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Auction Description for Lempertz: Contemporary Art
Viewing Notes:
Cologne: 17th May 10am to 5.30pm. 18th May 10am to 4pm. Closed for Pentecost. 21st - 23rd May 10am to 5.30pm. Berlin Poststraße 22 (Preview of selected works): 25th April - 4th May 11am to 5pm.
Sale Notes:
www.lempertz.com

Contemporary Art

by Lempertz

Platinum House

223 lots with images

May 24, 2013

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

223 Lots
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ARMAN, Nu Accroupie, 1997

Lot 400: ARMAN, Nu Accroupie, 1997

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Description: Bronze height 39 cm on bronze base height 6 cm, total height 45 cm. Front base signed 'arman' (scratched), with foundry stamp "BRONZE ROMAIN BARELIER" rear right and numbered "E.A. III/X". Artist's copy aside from the numbered edition of 50. - Minor traces of age. The present work is registered at the Arman Studio Archives, New York, under the number APA# 8401.97.606.

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KAREL APPEL, Untitled, 1960

Lot 401: KAREL APPEL, Untitled, 1960

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Description: Gouache and wax crayon on card 55 x 60 cm, framed. Signed 'appel' lower right. - Later mounted on canvas.With confirmation of authenticity from Jan Nieuwenhuizen Segaar, Antwerp, via Email dated 25.2.2013.Provenance: Martha Jackson Gallery, New York; Robinsons Art Gallery, Knokke-ZouteExhibition: San Antonio 1971 (McNay Art Institute), Collector's Gallery, exh.cat.no.M13

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HORST ANTES, Spielzeugtier, 1971

Lot 402: HORST ANTES, Spielzeugtier, 1971

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Description: Ochre ceramic with fireclay, partially incised, with feathers approx. 13 x 21 x 5 cm. - A few feathers missing. Antes 160Exhibitions: Dusseldorf 1988 (Galerie Michael Neumann), Horst Antes, Frühe Werke, exh.cat.no.28 with ill.Munich 1972 (Galerie Otto Stangl), Horst Antes, Bilder, Zeichnungen, Keramik und Plastik, exh.cat.no.16 with ill.

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GERHARD ALTENBOURG, Die Penis=Liebhaberin, 1966

Lot 403: GERHARD ALTENBOURG, Die Penis=Liebhaberin, 1966

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Description: Watercolour and india ink over colour woodcut on Whatman wove paper 70.4 x 49.5 cm, framed under glass. Signed and dated 'Altenbourg 66' lower right and with circular name stamp. Titled 'Die Penis=Liebhaberin' lower left. - Outer margin slightly creased.Janda 66/47There are just two prints from this woodblock, the present work and another proof overworked with watercolour, tempera, chalk and pencil; "O Phallus, oh Phallada" (Janda 65/19). In 1970 the woodblock was revised, painted and titled "Die grosse Göttin der Unvernunft", it was used as decoration in the dressing room of the Altenbourg mansion, Altenburg (cf. Janda 70/2). ExhibitionsBaden-Baden 1969 (Staatliche Kunsthalle), Berlin (Haus am Waldsee), Hannover 1970 (Kubus-Ausstellungsraum), Düsseldorf (Städtische Kunsthalle), Hamburg (Kunstverein), Gerhard Altenbourg, Arbeiten von 1947 bis 1969 (labels verso).Literature Gerhard Altenbourg und Annegret Janda, Gerhard Altenbourg, Werkverzeichnis, Hannover 1969, p.183.

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JOANNIS AVRAMIDIS, Figur II, 1959

