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Auction Description for Lempertz: Contemporary Art
Viewing Notes:
Cologne Saturday 26 November, 10 am - 4 pm Sunday 27 November, 11 am - 3 pm Monday 28 November - Thursday 1 December, 10 am - 5.30 pm Munich (selected items) St.-Anna-Platz 3 Tuesday 8 - Wednesday 9 November, 11 am - 6 pm Berlin (selected items) Poststraße 22 Friday 11 - Sunday 13 November, 11 am - 5 pm Brussels (selected items) Rue du Grand Cerf 6 Grote Hertstraat Wednesday 16. - Friday 18 November, 9.30 am - 5.30 pm

Contemporary Art (292 Lots)

by Lempertz


292 lots with images

December 3, 2016

Live Auction

Cologne, Germany

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Ernst Wilhelm Nay, Untitled, 1961

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Description: Signed and dated 'Nay 61'.The present work is to be included in the forthcoming catalogue raisonné of the works on paper by Ernst Wilhelm Nay by Elisabeth Nay-Scheibler and Magdalene Claesges, Cologne.

Condition Report: With traces of age typical of the watercolour papers used by Nay during this period.

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Ernst Wilhelm Nay, Die Ruhende und die Himmlischen (Laon), 1946

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Description: Signed and dated 'Nay 46'.

Condition Report: The depiction framed by graphite stroke. The outer margins covered in adhesive tape, partially removed.

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Ernst Wilhelm Nay, Euryanthe IV, 1947

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Description: Signed and dated 'Nay 47'. Signed, dated, and titled ENay 1947 Euryanthe IV' verso.

Condition Report: The depiction framed by graphite strokes. The outer margins circumferentially with remnants of paper tape verso.

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Ernst Wilhelm Nay, Mit dunklem Blau, 1963

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Description: Signed and dated 'Nay 63'. Signed 'Nay' verso on canvas and signed, dated, and titled 'Nay - "Mit dunklem Blau" - 1963 Nay' on stretcher.''With the eye pictures, Nay opens up the view into the cosmos, onto the phenomena themselves which had initially been intended as analogies to music. His colours, guided by the vivid and simple sign of the eye, gain unforseen spaces and hitherto unimaginable radiance. The frequent primary colours in the 'Augenbilder' lend the painting the capacity to expand the body of the picture to infinity. That which was already suggested in the symbolically magical images, now becomes a glimpse into the cosmos of painting, which for its part reflects the space of the observer. Since the disc images, the front and the back as the theme of the pictorial structure is interpreted as a look into the room, giving the viewer a feeling of being touched by the qualites of this space, for which the eye depicts the descriptive formula.'' (Siegfried Gohr, Einführung in das Werk von E.W. Nay, in: Elisabeth Scheibler-Nay (ed.), Ernst Wilhelm Nay, Werkverzeichnis der Ölgemälde Band, 1, 1922-1951, Cologne 1990, p.23)

Condition Report: Minor traces of age.

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Harry Bertoia, Baum, Around 1964

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Description: Accompanied by a photo-certificate from Mary Thorp, Harry Bertoia Research Project, Rock Cave/West Virginia, dated 30. September 2016.

Condition Report: Minor traces of age.

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Harry Bertoia, Free Form, Around 1964

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Description: Accompanied by a photo-certificate from Mary Thorp, Harry Bertoia Research Project, Rock Cave/West Virginia, dated 30. September 2016.

Condition Report: Minor traces of age.

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Josef Albers, Homage to the Square, 1962

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Description: Monogrammed and dated 'A62' (scratched).The present work is registered in The Josef Albers Foundation, Orange, Connecticut (with label verso)“Thanks to their picture composition in the ratio of 1:2:3, the Homages keep their feet on the ground while their heads are in the clouds. The central or first square is like a seed: the heart of things, the innermost, from which everything else radiates. The segments below this square, which are components of two or three larger squares striving outwards, double their width to the left and to the right and triple it towards the top. For example, in a picture composition of four squares that are 10 units high and 10 units wide, the width of the central square is four units while each of the outer squares measure half a unit on the underside, one unit on the left and on the right, and one and a half units at the top”. (Nicholas Fox Weber, Der Künstler als Alchimist, Josef Albers, exhib.cat. Solomon R. Guggenheim Museum, New York, Staatliche Kunsthalle Baden-Baden und Bauhaus Archiv Berlin, 1988, p. 41).

Condition Report: Some crackling.

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Joseph Beuys, Untitled, Around 1948-1950

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Description: Signed 'Beuys'.

Condition Report: Minor traces of age.

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Joseph Beuys, Untitled, 1959

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Description: Signed and dated 'BEUYS 59' and 'Beuys 59' resp.

Condition Report: Minor traces of age.

