21
Lyonel Feininger
The Gate (Das Tor), 1912.
Etching
Estimate:
€ 11,000 / $ 12,650 Sold:
€ 25,000 / $ 28,749 (incl. surcharge)
21
Lyonel Feininger
The Gate (Das Tor), 1912.
Etching
Estimate:
€ 11,000 / $ 12,650 Sold:
€ 25,000 / $ 28,749 (incl. surcharge)
Etching and drypoint
Prasse E 52. Söhn Handbuch der Original-Graphik 72701-1. Jahn/Berger p. 158 1/1. Signed. Signed, dated and titled on the plate. Presumably one of 25 copies. On firm Japon. 27 x 19,9 cm (10,6 x 7,8 in)Sheet: 39,7 x 30,5 cm (15,6 x 12 in).
Sheet 1 from "Die Schaffenden", 1st year, 1st portfolio, published by Paul Westheim in Verlag Gustav Kiepenheuer, Weimar 1918 (with blindstamp). Somewhat omitting impression.
It was as early as in 1910/11 that Lyonel Feininger determined the common place of an exaggerated architecture with the etching "Die grüne Brücke". In "Das Tor" he takes on the theme once again and even adds monumental features to the architecture which now stands in a dominating relation with the other pictorial elements. Additionally, Feininger expands his etching technique and the atmosphere takes a dramatic and sinister turn through the dark and edgy shades. Narrative elements, as they initially dominate Feininger’s graphic art, having their origin in his activities as an illustrator, are now abandoned in favor of an architecture with an intrinsic effect that speaks for itself. [KD].
Prasse E 52. Söhn Handbuch der Original-Graphik 72701-1. Jahn/Berger p. 158 1/1. Signed. Signed, dated and titled on the plate. Presumably one of 25 copies. On firm Japon. 27 x 19,9 cm (10,6 x 7,8 in)Sheet: 39,7 x 30,5 cm (15,6 x 12 in).
Sheet 1 from "Die Schaffenden", 1st year, 1st portfolio, published by Paul Westheim in Verlag Gustav Kiepenheuer, Weimar 1918 (with blindstamp). Somewhat omitting impression.
It was as early as in 1910/11 that Lyonel Feininger determined the common place of an exaggerated architecture with the etching "Die grüne Brücke". In "Das Tor" he takes on the theme once again and even adds monumental features to the architecture which now stands in a dominating relation with the other pictorial elements. Additionally, Feininger expands his etching technique and the atmosphere takes a dramatic and sinister turn through the dark and edgy shades. Narrative elements, as they initially dominate Feininger’s graphic art, having their origin in his activities as an illustrator, are now abandoned in favor of an architecture with an intrinsic effect that speaks for itself. [KD].
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