Lot 404: JOANNIS AVRAMIDIS, Figur II, 1959

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Description: Bronze with golden brown patina height 159 cm, on bronze base height 12 cm, total height 171 cm. The base with punched signature "AVRAMIDIS". Cast from a total edition of 5. - Minor traces of age.Provenance: Galerie Appel & Fertsch, Frankfurt/M.; Private Collection, GermanyAusstellungen: cf. Frankfurt/M. 1986 (Karmeliterkloster), Joannis Avramidis, Skulpturen, exh.cat.no.10 n.pag. with ill.cf. Frankfurt/M. 1967 (Galerie Appel und Fertsch), Joannis Avramidis, exh.cat.no.20, p.5 with ill.Literature: cf. Michael Senff, Joannis Avramidis, Skulpturen und Zeichnungen, Munich 2005, p.89 with ill.45This bronze sculpture (1959) by Joannis Avramidis is a reference to the human body, a subject which the artist has untiringly varied again and again in all his works. Logically, his inspiration comes from two historical periods in which man was seen as the measure of all things: antiquity and the early Italian Renaissance. Above all, Avramidis feels indebted to Greek sculpture and proclaims proudly: "I am a Hellene." (Joannis Avramidis, Antworten, in: Galerie Appel and Fertsch (ed.), Joannis Avramidis, exh.cat. Galerie Appel und Fertsch, Frankfurt/M., Frankfurt/M. 1967, p.4).Each bronze sculpture is preceded by several stages which the artist developed in the 1950s and which have since then been central to his creative process: He starts by sketching a draft in which he explores different longitudinal views of the sculpture. This is followed by the design of a model, made from sheets of aluminium, cut to size, and arranged at different levels. The artist then gradually fills each compartment with plaster, thus creating the mould for the final sculpture. This bronze sculpture, which he called Figure II and which is intended to be viewed from all sides, imitates the gentle curves of a body, yet without mapping it in detail: The different profile views of the figure are fanned out yet at the same time interlocked in the artist's own characteristic manner. There is no clear dividing line here between abstraction and figurative representation.

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NOBUYOSHI ARAKI, Flower of Higanbana (from the series: The Flowers from the other World), 1994

Lot 405: NOBUYOSHI ARAKI, Flower of Higanbana (from the series: The Flowers from the other World), 1994

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Description: Cibachrome print. Approx. 61.5 x 91.2 cm. Signed and titled in felt tip pen in Japanese script on the verso. - Framed. Provenance: Galerie Monika Reitz, Frankfurt

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DIETER APPELT, Zur Käfig-Ausstellung Künstlersyndikat Frankfurt (from the series: Aktion Monte Isola), 1976

Lot 406: DIETER APPELT, Zur Käfig-Ausstellung Künstlersyndikat Frankfurt (from the series: Aktion Monte Isola), 1976

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Description: 3 black and white photographs on rc paper: 2 prints on matte paper and hand coloured, 1 print on ferrotyped paper. 48.7 x 48.8 (50 x 50 cm), 49.3 x 48.7 cm (49.4 x 49.2 cm) and 48.8 x 47.5 cm. Each print signed, dated and titled by perforation to the image. Each print mounted to card. - Slight traces of usage.The artworks were donated by the artist in 1976 to finance the "Käfig" exhibition by the Künstlersyndikat Frankfurt (cf. Künstlersyndikat, Frankfurt (ed.), Käfig. Situation, Erlebnis, Darstellung, Frankfurt on the Main, 1976, imprint and p. 7).

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JOSEPH BEUYS, 90.000 DM, 1982

Lot 407: JOSEPH BEUYS, 90.000 DM, 1982

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Description: Facsimile prints in double-glazed iron frame 70 x 50 x 2.5 cm. The reverse signed and numbered '28/100'. Edizioni Factotum-Art, Verona. - Some foxing. Schellmann 463

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JOSEPH BEUYS, Union Pack

Lot 408: JOSEPH BEUYS, Union Pack "Für Feuerstätte", 1978/1979

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Description: Coal briquettes, sealed in plastic foil with plastic handle approx. 12 x 38 x 16 cm. Signed 'Joseph Beuys' and titled 'für Feuerstätte' upper side. One of 3 unnumbered copies. Edition Galerie Edition Staeck, Heidelberg. - Traces of studio. With accompanying photo certificate (copy) from the Galerie Edition Staeck, Heidelberg, dated 3.3.2010.Exhibition: Viersen 2012 (Städtische Galerie im Park), Joseph Beuys, Werbung für die Kunst, exh.cat. p.38 with col.ill.

