Milly Steger

Overall the condition of the bronze is good, with some dirt and wear to the surface consistent with age. A few stable original joints are very slightly visible, including at both thighs. There is minor rubbing to the patina at the high points, including to the face, the proper right breast, and the fingers. There are several light surface scratches, including to the proper right thigh, the proper right shoulder and elbow (where there is also an area of nicks), and the proper left arm. There are also very minor nicks and scratches to the tip of the nose and to the forehead, as well as to the edges of the terrasse. There are a few dark marks, notably to the figure's back. There is particular wear to the terrasse. There appears to be a minor dent to the terrasse at the signature.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Steger is regarded as one of the most influential sculptors of 20th-century Germany, and one of the most important artists of expressionism. Her recognition today as a pioneering figure of feminism began in her own lifetime, being named the honorary president of the Democratic Women’s League of Germany just before her death in 1948.

Steger's style is primarily indebted to Georg Kolbe, who enabled the sculptor's interest in the female form whilst she was his pupil, and helped to establish her in the art world of Berlin, Germany’s pre-eminent cultural city at the turn of the century. Her work centres strongly on the female nude, and emphasises her particular fascination with the rhythm and expression of the 'New German Dance', resulting in her sculpting of its primary performers in Mary Wigman and Josephine Baker. The suppression of detail and simplification of form in Steger’s female figures, who always refrain from eye contact, helps to portray them as fiercely independent and self-assured.

A very similar cast to the present model was sold in these rooms on 14 December 2016, lot 113, for £30,000.

RELATED LITERATURE
Stonge: Women and the Folkwang: Ida Gerhardi, Milly Steger, and Maria Slavona, Woman’s Art Journal, vol. 15, No.1 (Spring – Summer, 1994), pp. 3-10, accessed November 2, 2017, http://www.jstor.org/stable/pdf/1358488.pdf.