Priska von Martin Paintings & Artwork for Sale | Priska von Martin Art Value Price Guide

Nov. 29, 2024
Priska von Martin
Est: €850 - €1,700
(1912 Freiburg im Breisgau - 1982 München) Stehender weiblicher Akt. Bronze, braunschwarz patiniert. Im Guss monogr.; Wohl Unikat. Priska von Martin war Schülerin von Fernand Léger in Paris, besuchte die Münchener Akademie bei Josef Wackerle und seit Ende der 1930er Jahre bei Toni Stadler (der zuvor Stipendiat der Villa Massimo und Villa Romana gewesen war), den sie 1942 heiratete. Nach 1945 konnte sich Priska von Martin mit ihren sensitiv erfassten Werken als eigenständige bedeutende Bildhauerin der Klassischen Moderne behaupten. Sie beschickte seit 1946 zahlreiche Gruppen- und Einzelausstellungen in Deutschland, beteiligte sich aber auch an der 4. Bildhauer-Biennale in Antwerpen (1957) und weiteren internationalen Ausstellungen. Ca. 53 cm x 30 cm x 6 cm. Provenienz: Nachlass der Künstlerin; süddeutsche Privatsammlung; Auktion Karl & Faber, München, 06.12.2018, Lot 1402. Dark brown patinated bronze. Monogrammed. Probably unique cast.
Kunstauktionshaus Schloss Ahlden
Jul. 14, 2023
Priska von Martin, Bronzeplastik Reiter auf Pferd
Est: €700 - €900
Priska von Martin, Bronzeplastik Reiter auf Pferd Priska von Martin, 1912 Freiburg i.Br. -1982 München, Pferd mit Reiter, auf flachem Sockel, Bronze mit goldbrauner Patina, H 10,5 cm. Um 1930 besuchte von Martin die private Kunstschule von Fernand Léger in Paris, später die Kunstgewerbeschule in München, 1931 studierte sie an der Akademie der Bildenden Künste München für Bildhauerei bei Josef Wackerle. Ab 1946 zahlr. Ausstellungen. Priska von Martin, bronze sculpture Rider on Horse Priska von Martin, 1912 Freiburg i.Br. -1982 Munich, horse with rider, on flat base, bronze with golden brown patina, width 10,5 cm. Around 1930 von Martin attended the private art school of Fernand Léger in Paris, later the School of Arts and Crafts in Munich, in 1931 she studied at the Academy of Fine Arts Munich for sculpture with Josef Wackerle. From 1946 numerous exhibitions.
K&K – Auktionen in Heidelberg
Dec. 08, 2022
Priska Von Martin – Begegnung (Meeting)
Est: €400 - €600
Bronze. Around 1960. Ca. 18 x 8 x 3.5 cm.
Karl & Faber
Jun. 02, 2022
Priska von Martin, Große Stehende mit verschränkten Armen,
Est: €8,000 - €12,000
Unsigned. We would like to thank Thomas Weczerek, Munich, for his scientific advice. Initially a pupil and later the wife of Toni Stadler, Priska von Martin developed her own distinctive and brilliant, but related archaic formal idiom to artistically capture the physique and psyche of human beings, particularly women. In doing so, she made use of various art forms, such as drawing and sculpture, but in 1968, with her “Rote Mädchen”, she also began to develop a hybrid alternative, a kind of two-dimensional sculpture. Priska von Martin wrote in her journal that the “Rote Mädchen” are “made without inhibition […], driven by pleasure, accompanied by the feeling of the freedom that there is no compulsion to always have to make art” (cited in Christine Litz, mehr Phönix, weniger Hydra, in: Priska von Martin, exh. cat. Freiburg 2021, p. 33). “The sculptors of the circle surrounding the academy in Munich [discovered] the possibilities of the complete casting process, from the working of the wax model all the way to the seams, cracks and leftover forms of metal casting. In the mid-1950s, Georg Brenninger and Priska von Martin were the two artists in whose works the traces of their casting remained most clearly visible” (Arie Hartog, “Lebendiges Jenseits der Nachahmung”, in: ibid., pp. 25 f.). The outstanding significance and exceptional status of the sculptor Priska von Martin is revealed by the fact that she was one of just six women sculptors—including Käthe Kollwitz, Emy Roeder and Renée Sintenis, among others—whose work was exhibited among that of the 60 sculptors at Antwerp’s biennial for sculpture in 1957. Rhythm of form and surface are exceptional features of her work. “While the Hildebrand school emphasised logic and abstraction, Priska von Martin—unattached to the anatomical figure—established an extreme variety of sculptural accents and, in doing so, achieved a remarkable visual dynamism and vitality in the sense of the archaism she held so dear (Hartog, ibid., p. 27). Through the breadth of their variations, the sculptures offered here provide a glimpse inside her oeuvre, which is quite narrow and whose works are rarely offered for sale.