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JOSEPH BEUYS, La Rivoluzzione siamo noi, 1971

Lot 409: JOSEPH BEUYS, La Rivoluzzione siamo noi, 1971

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Description: Blueprint on brownish paper approx. 196 x 100.5 cm, framed under glass. Poster with writing. Agency, Naples and Edition Tangente, Heidelberg. - With defects to the margins, partially backed and lower margin irregularly trimmed. cf. Schellmann 49

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JOSEPH BEUYS, Phosphor-Kreuzschlitten, 1972/1977

Lot 410: JOSEPH BEUYS, Phosphor-Kreuzschlitten, 1972/1977

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Description: Phosphor between PVC tiles approx. 44 x 44 cm with metal clamp, in wooden box. Lower edge with stamped signature (twice). Signed additionally on clamp. The reverse of clamp and wooden box numbered "70/100" by an unknown hand. Edition Kunstverein Braunschweig. - Traces of age due to material and surface professionally cleaned. Firmly mounted into wooden box at the clamp with a screw.Schellmann 64 B

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JOSEPH BEUYS, Capri-Batterie, 1985

Lot 410A: JOSEPH BEUYS, Capri-Batterie, 1985

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Description: Light bulp with pluck socket 8 x 11 x 6 cm. In original wood box 18 x 18 x 18,5 cm. Accompanying edition certificate signed and numbered '11/200'. Edizione Lucio Amelio, Napoli. - Minor traces of age.Schellmann 546

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JOSEPH BEUYS, Tilia, 1947

Lot 411: JOSEPH BEUYS, Tilia, 1947

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Description: Tilia leaf on grey card collaged on light brown mailing envelope 40 x 27.8 cm, framed under glass. Reverse of envelope signed, dated and titled 'Tilia Joseph Beuys Tilia 1947'. - Traces of studio.Provenance: Heiner Bastian Collection, Berlin; Private Collection, GermanyExhibitions:Lausanne 1983/84 (Musée Cantonal des Beaux-Arts), Winterthur 1984 (Kunstmuseum Winterthur), Calais (Musée des Beaux-Arts), St-Etienne (Musée d'Art et d'Industrie), Linz (Neue Galerie des Stadt Linz), Marseille 1985 (Musée Cantini), Oslo (Sonja Henies og Niels Onstads Stiftelser), Joseph Beuys, Zeichnungen, Dessins, exh.cat.no.5, n.pag. with col.ill. Hovikodden 1985/86 (Henie-Onstad Kunstsenter), Joseph Beuys, Tegninger

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JOSEPH BEUYS, Face (Moon), 1973

Lot 412: JOSEPH BEUYS, Face (Moon), 1973

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Description: Oil (Braunkreuz) on printed PVC foil on PVC foil 42.7 x 45.5 cm, framed under glass. Signed and dated 'Joseph Beuys 1973' lower right and titled lower middle 'FACE (MOON)' centre. - Traces of studio.Provenance: Heiner Bastian Collection, Berlin; Private Collection, GermanyExhibition: Brussels 1989/1990 and Paris 1990 (Galerie Isy Brachot), Joseph Beuys, exh.cat. p.106/107 with col.ill.

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JOSEPH BEUYS, Untitled (Hirsch), 1962

Lot 413: JOSEPH BEUYS, Untitled (Hirsch), 1962

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Description: Iron chloride, gilt bronze and pencil on chamois coloured paper collaged on chamois coloured paper 20.6 x 32.9 cm on card support, framed under glass. The reverse signed and dated 'Beuys 1962'. - Traces of studio.Provenance:Heiner Bastian Collection, Berlin; Private Collection, GermanyFranz Joseph van der Grinten, long-time companion and commentator of Joseph Beuys's oeuvre, stresses the importance of drawings as the artist's direct medium of expression: "A drawing, Joseph Beuys used to say, is the extension of a thought. Like a thought, it is autonomous in its specific expressive quality. Whenever drawing has not become solidified as a discipline of its own, as a craft, then - just like painting, with its detailed and fully exhaustive depictions of itself or of something else - is a mode of expression and therefore as original as speech. This is because it is the most immediate outflow of the mind, so that it takes its cue from the nature and genesis of form. In the same way, speech creates an intellectual context by giving shape to thought. It is the gradual solidification of thought through speech that Heinrich von Kleist once highlighted in an essay, comparing the thought-into-speech process to a smithy where an item is beaten into shape by a hammer, where sparks fly, where the item is stretched, where its edges gain shape and where it is eventually hardened. For Joseph Beuys a drawing was always a vehicle of communication, first for himself and later for others. Being an extension of a thought, a drawing embodies that thought and allows us to experience it with our senses." (Franz Joseph van der Grinten, Zeichnung als Verlängerung des Gedankens, in: Friedhelm Mennekes (ed.), Franz Joseph van der Grinten zu Joseph Beuys, Cologne 1993, p.75)

