Lot 266 George Grosz. Grade Eindecker und Flugfeld …

Grade Eindecker und Flugfeld in Berlin-Johannisthal. 1912. Bleistift auf dünnem Skizzenpapier. 6,5 x 15 cm bis 8,5 x 14,5 cm (15,8 x 10,2 cm). Ortsbezeichnet und datiert. Die erste Zeichnung verso mit Autograph bzw. mit der händisch ausgeführten Werknummer (1578) und dem Nachlassstempel (55 177 6). Im Passepartout montiert. Unter Glas gerahmt.

Expressionismus

Klassische Moderne – Deitsch 3865. - Mit beiliegender schriftlicher Bestätigung von Peter Grosz. Mit einem Autographen verso an seinen Sohn: "Dear Pete: among my old-old scethes which Otz found among my old belongings at the attic Savignyplatz 5 here an old sketch of a Grade Eindecker (wen those with your uncle Hans who flew ion airplanes and crashed 1914. Just a little ascatch" as ever." - Die Zeichnungen vom Flugplatz Berlin-Johannisthal (1912) markieren den frühesten fassbaren Moment im Werk von George Grosz, an dem Technikspektakel und soziale Beobachtung untrennbar zusammenfallen: Nicht die Maschine, sondern die Masse wird zum Bildgegenstand. Im nervösen, von Jugendstil und Satirepresse gleichermaßen geprägten Strich kündigt sich jene rücksichtslose Entblößung gesellschaftlicher Typen an, die Grosz in der Metropolis-Mappe (1917) und im Gesicht der herrschenden Klasse (1921) zur Meisterschaft führen sollte. Johannisthal ist damit nicht Frühwerk im Sinne des Vorläufigen, sondern Keimzelle eines Programms: das moderne Berlin als anatomisches Theater der Macht, der Lust und der Lächerlichkeit. Hans Grade (1879-1946) war einer der bedeutendsten deutschen Flugpioniere und Flugzeugkonstrukteure der Frühzeit. Der Flugplatz Johannisthal war die Hauptbühne für Grade und seine Konstruktionen. 1909 gewann Hans Grade als erster Deutscher den Lanz-Preis der Lüfte - ebenfalls auf einem seiner Eindecker. Um 1912 war der Grade-Eindecker in Johannisthal eines der am häufigsten gesehenen Flugzeuge.

Classical Modernism – Grade Monoplane and Airfield in Berlin-Johannisthal. 1912. Pencil on thin sketch paper. Titled dated. The first drawing bears an autograph on the reverse, along with the handwritten work number (1578) and the estate stamp (55 177 6). Mounted in a passe-partout. Framed under glass. - With accompanying handwritten confirmation by Peter Grosz. With an autograph verso to his son: "Dear Pete: among my old-old sketches which Otz found among my old belongings at the attic Savignyplatz 5 here an old sketch of a Grade Eindecker (wen those with your uncle Hans who flew in airplanes and crashed 1914. Just a little sketch, as ever." The drawings from the airfield Berlin-Johannisthal (1912) mark the earliest tangible moment in George Grosz's work at which the spectacle of technology and social observation become inseparably entwined: it is not the machine, but the crowd that becomes the subject of the image. In the nervous line - shaped equally by Jugendstil and the satirical press - one can already detect that ruthless exposure of social types which Grosz would bring to full mastery in the Metropolis portfolio (1917) and The Face of the Ruling Class (1921). Johannisthal is therefore not early work in the sense of the provisional, but the seed of a programme: modern Berlin as an anatomical theatre of power, desire, and absurdity. Hans Grade (1879-1946) was one of the most important German aviation pioneers and aircraft designers of the early period. The Johannisthal airfield was the principal stage for Grade and his constructions. In 1909, Hans Grade became the first German to win the Lanz Prize of the Air - likewise on one of his monoplanes. Around 1912, the Grade monoplane was one of the most frequently seen aircraft at Johannisthal.

Result: 900 €

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