Kunsthaus Lempertz KG
Jun. 02, 2022
Priska von Martin, Gebückter mit Kiepe,
Est: €4,000 - €6,000
Unsigned. We would like to thank Thomas Weczerek, Munich, for his scientific advice. Initially a pupil and later the wife of Toni Stadler, Priska von Martin developed her own distinctive and brilliant, but related archaic formal idiom to artistically capture the physique and psyche of human beings, particularly women. In doing so, she made use of various art forms, such as drawing and sculpture, but in 1968, with her “Rote Mädchen”, she also began to develop a hybrid alternative, a kind of two-dimensional sculpture. Priska von Martin wrote in her journal that the “Rote Mädchen” are “made without inhibition […], driven by pleasure, accompanied by the feeling of the freedom that there is no compulsion to always have to make art” (cited in Christine Litz, mehr Phönix, weniger Hydra, in: Priska von Martin, exh. cat. Freiburg 2021, p. 33). “The sculptors of the circle surrounding the academy in Munich [discovered] the possibilities of the complete casting process, from the working of the wax model all the way to the seams, cracks and leftover forms of metal casting. In the mid-1950s, Georg Brenninger and Priska von Martin were the two artists in whose works the traces of their casting remained most clearly visible” (Arie Hartog, “Lebendiges Jenseits der Nachahmung”, in: ibid., pp. 25 f.). The outstanding significance and exceptional status of the sculptor Priska von Martin is revealed by the fact that she was one of just six women sculptors—including Käthe Kollwitz, Emy Roeder and Renée Sintenis, among others—whose work was exhibited among that of the 60 sculptors at Antwerp’s biennial for sculpture in 1957. Rhythm of form and surface are exceptional features of her work. “While the Hildebrand school emphasised logic and abstraction, Priska von Martin—unattached to the anatomical figure—established an extreme variety of sculptural accents and, in doing so, achieved a remarkable visual dynamism and vitality in the sense of the archaism she held so dear (Hartog, ibid., p. 27). Through the breadth of their variations, the sculptures offered here provide a glimpse inside her oeuvre, which is quite narrow and whose works are rarely offered for sale.
Kunsthaus Lempertz KG
Jun. 02, 2022
Priska von Martin, Kopf,
Est: €3,000 - €5,000
Unsigned. We would like to thank Thomas Weczerek, Munich, for his scientific advice. Initially a pupil and later the wife of Toni Stadler, Priska von Martin developed her own distinctive and brilliant, but related archaic formal idiom to artistically capture the physique and psyche of human beings, particularly women. In doing so, she made use of various art forms, such as drawing and sculpture, but in 1968, with her “Rote Mädchen”, she also began to develop a hybrid alternative, a kind of two-dimensional sculpture. Priska von Martin wrote in her journal that the “Rote Mädchen” are “made without inhibition […], driven by pleasure, accompanied by the feeling of the freedom that there is no compulsion to always have to make art” (cited in Christine Litz, mehr Phönix, weniger Hydra, in: Priska von Martin, exh. cat. Freiburg 2021, p. 33). “The sculptors of the circle surrounding the academy in Munich [discovered] the possibilities of the complete casting process, from the working of the wax model all the way to the seams, cracks and leftover forms of metal casting. In the mid-1950s, Georg Brenninger and Priska von Martin were the two artists in whose works the traces of their casting remained most clearly visible” (Arie Hartog, “Lebendiges Jenseits der Nachahmung”, in: ibid., pp. 25 f.). The outstanding significance and exceptional status of the sculptor Priska von Martin is revealed by the fact that she was one of just six women sculptors—including Käthe Kollwitz, Emy Roeder and Renée Sintenis, among others—whose work was exhibited among that of the 60 sculptors at Antwerp’s biennial for sculpture in 1957. Rhythm of form and surface are exceptional features of her work. “While the Hildebrand school emphasised logic and abstraction, Priska von Martin—unattached to the anatomical figure—established an extreme variety of sculptural accents and, in doing so, achieved a remarkable visual dynamism and vitality in the sense of the archaism she held so dear (Hartog, ibid., p. 27). Through the breadth of their variations, the sculptures offered here provide a glimpse inside her oeuvre, which is quite narrow and whose works are rarely offered for sale.
Kunsthaus Lempertz KG
Jun. 02, 2022
Priska von Martin, Zweite Niobe, Entwurf für eine größere Figur, 1981
Est: €3,000 -
Unsigned. We would like to thank Thomas Weczerek, Munich, for his scientific advice. Initially a pupil and later the wife of Toni Stadler, Priska von Martin developed her own distinctive and brilliant, but related archaic formal idiom to artistically capture the physique and psyche of human beings, particularly women. In doing so, she made use of various art forms, such as drawing and sculpture, but in 1968, with her “Rote Mädchen”, she also began to develop a hybrid alternative, a kind of two-dimensional sculpture. Priska von Martin wrote in her journal that the “Rote Mädchen” are “made without inhibition […], driven by pleasure, accompanied by the feeling of the freedom that there is no compulsion to always have to make art” (cited in Christine Litz, mehr Phönix, weniger Hydra, in: Priska von Martin, exh. cat. Freiburg 2021, p. 33). “The sculptors of the circle surrounding the academy in Munich [discovered] the possibilities of the complete casting process, from the working of the wax model all the way to the seams, cracks and leftover forms of metal casting. In the mid-1950s, Georg Brenninger and Priska von Martin were the two artists in whose works the traces of their casting remained most clearly visible” (Arie Hartog, “Lebendiges Jenseits der Nachahmung”, in: ibid., pp. 25 f.). The outstanding significance and exceptional status of the sculptor Priska von Martin is revealed by the fact that she was one of just six women sculptors—including Käthe Kollwitz, Emy Roeder and Renée Sintenis, among others—whose work was exhibited among that of the 60 sculptors at Antwerp’s biennial for sculpture in 1957. Rhythm of form and surface are exceptional features of her work. “While the Hildebrand school emphasised logic and abstraction, Priska von Martin—unattached to the anatomical figure—established an extreme variety of sculptural accents and, in doing so, achieved a remarkable visual dynamism and vitality in the sense of the archaism she held so dear (Hartog, ibid., p. 27). Through the breadth of their variations, the sculptures offered here provide a glimpse inside her oeuvre, which is quite narrow and whose works are rarely offered for sale.
