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Wilhelm Albermann
The Blacksmith of Solingen / - The Double-edged Sword -
after 1895

$1,317.13

$1,646.4120% Off

£975.83

£1,219.7920% Off

€1,120

€1,40020% Off

CA$1,803.27

CA$2,254.0920% Off

A$2,028.85

A$2,536.0620% Off

CHF 1,074.96

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MX$25,053.69

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NOK 13,177.89

NOK 16,472.3720% Off

SEK 12,662.14

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DKK 8,521.62

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About the Item

Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Cologne), The Blacksmith of Solingen, after 1895. Bronze-color patinated zinc cast on plinth, 47 cm (height) x 20 cm (width) x 16 cm (depth), weight 5.5 kg. Signed “Albermann.” on the plinth and identified as a cast by “AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN”. Dedication on the front: “Mr. Ing. F. Kuhlmann to the wedding. Management and officials of the Hannoversche Waggonfabrik. Aircraft construction department". - The zinc showing through in spots, the patina somewhat stained, the right upper arm under the sleeve retouched in black. - The Double-edged Sword - The figure is a reduction of Wilhelm Albermann's 1895 fountain figure of the armourer of Solingen, who has always been identified with the historical blacksmith Peter Hahn. In 1839, Karl Simrock wrote the poem “The Blacksmith of Solingen" and thus coined the legendary figure. The first and penultimate verses read: A blacksmith spoke to Solingen With every bayonet, That came to his diligence: "Oh, that Fritz had it!" The war took its course, Many battles were fought, Which often made him fearful and anxious In his soul. The blacksmith had given up his trade to fight for Frederick the Great. Not least because of his strength and will to fight, the battles were won. With his fountain sculpture, Albermann has given the legendary blacksmith a figurative form and at the same time created a landmark for the city of Solingen, which was once famous for the art of sword forging and today still stands for the production of high-quality knives. During the bombing raid in November 1944, the fountain was destroyed along with the entire old town of Solingen. Only the head remained. The broad-shouldered blacksmith stands securely behind his anvil, his leather apron tied around him, and has just finished a sword blade with his own "weapon" - the blacksmith's hammer. His entire body shows the strength with which he wields the hammer, but also the strain of this activity, as evidenced by the wide open shirt, the somewhat 'untidy' apron, and especially the furrowed face. However, the blacksmith does not look at the finished work, but resolutely and at the same time thoughtfully into the distance, in line with the quoted verse from Simrock's poem that the battles "often made him fearful and anxious in his soul". There is certainly something melancholy in his gaze, fed by the knowledge of the necessity of forging swords and taking up arms and their deadly use - experiences Albermann had to make during his own war missions. The flowing full beard gives his gaze into the distance an almost prophetic character. In keeping with the craft of the perfectly formed art of blacksmithing, the detailed casting reproduces the respective materials depicted in perfect form: the leather apron convincingly conveys the impression of leather and lies - also in the back view - like a second formed layer over the body, while the shirt and trousers illustrate their own textile qualities. Due to its masterful execution and profound content, the “Blacksmith of Solingen”, which has survived in its cast reproductions, remains Albermann's most famous work to this day. About the artist The son of a carpenter, Wilhelm Albermann began an apprenticeship as a joiner, but then followed his artistic calling and trained as a sculptor in Elberfeld. In 1855, at the age of twenty, he was drafted into the army in Berlin, where he served until 1857. Albermann attended the Berlin Art Academy on the side and began regular studies after his service. While still a student, he completed commissioned works for his teachers August Fischer and Hugo Hagen. His first independent commissions followed, enabling him to establish a flourishing sculpture studio in Cologne in 1865. His artistic activities were repeatedly interrupted by military service, and he took part in the German-Danish War in 1864, the war against Austria in 1866, and the Franco-Prussian War in 1870/71. After his last war service, Albermann, already a respected artist, founded a commercial drawing school at the request of the city government, where he taught the modeling class and served as director until 1896. In 1890 he also worked for the "Society for the Promotion of Sculpture in the Rhineland and Westphalia". Albermann was one of the most prolific sculptors in Cologne in the second half of the 19th century. He created numerous monuments, fountains, tomb sculptures, architectural ornaments, and domestic statues. At its peak, his workshop employed up to thirty sculptors and stonemasons at a time. GERMAN VERSION Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Köln), Der Schmied von Solingen, nach 1895. Bronzefarben patinierter Zinkguss auf gegossener Plinthe, 47 cm (Höhe) x 20 cm (Breite) x 16 cm (Tiefe), Gewicht 5,5 kg. Auf der Plinthe mit „Albermann.