Max Pelczmann: Gallery Sculptor

	We have an exceptional painting by Ernst Ludwig Kirchner for sale.
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	E X P R E S S I O N I S T S Max Beckmann 1884 – 1950 Photo Kroon Amsterdam Woman with Red Rooster Price on application: Contact dominic@mpfa.ie for full details Oil on canvas 55 x 95cm (22 x 38 inches) Signed by the artist and dated 1941 Provenance: The artist’s Studio; Galerie Karl Bucholz, Berlin; Private collection, Europe Exhibited: Seurmondt Museum, Aachen: 1967; Zurich, Thomas Ammann Fine Art, 1992; Jerusalem, Israel Museum, 1998-1999; Tokyo, Nagoya Aichi Museum, 2001; London, Royal Academy, 2002 Literature: Lothar Gunther Buchheim, 1959; Ernst Gunther Grimme, ‘Aacchener Kunstblatter’, 1966; Seurmondt Museum, Aachen, 1970; Eberhard and Barbara Gopel, Catalogue of Works, Berne, 1976, no.586 In the catalogue note to the Royal Academy exhibition in 2002, Masters of Colour, Dr. Tobia Bezzola raises a number of questions about the title of the painting and suggests that: “Although it appears as Woman with Red Rooster in the list of works and titles prepared by the artist himself, elsewhere he refers to it simply as ‘Woman with Bird’. Indeed, it is difficult to identify the bird perched on the right hand of the resting woman as a rooster. Its small size alone gives rise to doubt, and the feather crown is suggestive rather of an exotic bird of paradise, a bird that would seem more appropriate to the scene. The rooster is more likely to be found on a farm, and certainly appears quite out of place in this luxurious interior.” Bezzola is indeed correct in pointing out that this is not a farmyard rooster. However, he does not allow for Beckmann’s renowned wit and powerful ability to play with words. The title may simply refer to the fact that the bird is roosting on the girl’s hand and Beckmann takes the opportunity to link this with the fabled red rooster. The bird does not fit with any particular species and represents, as Bezzola suggests, the exotic ambiance of the harem where colourful birds of this type were common. Beckmann may have been inspired to paint the work as a reaction to the looting of Matisse’s Odalisque from Paul Rosenberg in 1941. The model appears to be his second wife, Quappi, although there is no great attempt to represent her features with any degree of fine detail. Ernst Ludwig Kirchner 1880 - 1938 Photo Kroon Amsterdam Between Women (Tanz Zwischen Frauen II) Price on application: Contact dominic@mpfa.ie for full details Oil on canvas 150 x 150 cm. Signed by the artist 1919 / 1926 Studio Inventory Stamp verso: KN-Da/Bg1 Provenance: The Kirchner Estate; Private collection, Switzerland Exhibited: Kirchner Museum, Davos, 1999-2000, ‘Farben sind die Freude des Lebens: Ernst Ludwig Kirchner: Das Innere Bild’; Folkwang Museum, Essen, 2000, ‘Farben sind die Freude des Lebens: Ernst Ludwig Kirchner: Das Innere Bild’; Kirchner Museum, Davos, 2003-2004, ‘Erna und Ernst Ludwig Kirchner - ein Künstlerpaar’. Literature: Donald E. Gordon: Ernst Ludwig Kirchner, catalogue raisonné, number 597; Kirchner Archive III; Thomas Röske, ‘Ernst Ludwig Kirchner: Tanz zwischen den Frauen’, Frankfurt am Main, 1993, illustrated p.13; Colin Rhodes, ‘Expressionism Reassessed: The body and the dance’, Behr, Fanning and Jarman, Manchester University Press, 1994; Sabine Welsch and Klaus Wolbert, ‘Die Darmstädter Sezession 1919-1997: Die Kunst des 20 Jahrhunderts im Spiegel einer Künstlervereinigung’, Darmstadt, 1997, with illustration; Titia Hoffmeister, ‘Ernst Ludwig Kirchner: Der Tanz zwischen den Frauen’, G. 443, Werke der Brücke Künstler, Bestandskatalog Staatsgalerie moderner Kunst, München, Bayerische Staatsgemäldesammlung, 1999, pp.158-163, illustrated; Mario-Andreas von Lüttichau and Roland Scotti (Hg.): ‘Farben sind die Freude des Lebens: Ernst Ludwig Kirchner: Das Innere Bild’, exhibition catalogue, Davos 1999, illustrated p.49; Hyang-Sook Kim, ‘Die Frauendarstellungen im Werk von Ernst Ludwig Kirchner: Verborgene Selbstbekenntnisse des Malers’, Marburg, 2002, illustrated p.107; Wolfgang Henze, ‘Die Plastik Ernst Ludwig Kirchners’, Wichtracht and Bern, 2002, p.196, illustrated p.185; Roland Scotti, ‘Erna und Ernst Ludwig Kirchner: ein Künstlerpaar’, Davos Museum Magazin vol. IV, Davos, 2003, illustrated p.36. There is a tradition amongst Die Brücke scholars of putting names to the faces in the paintings, a custom which is frowned upon in certain quarters, perhaps in the belief that this bourgeois mindset would have been shunned by the artists themselves. However, there are occasions when this is difficult to avoid and such is the case in the present work. It is generally accepted that the central figure is a self-portrait of Kirchner and that the figure to the right is his lifetime partner, Erna Schilling. His first girlfriend, Doris Grosse, stands to the left although her features are not as identifiable as those of Erna. As the title suggests, the work has traditionally been regarded as a simple