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Lesser UryAllee im Tiergarten, BerlinPastell auf Karton 35 x 49,5 cm Unter Glas gerahmt. Unten links
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Beschreibung
Lesser Ury
Allee im Tiergarten, Berlin
Pastell auf Karton 35 x 49,5 cm Unter Glas gerahmt. Unten links schwarz signiert 'L. Ury'. - In guter farbfrischer Erhaltung. Ein winziger Farbausbruch sowie schwache Bereibungen in den seitlichen Rändern.
Mit einer Foto-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 26. März 2020; das Pastell wird in das in Vorbereitung befindliche Werkverzeichnis zu Lesser Ury aufgenommen. Wir danken Sibylle Groß für die freundlichen Auskünfte nach Vorlage des Originals.
Provenienz
Dr. Sally Jacobsohn (nach US-Einbürgerung 1945: Dr. Sam Jacobson), Berlin/Houston; Edward H. Littman, Wharton,Texas; seitdem in Familienbesitz USA
Lesser Ury entfaltet in dieser lichten Darstellung eines Fahrdammes zwischen Bäumen seinen ganz eigenen impressionistischen Kolorismus. Die schlichte Wahl des typischen Berliner Motivs erlaubt ihm eine klare wie suggestive Gliederung des Kartons in großzügige Flächen. Alle malerischen Mittel entfalten sich zur Inszenierung eines illusionistischen Zaubers: die intensiven Pastellfarben werden reich ausdifferenziert neben- und übereinandergesetzt, die Pigmente pudrig verwischt, ineinander verrieben und mit kleinteiligen Punkten, Strichen und zeichnerischen Elementen ergänzt, auch der Pinsel kommt zum Einsatz, als mit ihm helle Reflexe in Deckweiß, teils vermischt, teils rein aufgetragen, pointiert gesetzt werden können. Wie häufig bei Lesser Ury entwickelt die Komposition starke Kontraste durch eigenwillige Formalien. Der Rigidität strenger Grundlinien sowie einer konstruierten perspektivischen Flucht, die unverstellt in die Tiefe führt, wird eine wie spielerisch ausgebreitete Duftigkeit des Gesamteindrucks entgegengesetzt, erzeugt durch frei modulierte Licht- und Farbeffekte auf der Straße, auf den dunkel schimmernden Fahrzeugen, im Himmel und auf den Bäumen - scheint man doch hier fast die alten Kronen sich bewegen und rauschen zu hören.
Nicht uninteressant ist in diesem Zusammenhang, dass Lesser Ury auch Postkarten und Fotografien zu Hilfe nahm, wie es Carl Schapira schilderte - insbesondere ihm zugesandte Pariser Ansichten halfen zu Beginn der zwanziger Jahre, technische Details wie die neu aufkommende Verkehrsverdichtung und das Automobil zu studieren, Phänomene, die ihm keineswegs, malerisch, zunächst einleuchteten, er musste erst eine anfängliche "Scheu" überwinden: "Es ist eine merkwürdige Gehirntätigkeit, die sich auf das zu malende Objekt vom reinen Standpunkt des Auges, d.h. des Gefühls, nicht aber des Verstandes konzentriert." (Carl Schapira, zit. nach Hermann A. Schlögl, Ury und die moderne Technik, in: Ausst. Kat. Lesser Ury, Zauber des Lichts, Berlin 1995, S. 51).
Das vorliegende Pastell stammt nach der Dokumentation von Sibylle Groß ursprünglich aus dem Besitz des Berliner Rechtsanwaltes Dr. Sally Jacobsohn (1876 Schönlanke/Brandenburg - Houston/Texas 1964), der zunächst 1939 aus Deutschland nach Kuba flüchtete, 1940 in die USA emigrierte und dort unter dem Namen Sam Jacobson eingebürgert wurde. Ein in Wharton/Texas ansässiger Berufskollege, Edward H. Littman, ein Sohn des bekannten Breslauer Sammlers Ismar Littmann, erwarb die Arbeit in den 1960er Jahren (nach den Sammlungsunterlagen der Familie) direkt von Sam Jacobson; sie befindet sich seitdem in Familienbesitz.
Lesser Ury
Allee im Tiergarten, Berlin
Pastel on card 35 x 49.5 cm Framed under glass. Signed 'L. Ury' in black lower left. - In fine condition with vibrant colours. A minute loss of colour and weak rubbing in the lateral margins.
With a photo-certificate and expert report by Sibylle Groß, Berlin, dated 26 March 2020; the pastel will be included in the catalogue raisonné of works by Lesser Ury currently under preparation. We would like to thank Sibylle Groß for kind information after presentation of the work.
