Heinrich Hörle Sold at Auction Prices

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Nov. 23, 2023
HEINRICH HOERLE (Cologne 1895 - 1936 Cologne)
Est: €800 - €1,600
HEINRICH HOERLE (Cologne 1895 - 1936 Cologne) Man with a pipe, 1931 linocut/paper, 22,6 x 17,5 cm monogrammed in the plate h, dated 1931 numbered 3/50 ESTIMATE °€ 800 - 1600 STARTING PRICE °€ 800 The German painter Heinrich Hoerle began as a Rhenish Expressionist, was part of the Cologne Dada and painted in the styles of Constructivism and Surrealism. His main focus was on the horrors of war, the everyday lives of workers and the dehumanization of the masses. was predominantly self-taught; For a short time, he attended the Kunstgewerbeschule (School of Applied Art) in Cologne. In 1913, he joined the avant-garde Gereonsklub (Olga Oppenheimer, Franz M. Jansen and Emmy Worringer) which also showed pictures by August Macke, Franz Marc, Paul Klee and Robert Delaunay. With Otto Freundlich and Max Ernst, Heinrich Hoerle also belonged to the Lunists. During his military service in 1917, Hoerle published his first pictures in Franz Pfemfert's magazines Aktion and Simplicissimus. After the end of the war, Heinrich Hoerle married Angelika Fick, sister of fellow painter Willy Fick. Hoerle maintained contacts with Ret Marut, Hans Schmitz-Wiedenbrück and Franz Wilhelm Seiwert, with whom he remained friends until 1932. He was one of the Cologne Dadaists around Johannes Theodor Baargeld (Alfred Gruenwald), participated in the Dadaist weekly magazine “Der Ventilator” in 1920 and showed his work in the Dadaist space at the autumn exhibition of the Expressionist Society of the Arts. Heinrich Hoerle processed his war experiences in his “cripple portfolio”. While Johannes Theodor Baargeld and Max Ernst oriented themselves towards the rather apolitical French Dada, Heinrich and Angelika Hoerle wanted to have a political impact: The Hoerle couple founded the group Stupid with Antonräderscheidt, Hans Arp, Willy Fick and Franz Wilhelm Seiwert. Hoerle adopted constructivist and New Objectivity elements for his socialist art. Hoerle was friends with the Düsseldorf artists Gottfried Brockmann and Gerd Arntz, who shared his socially critical approaches. The photographer August Sander documented images of Heinrich Hoerle and his work. Hoerle later changed his painting style under the influence of Giorgio de Chirico, Max Ernst and Juan Gris and painted in a loose surrealist style. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographys 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
Widder Auctions
Nov. 10, 2023
Heinrich Horle, Face and Hand
Est: $10,000 - $15,000
Heinrich Horle Face and Hand c. 1929 charcoal on paper sight: 14.375 h x 11 w in (37 x 28 cm) Signed to upper right 'h'. Provenance: Barry Friedman Ltd., New York | Private Collection This work will ship from Lambertville, New Jersey.
Rago Arts and Auction Center
Oct. 28, 2023
Heinrich Hoerle (1895 Köln 1936) Frauenkopf (Trude Alex).
Est: -
Heinrich Hoerle (1895 Köln 1936) Frauenkopf (Trude Alex). Lithographie auf Papier. 1932. 34,2 x 23,9 (46 x 32,7) cm, unter Passepartout. Unter Glas gerahmt. Signiert, datiert u. nummeriert "5". Backes IV.43 - Lager- und Alterungsspuren.
Dr. Irene Lehr Kunstauktionen GmbH
Jun. 07, 2023
Heinrich Hoerle, Frauenkopf, 1929
Est: €20,000 - €25,000
Monogrammed and dated '19 h 29' upper centre. With a confirmation by Dirk Backes, Aachen, dated 30 October 2022. The work will be included in the new edition of the catalogue raissonné by Backes/Hanstein.
