George Grosz * (Berlin 1893–1959) Verlobung, 1922, signed and inscribed “17” and “No 93 Cassirer”, stamped with the George Grosz Estate, numbered 3–66–10 and crossed out tile “Kaisers Geburtstag” on the reverse, red pen, ink, spray paint on paper, 65 x 53 cm, framed This work is accompanied by a photo certificate released by Ralph Jentsch, Berlin, issued on 27 February 2021 Provenance: Collection of the artist, Berlin (1922) George Grosz Estate (1959) Galerie Welz, Salzburg (1975) Galleria La Medusa, Rome (1975) Lucio Amelio Collection, Naples (1976) acquired from the above by the present owner Exhibited: Salzburg, Galerie Welz, George Grosz. Acquarelle-zeichnungen-Druckgraphik, no. 19 with ill. Literature: George Grosz “Ecce Homo”, Der Malik-Verlag-Berlin, 1923, pl. 17 Verlobung (facsimile editions of Ecce Homo) Jack Brussel, New York, pl. 17 Betrothal, 1965 Grove Press Inc N. Y., pl. 17, “Engagement”, 1966 Rowohlt Hamburg, plate 17 “Verlobung” , 1966 Makol Verlag, Frankfurt/Main, pl. 17, “Verlobung”, 1975 Dover Publications Inc N. Y. pl. 17, “Engagement”, 1976 Rowohlt Taschenbuch Verlag GmbH, Reinbek, pl. 17, “Verlobung” 1980 Buchergilde Gutenberg, Frankfurt am Main, Wien, Zurich, pl. 17 “Verlobung”, 1981 Castle Books (NJ), pl. 17 “Betrothal” , 1981 The work “Blind Cripple” by George Grosz was created in the Golden Twenties of the Weimar Republic. It was a time when the new art movement called New Objectivity was reacting to the social and political grievances of the country. Artists began to capture these challenges visually. This is also how Grosz described his observations of everyday life: “When I began to experience the world, I soon discovered that the colourfulness, the glamour, above all, my fellow human beings were not very good.” (Presler, G.: Glanz und Elend der 20er Jahre. Die Malerei der Neuen Sachlichkeit, Cologne 1992, p. 52.)