Provenance
Dr. Sally Jacobsohn (since US-naturalisation in 1945: Dr. Sam Jacobson), Berlin/Houston; Edward H. Littman, Wharton,Texas; in family possession, USA, since
In this light-filled depiction of a road set between the trees, Lesser Ury has developed his own very distinctive use of Impressionistic colour. The modest selection of this typical Berlin motif has enabled him to clearly as well as suggestively divide his sheet up into expansive surfaces. Every painterly device has been developed in staging an illusionistic magic: the intense pastel colours are laid alongside and on top of one another in rich variations, the powdery pigments are blurred, blended together and supplemented with fine details of dots, strokes and graphic elements - a brush has also been used, making it possible to concisely insert bright highlights in opaque white, sometimes mixed and sometimes applied pure. As is often the case in Lesser Ury's work, the composition develops strong contrasts through idiosyncratic formal elements. The rigidity of the unyielding basic lines as well as the construction of a perspective receding unimpeded into the distance are countered by the seemingly playfully unfurled haziness of the general impression, which is generated through freely modulated effects of light and colour on the street, on the darkly gleaming vehicles and in the sky and trees - we actually almost seem to hear their old crowns moving and rustling.
In this context it is not without interest that Carl Schapira has described how, in the early twenties, Lesser Ury also made use of postcards and photographs - in particular, views sent to him from Paris - to help him study technical details like the newly emerging density of traffic and the car. These phenomena were initially completely unintelligible to him as a painter, and he first had to overcome his preliminary “timidity”: “It is a peculiar activity of the brain which concentrates on the object to be painted purely from the standpoint of the eye, that is, of feeling, but not that of understanding.” (Carl Schapira, cited in Hermann A. Schlögl, Ury und die moderne Technik, in: exhib. cat., Lesser Ury, Zauber des Lichts, Berlin 1995, p. 51).
According to the documentation gathered by Sibylle Groß, the present pastel was originally in the possession of the Berlin lawyer Dr Sally Jacobsohn (1876 Schönlanke, Brandenburg - Houston, Texas 1964), who first fled from Germany to Cuba in 1939 and then emigrated to the US in 1940, where he was naturalised under the name Sam Jacobson. Edward H. Littman - a professional colleague based in Wharton, Texas, and the son of the well-known collector Ismar Littmann from Breslau - purchased this work in the 1960s directly from Sam Jacobson (according to the documents accompanying the family's collection), and it has been in this family's possession ever since.
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Lesser Ury
Allee im Tiergarten, Berlin
Pastell auf Karton 35 x 49,5 cm Unter Glas gerahmt. Unten links schwarz signiert 'L. Ury'. - In guter farbfrischer Erhaltung. Ein winziger Farbausbruch sowie schwache Bereibungen in den seitlichen Rändern.
Mit einer Foto-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 26. März 2020; das Pastell wird in das in Vorbereitung befindliche Werkverzeichnis zu Lesser Ury aufgenommen. Wir danken Sibylle Groß für die freundlichen Auskünfte nach Vorlage des Originals.
Provenienz
Dr. Sally Jacobsohn (nach US-Einbürgerung 1945: Dr. Sam Jacobson), Berlin/Houston; Edward H. Littman, Wharton,Texas; seitdem in Familienbesitz USA
Lesser Ury entfaltet in dieser lichten Darstellung eines Fahrdammes zwischen Bäumen seinen ganz eigenen impressionistischen Kolorismus. Die schlichte Wahl des typischen Berliner Motivs erlaubt ihm eine klare wie suggestive Gliederung des Kartons in großzügige Flächen. Alle malerischen Mittel entfalten sich zur Inszenierung eines illusionistischen Zaubers: die intensiven Pastellfarben werden reich ausdifferenziert neben- und übereinandergesetzt, die Pigmente pudrig verwischt, ineinander verrieben und mit kleinteiligen Punkten, Strichen und zeichnerischen Elementen ergänzt, auch der Pinsel kommt zum Einsatz, als mit ihm helle Reflexe in Deckweiß, teils vermischt, teils rein aufgetragen, pointiert gesetzt werden können. Wie häufig bei Lesser Ury entwickelt die Komposition starke Kontraste durch eigenwillige Formalien. Der Rigidität strenger Grundlinien sowie einer konstruierten perspektivischen Flucht, die unverstellt in die Tiefe führt, wird eine wie spielerisch ausgebreitete Duftigkeit des Gesamteindrucks entgegengesetzt, erzeugt durch frei modulierte Licht- und Farbeffekte auf der Straße, auf den dunkel schimmernden Fahrzeugen, im Himmel und auf den Bäumen - scheint man doch hier fast die alten Kronen sich bewegen und rauschen zu hören.