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Lucio Fontana, Matrice di incisione, 1966

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Description: Signed and dated 'I.Fontana 66' (scratched) and with dedication to the printer Giorgio Upiglio.The present work is registered under the number 3654/4 in the Fondazione Lucio Fontana, Milan.The present work is the reworked printing plate of the etching: Serie Rosa, 1966, aquatint etching, cf. Ruhé/Rigo E-27.In 1966, the pink series was created, a series of five aquatint etchings that were produced in Giorgio Upiglio's workshop in Milan. A central shape encompassed by a vivaciously engraved frame is depicted in each of these works. The surface of the printing plate itself remains intact.Following the completion of the series, Lucio Fontana reworks one of the steel plates in his studio. He repeatedly beats the back of the picture carrier with a hammer and a chisel until the surface opens up creating gaps of different sizes. Due to the gaps in the picture carrier, a sculptural piece of work is created which exposes the view into the space behind the surface.Lucio Fontana dedicates this work, Matrice di incisione, to his printer Giorgio Upiglio with whom he worked together not only on the realisation of this series but also on further etchings.„Towards the end of the period in which the „Serie Rosa“(1966) was printed, Fontana took an etching plate from the series after the prints were numbered and signed. I applied a layer of acid resistant varnish and Lucio Fontana furnished the plate with a dedication to me. The etching plate itself was not an autonomous artwork. There was a smithy located on the ground floor of my print shop. We went downstairs and with a large hammer and chisel, Fontana beat the reverse side of the drawn form till the plate cracked open. In this way he created a split so that it became a unique, autonomous artwork.“ (Giorgio Upiglio in: Harry Ruhé und Camillo Rigo, Lucio Fontana (ed.), Graphics, Multiples and more, Amsterdam 2006, p.48)

Condition Report: Traces of studio as well as firmly mounted to panel.

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Fernando Botero, Niño con un pájaro, 1965

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Description: Signed and dated 'Botero 65'. Signed, dated, and titled 'Botero 65 "NIÑO CON UN PAJARO"' verso on canvas with dimensions, numbered '13' and a discarded inscription.Accompanied by a written confirmation from the artist, Paris, via email dated 05 June 2016.Round forms and large figures are the trademarks of the Columbian Fernando Botero whose expressive style developed from the 1950s onwards. The artist transforms the voluminosity of people and animals, but also other objects, thereby creating an aesthetic in which the rules of proportion are suspended. His art concentrates not just on individual people, but revolves around the idea of form which reveals itself in the diverse bodies. The universal themes of his work sprang from a fascination of the early Renaissance and his particular interest in the paintings of the Trecento and Quattrocento from artists such as Giotto, Masaccio, Uccello and Piero della Francesca. The voluminous forms in the works of Peter Paul Rubens also serve as an early source of inspiration.With two motifs, Nino con un pàjaro (Boy with a Bird) offers a reduced pictorial composition. Made in 1965, the work is from the artist's early oeuvre, in which Botero's sculptural painting style matures. He develops an integrated, aesthetic concept from the figurative world of motifs and his methods of exaggeration, which in turn shapes his whole artistic creativity. ''The constant and all-embracing exaggeration and its continual repetition within an artistic oeuvre (…) makes the deformation the rule and through this turns it into a style. Deformation without a superior reason and only for its own sake is either monstrous or caricaturing. Neither one nor the other applies to Botero. It is, rather, always the wish to increase the sensual quality of the pictures which arises from its deformation.'' (Mariana Hanstein, Fernando Botero, Cologne 2003, p.49-4).The shaping strokes remain visible in this early painting, emphasising the lively appearance of the youth. The visible brushwork is classed as a particular trademark of the artist's early work, who applied a flat, formative painting technique to his later works. Despite the voluminous appearance of the physique, the youth still comes across as gentle and trusting. The extended feet make him appear to float, whilst the left hand delicately and lovingly holds the small bird. Botero's passion for classical painting subjects and his use of iconographic pictorial motifs are manifest in the picture's theme. In this context, the motif of the naked youth with a bird also suggests associations reminiscent of the Christ child. The thistle finch represents purity, and the red colour of its head symbolises the path of suffering of Christ. Furthermore, a compositional precedent can be found in Bronzino's masterpiece Ritratto di Giovanni de' Medici, 1545 (Uffizi, Rome) in which the iconic bird motif is also taken up.

Condition Report: Minor traces of age.

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Simon Hantai, Untitled (Pliage), 1971

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Description: Monogrammed and dated 'S.H. 71'. Signed and dated 'S.Hantai 1971' verso on canvas and work number "A.3.1.2.33".The authenticity of the present work has been confirmed by Daniel Hantaï from Archives Simon Hantaï, Paris, via email dated 5 November 2015.The Hungarian Artist Simon Hantai arrived in Paris in 1949 where he had close contact to the philosopher André Breton and his circle. In his short surreal period Hantai designed compositions with forms and lines which built a complex and contradictory system of organic elements. After having distanced himself from Surrealism from 1950, his first folded pictures appeared which would become a trademark of the artist. His works, exhibited in particular in well known French museums, follow the pictorial tradition of the support/surfaces flow, an art movement that focuses on the analysis of various forms of expression of the image carrier. Through a complex process the canvas is systematically folded or creased and then opened up again. The painting ground is therefore suggestively worked and the form is determined by the missing areas of colour. Any reference of drawing or the physical effect of painting ommited. The folding of the canvas in combination with painting leads therefore to the principle of chance, giving an unexpected play of colours. The contrasting structure, as seen in the present picture with the bright blue and the white of the canvas is one of Hantai's typical colour schemes.„Je n'ai pratiquement fait que suggére ce qui se met en place et se déploie dans les dix dernières anneés de la carrière de Simon Hantaï. Il faudrait travailler, dans la méthode, dans la technique de l'artiste, le passage du plié au déplie et ce qu'on en retrouve dans l'organisation formelle du tableau: plié/déplie-ouvert, par exemple „Les manteaux de la Vierge“ et les toiles de 1969-1971 - plié/déplié-fermé par exemple les toiles de 1964-1965 (dont l'expression viscéral est nette) et la suite de 1967. Lorsqu'on aborde une oeu­v­re dont la charge émotionnelle et signifiante est aussi forte et aussi complexe, on aimerait n'en pas finir. D'autres reviendront, j'y reviendrai, il y a heureusment encore beaucoup à dire.” (Marcelin Pleynet, La levée de l'interprétation des signes ou Les manteaux de la Vierge, in: Pontus Hultén, Simon Hantaï, Ausst.Kat. Musée national d'art moderne, Paris 1976, not paginated).