Kunsthaus Lempertz KG
Jun. 07, 2023
Heinrich Hoerle, Blumenstillleben mit Vase,
Est: €15,000 - €20,000
Signed 'hoerle' (incised) upper right. With confirmation by Dirk Backes, Aachen, dated 4 January 2022. The work will be included in the new edition of the catalogue raissonné by Backes/Hanstein.
Kunsthaus Lempertz KG
Jun. 06, 2023
Heinrich Hoerle, Blumen, 1933
Est: €20,000 - €25,000
Monogrammed, dated and numbered '19 h 33 14' in pale blue upper right. Signed, dated, titled and inscribed 'heinrich hoerle 1933/14 blumen spanien mallorka cala ratjada son moll' in ink verso. Oral confirmation of authenticity by Dirk Backes, Aachen. The work will be included in the new edition of the catalogue raissonné by Backes/Hanstein.
Kunsthaus Lempertz KG
Jun. 06, 2023
Heinrich Hoerle, Bäume, 1931
Est: €30,000 - €40,000
Monogrammed and dated 'h 1931' on the right edge. With oral confirmation of authenticity by Dirk Backes, Aachen. The work will be included in the new edition of the catalogue raissonné by Backes/Hanstein. Around 1924 the two Cologne-based painters Heinrich Hoerle and Franz W. Seiwert distanced themselves from the Dada movement to pursue the path of a socially oriented art. As the “Gruppe progressiver Künstler”, Hoerle and Seiwert were “adherents of the Marxist ideology in its simple and most unadulterated sense, that is, in the sense of the elimination of inequality and violence, the unification of the people of all classes and nations and the abolition of property” (Evelyn Weiss, Von Dadamax zu A – Z – Die Kölner Progressiven der zwanziger Jahre, in: exh. cat. Kunstverein Frechen 1970, n. pag.). Based on a socialist motivation, Hoerle desired an art for the people of all classes and saw himself as a worker labouring in “service of the exploited”, as he once wrote. After his art originally began in the sense of the New Objectivity, Hoerle arrived at a style which combined constructive elements with realistic ones. This combination can also be identified in the wax-crayon drawing “Bäume” offered here, where the strongly abstracted trees, which resemble chimneys, have been linked with a red barn. This drawing was created in 1931, at a turning point in Hoerle’s oeuvre: besides achieving a series of notable successes, he also made a seminal decision with regard to his painting technique. That was the year he resolved to give up oil painting to focus exclusively on working with wax crayons. “He primarily used the wax crayons cold. They leave behind a little colour when rubbed on a surface. The work is laborious and does not produce any rapid results, particularly when multiple layers were to be laid on top of each other, so that the others would shine through. […] However, by means of his intense efforts, Hoerle produced unheard-of effects through the medium’s otherwise dormant possibilities” (Hans Schmitt-Rost, Heinrich Hoerle, Recklinghausen 1965, p. 20). The “unheard-of effects” mentioned by Hoerle’s biographer can also be grasped in the work “Bäume”. With the greatest precision, finest lineation and a pronounced sensibility for colours, he created motifs that appear partly two-dimensional and partly three-dimensional and are combined into a harmonious whole.
Kunsthaus Lempertz KG
Feb. 08, 2023
Hoerle, Heinrich
Est: €7,000 - €10,000
Hoerle, Heinrich Köln, 1895 - 1936 17 x 22 cm, R. Still life with grapes. Oil on cardboard. Stamped on the reverse "Heinrich Hoerle - Köln Lindenthal - Bachemerstrasse 243". The work will be included in the new edition of the catalogue raisonné by Mr. Dirk Backes, Aachen. Van Ham, Köln, 344. sale Moderne und Zeitgenössische Kunst, 26. 11. 2014. lot 50. Private collection, Nordrhein-Westfalen.
