22
Brigitte Matschinsky-Denninghoff
Vogeltorso (Form in Zinn 22), 1956
Starting bid:
€ 10,000 Estimate:
€ 10,000 - 15,000End: 07-15-26 15:10:00 Berlin
07-15-26 09:10:00 New York
07-15-26 06:10:00 Los Angeles (29 days, 17h:55m)
07-15-26 09:10:00 New York
07-15-26 06:10:00 Los Angeles (29 days, 17h:55m)
After entering your maximum bid you will be able to check your entry and you will be provided with further information. Only after a further confirmation your bid will be binding.
22
Brigitte Matschinsky-Denninghoff
Vogeltorso (Form in Zinn 22), 1956
Starting bid:
€ 10,000 Estimate:
€ 10,000 - 15,000End: 07-15-26 15:10:00 Berlin
07-15-26 09:10:00 New York
07-15-26 06:10:00 Los Angeles (29 days, 17h:55m)
07-15-26 09:10:00 New York
07-15-26 06:10:00 Los Angeles (29 days, 17h:55m)
After entering your maximum bid you will be able to check your entry and you will be provided with further information. Only after a further confirmation your bid will be binding.
Brigitte Matschinsky-Denninghoff
1923 - 2011
Vogeltorso (Form in Zinn 22). 1956.
Sculpture. Brass and tin, on a wooden base.
The base is inscribed with the artist’s name, the title, and the designation “No. 22.”. Height: 35 cm (13.7 in).
"Today, the sculptor is primarily known as part of the Matschinsky-Denninghoff duo, which she founded in 1970 with her husband Martin Matschinsky (1921–2020). [.] With the founding of the duo, the couple retroactively declared Brigitte Meier-Denninghoff’s earlier sculptural work to be a joint creation. From then on, the artist’s works were exhibited only under the joint name Matschinsky-Denninghoff. Brigitte Meier-Denninghoff disappeared from art history.” (Quoted from: https://berlinischegalerie.de/ausstellungen/aktuell/brigitte-meier-denninghoff (accessed April 23, 2026).
• Condensation of natural form and constructive line.
• Material aesthetics: brass and tin create a finely nuanced appearance.
• Already exhibited in Antwerp in 1957.
• Offered on the international auction market for the first time (artprice.com).
• The Berlinische Galerie / Museum für Moderne Kunst is currently dedicating an extensive retrospective to the artist.
PROVENANCE: Private collection, Southern Germany.
EXHIBITION: 4e Biennale voor Beeldhouwkunst, Musée de Sculpture en plein Air Middelheim, Antwerp 1957, cat. no. 109 (illustrated)
Brigitte Meier-Denninghoff, Galerie Stangl Munich, August 29 - October 7, 1958, cat. no. 7 (with remains of a label on the underside).
LITERATURE: Georg W. Költzsch, Matschinsky-Denninghoff. Monografie und Werkverzeichnis der Skulpturen, Cologne 1992, CR no. 25 (illustrated)
- -
Manfred de la Motte (ed.), Matschinsky-Denninghoff. Dokumentation 26, Bonn, Galerie Hennemann, 1980 (fig.).
Johannes Langner. Form and Sign – Zur Skulptur von Matschinsky-Denninghoff. In: Katalog der Akademie der Künste, Berlin 1985, p. 17 (fig.).
“There are few in the younger generation who have grasped the wonder of spatial construction: spatial construction has put an end to the dominance of material and massive volume, in order to use space as a malleable matter and embody it in sculpture”
Antoine Pevsner to Brigitte Meier-Denninghoff, quoted in the exhibition catalog Gal.Stangl, 1958
In good condition. Some areas show minimal signs of corrosion.
1923 - 2011
Vogeltorso (Form in Zinn 22). 1956.
Sculpture. Brass and tin, on a wooden base.
The base is inscribed with the artist’s name, the title, and the designation “No. 22.”. Height: 35 cm (13.7 in).
"Today, the sculptor is primarily known as part of the Matschinsky-Denninghoff duo, which she founded in 1970 with her husband Martin Matschinsky (1921–2020). [.] With the founding of the duo, the couple retroactively declared Brigitte Meier-Denninghoff’s earlier sculptural work to be a joint creation. From then on, the artist’s works were exhibited only under the joint name Matschinsky-Denninghoff. Brigitte Meier-Denninghoff disappeared from art history.” (Quoted from: https://berlinischegalerie.de/ausstellungen/aktuell/brigitte-meier-denninghoff (accessed April 23, 2026).
• Condensation of natural form and constructive line.
• Material aesthetics: brass and tin create a finely nuanced appearance.
• Already exhibited in Antwerp in 1957.
• Offered on the international auction market for the first time (artprice.com).
• The Berlinische Galerie / Museum für Moderne Kunst is currently dedicating an extensive retrospective to the artist.
PROVENANCE: Private collection, Southern Germany.
EXHIBITION: 4e Biennale voor Beeldhouwkunst, Musée de Sculpture en plein Air Middelheim, Antwerp 1957, cat. no. 109 (illustrated)
Brigitte Meier-Denninghoff, Galerie Stangl Munich, August 29 - October 7, 1958, cat. no. 7 (with remains of a label on the underside).
LITERATURE: Georg W. Költzsch, Matschinsky-Denninghoff. Monografie und Werkverzeichnis der Skulpturen, Cologne 1992, CR no. 25 (illustrated)
- -
Manfred de la Motte (ed.), Matschinsky-Denninghoff. Dokumentation 26, Bonn, Galerie Hennemann, 1980 (fig.).
Johannes Langner. Form and Sign – Zur Skulptur von Matschinsky-Denninghoff. In: Katalog der Akademie der Künste, Berlin 1985, p. 17 (fig.).
“There are few in the younger generation who have grasped the wonder of spatial construction: spatial construction has put an end to the dominance of material and massive volume, in order to use space as a malleable matter and embody it in sculpture”
Antoine Pevsner to Brigitte Meier-Denninghoff, quoted in the exhibition catalog Gal.Stangl, 1958
In good condition. Some areas show minimal signs of corrosion.
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BRIGITTE MATSCHINSKY-DENNINGHOFF
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137 x 30 x 30 cm
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