Kunsthaus Lempertz KG
Sep. 25, 2021
Priska von Martin 1912 Freiburg/Br. - 1982 München
Est: €50 - €120
Priska von Martin 1912 Freiburg/Br. - 1982 München - Weiblicher Akt - Bleistift/bräunliches Papier. 14,5 x 9,2 cm. Passepartout. Verso weitere Aktzeichnung. Klebespuren. Knickspur. Die Arbeit dürfte um 1940/41 entstanden sein.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Sep. 04, 2021
Priska von Martin
Est: -
(1912 Freiburg im Breisgau - 1982 München) Zirkusreiterin Bronze, in Braun-Olivtönen dunkel patiniert. Formal auf das Wesentliche reduzierte, archaisch wirkende Darstellung einer auf einem Pferd stehenden Zirkusreiterin mit lebendig bewegter Oberfläche. Charakteristische Kleinplastik der Künstlerin, die an der Münchener Akademie bei Toni Stadler studierte. Mit ihren Werken, besonders ihren ausgeprägt sensitiven Tierplastiken, konnte sie sich nach 1945 als bedeutende Bildhauerin der Klassischen Moderne behaupten. Ein wiederkehrendes Motiv ihres Oeuvre sind Zirkusreiterinnen, die sie in einer größeren Werkreihe darstellte. H. 16,5 cm. Patinated bronze.
Kunstauktionshaus Schloss Ahlden
Jun. 10, 2016
Priska Von Martin - Stehender weiblicher Akt.
Est: €2,200 - €2,640
Bronzerelief mit braunschwarzer Patina. Ca. 53 : 30 : 3,7 cm. Rechts unten mit eingeritzten Zeichen. Provenienz:∆Nachlass der Künstlerin; Privatsammlung, Süddeutschland. Guter Zustand.
Karl & Faber
Dec. 03, 2015
PRISKA VON MARTIN Ohne Titel.
Est: €3,500 - €4,200
Bronze mit natürlicher Patina. (Um 1960). Ca. 52 : 28 : 8 cm.
Karl & Faber
Jun. 13, 2015
Priska von Martin
Est: €220 - €380
Priska von Martin 1912 Freiburg/Br. - 1982 München - Weiblicher Akt - Bleistift/bräunliches Papier. 14,5 x 9,2 cm. Passepartout. Verso weitere Aktzeichnung. Klebespuren. Knickspur. Die Arbeit dürfte um 1940/41 entstanden sein.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Nov. 29, 2014
Priska von Martin 1912 Freiburg/Br. - 1982 Mü...
Est: €300 - €400
Priska von Martin. 1912 Freiburg/Br. - 1982 München - Weiblicher Akt - Bleistift/bräunliches Papier. 14,5 x 9,2 cm. Passepartout. Verso weitere Aktzeichnung. Klebespuren. Knickspur. Die Arbeit dürfte um 1940/41 entstanden sein.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Jun. 02, 2013
Attribué à Priska VON MARTIN (1912 - 1982) Jaguar
Est: €200 - €300
Attribué à Priska VON MARTIN (1912 - 1982) Jaguar courant Tiges de fer courbées et soudées, patinées, monogrammé sous la base P.M. Haut.: 21 cm - Larg.: 38 cm Prof.: 17 cm
Guillaume Le Floc'h
Jun. 05, 2012
von Martin, Priska1912 Freiburg/Breisgau - 1982
Est: €600 - €800
von Martin, Priska 1912 Freiburg/Breisgau - 1982 MÜnchen Reiterin. Bronze, partiell braun patiniert. 16,5 x 17 x 4,5cm. Monogrammiert auf der Unterseite: PM. ENGLISH TEXT: von Martin, Priska 1912 Freiburg/Breisgau - 1982 Munich Rider. Bronze, partly brown patinated. 16,5 x 17 x 4,5cm. Monogrammed on underside: PM.
Van Ham Kunstauktionen
Dec. 02, 2011
PRISKA VON MARTIN, Mädchenkopf
Est: - €5,000
Bronze sculpture - Translation on request
Kunsthaus Lempertz KG