Nagel Auction
Dec. 02, 2022
Heinrich Hoerle, Arbeiter, 1931
Est: €200,000 - €300,000
Monogrammed 'h' within depiction to upper right margin. Verso signed, dated and titled 'hoerle 1931/3 arbeiter'. Leaving Cologne’s Dada movement behind them, the friends and fellow artists Heinrich Hoerle, Franz Wilhelm Seiwert and Anton Räderscheidt increasingly turned to social content and a simple visual idiom – according to the “Cologne Progressives”, art was to be created in the service of social criticism and it was to be comprehensible to everyone. At the end of 1919 Seiwert wrote: “We want to do simple work beyond any chattery spirituality […] We use the picture to allow the facts out there become a fact in the picture: profit machines, labour slaves, exploiters and the exploited. Our pictures serve the exploited, of whom we are a part and with whom we feel solidarity; therefore, we reject the supposedly anti-bourgeois, Dadaist harlequinade performed to the delight of the bourgeoisie, because it is not the bankruptcy of the bourgeoisie but the creative will of the masses that we must render visible” (cited in: exh. cat. Heinrich Hoerle, Leben und Werk, Köln 1981, p. 30). The painter as worker: the painting “Arbeiter” is a self-portrait, a statement on which Heinrich Hoerle created variations in his painting and drawings of the early 1930s. Like the French painter Fernand Léger, who had previously arrived at a mechanistic visual vocabulary during his comradeship with miners, lumberjacks and metalworkers due to the war, it was also Hoerle’s engagement with social themes that led him to his visual idiom reduced to the essential (see exh. cat. Köln 1981, op. cit., pp. 38 f.). The male figure is depicted frontally and fills the canvas, with his gaze directed at the viewers; the small female figure, on the other hand, is seen from behind and is turned away from the viewers. The relationship between the trees and the smoking chimneys depicted formulaically in the background is no less antithetical. The antitheses of machine – nature, factory – artist, woman – man, verso – recto and light – dark become resolved in the figure, who reconciles factory labour and art in his own portrait. Relationships between the individual elements of the picture have been ingeniously established through monochrome primary and complementary colours applied in a haptic manner. Just like the differentiated proportions of the picture’s figures and objects, these plumb the spatial continuum. Three-dimensional form is additionally evoked through the alternation of light and dark. The individual elements accordingly fit together like machine parts to guarantee the functioning of the immanent process at work within the picture. The market-fresh painting “Arbeiter” is among Hoerle’s last oil paintings, because the painter turned to the technique of wax crayon on paper from 1932. A similar work “Arbeiter (Selbstbildnis vor Bäumen und Schornsteinen)”, which was also created in 1931, is now in the collection of Harvard University’s Busch-Reisinger Museum (see Backes 83). Our large-format, prominent painting in museum quality can be counted among the most important in Heinrich Hoerle’s oeuvre.
Kunsthaus Lempertz KG
Sep. 28, 2022
HEINRICH HÖRLE (1895-1936) Prothesenkopf Block 253 x 166 mm. Sheet 466 x 2
Est: £2,500 - £3,500
HEINRICH HÖRLE (1895-1936) Prothesenkopf Block 253 x 166 mm. Sheet 466 x 296 mm.
Christie's
Sep. 28, 2022
HEINRICH HÖRLE (1895-1936) Krüppel Overall 645 x 500 mm.
Est: £10,000 - £15,000
HEINRICH HÖRLE (1895-1936) Krüppel Overall 645 x 500 mm.
Christie's
Jul. 13, 2022
Hoerle, Heinrich
Est: €14,000 - €18,000
Hoerle, Heinrich Köln, 1895 - 1936 17 x 22 cm, R. Still life with grapes. Oil on cardboard. Stamped on the reverse "Heinrich Hoerle - Köln Lindenthal - Bachemerstrasse 243". The work will be included in the new edition of the catalogue raisonné by Mr Dirk Backes, Aachen. Van Ham, Köln, 344. sale Moderne und Zeitgenössische Kunst, 26. 11. 2004. lot 50. Private collection, Nordrhein-Westfalen.
Nagel Auction
Jun. 02, 2022
Heinrich Hoerle, Blumenstillleben mit Vase,
Est: €20,000 - €25,000
Signed 'hoerle' (incised) upper right. With confirmation from Dirk Backes, Aachen, dated 4 January 2022. The work will be included in the new edition of the catalogue raissonné by Backes/Hanstein.
