Sale: 496 / Evening Sale, Dec. 06. 2019 in Munich Lot 100

 
100
Renée Sintenis
Großes grasendes Fohlen, 1929.
Bronze
Estimate:
€ 80,000 / $ 95,200
Sold:
€ 82,500 / $ 98.175

(incl. 25% surcharge)
Lot description
Großes grasendes Fohlen. 1929.
Bronze with greenish patina.
Berger/Ladwig 111. Buhlmann 139. With the artist's name on the plinth. Rear edge of plinth with the foundry mark "GUSS H.NOACK BERLIN FRIEDENAU". One of ca. 10 prewar casts. With plinth: 77.5 x 65 x 27 cm (30.5 x 25.5 x 10.6 in).
Cast by art foundry Noack, Berlin-Friedenau.
Please find more images and a video clip of this work on our homepage. [SM].
• One of just a few large bronzes from Renée Sintenis.
• Made before the war and during the artist's lifetime.
• Depicted in many publications on the artist.
• The artist created the statue of the Berlin Bear (1956)
.

Accompanied by an expertise issued by Dr. Ursel Berger, Berlin, on August 23, 2019.

PROVENANCE: Galerie Vömel (1937).
Private collection (since 1937, acquired from aforementioned).
Private collection North Rhine-Westphalia.

EXHIBITION: Ausstellung von Skulpturen, Zeichnungen und graphischen Werken von Renée Sintenis zum 90. Geburtstag, Galerie Vömel, Düsseldorf 1978, illu. without p.
Renée Sintenis. Plastiken, Zeichnungen, Druckgraphik, Georg-Kolbe-Museum, Berlin; Kulturgeschichtliches Museum, Osnabrück; Ostdeutsche Galerie, Regensburg; Museen der Stadt, Hanau; Leopold-Hoesch-Museum, Düren, 1983/84, cat. no. 35 with illu. on p. 66.

LITERATURE: Der Querschnitt, no. 9, issue I, 1929, p. 340 with illu.
René Crevel, Renée Sintenis, Paris 1930, illu. on p. 63 ("Le grand poulain").
René Crevel/Georg Biermann, Renée Sintenis, Junge Kunst, vol. 57, Berlin 1930, no. 83 with illu. 31 ("Das grasende Fohlen").
Deutsche Kunst und Dekoration, no. 66, 1930, p. 38 with illu.
Kunst und Künstler, no. 28, 1930, p. 235 with illu.
Ada Schmidt-Beil (editor), Die Kultur der Frau. Eine Lebenssymphonie der Frau des XX. Jahrhunderts, Berlin 1931, p. 281 with illu.
Omnibus 1931, p. 54 with illu.
Dedalo, year 3, issue 13, 1933, p. 40 with illu.
Hanna Kiel, Renée Sintenis, Berlin 1935, p. 65 with full-page illu.
Rudolf Hagelstange (et al), Renée Sintenis, Berlin 1947, illu. no. 79 and cover ("Großes Fohlen").
Adolf Jannasch, Renée Sintenis, Potsdam 1949, illu. no. 13 ("Grosses weidendes Fohlen").
The Studio, no. 138, 1949, p. 182 with illu.
Die Weltkunst, no. 23, issue 15, 1953, p. 9 with illu.
Hanna Kiel, Renée Sintenis, Berlin 1956, p. 41 with full-page illu.
Rudolf Koella, collection Oskar Reinhart, Winterthur, Zürich 1975, p. 358 with illu.

Essay
Her small animal sculptures fascinated collectors and made for her fame as sculptor. Small-sized foals, donkeys, deer and other types of animals in different variants and bearings adorn bookcases, sideboards and desks. Raised in Neuruppin and trained in Berlin by, among others, the sculptors Wilhelm Haverkamp and Georg Kolbe, she stood out for her body height and her slender figure. Just as it was the case with Else Lasker-Schüler, Sintenis embodied the same type of self-confident woman with a crop, eccentric outfit and an androgynous charm typical of post-war Berlin. In the early 1920s she was represented by the gallery of Alfred Flechtheim who introduced Sintenis to his international circle of friends and began to systematize the editions of casts of the small animal plastics, which were geared to the sculpting of August Gaul (1869-1921). Sintenis soon emerged as one of the most successful female artists in Weimar Germany. Next to a few portrait commissions from acclaimed artists like the poet Joachim Ringelnatz (1923) or the author, playwright and politician Ernst Toller (1926), as well as small sculptures of athletes such as the Finnish runner Paavo Nurmi (1926), Sintenis also occasionally executed commissions for larger garden sculptures for which she used enlargements of small plastics like the "Grasendes Fohlen“ (Grazing Foal) offered here. The "Große grasende Fohlen", cast by Noack in Berlin presumably in 1936, is one of the artist’s very few almost life-size bronzes: "Fohlen", 1921 (lost); "Der Esel von Seelow", 1927, was made for thebanker and politician Hugo Simon; a copy of the "GroßesVollblutfohlen" from 1940 is in the collection of the Berlin Nationalgalerie. In comparison with the wild and boisterous bearings of the animals in her small sculptures, this calmly grazing foal appears entirely focused on the action. Sintenis’ talent in ‘freezing’ the scene in elegant motions and magnificently accentuated surfaces in bronze is one of her most striking strengths. Her animal sculptures emerged as an antipole to August Gaul’s expressionist and highly emotional works, as well as to the formal principles of the coeval Ewald Mataré (1887-1965) whose overly reduced forms never were much of an issue for Renée Sintenis. The abundant variety her exquisite animal world offers fascinated collectors as much in the past as it does today. [MvL]
100
Renée Sintenis
Großes grasendes Fohlen, 1929.
Bronze
Estimate:
€ 80,000 / $ 95,200
Sold:
€ 82,500 / $ 98.175

(incl. 25% surcharge)