Condition Report: Minor traces of age.

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Günter Fruhtrunk, Jardin d'un Monastère. Etüde No.1, 1961/1962

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Description: Monogrammed, dated, and titled '> Etüde No1 61 Juin - Sept 62 ftk' verso on panel.The work is to be included in the catalogue raisonné of the works by Günter Fruhtrunk compiled by Silke Reiter, Günter Fruhtrunk Gesellschaft, Munich.'Jardin d'un Monastère Etüde No. ' is the first in a series of eight paintings with the same title completed by Günter Fruhtrunk in the early 1960s. The series features various colour executions of one motif. In 'Etude No. 1' the black lines are framed by narrow yellow and blue contours and thereby given a particular accentuation. The creation of the picture series took place at a time when a transition in his work was taking effect. ''Fruhtrunk begins disecting his delicate constructions, made up of geometrically differently shaped internal elements, into anonymous structures, in which the process of limiting and delimiting the picture medium for the perception can take place more directly. The pictorial order is no longer mediated through individual forms, but rather as the respective to-be-determined relationship of the pictorial means to one another thematically. As a result, the colour no longer appears subordinated to the colouration of a form, but rather is perceived as a particular luminosity which unfolds its effect according to the sequence and quantity of color. The compositional 'hinge shapes' also appear to be structurally applied: via inward interfaces, form and colour boundaries now directly connect with the pictorial boundaries of the image field and the square of the frame. The focus of a possible reversal and reordering of the pictorial representations takes place in the image construction itself.'' (Karin Wendt, Schriften zur Bildenden Kunst, Günter Fruhtrunk Monographie und Werkverzeichnis, Jürgen Meyer zur Capellen (ed.), Frankfurt a.M. 2001, p. 91)

Condition Report: Minor traces of age.

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Günter Fruhtrunk, Progression, 1963

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Description: Monogrammed, signed, dated, and titled ' 1963 ftk.: FRUHHTRUNK [sic.]' verso on panel and inscribed '8B' and '30P', statement of place 'PARIS' as well as directional arrow and information.The work is to be included in the catalogue raisonné of the works by Günter Fruhtrunk compiled by Silke Reiter, Günter Fruhtrunk Gesellschaft, Munich.

Condition Report: Minor traces of age.

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Günter Fruhtrunk, Hommage à Duccio, 1970

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Description: Monogrammed, signed, dated and titled 'FRUHTRUNK MAI-SEPT. 1968 >, ftk' verso on canvas and with directional information and arrow. Dimensions on stretcher.The work is to be included in the catalogue raisonné of the works by Günter Fruhtrunk compiled by Silke Reiter, Günter Fruhtrunk Gesellschaft, Munich."Hommage à Duccio was developed in six variations of which the present exemplar is the biggest. Black, violet and red stripes alternate. The black elements are accentuated by narrow blue lines. The vertical orientation of the stripes intensifies the concentration on the colours and their composition developping a dynamic effect stemming from/due to their contrast to one another. Hommage à Duccio reveals a development in Günther Fruhtrunks oeuvre that begins from the end of 1960s. “After 1969, a formal conception of colour structure can be registered in the development of Fruhtrunk's works. The picture size increases. The bands of colour broaden and only pass through the image field in one direction - vertically, horizontally or diagonally. From 1969 onwards, it becomes clear that the linear structure serves the relative dynamic of the colours and not vice versa”. (Karin Wendt, Schriften zur Bildenden Kunst, Günter Fruhtrunk, Monographie und Werkverzeichnis, Jürgen Meyer zur Capellen (ed.), Frankfurt a.M. 2001, p. 114).

Condition Report: Traces of studio and minor traces of age.

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Rupprecht Geiger, 553/69, 1969

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Description: Signed 'Geiger', numbered '553/69', and dimensions verso on stretcher .

Condition Report: Minor traces of age.

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Almir da Silva Mavignier, Violett-grün Kreuzungen, 1987

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Description: Signed, dated, titled, and inscribed 'mavignier, hamburg 24.10.1987 "Kreuzung"' and directional arrows verso on canvas overlap. Signed, dated, inscribed, and divergently titled "violett-grün Kreuzung" and information on material and dimensions verso on protective paper.Almir Mavignier's artistic language is characterised by a methodically conceived system of fixed components which are implemented in various ways and which have a curious optical appeal. Although he refrains from using the medium of kinetic art, leaving his pictures static, he succeeds in creating a suggestion of space and a dynamic sequence of movement. To attain this, the artist uses various means to transfer the grid onto the image area in such a way that new area divisions are continually created which can be perceived three-dimensionally. As in the present work titled Violett-grün Kreuzung, his compositions mostly consist of horizontal, vertical, and diagonal stripes, the vibrancy of which culminate in the upper or lower pictorial margin on the left or right-hand side. The stripes of the grid emerge out of the dark background, whereby their spatial effect is closely bound to the grid density and also to the increasing and decreasing intensity of the individual stripes. “Grids and decreasing colour intensity stimulate our lethargic eye to three-dimensional perception, to confusing, spatial reversal illusions, so-called inversions.” (Brigitte Zehmisch, Inversion, räumliche Suggestion, in: Almir Mavignier, Serielle Farbprogression, exhib.cat. Kunstgewerbemuseum Zürich, Zurich 1975, p. 20). For Mavignier, each work is a proposition for mental application. His compositions, which were initially created for the canvas, are often also used as poster designs which he considers to be equivalent creations of his artistic imagination.

