled on the reverse. Volker Stelzmann came to Leipzig with his family in 1948. Leipzig with his family. After an apprenticeship as a precision mechanic, he attended the Academy of Visual Arts in Leipzig from 1963. He taught there from 1973 and was appointed professor in 1973. In the 1980s, he fled to West Berlin and was a visiting professor at the Städelschule in Frankfurt Städelschule in Frankfurt before becoming a professor at the Berlin University of the Arts in 1988. He has been working as a freelance artist in Berlin since 2006. In his work, Stelzmann deals extensively with New Objectivity. His work is influenced not only by the Renaissance, the Mannerists and the Baroque, but also by the New Objectivity. He masterfully combines these styles in his own unique manner. He repeatedly created Christian motifs and painted numerous portraits. What all of his themes have in common is that the human figure forms the focal point of his work. The complex, multi-faceted stories that make up his main protagonists exude a special appeal, whereby the painting style appears matter-of-factly distanced. Stelzmann deals extensively with Christian ethics and moral concepts in his work. For him, the use of Christian motifs also symbolizes a rebellion against the GDR functionaries. The very fact that he turned to themes from Christian iconography was a clear statement against what the functionaries expected of artists at the time. The work shows two female nudes in a studio setting, depicted in an intimate yet distanced atmosphere. The figures are seated on plain chairs, with the woman on the left adopting an introspective pose, her gaze averted and her hands clasped, while the woman on the right fixes the viewer with a self-confident expression. Her red hair and the vibrant coloring of the yellow scarf she is holding add colorful accents to the otherwise muted palette. Other works of art and studio objects can be seen in the background, embedding the scene in an artistic context. The composition captivates with its precise execution and the subtle tension between the closeness and distance of the figures depicted.

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154

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155

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156

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2,000 EUR

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157

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158

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1,200 EUR

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159

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160

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161

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162

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300 EUR

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163

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164

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165

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166

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167

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168

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URSULA VEHRIGS (1893 Mertendorf - 1972 ibid.) Margot in front of the factory in Mertendorf , 1919 Oil on cardboard, 47 x 37 cm, framed, monogrammed and dated (19)19 at bottom left. Ursula Vehrigs was born on January 12, 1893 on the Schachtberg in Mertendorf near Naumburg an der Saale and died on April 12, 1972 in her hometown. She was a German painter who became known above all for her portraits and works in an expressive style. Vehrigs grew up in middle-class circumstances. Her parents were Hugo and Margarete Vehrigs, née Vogt. After the early death of her father, her mother married the physiologist Ernst Weber, and the family moved to Berlin. It was there that Ursula Vehrigs began her artistic training. She studied under renowned artists such as George Mosson, Hans Hofmann and Fernand Léger, who had a decisive influence on her style. Vehrigs lived and worked in Berlin from 1905 to 1943 before returning to Mertendorf. Her works are characterized by an expressive use of colour, whereby she avoided the formal exaggerations of Expressionism. She belonged to the so-called post-expressionist generation and created numerous portraits, including the portrait of the journalist Wolfgang Weber in the 1950s. Ursula Vehrigs' artistic oeuvre spanned several political and social eras, from the imperial era to the Weimar Republic and the German Democratic Republic. Her work was honored posthumously in several exhibitions and is considered a significant contribution to the German art history of the 20th century The painting shows a young woman in a pensive pose against an industrial backdrop. The dynamic composition is characterized by bold brushstrokes and an expressive use of colour, which emphasize the contrast between the figure and her surroundings. The factory in the background, with its striking chimneys and geometric structures, emphasizes the connection between people and the world of work. The reduced, almost sketch-like depiction of the woman lends the work a timeless modernity, while the vibrant color palette emphasizes the expressive character of the painting. An impressive example of the artistic examination of industrialization and its effect on the individual.

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Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

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JACQUES VILLON (1875 Damville - 1963 Puteaux near Paris) Renée au canapé , 1907 Drypoint, 49.5 x 39.5 cm, copy 8/50 framed behind glass in passepartout, signed in pencil lower right and blindstamped "Sagot Editeur Paris", signed and dated (19)07 in the center of the plate, numbered. Jacques Villon, born Gaston Émile Duchamp, was an important French painter and graphic artist. He came from an artistically talented family; his younger brother Marcel Duchamp became known as a pioneer of Dadaism and Surrealism. Villon initially studied law, but soon turned to art and moved to Paris in 1894, where he established himself as an illustrator and caricaturist. His artistic style evolved from the influences of the Belle Époque to the avant-garde movements of the early 20th century. Villon was an important representative of Cubism and experimented with geometric forms and abstract compositions. His drypoint etchings and lithographs in particular made him a leading artist of printmaking. He was a co-founder of the Section d'Or group of artists, which was dedicated to the further development of Cubism. Over the course of his career, Villon participated in numerous exhibitions, including the groundbreaking Armory Show in New York in 1913, which brought modern European art to the USA. His works were prized by collectors and museums worldwide. Villon was awarded the prestigious Grand Prix at the Venice Biennale in 1954 for his graphic works. His work remains an important contribution to the development of modern art, particularly in the combination of printmaking and cubist aesthetics. The work shows a young woman lying relaxed on a sofa. With a mixture of lightness and precision, Jacques Villon has captured the figure in fine, dynamic lines. The woman's pose, with her arms folded behind her head and her legs crossed, conveys an intimate yet self-confident calm. The sitter's gaze is direct and attentive, lending the picture a subtle tension. The composition is characterized by a harmonious balance between detailed elaboration and sketchy suggestion, giving the scene a timeless elegance.

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Auction date(s): Apr 05

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Auction currency	EUR
Buyer's premium	32 %
Online commission	5.95 %