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Early 20th Century Art Deco Bronze Sculpture entitled "Whip Girl" by Bruno Zach
$12,316.06
£9,000
€10,594.07
CA$16,901.16
A$18,924.79
CHF 9,874.01
MX$230,584.68
NOK 125,294.15
SEK 119,121.38
DKK 79,077.75
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About the Item
A fabulous Art Deco bronze figure of a beautiful woman wearing a loose fitted figure hugging dress and high heels holding a riding whip, with excellent colour and very fine hand finished detail, signed Bruno Zach
ADDITIONAL INFORMATION
Height: 45 cm
Condition: Very fine Original Condition with slight signs of wear
Circa: 1925
Materials: Cold Painted Bronze
Book Ref: Art Deco Sculpture by Victor Arwas
Page no. 224
SKU: 261
ABOUT
Zach Whip Girl
Zach Whip Girl – Bruno Zach (Austrian, 1891 – 1945) – Bruno Zach was a prolific creator of tall, athletic, independent women in bronze and ivory. He depicted both the healthy outdoor pursuits, and also the dream mistresses of the demi monde of Berlin, Paris and Vienna between the wars. His bronze is occasionally patinated, most often cold painted. His use of ivory is spare and always well carved. His work was edited by several firms, including Argentor-Werke of Vienna the Broma Companie, S Altmann & Co, and Bergmann.
The Zeitgeist of the Art Deco Era in Berlin
Zach Riding Whip – There is an obvious influence of eroticism and sensuality on Bruno Zach’s sculptures such as the Zach Riding Whip figure, there is no question that this was primarily affected by the night life of Berlin in the 1920’s. After World War I cabarets became extremely popular across Europe – and nowhere were they more popular than Germany. The Weimar government’s lifting of censorship saw German cabarets transform and flourish. Entertainment in the cabaret of Berlin was soon dominated by two themes: sex and politics. Stories, jokes, songs and dancing were laced with sexual innuendo. As the 1920s progressed this gave way to open displays of nudity, to the point where most German cabarets had at least some topless dancers. Prostitution was widely accepted and it became ‘de rigeur’ to use their services, whether one was male or female, and the Zach Riding Crop figure with its alluring charm had an undercurrent of lascivious intent.
This was the background in which Bruno Zach found himself when he moved to Berlin from Austria in 1920 and he immersed himself into the decadent night life with gusto. It is understood that he used many prostitutes as models for his sculptures and fell in love with a particular young lady who took great pleasure in refusing his marriage proposals.
When one considers Bruno Zach’s work with an understanding of the influences that permeated his life at the time, the overt sexuality of his subject matter becomes more acceptable and indeed more interesting.
- Creator:Bruno Zach (Artist)
- Dimensions:Height: 17.72 in (45 cm)Width: 0 in (0.01 mm)Depth: 0 in (0.01 mm)
- Style:Art Deco (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1925
- Condition:Wear consistent with age and use.
- Seller Location:London, GB
- Reference Number:Seller: 2611stDibs: LU3216336107512
Bruno Zach
Bruno Zach was an Austrian art deco sculptor of Ukrainian birth who worked in the early-to-mid 20th century. He emigrated to Austria as a young man and studied at the Vienna Academy under sculptors Hans Bitterlich and Josef Müllner. He worked in Austria as well as in Germany. Famous for his Fine bronzes made for the Wiener Bronze, or Vienna Bronze manufactory, the Ukrainian-born Zach was best known for his figures of flirtatious, sexually liberated young women.
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An erotically charged early 20th century Art Deco cold painted bronze figure of a seductively dressed young lady holding a riding crop behind her back standing in a domineering pose and wearing a revealing basque with gartered stockings, raised on an oval shaped Brazilian green onyx plinth, signed Zach.