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Almir da Silva Mavignier, Untitled (Monochrom weiß), 1979

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Description: Signed, dated, and inscribed 'hamburg mai 1979 mavignier' verso on canvas. Signed and dated 'mavignier mai 1979' on stretcher.The Brazilian artist Almir Mavignier belongs to the first of the Zero artists where he was primarily concerned with issues of structure and series. He acquired his defining artistic character through his studies at the Hochschule für Gestaltung in Ulm which did not teach painting. Here, unlike Bauhaus, the conventional ties to painting were loosened, and interest was turned towards scientific principles, as would be propogated in particular by Max Bense. Under the influence of artistic personalites such as Josef Albers and Max Bill, Mavignier developed his own idiosyncratic, structural artistic language in which he was occupied with the themes of instability, movement, the dissolution from hierarchical picture compositions as well as viewer participation. His works distinguish themselves through serial elements and monochrome colours which have an effect on the sense of sight and have a great visual stimulus. His intention is principally directed at the perception through the viewer, but he evaluates the visual process and the reflection as creative accomplishment which the recipient has to provide themselves. The work 'Monochrom weiß' from 1981 is an exemplary illustration of Mavignier's endeavour to impart his pictures with a dynamic, spatial power and to draw attention to the relativity of perception.

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Kenneth Noland, Push, 1982

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Description: Signed, dated and titled '"Push" Kenneth Noland © 1982' verso on canvas and directional arrow.

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Kenneth Noland, Songs Sunrise Serenade, 1984

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Description: Signed, dated, and titled 'SONGS SUNRISE SERENADE Kenneth Noland ©' verso on canvas and work number '84-23' and directional arrow.“Kenneth Noland's oeuvre is characterised by his struggle for pure colour painting. “The thing is to get that color down on the thinnest conceivable surface, a surface sliced into the air as if by a razor. It´s all color and surface, that´s all.“. This understanding of colour painting craves to satisfy colour as a mere surface phenomenon. However, from the outset, Noland sees himself confronted with the problem of finding adequate shapes for the colour. For colour exists as an artistic phenomenon only in the effect is has. It is thus characterised by relativity and instability and is therefore reliant on a shape by means of which it can express itself as a medium.” (Ursula Sinnreich, Farbe-Form-Licht, in: Galerie Wentzel (ed.), Kenneth Noland, Neue Bilder, Berlin 1984, not pag.).The work Songs sunrise serenade from 1984 illustrates Noland's individual handling of colour and can be seen as a significant example for his form-finding methods rejecting any hierarchical framework of individual pictorial elements. The colouring is not bound by any system but rather all bands of colour stand equally next to one another, giving rhythm to the picture plane. The spatial quality of colour appears to be weakened; surface and colour form a unit. Working in series and concentrating on compositional structures allow the artist to systematically handle individual pictorial elements and represent an important constant within his oeuvre.

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Fritz Koenig, Große Flora D, 1979/1980

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Description: Signed (embossed) 'KOENIG'.This work can be viewed in Dortmund.For further information please call phone +49 221 92572929Since the end of the 1960s, basic geometric forms such as the sphere, cone and cylinder have belonged to Fritz Koenig's fixed vocabulary which he combines, mostly in bronze, in ever new constellations to create biomorphic structures. By reducing the forms he succeeds in an enhancement of expression and personal linguistic mastery. His sculpture 'Große Flora D', on display in the centre of Dortmund since the 1980s, also consists of two spherical forms connected by a wedge-shaped rod. Two opening semispheres act as an upper finial with the inner surface curled out, reminiscent of an opening flower. ''The smoothly polished, metallic surface and the unmistakeable themes reminiscent of a plant, a germ, a shoot or a flower allow the sculpture to curiously sway between geometric abstraction and natural expression. (Jürgen Zänker, Öffentliche Denkmäler und Kunstobjekte in Dortmund, Eine Bestandsaufnahme, Dortmund 1984, p. 294). This organic, animated impression is reinforced by the warm, gold colouring of the bronze. In contrast to the huge, straight-lined building complex by the architect Harald Deilmann in front of which 'Große Flora D' stood, the four and a half meter sculpture feels like a delicate seedling growing slowly in the urban environment. The artist's large format sculptures are found in national as well as international locations, including in front of the German embassy in Madrid. Koenig's fountain sculpture 'The Sphere' in front of the World Trade Centers in New York attained worldwide fame when it was recovered after the terror attack on 11 September 2011, and now serves as a memorial. Although the sculpture was badly damaged, it did not lose any of its aesthetic force and since then is valued as the artist's master piece, with his name now known all over America. After several years on display in Battery Park, it is due to be returned to its original location this year.

