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Max Beckmann
Description
- Max Beckmann
- Horse Eating
- Signed Max Beckmann (lower right)
- Pencil on paper, unframed
- 10 by 14 3/8 in.
- 25.4 by 36.5 cm
- Executed circa 1915-6.
Provenance
Mathilde "Quappi" Beckmann (the artist's wife)
Gifted to Peter Rathbone from the above, June 1977
Condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
From the end of March to the beginning of May 1915, Max Beckmann painted in Verwik, Belgium, near the battlefield a mural painting, which is not preserved Soldiers in Verwik. In connection with this work, commissioned by a chief staff surgeon, the artist produced a series of preliminary pencil drawings, for instance to prepare the rendering of the two horses with lancers. (Four of them are reproduced in the book: Stephan von Wiese, Max Beckmanns zeichnerisches Werk 1903-1925, Düsseldorf 1978, pp. 18-19. Animals grazing or lying in the fields also have been drawn by the artist at this occasion, for example Horse Grazing, gifted in 1977 by the widow of Max Beckmann, Mathilde, to Peter Rathbone, son of the art museum director and friend of the artist Perry T. Rathbone, who prefers the title Horse Grazing, which takes the surrounding landscape in some consideration. The silhouette of the animal and its inner forms seem here in a state of growing disorganization, indication of the deeper change of style at this time. Beckmann develops now, under the impression of the war, a new artistic structure using sharply drawn angled forms instead of the smoother alignment used before.
We are grateful to Stephan von Wiese for providing us with the above catalogue note.