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JOSEPH BEUYS, Untitled (Camera 2), 1970

Lot 414: JOSEPH BEUYS, Untitled (Camera 2), 1970

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Description: 2 sheets: India ink on chamois coloured paper 29.8 x 21.6 and chamois coloured paper with cut hole 29.7 x 21 cm, together on card support, together framed under glass. Reverse of left sheet signed and dated 'Beuys 1970' and right sheet with signed dedication on reverse. - Traces of studio.Provenance: Heiner Bastian Collection, Berlin; Private Collection, GermanyExhibition: Mönchengladbach 1986 (Städtisches Museum Abteiberg), Tampere (Sara Hildénin Taidemuseo), Joseph Beuys Pirustuksia, Zeichnungen, exh.cat.no.48, n.pag. with ill.Gibellina 1986 (Museo Civico), Joseph BeuysMadrid 1985 (Fundacion Caja de Pensiones), Joseph Beuys, Dibujos, Drawings

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JOSEPH BEUYS, Plan für Aktion, 1968-1971

Lot 415: JOSEPH BEUYS, Plan für Aktion, 1968-1971

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Description: Pencil and stamp on paper 29.7 x 21 cm, framed under glass. The reverse signed, dated and titled '1968 - 1971 Plan für Aktion Joseph Beuys (Begriffe)'. - Traces of studio.Provenance: Heiner Bastian Collection, Berlin; Private Collection, GermanyExhibition: Gent 1988 (Museum van Hedendaagse Kunst), Signaturen, p.108 with ill.Rotterdam 1979/1980 (Museum Boymans-Van-Beuningen), Berlin 1980 (Nationalgalerie Berlin, Staatliche Museen Preussischer Kulturbesitz), Bielefeld (Kunsthalle), Bonn (Wissenschaftszentrum), Joseph Beuys, Zeichnungen, Tekeningen, Drawings, Berlin 1979, exh.cat.no.99, n.pag. with ill.

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STEPHAN BALKENHOL, Nackter Mann, 1999

Lot 416: STEPHAN BALKENHOL, Nackter Mann, 1999

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Description: Bronze with black patina height 41.5 cm, on metallic plinth. Rear left of the plinth with signature stamp "StB" (ligated) and foundry stamp "SCHMÄKE DÜSSELDORF". Numbered "EA". Artist's copy aside from the numbered edition of 36. Edition Kunsthaus Kleve.

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STEPHAN BALKENHOL, Untitled (Kleine Kopfsäule), 1991

Lot 417: STEPHAN BALKENHOL, Untitled (Kleine Kopfsäule), 1991

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Description: Painted Wawa wood, height 146 cm.Provenance: Mai 36 Galerie, LucerneExhibition: Mönchengladbach 1991 (Galerie Löhrl), Lucerne 1991/1992 (Mai 36 Galerie), Hamburg 1992 (Kunsthalle), Mannheim (Kunstverein), Stephan Balkenhol, Köpfe, exh.cat.no.17 with col.ill.Literature: Matthias Winzen (Ed.), Stephan Balkenhol, exh.cat. Staatliche Kunsthalle Baden-Baden et.al., Cologne 2006, p.50/51 (installation view)

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STEPHAN BALKENHOL, Untitled (Kleine Kopfsäule), 1991

Lot 418: STEPHAN BALKENHOL, Untitled (Kleine Kopfsäule), 1991

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Description: Painted Wawa wood, height 146 cm.Exhibition: Mönchengladbach 1991 (Galerie Löhrl), Luzern 1991/1992 (Mai 36 Galerie), Hamburg 1992 (Kunsthalle), Mannheim (Kunstverein), Stephan Balkenhol, Köpfe, exh.cat.no. 18 with col.ill.

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BORIS BECKER, Achterbahn, 1993

Lot 419: BORIS BECKER, Achterbahn, 1993

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Description: Chromogenic print on plastic board, face-mounted to plexiglass. 160.5 x 214 cm. Signed, dated, titled and editioned 2/3 in pencil on the reverse of the mount. - In artist's frame.Exhibition: Kaiserslautern 2000 (Pfalzgalerie); Wolfsburg 2001 (Städtische Galerie)Literature: Britta E. Buhlmann (ed.), Claims and Constructions. Fotografien von Boris Becker, exhib.cat. Pfalzgalerie Kaiserslautern et al., Heidelberg 2000, ill. p. 69

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GEORG BASELITZ, Untitled (Klause), 1957

Lot 420: GEORG BASELITZ, Untitled (Klause), 1957

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Description: Oil and coffee grounds on pressboard 54 x 65 cm, framed. Monogrammed and dated (scratched) 'GHK (ligated) 57' lower right. The reverse of frame signed twice 'KERN'. - Some surface dust and outer margin with slight paint loss due to framing. An early work by Georg Baselitz (then Hans-Georg Kern) created when he was a student at Kunsthochschule Berlin-Weißensee.We are grateful to Detlev Gretenkort, Atelier Georg Baselitz, for the helpful information.