“ signiert und als Guss der „AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN“ ausgewiesen. Schauseitige Widmung: „Herrn Ing. F. Kuhlmann zur Vermählung. Direktion und Beamte der Hannoverschen Waggonfabrik. Abt. Flugzeugbau“. - Punktuelles Durchscheinen des Zinks, Patina etwas fleckig, der rechte Oberarm unter dem Ärmel schwarz retuschiert. - Die Zweischneidigkeit des Schwertes - Die Figur ist eine Reduktion von Wilhelm Albermanns 1895 geschaffener Brunnenfigur des Waffenschmieds von Solingen, der seit jeher mit dem historischen Schmied Peter Hahn identifiziert wurde. 1839 hatte Karl Simrock das Gedicht „Der Schmied von Solingen“ verfasst und damit die legendäre Figur geprägt. Die erste und die vorletzte Strophe lauten: Zu Solingen sprach ein Schmied Bei jedem Bajonette, Das seinem Fleiß geriet: »Ach, daß der Fritz es hätte!« Der Krieg ging seinen Gang, Man schlug noch viele Schlachten, Die oft ihm angst und bang' In seiner Seele machten. Der Schmied hatte sein Handwerk ruhen lassen, um selbst für Friedrich den Großen zu kämpfen. Nicht zuletzt durch seine Kraft und seinen Kampfeswillen verliefen die Schlachten siegreich. Dem legendären Schmied verlieht Albermann mit seiner Brunnenskulptur eine bildliche Gestalt und schuf damit zugleich ein Wahrzeichen der Stadt Solingen, die einst für die Kunst des Schwerterschmiedens berühmt war und bis heute für die Herstellung qualitätvoller Messer einsteht. Beim Bombenangriff im November 1944 wurde mit der gesamten Solinger Altstadt auch der Brunnen zerstört. Einzig der Kopf blieb erhalten. Mit sicherem Stand und umgebundener Lederschürze steht der breitschultrige Schmied hinter seinem Amboss und hat gerade mit seiner eigenen ‚Waffe‘ – dem Schmiedehammer – eine Schwertklinge fertiggestellt. Seinem gesamten Körper ist die Kraft abzulesen, mit der er den Hammer führt, aber auch die Anstrengung dieser Tätigkeit, wovon das weit geöffnete Hemd, die etwas ‚unordentlich‘ arrangierte Schürze und vor allem das zerfurchte Gesicht zeugen. Der Schmied schaut aber nicht auf das vollendete Werk, sondern entschlossen und zugleich sinnierend in die Ferne, entsprechend der zitierten Zeile von Simrocks Gedicht, dass die Schlachten „oft ihm angst und bang‘ in seiner Seele machten“. Der Blick hat durchaus etwas Melancholisches, dass sich aus dem Wissen um die Notwendigkeit, Schwerter zu schmieden und zu den Waffen zu greifen und deren tödlichem Einsatz speist – Erfahrungen, die Albermann bei seinen eigenen Kriegseinsätze machen musste. Der wallende Vollbart verleiht dem in die Ferne schauenden Blick einen beinahe prophetischen Charakter. Dem Handwerk der formvollendenden Schmiedekunst entsprechend, gibt der detaillierte Guss die jeweils dargestellten Materialien in vollendeter Ausformung wieder: Die Lederschürze vermittelt überzeugend den Eindruck des Leders und liegt – auch in der Rückenansicht – wie eine zweite ausgeformte Schicht über dem Körper, während das Hemd und die Hose die ihnen eigenen textilen Qualitäten veranschaulichen. Aufgrund der meisterlichen Ausführung und dem tiefsinnigen Gehalt ist der in seinen gegossenen Reproduktionen erhalten gebliebene „Schmied von Solingen“ bis heute Albermanns berühmtestes Werk. zum Künstler Als Sohn eines Schreiners begann Wilhelm Albermann zunächst eine Lehre als Tischler, folgte dann aber seiner künstlerischen Berufung und absolvierte in Elberfeld eine Ausbildung zum Bildschnitzer. Als Zwanzigjähriger wurde er 1855 nach Berlin zum Militär einberufen und diente dort bis 1857. Nebenbei besuchte Albermann die Berliner Kunstakademie und begann nach seiner Dienstzeit ein reguläres Studium. Bereits als Student führte er Auftragsarbeiten für seine Lehrer August Fischer und Hugo Hagen aus. Erste eigenständige Aufträge folgten, die es ihm ermöglichten, 1865 in Köln eine prosperierende Bildhauerwerkstatt einzurichten. Seine künstlerische Tätigkeit wurde immer wieder von Einberufungen unterbrochen, so nahm er 1864 am Deutsch-Dänischen Krieg, 1866 am Krieg gegen Österreich und 1870/71 am Deutsch-Französischen Krieg teil. Im Anschluss an seinen letzten Kriegseinsatz gründete Albermann, der zu dieser Zeit bereits ein angesehener Künstler war, auf Wunsch der Stadtregierung eine Gewerbliche Zeichenschule, an der er die Modellierklasse leitetet und der er bis 1896 als Direktor vorstand. 1890 wurde er zudem für den „Verein zur Förderung der Bildhauerkunst in Rheinland und Westfalen" tätig. Albermann gehörte in der zweiten Hälfte des 19.jahrhundets zu den produktivsten Kölner Bildhauern. Er schuf zahlreiche Denkmäler, Brunnen, Grabplastiken, architektonischen Schmuck und Statuen für den Wohnbereich. In seiner Werkstatt waren zu Hochzeiten bis zu dreißig Bildhauer und Steinmetze gleichzeitig tätig.

