Max Liebermann (German, 1847-1935) Village street in Laren 30.3 x 38.5 cm (11 7/8 x 15 1/8 in)

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Lot 6
Max Liebermann
(German, 1847-1935)
Village street in Laren 30.3 x 38.5 cm (11 7/8 x 15 1/8 in)

£ 5,000 - 7,000
US$ 6,700 - 9,300
Max Liebermann (German, 1847-1935)
Village street in Laren
signed 'M Liebermann' (lower left)
charcoal and white chalk on buff paper
30.3 x 38.5 cm (11 7/8 x 15 1/8 in)

Footnotes

  • This drawing is sold with a certificate from Drs. Margreet Nouwen of Das Max Liebermann-Archiv

    The rural and artistic village of Laren lies about 30 kilometers south east of Amsterdam in the province of Noord-Holland. Liebermann came here for the first time during his honeymoon trip of 1884. He returned many times to Laren to paint and draw the village, the surrounding landscape and the daily life of the local folk. Simple people working hard for their daily bread were one of the main subjects in his painting untill about 1900.

    In Laren time seemed to have stood still. Like many of his colleagues who also visited this poor country village towards the end of the 19th Century, Liebermann appreciated it for the fact that industrialisation had not yet arrived there. He found here many subjects for his pictures showing village people working at their old, time-honoured crafts.

    Liebermann sketched and painted this view several times. Two similar compositions are reproduced in Erich Hancke, Max Liebermann. Sein Leben und seine Werke, Berlin, 1914, p.203 (pencil drawing) and p.371 (oil painting). The oil painting, (fig. 1) now in a private collection, is also reproduced by Matthias Eberle, Max Liebermann - Werkverzeichnis der Gemälde und Östudien, vol 1, 1995, no 1896/11 and Eberle dates it to 1896. Liebermann sometimes shows the lane flanked by trees on only one side of the road, but in the present drawing, as in the drawing reproduced by Hancke, there is an avenue formed by trees on both sides. This may be artistic licence, but it is also possible that the elms one one side succumbed to disease and had to be cut down. Regardless of this difference, there is a clear relationship between the present drawing and the oil of 1896, and they both share the group of three women standing talking in the middle distance, which does not appear in the other versions of the subject.

    We are grateful to Drs. Nouwen for providing the information with which to compile this footnote.
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