Bühl, Hede Small head with constriction. 1996. bronze, polished gold. Approx. 10 x 8.5 x 12.5 cm. Monogram stamp and numbered verso on the underside. - Isolated, tiny spot marks, very occasional very slight, barely visible and very superficial traces of rubbing, very minimal traces of standing on the base, device for plinth placement, overall very good and extremely beautiful. Splendid cast with extremely smooth, homogeneous and shiny golden patina, the constriction wonderfully clearly chiselled. Kraft 1996.2 - Provenance: West German private collection. - One of 20 examples. - Hede Bühl's work, developed consistently over decades, emphasises the human figure, primarily expressed in head sculptures. Individual expression is neglected in favour of fundamentally sculptural questions. The sculptures, reduced to the most elementary basic forms, are ingeniously accentuated by varying elongation, curvature, bands or brackets and the outer shape is masterfully moulded. The exterior fascinates with its smooth surface, which builds up into a vivid, sculptural form full of strong density and enters into a changing interplay with the surrounding space. The result is a magically quiet, albeit very powerfully expressed seclusion that challenges the viewer to interpret the interior. As soon as the viewer approaches it, the mysterious interpretation disappears and the quietly rising sound fades into the interior. Bronze, gold-polished. Monogram stamp as well as signed on verso's bottom. - Isolated tiny point bumping, very isolated very slight, hardly visible and very superficial abrasional trace, very minimal handling signs on standing area, base positioning device, all in all very good and impeccably nice. Splendid cast with very smooth, homogenous and shiny golden patina, constriction wonderfully clearl chiselled. - Provenance: Western German private collection. - One of 20 copies. - Hede Bühl's work which has been consistently developed over decades by the artist emphasises the human figure, primarily expressed in head sculptures. Individual expression is neglected in favour of fundamentally sculptural questions. The sculptures, reduced to the most elementary basic forms, are ingeniously accentuated by varying elongation, curvature, bands or brackets and the outer shape is masterfully moulded. The exterior fascinates with its smooth surface, building up a vivid, sculptural form full of strong density. Resulting in a magically quietness, albeit a very powerfully expressed seclusion that challenges the viewer to interpret the interior.