Creator:

Wilhelm Albermann (1835 - 1913, German)

Creation Year:

after 1895

Dimensions:

Height: 18.51 in (47 cm)Width: 7.88 in (20 cm)Depth: 6.3 in (16 cm)

Medium:

Metal

Movement & Style:

Realist

Period:

1890-1899

Condition:

Gallery Location:

Berlin, DE

Reference Number:

1stDibs: LU2438215198932

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Es folgten weitere siegreiche Kämpfen bis sie 1430 in die Hände des Feindes fiel, der bei der Inquisition ihre Hinrichtung als Hexe erwirkte. Im Mai 1431 wurde Jeanne d’Arc in Rouen verbrannt. Im Anschluss an die endgültige Vertreibung der Engländer wurde die „Jungfrau von Orléans“ 1456 von der Kirche rehabilitiert. 1920 erfolgte schließlich ihre Heiligsprechung. Inzwischen galt Jeanne d’Arc als Nationalheldin und Schutzpatronin Frankreichs. In der Nachfolge der Französischen Revolution, dem Erstarken der Nationalstaatlichkeit und dem Deutsch-Französischen Krieg von 1870/71 erfuhr Jeanne d‘Art eine neue Verehrung und wurde in zahlreichen Bronzestatuen dargestellt. Eugène Laurent zeigt das junge Mädchen wie sie die Stimmen der Heiligen vernimmt, die ihr das von der Vorsehung bestimmte Schicksal offenbaren. Mit weit geöffneten Augen blickt sie gen Himmel als ob sie die offenbarte Zukunft schauen würde. Dabei hat sie die Hände in Gebetshaltung geschlossen, was zugleich vom Willen kündet, sich ihrem Schicksal zu stellen. An einen Baumstamm gelehnt, tritt sie mit dem einen Fuß auf einen erhöhten Stein, was ihr – zusammen mit dem aufwärts gerichteten Blick – eine von ihrer höheren Mission kündende Aufwärtsbewegung verleiht. Zugleich tritt sie aber auch von dem Stein auf die Erde herab, wodurch ihre irdische Mission hervorgehoben wird, zu der sie bereits den ersten Schritt getan hat. Dabei steigt sie über den abgelegten Spinnrocken hinweg, der auf ihre ‚niedere‘ Herkunft verweist und zum nun abgelegten Leben gehört. Laurent gelingt es, die schicksalhafte Ergriffenheit zur Darstellung zu bringen, die uns Jeanne d‘Arc, obwohl sie ein einfaches Bauernmädchen ist, ehrfürchtig betrachten lässt. 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