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GEORG BASELITZ, Untitled (aus der Serie: Strassenbild), 1979

Lot 421: GEORG BASELITZ, Untitled (aus der Serie: Strassenbild), 1979

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Description: Charcoal on slightly textured card 61 x 43 cm, framed under glass. Monogrammed and dated 'GB 5.XI.79'. Reverse with discarded pencil drawing. - Studio traces.The present work is registered in the Archiv Georg Baselitz, Munich, under the number GBZ 643.Exhibition: Frankfurt/M. 1989 (Galerie Neuendorf), Georg Baselitz, 100 Zeichnungen und Gouachen aus dem Bestand der Galerie Neuendorf, exh.cat.no.35 with ill.

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BERNHARD JOHANNES BLUME, Untitled, 1984

Lot 422: BERNHARD JOHANNES BLUME, Untitled, 1984

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Description: 6 works: each watercolour on paper 50 x 35 cm, framed under glass. 5 works signed and dated 'Blume 84' lower left, 1 sheet signed and dated 'Blume 84' lower right.

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WERNER BUETTNER, Untitled (Stilleben mit Kerzenstummel), 1983

Lot 423: WERNER BUETTNER, Untitled (Stilleben mit Kerzenstummel), 1983

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Description: Oil on canvas 150 x 190 cm, framed. Signed and dated 'Büttner 83' lower right. - Some minor craquelure. Provenance: Galerie Max Hetzler, Cologne (label verso); Private Collection, Germany

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NORBERT BISKY, Barbecue, 2004

Lot 424: NORBERT BISKY, Barbecue, 2004

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Description: Oil on muslin 200 x 250 cm, framed. The reverse signed twice, dated and titled '"BARBECUE" Bisky 2004'.Provenance: Private Possession, GermanyExhibition:Berlin 2005 (Künstlerhaus Bethanien), Norbert Bisky, Malerei, exh.cat.pp.52, 44 with col.ill.

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NORBERT BISKY, Frohe Ferientage I, 2001

Lot 425: NORBERT BISKY, Frohe Ferientage I, 2001

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Description: Oil on canvas 70 x 100 cm. The reverse signed, dated and titled 'Bisky 2001 "frohe Ferientage I"'.

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NORBERT BISKY, Weltempfänger, 2009

Lot 426: NORBERT BISKY, Weltempfänger, 2009

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Description: Oil on canvas 80 x 60 cm, framed. The reverse signed twice, dated and titled '"WELTEMPFÄNGER" Bisky 2009'.Provenance: Galerie Charlotte Moser, Geneva (label verso)

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HARRY BERTOIA, Straw (maquette for Hawkins Ferry), 1963/1964

Lot 428: HARRY BERTOIA, Straw (maquette for Hawkins Ferry), 1963/1964

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Description: Brass coated metal wire and bronze height approx. 127 cm. - Surface soiling, one element slightly distorted. With photo certificate from Harry Bertoia research project, Rock Cave, West Virginia, dated 19.04.2013.The present work is a maquette for a larger sculpture for the W. Hawkins Ferry Residence, Detroit. Harry Bertoia was commissioned by William Kessler and Associates, architects in Detroit, to design a centerpiece for this modern home. "'An intellectual exercise' is perhaps the one phrase best suited to generalize about the whole of Bertoia's work to date. For each of his sculptures originated in the mind - from a well formulated but constantly evolving idea or concept based on his perception, not on observation on nature - and was brought to fulfillment through the exercise of his intelligence in making decisions during the process of creation. This is why his work has such a strong appeal to the intellect. It represents an intellectual process leading toward the universal in art. Much of it is willed, brought about by engineering, carefully calculated. It is the product of a modern man's use of his sensitivity and intelligence on materials which are specifically related to the twentieth century world - industrial materials, mass produced where possible, metals that have been refined and extruded into flat sheets, rods, wires, shot. [...] 'Precision' is a word that has been applied to Bertoia's sculpture and it is aptly descriptive. His work reveals the precision that went into it, not merely in the mental calculations of engineering details, such as stresses and strains and perfect balance, but in the finishing details of craftsmanship. [...] Bertoia's hand craftsmanship, an unusual blend of 'tender, loving care' applied to precisely chosen modern industrial materials, adds the warmth of personal attention to what otherwise might seem cold and inhuman. His sensitivity to aesthetic considerations such as color and texture, proportion and balance, makes itself felt in every piece." (June Compass Nelson, Harry Bertoia, Sculptor, Detroit 1970, p.48)