dance scene, related to the many drawings and paintings Kirchner did on the theme. It was a subject that interested not only Kirchner, but also his fellow artists in Die Brücke as it gave them the opportunity to study the human form in movement rather than the traditional static pose. Inspiration also came from the fact that many of the wives and girlfriends of the Brücke artists were dancers, including Doris and Erna. The painting is related to two earlier works, Tanzschule, (Pinakothek, Munich) painted in 1914 and Der Tanz Zwischen den Frauen, (Pinakothek, Munich) painted in 1915. It appears that the significance of these works may have been underestimated although the symbolism of the latter was recognised by Colin Rhodes in his essay on Kirchner where he describes: “the artist’s sense of being suspended between an irrevocably lost past and a portentous present”. When these paintings are viewed together, there is little doubt that they are related and that they are not straightforward dance studies. It is clear from Der Tanz Zwischen den Frauen that the woman who stands behind Kirchner is distressed and agitated, which is obvious from her facial expression and her body language. She leans forward in an aggressive manner, her eyes bulging as she gesticulates with her left hand raised in the air. She displays the demeanor of one who is grief stricken. Kirchner turns his back on her and moves away as he shuns her with both hands. He appears numb and ashen faced as he stares into the distance. Erna stands to the side, upright and motionless; she is not involved in the altercation. She has a quizzical, patient look on her face. This suggests that the scene being played out is Kirchner’s rejection of his first love, Doris Grosse and, perhaps symbolically, his other lovers, at the demand of Erna. The theme is carried forward to the current work, painted about four years later. However, in this version, the rejected lover in the background is less animated. She is older and looks more resigned. She appears to beckon Kirchner back with her raised hand. Kirchner no longer stares into the abyss and, instead of his distressed appearance, he looks assured and confident. He moves towards Erna and looks straight into her eyes. She now takes an active part in the drama and moves towards Kirchner although her demeanor suggests she is not fully convinced of his loyalty, her arms only partially opened in welcome. It may be that the painting is an attempt by Kirchner to exorcise the ghost of Dodo as there is no doubt that by the time he painted this work, more than eight years after they separated, he was still obsessed with her. In a diary entry dated 5^th July, 1919, the same year as this painting; Kirchner renews his great love for her and goes on to state: “I know that you think of me sometimes; we have both known happiness and anguish.” Both of these versions may have been preceded in 1914 by Tanzschule, although it has been suggested that Der Tanz Zwischen den Frauen may also date to this year. This may be further strengthened by a drypoint engraving, The Dance, (Allen Memorial Museum, Oberlin College, USA) if the 1914 date given to this work can be relied upon. A mirror image of the miniscule print follows the detail of the Munich drawing in almost every aspect. In any event, Tanzschule appears to be another painting where the dance theme may take second place to a self portrait of Kirchner torn between two women. In this version, Kirchner portrays himself as a Harlequin and poses himself on a circus-like round mat, perhaps in case his costume was not distinctive enough to portray him as a clown. He wears no make up, which may be an attempt to show himself to the world not just as a fool, but as a very unhappy fool. And the reason for his unhappiness is there for all to see. The woman who sits on the bench leans towards him and beckons him to sit down and join her. Beside them, another woman dances as an exotic bird might do in a mating ritual in an attempt to lure the unfortunate Kirchner away. The features of both women are close enough to suggest that they also represent Doris and Erna. Dominic Milmo-Penny, October 2010 Ernst Ludwig Kirchner 1880-1938 Photo Kroon Amsterdam Two Nudes above a Lake Price on application: Contact dominic@mpfa.ie for full details Oil on canvas 120 x 80 cm. Official stamp verso KN-Da/Bf2 Provenance: The Kirchner Estate; Private collection, Switzerland Exhibited: Galerie Ludwig Schames, Frankfurt, Exhibition of Paintings by Ernst Ludwig Kirchner, March 1919, number 25. Literature: Donald E. Gordon, Ernst Ludwig Kirchner, catalogue raisonné, number 667; Kirchner Archive III, page 164; Hyan-Sook Kim, ‘Die Frauendarstellungen im Werk von Ernst Ludwig Kirchner: Verborgene Selbstbekenntnisse des Malers’, Marburg, 2002, illustrated p.111. The style and manner of this painting places it firmly in the years between 1909 and 1911. The work is closely related to Akte an der Sonne, Moritzburg, painted in 1910. Both canvases appear to have been