Nicht uninteressant ist in diesem Zusammenhang, dass Lesser Ury auch Postkarten und Fotografien zu Hilfe nahm, wie es Carl Schapira schilderte - insbesondere ihm zugesandte Pariser Ansichten halfen zu Beginn der zwanziger Jahre, technische Details wie die neu aufkommende Verkehrsverdichtung und das Automobil zu studieren, Phänomene, die ihm keineswegs, malerisch, zunächst einleuchteten, er musste erst eine anfängliche "Scheu" überwinden: "Es ist eine merkwürdige Gehirntätigkeit, die sich auf das zu malende Objekt vom reinen Standpunkt des Auges, d.h. des Gefühls, nicht aber des Verstandes konzentriert." (Carl Schapira, zit. nach Hermann A. Schlögl, Ury und die moderne Technik, in: Ausst. Kat. Lesser Ury, Zauber des Lichts, Berlin 1995, S. 51).
Das vorliegende Pastell stammt nach der Dokumentation von Sibylle Groß ursprünglich aus dem Besitz des Berliner Rechtsanwaltes Dr. Sally Jacobsohn (1876 Schönlanke/Brandenburg - Houston/Texas 1964), der zunächst 1939 aus Deutschland nach Kuba flüchtete, 1940 in die USA emigrierte und dort unter dem Namen Sam Jacobson eingebürgert wurde. Ein in Wharton/Texas ansässiger Berufskollege, Edward H. Littman, ein Sohn des bekannten Breslauer Sammlers Ismar Littmann, erwarb die Arbeit in den 1960er Jahren (nach den Sammlungsunterlagen der Familie) direkt von Sam Jacobson; sie befindet sich seitdem in Familienbesitz.
Lesser Ury
Allee im Tiergarten, Berlin
Pastel on card 35 x 49.5 cm Framed under glass. Signed 'L. Ury' in black lower left. - In fine condition with vibrant colours. A minute loss of colour and weak rubbing in the lateral margins.
With a photo-certificate and expert report by Sibylle Groß, Berlin, dated 26 March 2020; the pastel will be included in the catalogue raisonné of works by Lesser Ury currently under preparation. We would like to thank Sibylle Groß for kind information after presentation of the work.
Provenance
Dr. Sally Jacobsohn (since US-naturalisation in 1945: Dr. Sam Jacobson), Berlin/Houston; Edward H. Littman, Wharton,Texas; in family possession, USA, since
In this light-filled depiction of a road set between the trees, Lesser Ury has developed his own very distinctive use of Impressionistic colour. The modest selection of this typical Berlin motif has enabled him to clearly as well as suggestively divide his sheet up into expansive surfaces. Every painterly device has been developed in staging an illusionistic magic: the intense pastel colours are laid alongside and on top of one another in rich variations, the powdery pigments are blurred, blended together and supplemented with fine details of dots, strokes and graphic elements - a brush has also been used, making it possible to concisely insert bright highlights in opaque white, sometimes mixed and sometimes applied pure. As is often the case in Lesser Ury's work, the composition develops strong contrasts through idiosyncratic formal elements. The rigidity of the unyielding basic lines as well as the construction of a perspective receding unimpeded into the distance are countered by the seemingly playfully unfurled haziness of the general impression, which is generated through freely modulated effects of light and colour on the street, on the darkly gleaming vehicles and in the sky and trees - we actually almost seem to hear their old crowns moving and rustling.
In this context it is not without interest that Carl Schapira has described how, in the early twenties, Lesser Ury also made use of postcards and photographs - in particular, views sent to him from Paris - to help him study technical details like the newly emerging density of traffic and the car. These phenomena were initially completely unintelligible to him as a painter, and he first had to overcome his preliminary “timidity”: “It is a peculiar activity of the brain which concentrates on the object to be painted purely from the standpoint of the eye, that is, of feeling, but not that of understanding.” (Carl Schapira, cited in Hermann A. Schlögl, Ury und die moderne Technik, in: exhib. cat., Lesser Ury, Zauber des Lichts, Berlin 1995, p. 51).
According to the documentation gathered by Sibylle Groß, the present pastel was originally in the possession of the Berlin lawyer Dr Sally Jacobsohn (1876 Schönlanke, Brandenburg - Houston, Texas 1964), who first fled from Germany to Cuba in 1939 and then emigrated to the US in 1940, where he was naturalised under the name Sam Jacobson. Edward H. Littman - a professional colleague based in Wharton, Texas, and the son of the well-known collector Ismar Littmann from Breslau - purchased this work in the 1960s directly from Sam Jacobson (according to the documents accompanying the family's collection), and it has been in this family's possession ever since.
Moderne und Zeitgenössische Kunst - Evening Sale
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Köln
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Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.
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Conditions of Sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers