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Early 20th Century Cold-Painted Bronze Entitled "Veronica" by Josef Lorenzl
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A very fine early 20th Century Art Deco cold painted bronze figure of a naked beauty in the midst of a graceful movement, with excellent colour and fine hand finished detail, raised on a shaped onyx base and signed Lorenzl
ADDITIONAL INFORMATION
Height: 21 cm
Width: 15 cm
Depth: 7 cm
Condition: Excellent Original Condition
Circa: 1925
Materials: Bronze and Onyx
Book Ref Art Deco and Other Figures by Bryan Catley
Page No: 214
SKU: 8698
ABOUT
Lorenzl Veronica
Josef Lorenzl, Austrian 1892 ~ 1950
Lorenzl Veronica – When looking to the designs of the Art Deco period one talented sculptor and ceramist that cannot be ignored is Josef Lorenzl. A master designer, his bronze statuettes and ceramic figural work epitomise the era perfectly. As with Preiss, Chiparus and Colinet the other great sculptors from this period, Lorenzl was inspired by the female form and the new found freedom that women enjoyed, which he executed beautifully both in his bronze and ceramic designs.
Pictured right: A Josef Lorenzl Cold-Painted Art Deco Bronze and Ivory Deco Lady with Decoration by Crejo – Circa 1930 – Modelled cast and carved as a young woman adopting a stylish pose, her costume decorated with enamelled flowers, onyx plinth, base signed Lorenzl, dress signed Crejo 10.5/8 in. (27 cm.) high. Sold for £6,250 at Christies, London (Feb 2014).
Josef Lorenzl Cold-Painted Art Deco Bronze and Ivory Deco Lady with Decoration by Crejo – Circa 1930
Although very little is known about Lorenzl’s early life we are aware that he was born in Austria in 1892 and was soon to become one of the most talented sculptors of the Art Deco Period. He started by working for a bronze foundry in Vienna Arsenal where he produced stunning Art Deco bronze statuettes. The majority of his works in bronze and ivory were of singular slim female nudes with long legs which conveyed elegance. His preference was for dancing poses which were not only evident in his singular statuettes but also in those attached to marble clocks, lamp bases and bookends.
Like his contemporaries Lorenzl work was created in bronze or by using “Chryselephantine”, a Greek word which refers to the combination of various materials such as bronze, ivory, gold and silver. He signed his pieces in various ways sometimes abbreviating his name to ” R Lor”, “Lor” or “Enzl” but on some of the statuettes you will find an additional signature by Crejo. A talented painter who worked alongside Lorenzl, Crejo would paint decoration onto the statuettes such as flowers and these are the figures which bear his signature. Far more desirable with Crejo’s painting these can command a premium at auction. Recently Bonhams sold an example of Lorenzl’s work with Crejo decoration for £10,500 but the pieces created by Lorenzl alone generally fetch in the region of £2,000 – £12,000 depending on the subject matter and size.
A Josef Lorenzl (1892-1950) Cold-Painted Art Deco Bronze and Onyx Timepiece with Deco Lady ~ Circa 1920.
Pictured left: A Josef Lorenzl (1892-1950) Cold-Painted Art Deco Bronze and Onyx Timepiece with Deco Lady ~ Circa 1920. Modelled and cast as a crouching nude female figure holding a dial with onyx face, on onyx plinth raised on slate base, apparently unsigned11½ in. (31.7 cm.) high. Sold for £4,700 at Christies, London (Nov 2013).
From his designs in bronze and ivory Lorenzl went on to work for the Austrian ceramics company Goldscheider. Again creating stunning sculptures of the female form collector’s are more aware of this period and his sculptures in ceramic than they are of his earlier bronze and ivory statuettes. Inspired by shape and bold colours Lorenzl’s sculptures had clean lines and geometric shapes. Although each piece possess great movement there was no intricacy or attention to detail and most of his figures wore their hair in the boyish bob which was fashionable at the time, making these simplistic and stylish figurines the epitome of Art Deco Bronze design.
One of Lorenzl’s friends Stephan Dakon who he had met whilst working at the bronze foundry had the same vision and style as Lorenzl so it was the obviously thing for Lorenzl to recommend Dakon to Goldscheider when he started to work for them. Taken on as a freelance designer Dakon was of the same mindset as Lorenzl and so much of their work was very similar. People at the time even believed that the two were in fact the same person.
Both the artists had an interest in the female form, dance and theatrical costume. This was enhanced with Lorenzl when he took a trip to Paris and visited Folies Bergeres. Famous dancer Josephine Baker was on stage with her chorus dancers, all wearing extremely flamboyant costumes, Lorenzl was captivated by the glamour and outlandishness of the dancers and so on his return to Austria reproduced gorgeous figurines wearing vibrant coloured costumes and in various dance poses.
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