Kunsthaus Lempertz KG
Mar. 04, 2022
HEINRICH HÖRLE (1895-1936) Gruppe pencil on paper 19 7/8 x 25 1/2 in. (50 x
Est: £6,000 - £8,000
HEINRICH HÖRLE (1895-1936) Gruppe pencil on paper 19 7/8 x 25 1/2 in. (50 x 64.5 cm.)
Christie's
Jun. 11, 2021
Heinrich Hoerle - ”Weißes Pferd”. 1927/28
Est: €18,000 - €24,000
Heinrich Hoerle ”Weißes Pferd”. 1927/28 Oil on canvas. Relined Monogrammed and dated lower right: h 1927/28 31 1/2 × 23 5/8 in.
Grisebach
Jun. 10, 2021
Heinrich Hoerle - ”Stilleben mit Krug und Birne”. 1929
Est: €30,000 - €40,000
Heinrich Hoerle ”Stilleben mit Krug und Birne”. 1929 Oil on paper on wood 25 × 19 3/8 in. Monogrammed and dated upper left: 19h29. On the cardboard backing a stamp of the Cologne Kunstverein relating to the exhibition Cologne 1981 (see below)
Grisebach
Jun. 10, 2021
Heinrich Hoerle - ”Vordermann”. 1932
Est: €40,000 - €60,000
Heinrich Hoerle ”Vordermann”. 1932 Wax crayon on heavy paper 16 3/4 × 14 in. Monogrammed, dated and inscribed upper right: 19h32 3
Grisebach
Jun. 10, 2021
Heinrich Hoerle - Worker (Self-portrait in front of trees and chimneys). Circa 1930
Est: €12,000 - €15,000
Heinrich Hoerle Worker (Self-portrait in front of trees and chimneys). Circa 1930 Graphite on Japan laid paper 24 1/4 × 18 3/8 in. Corresponding graphite sketches on the reverse
Grisebach
Jun. 10, 2021
Heinrich Hoerle - ”Frauenkopf (Trude Alex/Hoerle?)”. Circa 1935
Est: €25,000 - €35,000
Heinrich Hoerle ”Frauenkopf (Trude Alex/Hoerle?)”. Circa 1935 Wax crayon on Japan paper 15 × 11 in. Monogrammed upper left: h
Grisebach
Jun. 10, 2021
Heinrich Hoerle - ”Spießerpaar”. 1922
Est: €2,000 - €3,000
Heinrich Hoerle ”Spießerpaar”. 1922 Linocut on Japan laid paper 7 7/8 × 5 1/2 in. (11 7/8 × 8 3/8 in.) Signed and dated
Grisebach
Jun. 10, 2021
Heinrich Hoerle - ”Die Krüppelmappe”. 1920
Est: €12,000 - €15,000
Heinrich Hoerle ”Die Krüppelmappe”. 1920 Set of 12 lithographs and 1 lithographed cover sheet, each on yellowish paper 23 1/4 × 18 1/8 in. 12 sheet signed
Grisebach
Jun. 10, 2021
Heinrich Hoerle - Study of a war invalid. 1931
Est: €15,000 - €20,000
Heinrich Hoerle Study of a war invalid. 1931 Pencil on thin tracing paper 42 1/2 × 14 in. Dated upper left: 1931/2
Grisebach
Jun. 10, 2021
Heinrich Hoerle - ”Prothesenkopf”. Circa 1925
Est: €2,000 - €3,000
Heinrich Hoerle ”Prothesenkopf”. Circa 1925 Linocut on paper (backside from an old accounting book) 8 1/4 × 5 7/8 in. (11 1/4 × 8 7/8 in.)
Grisebach
Jun. 10, 2021
Heinrich Hoerle - ”Dadahund". Early 1920s
Est: €1,500 - €2,000
Heinrich Hoerle ”Dadahund". Early 1920s Pencil on wove paper (watermark: JWhatma[n]) 12 7/8 × 9 3/4 in. Signed lower right: Hoerle
Grisebach