Condition Report: Traces of weather and traces of age.

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Gotthard Graubner, Untitled, 1975

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Description: Signed and dated 'Graubner 1975' verso on canvas and with directional arrow.

Condition Report: Minor traces of age.

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Gotthard Graubner, Untitled, 2003

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Description: Signed and dated 'Graubner 2003'.

Condition Report: Traces of studio.

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Adolf Luther, Sphärisches Hohlspiegelobjekt, 1971

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Description: Signed and dated 'Luther 71' verso on panel.The present work is registered in the archive of the Adolf-Luther-Stiftung, Krefeld, and is to be included in the forthcoming catalogue raisonné of the Adolf-Luther-Stiftung, Krefeld.The artwork will be auctioned in support of the Verein der Freunde und Förderer der Clara-Schumann-Musikschule e.V., Dusseldorf.Adolf Luther is regarded as one of the main protagonists of kinetic art and optical art. However, the artist who was born in 1912 did not experience his crucial artistic moment until the beginning of 1960s: when smashing bottles, the light is captured and refracts repeatedly in the shards of glass. Thus, in glass, Luther discovers the “immaterial element for the visualisation of light” (Ralph Merten, Luther, Magie des Lichts, Stuttgart 1990, not pag.) and in doing so a way to break away from conventional panel painting. First experiments with objects made of sheet glass, lenses as well as concave and convex mirrors ensue and gradually he succeeds in making light tangible for the viewer. While his glass sculptures, the so-called light locks, merely trap and reflect light, his concave mirrors reveal the peculiar essentiality of light and make reference to its graphic quality. In the interplay with space, light is transformed into a detectable energy and into its very own decisive phenomenon. Luther's concave mirror sculptures, however, are initially planned merely as instruments that only develop into a single unit as the result of the interaction between the recipient and the artistic idea thus manifesting themselves as an energetic sculpture. Hence, the viewer is an indispensable factor, implemented to actively visualise the spherical pre-pictures. Thus, Luther's art is not about the object itself but primarily about striving for insight, as a possibility to gain wordly wisdom and expression.

Condition Report: Traces of studio and minor traces of age.

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Gotthard Graubner, Farbraumkörper I, 1997

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Description: Signed and dated 'Graubner 97' verso on canvas and with directional arrow.

Condition Report: Minor traces of age.

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Gotthard Graubner, Farbraumkörper II, 1997

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Description: Signed and dated 'Graubner 97' verso on canvas and with directional arrow. “The colour-space bodies are wall objects. They start off with “raw”, yet unpainted picture carriers: the canvas, mounted on a stretcher made from wood or metal, covers an even layer of wadding, which varies according to the size and which can be as thick as 20cm. A second canvas is mounted on this in such a way that it pads out the edges leaving them rounded off and without creases. In contrast to the mildly rounded central area, a slight flattening occurs towards the edges due to the taut covering. The artist lays the untreated “workpiece” on the floor and saturates, coats, pours, sprinkles and rubs in thinned paint in circular movements layer for layer using long-handle wide brushes while moving around the work-piece. The arm and body rhythms are inscribed in the picture in looping shapes while the liquid paint seeps in and dries on the inside without deforming the wadding, which is steeped in pigments. On the edges, which later define the dimension of depth of the vertically hung picture, the colour may, as is typical of Gotthard Graubner's works, trickle out in fine traces, irregularly encrusted in circles, unless, here too, he carefully rubs it in, erasing the memory of the creative process. Depending on the format, at least 20 litres of paint are applied successively, saturating the wadding through the canvas, dying it, hidden from view, an irregular process, as occasional deliberate jolts influence the paint seeping through. The painting process on the floor is interrupted by pauses in which the unfinished painting is put in an upright position in order to reappraise the stage reached for the attained effect. This can lead to an entire change of colours, to a sort of new beginning, or to a concentration on the chosen path. Even where the exercise or commission correlates with certain conceptual ideals, Gotthard Graubner seems to grant himself the maximum degree of freedom until that certain radiance responds to which there is nothing more to add”. (Katharina Schmidt, Gotthard Graubner, Farblicht, in: Veit Görner und Caroline Sommer (ed.), Gotthard Graubner, Farblicht, exhib.cat. Kestner Gesellschaft, Hanover 2003).

Condition Report: Minor traces of age.

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Marwan, Untitled (Kopf), 1973

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Description: Signed and dated 'Marwan 73'. Signed and dated 'Marwan 73' and 'Marwan Sep - 73' resp. verso on canvas and stretcher and each with statement of place 'Paris'. Designated by an unknown hand verso on stretcher.With written confirmation by Marwan, Berlin, via email dated 1 October 2015.1973 was a successful year for the painter, in which Marwan received a scholarship for the Cité des Artes. In Paris Marwan was open to new influences that arose under the overwhelming impression of French art history. In addition to his 'facial landscapes' and 'veil pictures', in the 1970s the artist worked on the first of his 'heads', which would become one of the decisive themes of his work. The work offered here shows the broad, open areas of the head picture, typical features of Marwan's facial landscapes. The broad plane of the face invites the viewer to linger on the pictorial architecture of the head. In its openness it confides in its counterpart, confidently turns the portrait inside out and reveals deep traces of experience in every contour of his face. At the same time the look testifies of haunting longing, symbolising deep human needs. “Marwan is obsessed by faces because for him they are a means of expressing the dramatic depth of life. I do not know any artist anywhere who to such an extent has adopted the head, the monumentalized head, as practically his only theme, in which the world can be laid bare and last question put into painting. It is understandable, given our age, that Marwan does not indicate any ideals. He reveals conditions and experiences. It is important to keep in mind that in his paintings human beings are never presented whole.” (Jörn Merkert, Marwan, exhib.cat. Museum of Modern Art Bagdad, Berlin 1980, p.53)'The present piece has a corresponding version as a veil image. (Schleier II, 1973. 130 x 195 cm, in: Marwan, exhib.cat. Museum of Modern Art Bagdad 1980, Berlin 1980, p.11)