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PETER BRÜNING, Untitled, 1963

Lot 429: PETER BRÜNING, Untitled, 1963

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Description: Coloured chalk and india ink on paper with perforated left margin 36 x 48 cm, framed under glass. Signed and dated 'Brüning 63' lower right. - Minor traces of age.Otten Z 1221 b (different dimensions)Provenance: Siegfried Adler Collection, Switzerland

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PETER BRÜNING, Untitled, 1963

Lot 430: PETER BRÜNING, Untitled, 1963

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Description: Coloured chalk and india ink on paper with left perforated margin 36 x 48 cm, framed under glass. Signed and dated 'Brüning 63' lower right. - Minor traces of age.Otten Z 1221a with ill. p.195 (different dimensions)Provenance: Siegfried Adler Collection, Switzerland

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FRANCIS BOTT, Composition, 1957

Lot 431: FRANCIS BOTT, Composition, 1957

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Description: Mixed media on card 67 x 97 cm on wooden panel covered with linen 77 x 106 cm, framed under glass. Signed and dated 'Francis Bott 57' lower left on card. - Minor traces of age.Henze 432Provenance: Galerie Hella Nebelung, Dusseldorf; Galleria Henze, Campione d'ItaliaExhibitions: Cologne 1984 (Galleria Henze/Art Cologne), Francis Bott, exh.cat.no.13 with col.ill.Lugano 1987 (Städtische Kunsthalle in der Villa Malpensata), Francis Bott, exh.cat.no.97, p.85 with col.ill.

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LUCIANO CASTELLI, Untitled, 1986

Lot 432: LUCIANO CASTELLI, Untitled, 1986

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Description: Mixed media on card 100 x 70 cm, framed under glass. Signed and dated 'Luciano Castelli 86' along left margin. - Reverse of margins with paper strips.

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MODEST CUIXART, Untitled (Komposition 40),  1959

Lot 433: MODEST CUIXART, Untitled (Komposition 40), 1959

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Description: Oil on canvas 100 x 81 cm, framed. - Minor traces of age.With accompanying photo certificate from the notary's office of the artist, Notar S.A., Barcelona, numbered 861. Provenance: Galerie René Drouin, Paris (label verso); Siegfried Adler Collection, SwitzerlandExhibition: Kassel 1959 (Dokumenta II), Kunst nach 1945, cat.no.3, p.136

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ROLF CAVAEL, No. 61/S3, 1961

Lot 434: ROLF CAVAEL, No. 61/S3, 1961

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Description: Oil on canvas 61 x 51 cm, framed. Monogrammed 'CA' (ligated) lower right. The reverse signed, dated, titled 'No.61/S3 CAVAEL'. - Outer margin with minor rubbings due to framing. Keller 1961/36 (with dimensions of the frame opening)Provenance: Brentano's Galerie Moderne, New York

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EDUARDO CHILLIDA, Ze I-V, 1969

Lot 435: EDUARDO CHILLIDA, Ze I-V, 1969

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Description: Suite of 5 original etchings, therefrom two on China paper, on chamois coloured wove card with various dimensions from 28 x 22 cm to 45 x 56 cm, each framed under glass. Each signed and variously numbered '39/50', '16/22', '39/50', '40/50', '37/50'. Edition Maeght Éditeur, Paris. - Some with minor traces of age.

