Georg Kolbe

Georg Kolbe 1877 - 1947 Japanerin (Kauernde Japanerin). 1911. Bronze with brown patina. With the monogram on the plinth, and with the foundry mark “H. NOACK FRIEDENAU BERLIN” on the reverse. 46 cm (18.1 in). [EH]. “The ‘Japanese Woman’ [presumably a different copy] was first exhibited at the 1911 fall exhibition of the Berlin Secession and is one of Kolbe’s earliest sculptures that was very well received by the public and the press” (Katharina Perlongo, in: Julia Wallner, Georg Kolbe, Cologne 2017, p. 28) Additional sculptures from this private Southern German collection will be offered in our online sale from January 15 through February 15, 2027. • “Japanese Woman” marks the beginning of Georg Kolbe’s shift toward lively, gracefully posed nudes. • The addition of “Friedenau” on the foundry mark indicates an earlier casting date. • Impeccable casting with a subtle patina. • Other copies are in the collections of the Georg Kolbe Museum, Berlin; the Albertinum in Dresden; and the Kröller-Müller Museum, Otterloo. PROVENANCE: Galerie Valentien, Stuttgart. Private collection, Southern Germany (acquired from the above in 1963). In the family’s possession ever since. EXHIBITION: . EXHIBITIONS: (selection) Dreiundzwangstigste Ausstellung der Berliner Secession. Zeichnende Künste, Berlin 1911, p. 84, cat. no. 1069 (probably a different copy) Große Kunstausstellung, Dresden 1912, cat. p. 27, lot 110 (probably a different copy). Galerie Paul Cassirer, Berlin, 6th Exhibition, 14th Season, Winter 1911/12, Feb./March 1912, cat. no. 60 (probably a different copy). Georg Kolbe. Plastiken aus den Jahren 1908 bis 1925, Zeichnungen, Drucke, Galerie Ernst Arnold, Dresden 1925, p. 13, cat. no. 3 (probably a different copy). Georg Kolbe 1877–1947. Sculpture from the collection of B. Gerald Cantor, Drawings from the Georg Kolbe Museum, Berlin, Georgia Museum of Art, University of Georgia, Athens / Andrew Dickson White Museum of Art, Cornell University / Busch-Reisinger Museum of Art, Harvard University, Cambridge, MA / Indianapolis Museum of Art / Municipal Art Gallery, Los Angeles / Santa Barbara Museum of Art / Washington University, St. Louis, MO, 1972/73, cat. no. 2 (probably a different copy). Abbilder - Leitbilder. Berliner Skulpturen von Schadow bis heute. Neuer Berliner Kunstverein, Berlin 1978, cat. no. 83 (probably a different copy). Hommage à Lehmbruck. Lehmbruck in seiner Zeit, Wilhelm Lehmbruck Museum, Duisburg, Oct. 25, 1981–Jan. 3, 1982, cat. no. 169 (probably a different copy). Von Begas bis Barlach. Bildhauerei im wilhelminischen Berlin, Georg Kolbe Museum, Berlin, September 12–November 11, 1984, cat. no. 54 (probably a different copy). Georg Kolbe. Plastiken und Zeichnungen, Paul-Dierkes-Foundation, Cloppenburg, 1984, cat. p. 16, 28, 35 (probably a different copy). Der Akt um 1900. Körper, Landschaft, Erotik. Special exhibition of the Dresden Sculpture Collection—Albertinum, May 30–Nov. 10, 2013, no catalog no. (probably a different copy). LITERATURE: Ursel Berger, Georg Kolbe: Leben und Werk, mit dem Katalog der Kolbe-Plastiken im Georg-Kolbe-Museum, Berlin 1990, cat. no. 13, CR no. W 11.025 (different copy). - - Selection: Wilhelm Reinhold Valentiner, Georg Kolbe: Plastik und Zeichnung, Munich 1922, p. 44. Werner Schmalenbach (ed.), Lexikon der modernen Plastik, Munich/Zurich 1961, p. 159. Franz Josef Neckenig, Der Bildhauer Georg Kolbe (1877–1947). Das künstlerische Werk, Stilphasen und ihre Voraussetzungen, Berlin 1972 / Tübingen/Berlin 2011, pp. 36, 61, 89. Werner Stockfisch, Ordnung gegen Chaos. Zum Menschenbild Georg Kolbes, Berlin 1984, pp. 81, 85, 189, 231ff., 268. Gisela Klinkhardt, Die Plastik in der Werkbundausstellung Köln 1914, Heidelberg 1996, p. 46. Bernhard Echte, Walter Feilchenfeldt (eds.), “Verheißung und Erfüllung zugleich.” Kunstsalon Paul Cassirer. Die Ausstellungen 1910–1912 (Quellenstudien zur Kunst, vol. 9), Wädenswil 2016, pp. 527, 604, 526, fig. 60 (probably a different copy). Katherina Perlongo, “..innig in den leisen Bewegungen,” in: J. Wallner, Georg Kolbe, Cologne 2017, p. 33, ill. p. 32 (different copy). "For Kolbe, this figure marks the beginning of a new, important chapter: the development of a new style that places the depiction of harmonious and graceful female at the center of his work." Katherina Perlongo, in: J. Wallner, Georg Kolbe, Cologne 2017, p. 33. Called up: December 5, 2026 - ca. 13.06 h +/- 20 min.

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