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Karin Kneffel, Aus: Zwielicht, 1994

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Description: Signed and dated 'K.Kneffel 1994' verso on canvas and work number 'LH 2'.With “Zwielicht” a series of paintings develop in the mid 1990s depicting countryside motifs in the twilight with a low line of horizon. In this theme, Karin Kneffel does without “obvious estrangement on a motivic level” and in doing so achieves a strategic goal to “make the distance between the reality of life and image visible” only ”by means of subtle image composition”. Stylistically, the countryside depictions follow that manner of painting that banishes any traces of the work process “which so plays to the appearance of her works. Karin Kneffel thus places her works in a context highlighting the character of her paintings as works of art. Because it is a historical requirement of genres such as landscapes or sill-life that what can be seen in them does not abide by the normality of everyday life breadth but will become clear in a subtracted/extracted and abstracted […] sense. Because it is only when we perceive the depiction of fires or fruit not merely for their most obvious information content, but first and foremost as visually interesting, that a painting can be free to become a piece of art”. (Daniel Spanke, Realismus ist anders, in: Achim Sommer (ed.), Karin Kneffel, Ausst.Kat. Kunsthalle in Emden, Köln 2001, p.10-11)

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Karin Kneffel, Zwielicht III, 1994

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Description: Signed and dated 'K.Kneffel 1994' verso on canvas and work number 'LH 3'.The present work is listed on the artist's homepage.

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Karin Kneffel, Zwielicht XI, 1995

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Description: Signed and dated 'K.Kneffel 1995' verso on canvas and with the work number'LH 13'.The present work is listed on the artist's homepage.

Condition Report: Minor craquelures in one spot in lower area.

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Ulrich Rückriem, Untitled (Granit bleu de Vire), 1991

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Description: This work can be viewed in Paris.For further information and to arrange an appointment please call phone ++33 6 37056061

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Ulrich Rückriem, Untitled (Granit bleu de Vire), 1991

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Description: Accompanied by a signed certificate from the artist.This work can be viewed in Paris. For further information and to arrange an appointment please call phone +33 6 37056061

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Zdenek Sýkora, Linie Nr. 3 (100 lines), 1975

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Description: Signed, dated and titled 'Nr.3 "100 lines" 1975 Zdenek Sýkora' verso on stretcher and with dimensions. Titled on canvas overlap 'Nr.3'.The present work is registered in the Archiv Lenka Sýkorová and Zdenék Sýkora, Louny.

Condition Report: Traces of studio and minor traces of age.

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Zdenek Sýkora, Linien Nr. 49, 1987

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Description: Signed and dated 'Sýkora 87' verso on canvas. Signed, dated, and titled 'Zdenek SÝKORA: Nr. 49 1987' verso on stretcher and with dimensions.The present work is registered in the Archiv Lenka Sýkorová and Zdenék Sýkora, Louny.Linie 49 is a striking example for the complex line structures in Zdenek Sýkora's oeuvre. Both the colour, spectrum as well as the diversity of the individual line executions, are manifold. Linear shapes and sweeping structures encounter each other and in their contrast they illustrate the diversity of their computer-generated basic material. With the superposition of the lines and their varying width and colour intensity, the whole arrangement attains a further dimension suggesting spatial depth against the white background. “What at first looks like a two dimensional linear composition obtains spatial qualities when examined more intensively: as the result of the variously thick and long lines really overlapping, associations of spatial ideas are not set free, not, however, in the sense of an uniform central perspective that presupposes a single point of view on the viewer's part, but in the sense of an innerpictorial relationship of front and back with reference to the thickness of the lines and consequently their position in the pictorial space. Through a complex system of references, the viewer is presented in this way with linear means optically unanticipated spaces, which appear to thrust into infinity in the sense of cosmic dimensions”. (Ulrich Schumacher in: Zdenek Sýkora 1964-1991, exhib.cat. Galerie Teufel, Bad Münstereifel-Mahlberg 1991, p. 58).

Condition Report: Traces of studio and minor traces of age.

