54
Renée Sintenis
(German, 1888-1965)
Selbsporträt (Self-Portrait), circa 1944-45
Estimate: $3,000-$5,000
Sold
$3,000
Live Auction
What Do You See? The Collection of Sidney Rothberg, Part III
Location
Philadelphia
Size
height: 13 in. (33cm)
Description
Renée Sintenis
(German, 1888-1965)
Selbsporträt (Self-Portrait), circa 1944-45
bronze with golden brown patina
initialed RS in a cartouche (to the left); also stamped with foundry mark H. NOACK BERLIN (on the base)
height: 13 in. (33cm)
The Collection of Sidney Rothberg, Philadelphia, Pennsylvania
This lot is located in Philadelphia.
Condition
height: 13 in.width: 5 1/4 in.depth: 6 in.In overall very good condition, with the expected accumulated dust and grime in the nooks and crevices of the work. With a small scratch on the chin, to the left (which makes the golden patina more apparent). Otherwise no sign of repair or loss. The sculpture is bolted into the marble base via a single screw. The right corner of the base is slightly chipped. Small abrasions on the back right ridge as well. With a small scratch up top, and a few scuffs on the front face. Additional images available upon request.
Signature
initialed RS in a cartouche (to the left); also stamped with foundry mark H. NOACK BERLIN (on the base)
Provenance
Provenance:Christie's East, New York, sale of November 12, 1996, lot 69.Acquired directly from the above sale.Lot Essay:This powerful bronze self-portrait by Renée Sintenis reflects the introspective and expressive qualities that define her work.As a pioneering figure in early 20th-century sculpture, Sintenis was celebrated for her intimate bronzes of animals, athletes, and female figures, often capturing vitality with striking simplicity. Notably, her 1932 creation of the Berlin Bear became an enduring symbol of the city and was later adopted as the Golden Bear trophy awarded at the Berlin International Film Festival. Sintenis's work not only exemplified the modernist aesthetic of her time but also broke gender barriers in the art world, as she became the second female artist, after Käthe Kollwitz, to be admitted to the Berlin Academy of Arts in 1931. This sculptural self-depiction stands apart in its raw emotional presence, revealing the artist’s contemplative engagement with her own identity. Executed with the same confidence and sensitivity seen in her celebrated animal forms, the work underscores her unique contribution to modern bronze sculpture.