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Ernst Ludwig Kirchner: Etchings 1913-1929
Ernst Ludwig Kirchner etchings were made in collaboration with Erich Heckel in 1906. Kirchner is one of the most important etchers of Expressionism. Although the small format as well as the limited use of color makes the technique a less expressive medium, Kirchner nevertheless etched over 600 plates. The sketchy stroke as well as the experimental character of the flexible drawing were certainly what moved Kirchner to explore the technique again and again.
In 1913, 19 works of this technique were produced, and from the 1920s, up to 63 plates. In addition to the artistic quality of Kirchner’s etchings, they captivate by the charisma of hand printing by the artist himself, by the physical charms of the paper, the printing ink, the frequently occurring small impurities, such as fingerprints, traces of paint on the edges or on the back.
Leading German Expressionist painter, sculptor, and printmaker Ernst Ludwig Kirchner studied architecture at the Dresden Technische Hochschule and art in Munich at the Kunsthochschule. Though critics have often tied Kirchner to influences such as Fauvism (Matisse in particular), Cubism, and postimpressionism, the artist himself always denied the influence of others.
In 1905, Kirchner was one of the founding members of the Der Brücke group of avant-garde artists. These artists worked together to develop skills in drawing, painting, and printmaking (woodcut and lithography). Kirchner and Der Brücke were some of the first artists to value printmaking as an independent art form. Even when the design was based on his paintings, Kirchner’s preparation of the matrices and often hand-coloring of the prints, made each print became a unique artistic work.
Kirchner followed other members of Der Brücke to Berlin in 1911, where he produced his most famous street scenes, such as the painting, “Potsdamer Platz” and the related woodcut, “Women in Potsdamer Platz” (1914). After the Dissolution of Der Brücke in 1913 and his marked mental deterioration, Kirchner emigrated to Switzerland and settled near Davos. In 1938, soon after Nazis labeled him a degenerate artist, Kirchner committed suicide.
Gerda am Toilettentisch (Gerda at Toilet Table), 1913. 27.9 x 21.9 on 36 x 29 cm. Etching on strong satined chamois semi cardboard. Estate of the artist (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954). One of 5 so far known prints pulled by the artist. With the estate-stamp as well as with the numbering “K9169” in pencil on the verso.
Bergweg von oben gesehen (Mountain Path seen from above), 1919. 20.0 x 25.4 on 29.1 x 34.0 cm. Etching on chamois paper. With the estate-stamp as well as with the numberings “R 282” and “K9573”, “C 3597” (mentioned twice) and “9230” in pencil on the verso. One of only 3 so far known prints pulled by the artist.
Stilleben (Still life), 1913. 25.3 x 20.1 on 39 x 32 cm. Etching on chamois semi cardboard. Estate of the artist (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954). The only known print by the artist so far. Signed on the lower right. With the estate-stamp as well as with the numbering ” R Be/Ac 1″ and “K 9839” in pencil on the verso.
Kopf Gerda (Head Gerda), 1915. 25.8 x 20.3 on 49.6 x 39.5 cm. Etching on Japan cardboard. Collection Gustav Schiefler, Hamburg (before 1935); Family Gustav Schiefler (1935); Hauswedell & Nolte 1987 and 2006. One of 4 so far known prints pulled by the artist.
Dunkle Bäuerin und Knabe (Dark Peasant Woman and Boy), 1919. 31.5 x 25 on 47.4 x 37.4 cm. Etching on light, smooth cardboard coated on one side. Private Collection. One of 12 so far known prints pulled by the artist. Signed in pen on the lower right and marked with „Eigendruck“ on the lower left.Menschen im Regen (People in Rain), 1920. 31.3 x 25 cm on 36.4 x 28.9 cm. Etching on strong copperplate printing paper. Kunsthalle Hamburg , confiscated there around 1936 as “degenerate art”; Galerie Ferdinand Möller Berlin; Frankfurter Kunstkabinett, 14. Cat. 1970, No 34 with img; Collection Victor Müller, Basel; Private collection Basel. One 5 so far known prints pulled by the artist. With stamp of „Kunsthalle zu Hamburg“, crossed in pencil and inscribed “1924/86” and stamped “Galerie Ferdinand Möller” and handwritten inscribed “erworben lt. Vertrag 1940” on the verso.
Junger Hirt mit Pfeife (Young Shepherd with Pipe), 1920. 25.2 x 20 on 31 x 24 cm. Etching in red-brown on a copperplate cardboard glued together, on cardboard with Schiefler number. Estate of the artist (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954). One 5 so far known prints pulled by the artist. With the estate-stamp as well as with the numberings “R 250 IV” in ink and “K9671” in pencil on the verso.
Bergtannen (Mountain Firs), 1920. 25 x 20 on 33.7 x 29 cm. Etching on light structured, strong wove paper. Estate of the artist (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954). Titled and dated by an unknown hand on the verso. As well as with a waterccoloured pencil scetch, which was probably originally made on a larger paper and with the estate-stamp and with numberings “R 330 II”, “K9599” in ink and “9599” and “C3858” in pencil on the verso.
Alte und junge Frau (Old and Young Woman), 1921. 30.5 x 25.2 on 44.5 x 35 cm. Etching monotypic in black, blue and red on strong «Silk Blotting Huber Frères Winterthur». Collection Dr. Frédéric Bauer, Davos; Stuttgarter Kunstkabinett, 18th Auction Nov. 1953, No 1990; Kunsthaus Lempertz Köln, 471st Auktion No 378 with img.; Kornfeld und Klipstein Bern, 137. Auction No 660.; Collection Victor Müller, Basel; Private collection Basel. One of 3 so far knwon prints pulled by the artist. Signed on the lower right, marked with „Eigendruck“ on the lower left and titled on the lower middle. Numbered, titled and dated in red chalk by the artist “164 Alte und junge Frau 21” on the verso.
Brandenburger Tor, Berlin, 1929. 25 x 27.8 on 35.5 x 40 cm. Etching on yellowish wove paper. Estate of the artist (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954). One of 2 so far known prints pulled by the artist. With the estate-stamp as well as with the numbering “R Da/Ab 1” in ink on the verso.