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Zdenek Sýkora, Linie Nr. 85, 1991

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Description: Signed and dated 'Sýkora 91' verso on canvas. Signed, dated, and titled 'ZDENEK SÝKORA: LINIE Nr.85 1991' on canvas overlap and with dimensions and technical information.The present work is registered in the Archiv Lenka Sýkorová and Zdenék Sýkora, Louny.The artistic process in the work of Zdenek Sýkora is characterised by the interplay of system and chance, the result of which are visualised by the artist in his characteristic style.The colour, form and flow of his linear constructions are calculated by a computer programme and transferred to the white canvas by way of a complex work process.'Concentrating on grey-blue through to black tones, ''Linie 85'' features 10 lines which stretch between the left and right hand side of the picture and condense at the centre. In their continual flow, the lines are bound by the edges of the picture carrier so becoming a fragmented depiction of the calculated formula. The artist is responsible for the extract chosen, through which he retains conscious control over the computer-generated creativity. '' Sýkora's apparent disorder follows precise number rules. […]lineal structured pictures, […] which not only appear as fragments from a larger picture, but actually are fragments. Because at the point where the lines of varying strength, colour and contour leave the picture, their existence through the computer's solution-suggestions do not have to be terminated. The artist sets their limits with the picture's edges. The specification of the picture square no longer has anything to do with the traditional framing of a 'this and no other', self-contained picture. It could be conceived that Sýkora chooses different overlapping sections from a single computer suggestion and executes them in different, but in some ways, similar images.'' (Walter Vitt, in: Zdenek Sýkora 1964-1991, exhib.cat. Bad Münstereifel-Mahlberg 1991, p. 64-66).

Condition Report: Traces of studio and minor traces of age.

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Georg Baselitz, Scarecrow / Vogelscheuche (Adler), 2009

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Description: Monogrammed "G.B.". Cast 9/10.We would like to thank Detlev Gretenkort, Atelier Georg Baselitz, for the helpful information.The majestic bird is one of Europe's oldest national symbols and the federal eagle adorns the German coat of arms as well as the Austrian. In its symbolic significance, it is invariably associated with historical developments, which form a part of the cultural memory. As a bird of prey, it symbolises both power and strength as well as a completely independent idea of freedom. For Georg Baselitz, the eagle evolved throughout his career as a valuable source of inspiration. It appears regularly in his oeuvre since 1962, worked in many diverse techniques. Although the artist refuses to give the motif a programmatic meaning, the repeated use in his work bears witness to a particular fascination. The ambiguous motif can be considered from different perspectives in Baselitz' bronze editions as both profile views, as well as its flag-like body along the axis, can be rotated.The larger than life-sized eagle stands reverently on its solid base, and its eyes miss nothing, validating its safeguarding function as scarecrow. The title of the work also reveals the special character of the motif, which allows an association with its multi-faceted symbolic meaning.

Condition Report: Traces of studio and minor traces of age.

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Joseph Marioni, Green Painting, 1992

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Description: Signed, titled, and inscribed 'GREEN PAINTING Jos. Marioni JOSEPH MARIONI PAINTER' on canvas overlap and with dimensions and technical information.The artist's caution is of the most ethical importance as it serves to balance the whole structure. Marioni's cautious and respectful involvement with the picture, acknowledging the essence of the object without being imposing, exemplarily represents the sophisticated handling of the objects that surround us. The picture becomes a discriminating counterpart asserting its position, its own presence here and now. Despite all immediacy of colour perception, it keeps its distance at all times so that emotional convergence and restrained aloofness balance each other. Considering this tension between empathy and self-control, which is exacted from the artist as well as from the observer, it is only natural that Marioni emphasises several times in an interview that his painting is greatly concerned with intimacy - an intimacy which is highly complex, however. (Hannelore Kersting, Über die Radikalität von Joseph Marioni- Ein Nachwort, in: Städtisches Museum Abteiberg (ed.), Joseph Marioni. Malerei, Mönchengladbach 1988, p. 47.)

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Joseph Marioni, Red Painting, 2000

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Description: Signed, titled, and inscribed 'RED PAINTING Jos. Marioni JOSEPH MARIONI PAINTER' on canvas overlap and with dimensions and technical information.

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Frederic Matys Thursz, LACRIMA ROSA OTTAYA ELEGIA JUDAICA, 1990-1991

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Description: Signed 'Thursz' verso on canvas overlap and signed, dated, and titled 'Thursz LACRIMA ROSA OTTAYA ELEGIA JUDAICA 1990-1991' on the burlap overlap. Technical information on the stretcher.

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Otto Piene, Roter Sturm, 1964

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Description: Signed, dated and titled ' - roter Sturm - OPiene (joined) 64'.At the end of the 1950s, Otto Piene developed a completely new painting technique with his smoke drawings and pictures which were shortly followed by the fire pictures. To produce the smoke drawings and pictures he guided the smoke from a candle or a petroleum lamp through grid sieves to create smoke dots and veils on the picture plane. The fire pictures resulted from setting fire to solvents, oil paints or colour pigments on the picture plane, leading to organic shapes formed by the remnants, bubbles and crusts. In both instances, Piene reduced his artistic influence in favour of the autonomous development of the picture through the use of flame and smoke. He commented himself on the character of the development processes: ''The smoke signals are not ''signed''. The anonymity of the author remains to a large extent protected. My individual sentiments are not pushed to the foreground and play a minor role (except for increased alertness, ie. sensitivity). I think that the artistic engagement, precisely because of the distance to ones own actions, is at least as large as with drawing in the usual sense. Above all it lies in the observation, the ''strategy'', which steers the tools. I would like to take more of a back seat, to allow my individuality as author to be felt even less, a force such as light to become increasingly superior, so that the materiality is further raised and greater freedom is won. I hope, that with a minimum of physical engagement, far removed from every drama, to reach a space of silence, which, because it is powerful recognisable, invites one to linger.

Condition Report: Traces of studio and the edges verso with adhesive remnants of a former mounting.