painted from about the same height above the lake and perhaps even from the same spot. Other similarities include the broad manner in which the trees are handled; the colouring and general mood of the composition. Bathers at Moritzburg, 1909, is another related work, which shows a group of bathers at the water’s edge. The setting is the Moritzburg Lakes, which surround the picturesque Castle of the same name just a short distance outside Dresden. Between 1907 and 1911, Kirchner spent the summer months at Moritzburg, usually in the company of Erich Heckel. They lodged in the local inns and were often joined by other members of Die Brücke and their followers for excursions to the lakes where they spent the days picnicking, bathing and painting. Kirchner was preoccupied with the study of the nude in the open air at this time. However, the stark simplicity of the present painting also demonstrates many of the core values of Kirchner’s approach to painting. The figures are depicted in a wonderful combination of lemon yellow, pink and orange without the use of an outline. The vibrancy of these colours is heightened by setting them against the deep blues and rich crimsons of the background, a technique which Kirchner regularly employed. Specks of pure white from the ground layers remain visible, which gives the painting an added sparkle. The overall impression is one of great spontaneity with absolutely no attempt made to prettify the painting or interfere with the powerful alla prima credentials of the canvas. Dominic Milmo-Penny, October 2010 M A X P E L Z M A N N Windwave I first became aware of Max Pelzmann’s talents over thirty years ago. He was a pupil in the Milmo School and Friday afternoon was given over to the art class. Max’s ability to model in clay stood out from the rest. Many years later I discovered that there was a little more to his flair than the genius of the art teacher. Sculpting was in his blood. From his mother, Lola San Sebastian-Grande, whose eclectic family included writers, a test pilot and a medical professor, Max inherited the ancient handcraft traditions of the Basques and, from his father, Franz, some of the exacting engineering skills one finds in Vienna. From his earliest days, Max was surrounded by the sculptures of Friedrich Herkner who had come to Ireland from Vienna in 1938 to take up the position of Professor of painting at the National College of Art in Dublin. He became a lifelong friend of Franz, which led to Max’s early introduction to the arts. He often found himself climbing over casts and mouldings in Dublin’s foundries while most other children were out playing in the park. Add to this, frequent visits to Europe's capitals of culture and the seeds were sown. Windwave: nightlife adventures Max continued his schooling in Aravon, Bray before moving to Vienna. On arrival with his family in America, he continued his formal education at the Walnut Hill School for the Arts; the Pratt Institute and the New School, both New York City Universities. During his university days, Max gained a rare position as an intern at the Polich Tallix Fine Art Foundry. Since leaving formal study behind, he has worked from his New York studio and came to the attention of the public last year with his extremely popular Windwave, which was the prime exhibit at the annual Brooklyn Bridge Park exhibition. This fine work was widely acclaimed in the New York press and brought Manhattan traffic to a standstill as it was trailed through the City to the Park. We Be Max’s latest sculpture, We Be is causing just as much excitement at this year’s 28th Brooklyn Waterfront Artist Coalition on Governor's Island, which runs until the 10th of October. In contrast to the stark white of last year, this bright orange and red sculpture, bold in its appearance, gives the feeling of a free flowing shape, which compels the viewer to interact. Max’s aim is to encourage physical interaction with the sculpture as one of the ways to understand the structural dimension of a work's form. His aim is to create a sculptural amplifier and receiver, which is a physical and emotional conduit, imbuing viewers to interact with the sculpture and with each other simultaneously. Windwave against the Manhattan skyline Although this sculpture has sufficient stature to compete against the Manhattan skyline or the Brooklyn Bridge, works on this scale can look just as dramatic in front of an office building or in a garden setting. There is no limit to the material in which these sculptures can be worked; bronze, polished steel, concrete, plastic, glass, the choice is yours. We would be delighted to discuss the technicalities of any material you might have in mind. We are delighted to promote Max Pelzmann as our Gallery Sculptor. Please contact dominic@mpfa.ie for further information. EXPERTISE AND AGENCY SERVICES We offer a fully comprehensive service for European buyers in the United States and for American buyers in Europe. 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