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EDUARDO CHILLIDA, Urrutiko, 1972

Lot 436: EDUARDO CHILLIDA, Urrutiko, 1972

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Description: Original etching (Aquatinta) on Fabriano-Rosaspina wove paper 94.5 x 95.2 cm, framed under glass. Signed and numbered '69/90'. With printer's embossed stamp. Edizioni Grafiche, Rome. - Rear mounting slightly pushing through to recto, here slightly browned. van der Koelen 72006

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EDUARDO CHILLIDA, Gili III, 1979

Lot 437: EDUARDO CHILLIDA, Gili III, 1979

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Description: Original woodcut on textured wove paper 56.8 x 77.3 cm. Signed and numbered '36/50'. Edition Propyläen-Verlag, Berlin. van der Koelen 79011

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EDUARDO CHILLIDA, Edmond Jabès. La Mémoire et la main, 1986

Lot 438: EDUARDO CHILLIDA, Edmond Jabès. La Mémoire et la main, 1986

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Description: 7 original etchings on handmade, slightly textured wove paper each approx. 33 x 24 cm. Each signed and numbered '32/50'. Deluxe edition with book with 7 original etchings on double sheets. Imprint signed by author and artist. Numbered '32/125'. Loose in embossed half-linen box 26.5 x 36 x 4.5 cm. Edition Daniel Lelong, Paris 1986.van der Koelen 86003-86009

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FRANCESCO CLEMENTE, Bell, 1996

Lot 439: FRANCESCO CLEMENTE, Bell, 1996

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Description: Watercolour on card 26 x 18 cm, framed under glass. The reverse signed, dated, titled and with location 'bell [crossed out] 'bell from: 'seh griailles [!]' Francesco Clemente BALI, 1996'. Provenance: Jablonka Galerie, Cologne (label verso)

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FRANCESCO CLEMENTE, Vase, 1996

Lot 440: FRANCESCO CLEMENTE, Vase, 1996

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Description: Watercolour on card 26 x 18 cm, framed under glass. The reverse signed, dated, titled and with location 'vase from: 'I seh grisaille' Francesco Clemente BALI' and with directional arrow. Provenance: Jablonka Galerie, Cologne (label verso)

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CHRISTO, Valley curtain (Project for Colorado), 1972

Lot 441: CHRISTO, Valley curtain (Project for Colorado), 1972

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Description: Pencil, fabric, staples, coloured chalk and enamel paint on card 71 x 56 cm, framed under glass. Signed and dated 'Christo 1972' lower left and along lower margin titled and inscribed 'VALLEY CURTAIN (PROJECT FOR COLORADO) VIEW FROM GRAND HOGBACK [...]'. - Minor traces of age. With written confirmation from the Studio Christo, New York, via email dated 19.12.2012.Provenance: Galerie Der Spiegel, Cologne; Private Collection, Germany"Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings and collages are left, giving my works an almost legendary character." (Christo, quoted in Mark Getlein, Living with Art, New York 2008, p.290). Christo produced this drawing as a study for the highly ambitious 'Valley Curtain' project which he completed on 10 August 1972, after over two years of preparation. The artist draped a giant orange curtain between two slopes among the Colorado Mountains. Set against the blue sky and the surrounding rugged nature, the curtain presented an effective highlight. It was the first of many subsequent projects which the artist realised in the United States. His first attempt to hang up such a curtain took place on 9 October 1971 and failed when the nylon fabric was torn to shreds by a storm. His second attempt involved the assistance of 35 construction workers and 65 further helpers. The nylon curtain was 18,600 square metres in size and was attached to a 40-metre steel cable with 27 ropes (see photo). However, as a storm was approaching, the spectacular landscape sculpture had to be dismantled again after only 28 hours. The persistence with which Christo and his wife Jeanne-Claude pursued the realisation of this project was remarkable. It started with months of preparation, continued with laborious negotiations to obtain planning permission and funding for this huge project, and it also included the resumption of activities after the first failed attempt. This persistence illustrated a fundamental principle of the couple's creative process: They wanted to overcome something that seemed totally impossible and to realise a utopian vision. Billowing in the wind, the impressively conspicuous nylon curtain served as a means to stage an expression of transience which had a clear time limit while at the same time featuring a grandeur of design. The artist's words (quoted above) show that his preliminary studies played a central role in this monumental vanitas motif. The drawing shown here illustrates an advanced stage of project preparation. We are given a bird's eye view from the Grand Hogback into the Rifle Valley whose steep rocky walls are indicated by powerful lines and hatches, executed with a thick pencil. In some places the barrenness of the landscape is accentuated by the use of green crayon. Forming a collage, a piece of orange fabric was then stapled onto the cardboard to visualise the curtain between the rocky slopes. In a number of places Christo created highlights by adding white enamel. In particular, the white edge around the orange fabric served to accentuate the fabric, emphasising both its colour and its material. The detailed technical specifications on the sheet are reminiscent of architectural drawings, showing that this piece of work played a major visionary part in the specific execution of the project. We can therefore see that the project proceeded in three stages: planning, execution and documentation. This is clearly expressed in the drawing, making it a "legendary" and important part of the project. In fact, it shows that the project itself may well be one of the most beautiful works created by the two artists.

