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Winter Auctions 25.–26.11.2022

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 Image under artist's copyright.

2011
Klinger, Max
1857 Leipzig - 1920 Großjena.
«Intermezzi - Opus IV». Rad. Op. IV. 12 Compositions.
1881. Suite of twelve aquatint etchings on Chine appliqué, mounted on copperplate cardboard. Each numbered lower right in the plate in Roman numerals and inscribed «Max Klinger» lower left. The first and the last sheet additionally signed lower right in the plate within the depiction and dated 1880 resp. «comp 1879. rad. 1881.». Loose sheets in original half-linen folder with typographic title, table of contents and closing ribbon.
Comes with «An die Schönheit (to beauty)» - Opus XIII (sheet 12) 1890. Copper engraving on copperplate cardboard. Inscribed «Kunstverlag Amsler & Ruthardt, Berlin W.8.» lower right in the plate and inscribed «Handkupferdruck nach der Radierung von Max Klinger. (hand copperplate print after the etching by Max Klinger.)» lower left. H 60, W 45 cm (sheet).
H 45 resp. 63, W 45 resp. 63 cm (sheet).
Complete portfolio of Klinger's most famous series of etchings, consisting of «Bär und Elfe (bear and fairy)», «Am Meer (by the sea)», «Verfolgter Centaur (pursued centaur)», «Kämpfende Centauren (fighting centaurs)», «Mondnacht (moonlit night)», «Bergsturz (landslide)», «Simplici Schreibstunde (Simplici writing session)», «Simplicius am Grabe des Einsiedlers (Simplicius at the hermit's grave)», «Simplicius unter den Soldaten (Simplicius among the soldiers)», «Simplicius in der Waldeinöde (Simplicius in a forest wasteland)», «Gefallener Reiter (fallen horseman)» as well as «Amor, Tod und Jenseits (Cupid, death and the afterlife)». Published by Theo. Stroefer's Kunstverlag, Nuremberg 1881.
With the title «Intermezzi», Klinger, himself an outstanding pianist, deliberately chose the reference to music. Just as intermezzi in operas or plays initially represented interludes between the major plot lines, they became independent as character pieces in the 19th century with Johannes Brahms and Robert Schumann - Max Klinger was familiar with the works of both. It is precisely in this sphere that this series of etchings can be placed: It was created partly as a by-product while Klinger was working in parallel on Opus III, V and VI in a seemingly loose sequence of actions, and yet the prints are to be understood as expressive character sheets. The last sheet, «Amor, Tod und Jenseits (Cupid, death and the afterlife)», may have the greatest symbolist aura: an eerily bizarre scene in which love and death, romance and horror are inseparably linked
.
Provenance: private collection Lake Constance.
Catalogue raisonné: Singer 52 - 63 and 241 (An die Schönheit).

Condition report  


 

hammer price: 1300,- EUR
(starting price: 400,- EUR)