Stralsund. 1912.
Woodcut.
Signed, dated and titled. Copy aside from the edition. On wove paper. 30.1 x 36.5 cm (11.8 x 14.3 in). Sheet: 55,8 x 70 cm (21,65 x 27,55 in).
[MH]

The "Brücke": Expressionism on Paper – The Passion of a German Collector
Further works from the collection will be offered in our Evening Sale on Friday, December 6, 2024, and in our Modern Art Day Sale, December 7, 2024.

• From the sought-after Berlin “Brücke” period.
• Using a rich mesh of lines and almost geometric forms, Heckel created a rhythmic representation of the old town of Stralsund.
• The artist visited Stralsund in 1912 on his way to the island of Hiddensee, where Heckel spent the summer months with his partner Siddi.
• Other copies of this woodcut are part of important museum collections, including the Städel Museum, Frankfurt am Main, and the Brooklyn Museum, New York.
• In the same year, Heckel also created a painting with a motif of the same name and with a closely related theme (Voigt 1912/26).

We are grateful to Ms. Renate Ebner for her kind support in cataloging this lot.

PROVENANCE: Private collction Hesse (since 1983 Galerie Kornfeld, Bern).
Family-owned ever since.

LITERATURE: Renate Ebner, Andreas Gabelmann, Erich Heckel. Werkverzeichnis der Druckgraphik, vol. 1: 1903-1913, Munich 2021, cat. rais. no. 533 H A (of B).
Annemarie and Wolf-Dieter Dube, Erich Heckel. Das graphische Werk, vol. 1: Holzschnitte, New York 1964, cat. rais. no. H 243 A (illustrated).
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Galerie Kornfeld, Bern, 183rd auction, June 22-24, 1983, lot 295 (illustrated on p. 61.

The "Brücke": Expressionism on Paper – The Passion of a German Collector

The Hessian collector recollects his first encounter with Expressionist art to this day: it was shortly after the end of World War II that he was struck by Karl Schmidt-Rottluff paintings on a visit to the Frankfurter Kunstkabinett. The gallery was one of the first in Germany to offer art lovers an opportunity to see works by the artists of the "Brücke" group again, as they had been ostracized as "degenerate" by the Nazis. One of the main reasons behind Hanna Bekker von Rath's decision to open the place on Börsenplatz in Frankfurt in 1947 was to provide a forum for these artists after the dark years of Nazi rule and to reintroduce them to the public. “These works blew me away” is how the collector recalls his initial reaction to the exhibits. He liked Schmidt-Rottluff's rugged, woodcut-like style and subsequently also developed a liking for the other members of the “Brücke”, whose style was so different from what had previously been considered “beautiful”. Together with his wife – who was particularly interested in the works of Otto Mueller and Emil Nolde – he visited many more exhibitions at the Frankfurt Kunstkabinett and other galleries.

Nevertheless, it was about more than just admiring them. In 1962, the couple bought their first Expressionist work at auction in Stuttgart – from Roman Norbert Ketterer, the uncle of the current owner of Ketterer Kunst: Ernst Ludwig Kirchner's woodcut "Drei Akte im Wald" from 1933 marked the beginning of the couple's extensive collection of "Brücke" prints.

He never had a specific system, says the collector. However, he avoided acquiring pieces that “many others had as well”. He was particularly interested in works produced in small numbers, pieces with a unique feature such as an additional coat of paint, or works that the artist used as trial proofs. But first and foremost, says the collector, “I made my purchases based on my taste”.

In good condition. The soft paper slightly creased in the corners. An expertly restored tear in the paper in the lower right. The print image is clear and well-defined.