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PHILIP-LORCA DICORCIA, Tokyo, 1998

Lot 442: PHILIP-LORCA DICORCIA, Tokyo, 1998

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Description: Chromogenic print. 64.7 cm x 96 cm (76 x 101.4 cm). Flush-mounted to board. Signed in pencil on the reverse of the mount. From an edition of 15. - Matted and framed.Provenance: PaceWildensteinMacGill, New York; Barbara Gladstone Gallery, New York (labels affixed to the reverse of the frame)

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RINEKE DIJKSTRA, Odessa, Ukraine, August 10, 1993, 1993

Lot 443: RINEKE DIJKSTRA, Odessa, Ukraine, August 10, 1993, 1993

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Description: Chromogenic print on Kodak-Professional paper. 35.3 x 28 cm (40.5 x 30.4 cm). Signed, dated and titled in pencil on the verso. Proof 3 from an edition of 15. - Matted.Provenance: Galerie Paul Andriesse, Amsterdam; Sabine Schmidt Galerie, CologneLiterature: Rineke Dijkstra. A retrospective, exhib.cat. San Francisco Museum of Modern Art et al., New York 2012, plate 103

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PIERO DORAZIO, Untitled, 1976

Lot 444: PIERO DORAZIO, Untitled, 1976

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Description: Gouache and watercolour on textured card 56.5 x 77 cm, framed under glass. Signed and dated 'PIERO DORAZIO 1976' lower right.Provenance: Frankfurter Westend Galerie, Frankfurt/M. (stamp verso)

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KARL FRED DAHMEN, Untitled, 1960

Lot 445: KARL FRED DAHMEN, Untitled, 1960

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Description: Mixed media on canvas 125 x 110 cm, framed. Signed 'Dahmen' lower centre. The reverse signed and dated 'K. F. Dahmen 1960' with directional arrow and information. - Some minor craquelure and slight abrasions. Weber 010.60 - B 2080Provenance: Galerie Riis, Trondheim (label verso); Private Possession, Germany

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MARCEL VAN EEDEN, Untitled, 2007

Lot 446: MARCEL VAN EEDEN, Untitled, 2007

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Description: Suite of 10 drawings: each Nero pencil respectively two sheets Nero pencil with India ink and watercolour each 14 x 19 cm, each framed under glass. All reverses signed and dated 'M VAN Eeden 2007' and with work number '2066, 2067, 2068, 2069, 2070, 2071, 2072, 2073, 2074' respectively '2078'. Reverse of two sheets inscribed 'Edition für Monopol', one reverse inscribed 'Monopol'. Edition Monopol, unique works, Berlin 2007.

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MARCEL VAN EEDEN, Untitled, 1992

Lot 447: MARCEL VAN EEDEN, Untitled, 1992

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Description: Oil on canvas 25.5 x 20.5 cm. The reverse signed and dated 'M VAN Eeden 1992'. Provenance: Galerie Michael Zink, Munich; Private Collection, Germany

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ELGER ESSER, St.-Valery, France, 2005

Lot 448: ELGER ESSER, St.-Valery, France, 2005

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Description: Chromogenic print on plastic board, face-mounted to plexiglass. 102 x 145.5 cm (137 x 180 cm). Signed in felt tip pen and typed date, title and editioned 3/7 on a label affixed to the reverse of the artist's frame.

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ARMEN ELOYAN, Untitled (17th to 21st Century Informal Exotic # 107), 2007

Lot 449: ARMEN ELOYAN, Untitled (17th to 21st Century Informal Exotic # 107), 2007

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Description: Oil on canvas 92 x 73 cm. The reverse signed and dated 'Armen Eloyan 07'. Provenance: Galerie Bob van Orsouw, Zurich (label verso)

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