Renée Sintenis
1888 - 1965

Großes grasendes Fohlen. 1929.
Bronze with greenish patina.
Signed on the plinth. The foundry mark “GUSS H. NOACK BERLIN FRIEDENAU” is stamped on the side of the plinth. Cast during the artist’s lifetime. One of approximately 10 pre-war casts. With the plinth: 76.5 x 65 x 26.5 cm (30.1 x 25.5 x 10.4 in).
Cast by art foundry Hermann Noack, Berlin Friedenau. [CH].

• One of the artist’s rare large-scale bronze sculptures.
• Widely published over the past hundred years.
• Part of a German private collection since its creation.
• With her outstanding sculptural work, Renée Sintenis ranks among the most significant German female sculptors of the modern era.
• In the 1920s, she was represented by the renowned Galerie Alfred Flechtheim.
• Her love of animals shapes her entire body of work, yet the foal occupies a preeminent position within it.
• Other copies of this bronze sculpture are located at Renée-Sintenis-Platz in Berlin-Friedenau, in the Oskar Reinhart Collection in Winterthur, and in the Hofgarten in Düsseldorf.

PROVENANCE: Collection of Hugo Borst (1881–1967), Stuttgart (probably acquired directly from the artist in 1930).
In the family’s possession ever since.

EXHIBITION: Presumably a different copy in each case:
Renée Sintenis. Das plastische Werk, Zeichnungen, Graphik, Haus am Waldsee, Berlin, March 19–April 27, 1958, cat. no. 42.
Renée Sintenis. Plastiken, Zeichnungen, Druckgraphik, Georg Kolbe Museum, Berlin, Dec. 11, 1983–Mar. 4, 1984, cat. no. 35.

LITERATURE: Ursel Berger, Günter Ladwig, Renée Sintenis. Das plastische Werk, Berlin 2013, CR no. 111 (with illustration, different copy).
Britta E. Buhlmann, Renée Sintenis. Werkmonographie der Skulpturen, Darmstadt 1987, no. 139.
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Sammlung Hugo Borst Collection, Stuttgart. Neue Kunst in Stuttgarter Privatbesitz (on the occasion of the opening on May 30, 1931, at “Sonnenhalde”, Gähkopf no. 3), Stuttgart 1931, p. 48 (with illu.).
Trude Fischer-Borst et al. (eds.), Die Sammlung Hugo Borst in Stuttgart: Dokumentation und Chronik. Bilder und Plastiken aus Deutschland, Frankreich und der Schweiz von 1900–1933, Stuttgart 1970, pp. 120, 155, and 161 (with ill., no. 125, pp. 116 and 137).
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Probably different copies in each case:
Der Querschnitt, no. 9, issue I, 1929, p. 340 (with illu.).
René Crevel, Renée Sintenis, Paris 1930, p. 63, no. 83 (titled “Le grand poulain,” with illu., no. 31).
Georg Hoeltje, Die abstrakte Kunst als Symptom, in: Deutsche Kunst und Dekoration, vol. 66, Darmstadt 1930, p. 38 (with illu.).
René Crevel and Georg Biermann, Renée Sintenis, Junge Kunst, vol. 57, Berlin 1930, no. 83 (with the title “Das grasende Fohlen", with illustration, p. 31).
Karl Scheffler, Moderne Plastik. Ausstellung der Berliner Secession, in: Kunst und Künstler. Illustrierte Monatsschrift für Kunst und Kunstgewerbe, vol. XXVIII, Berlin 1930, p. 235 (with illustration).
Ada Schmidt-Beil (ed.), Die Kultur der Frau. Eine Lebenssymphonie der Frau des XX. Jahrhunderts, Berlin 1931, p. 281 (with illustration).
W. R. Valentiner, Rainer Maria Rilke und Renée Sintenis, in: Omnibus. Eine Zeitschrift, special issue: Almanach für das Jahr 1931, 1931, p. 54 (with illu.).
Dedalo, vol. 3, no. 13, 1933, p. 40 (with illu.).
Hanna Kiel, Renée Sintenis, Berlin 1935, p. 65 (with full-page illu.).
Illustrierte Zeitung, Leipzig, May 13, 1937, no. 4809.
Rudolf Hagelstange (et al.), Renée Sintenis, Berlin 1947 (with the title “Großes Fohlen”, with illustration on the cover and no. 79).
Adolf Jannasch, Renée Sintenis, Potsdam 1949 (with the title “Grosses weidendes Fohlen”, with illustration, no. 13).
The Studio, no. 138, 1949, p. 182 (with illustration).
Die Weltkunst, no. 23, issue 15, 1953, p. 9 (with illustration).
Hanna Kiel, Renée Sintenis, Berlin 1956, p. 41 (with full-page illustration).
Rudolf Koella, Oskar Reinhart Collection, Winterthur, Zurich 1975, p. 358 (with illustration).