Heinrich Zille - Gegen Morgen (Am Morgen) - image-1
Heinrich Zille - Gegen Morgen (Am Morgen) - image-2
Heinrich Zille - Gegen Morgen (Am Morgen) - image-1Heinrich Zille - Gegen Morgen (Am Morgen) - image-2

Lot 313 Dα

Heinrich Zille - Gegen Morgen (Am Morgen)

Prussia II  21.04.2018, 14:00 - 21.04.2018, 17:59
Prussia I  21.04.2018, 11:00 - 21.04.2018, 13:59

Estimate: 18.000 € - 22.000 €
Result: 28.520 €

Heinrich Zille

Gegen Morgen (Am Morgen)

Mixed media (coloured chalks, charcoal, ink, opaque white, watercolour, and pencil) on paper (40.6 x 29.6 cm), mounted by the artist on firm card 41 x 30.4 cm Framed under glass. Monogrammed and dated in charcoal to the lower right '01. Z.' - Titled by the artist on reverse in blue chalk 'Gegen Morgen.', signed and addressed 'Zille./Charlottenburg./ Sophie Charlotten/Str. 88.'. A fragmentary printed numerical label of the Berlin Secession to the upper margin. - Additionally titled ‘Am Morgen’ on an old, hand-written label on the back of the frame. - Traces of needle pins to the corners and margins (small round holes). Mounted slightly irregularly on the card; paper slightly wavy. Fine original condition with fresh colours.

According to the information kindly provided by Anke Matelowski (Die Berliner Secession 1899-1937, Chronik, Kontext, Schicksal, Nibus-Verlag, Wädenswil/Schweiz 2017), the Secession label on the reverse most likely refers to the painter's selection for the exhibition "IV. Kunstausstellung der Berliner Secession - Zeichnende Künste" in Kantstraße. Encouraged by Max Liebermann and other friends, it was Heinrich Zille's first public presentation. His coloured drawings and etchings displayed at the time can no longer be identified. According to the catalogue, some were entitled "Aus dem dunklen Berlin“. The present nocturnal motif definitely fitted into this context.
“An etching from 1898 entitled “s' dunkle Berlin” gives an impression of the kind of works which Zille displayed. He apparently borrowed his main title of 1901 from the title of a series of articles with which the “Berliner Morgenpost” caused a sensation at its market launch in 1898. The whole of Berlin read the contributions, which led readers into dark streets and quarters, night coffee houses, bars, and criminal's hangouts. Zille was not illustrative, but the locations of his pictorial inventions were in the same milieu." (Philipp Kuhn, Mittendrin und doch am Ende. Heinrich Zille und die moderne Kunstwelt Berlins der Jahrhundertwende, in: Typen mit Tiefgang. Heinrich Zille und sein Berlin, exhib. cat. Museum für Kunst und Technik des 19. Jahrhunderts, Baden-Baden 2013, p. 140/141; for the mentioned etching see Rosenbach 15).
At the time, Zille's works still provoked fierce rejection: "Zille's issue is in vogue but not the form of his expression." (Matthias Flügge, H. Zille. Berliner Leben, Zeichnungen, Photographien und Druckgraphiken 1890-1914, exhib. cat. Akademie der Künste Berlin, Munich 2008, p. 24)


We would like to thank Detlef Rosenbach, Hanover, for kind information confirming the authenticity of this work.


Formerly Berlin private collection, in family possession since