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Otto Piene, Untitled, 1960

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Description: Signed and dated 'OPiene' (joined) '60'.Otto Piene's smoke drawings and pictures, which began in 1959, are a logical evolution of his grid pictures and illustrate his first experiments with the element of fire. Instead of paint, the smoke of the sooty fire source would be directed through the grid sieve creating areas of various intensity on the picture ground. In contrast to the grid pictures, this results in an elimination of the artistic handwriting. Piene's activity is reduced to the control of the fire source as well as the regulation of the strength and the number of soot points. ''The smoke drawing is without handwriting. [...] My individual moods to do not come to the fore and play a minor role (except for an enhanced alertness, ie sensitivity).'' (Otto Piene, Ölbilder, Rauchzeichnugen, Lichtmodelle, Lichtballett in: exhib.cat., Diogenes Galerie im Atelier, Piene, Berlin 1960, o.S.). Piene is therefore working not with light, but instead its complement, the dark, which manifests itself on the canvas in the form of soot, the result of the light source. According to the artist, the appropriate colour of the smoke is red, which now dominates his work alongside black and white. The small-part grid structure which Piene still prefered in his first smoke drawings is gradually removed in favour of format-filling circular shapes and individual dots on monochrome backgrounds, resulting in a modified space and light effect. Instead of a vibration, a pulse is emitted from the round soot volumes. The impression of dynamism and vitality is primarily a result of the fringing, flowing outlines of the circular shapes as well as the divergent brightness modulations and the intended associations with the organic and nature.

Condition Report: Traces of studio and minor traces of age.

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Otto Piene, R.P.M., 1984

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Description: Signed, dated, and titled '"R.P.M." OPiene' (joined) '84' verso on canvas.Based on his smoke pictures, Otto Piene developed the first fire pictures from the 1960s in which the element was assigned a compositional role. By burning the fixatives, pigments and oil paints found on the painting surface, as in the present work RPM, crusts as well as bubbles are formed which suggest something organic and evoke associations to analogies of nature. The creation process of the fire pictures is influenced by the interplay of of coincidence and speed. Above all, a high level of concentration is required of the artist as seconds determine the success of a work. '' I set fire to a solvent . . . and pictures grow within seconds on the threshold between ruination and survival.'' (Otto Piene, Rainbows, Cambridge 1971, p. 23). There is nothing destructive about the process of burning, but rather a creative process is illustrated, reminiscent of a natural event. Within the work group of the fire images there is a coupling of fire and light in a two-fold sense, in terms of medium as well as appearance. At the same time a reference to the close relationship between nature and the cosmos is made by the primarily round fire forms. Until his death in 2014 the artist continued to develop his fire pictures on canvas as well as with gouache on paper and in his graphic works.

Condition Report: Traces of studio.

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Teh-Chun Chu, Untitled, 1999

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Description: Signed and dated 'CHU TEH-CHUN. 99'.

Condition Report: Minor traces of age.

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Damien Hirst, In a spin, The Action of the World on Things, 2002

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Description: Edition Paragon Press, London. One of 68 unique examples. Original half-linen box for the same-named series of 23 colour etchings.This work is registered in the Damien Hirst Archive, London.

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Damien Hirst, Happy, 2008

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Description: Signed 'DHirst'.Edition Other Criteria, London. One of 50 unique examples.

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Kapoor, Shadow III, 2009

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Description: Each signed and numbered verso.Edition Paragon Press, London. Proof 16/39 (+ 6 AP + 1PP).

Condition Report: Minor traces of age.

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Sigmar Polke, C-Mann, 1963

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Description: “Polke's drawings from the 60s clearly testify to his intentions to instil new life into the language of artistic discourse and to expand its range of effect by inventing a seemingly inartistic jargon that contradicts and ridicules aesthetic and social conventions. […] The radical expression, which Polke developed in the 60s, attests to […] his sympathy for the culturally incapacitated segment of the population. At the same time, it addresses the audience of avant-garde. His artistic discourse, based on rudimentary paintings and deprecated techniques, is placed so precisely on the border of the so-called higher and lower art that the observer, whether he belongs to the initiates or not, hesitates, pausing in the moment of recognition, not knowing how he should react. The insecurity and instability formed part of Polke's strategy, of course. By transposing the codes of pop culture into the ethereal areas of the higher cultures, he consciously undermined the accepted criteria and our conveniently attuned reactions. And it is the introduction of these paintings, appearing socially and aesthetically inacceptable and being articulated in a tone that represents such transgression, with which he restored the social dimension and function of art”. (Margit Rowell, Strategien der Subversion, in: Margit Rowell (ed.), Michael Semff und Bice Curiger, Sigmar Polke. Arbeiten auf Papier 1963- 1974, exhib.cat. Hamburger Kunsthalle, Ostfildern 1999, pp.21-22.)

Condition Report: Traces of studio and a few small professionally restored tears as well as firmly mounted to support card.

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Gerhard Richter, Blech, 1988

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Description: Signed and dated 'Richter, 1988' verso on canvas and with the work number '681-22'.Edition Bonner Kunstverein (special edition). One of 30 unique examples.

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Gerhard Richter, Goldberg-Variationen, 1984

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Description: Signed and dated verso on label.Edition Museumsverein Mönchengladbach. Numbered 97/100.Gerhard Richter overpaints 100 long-playing records of Glenn Gould's Goldberg Variations for the Museumsverein Mönchengladbach of which 50 unique copies are published in the portfolio Hommage à Cladders. The unusual choice of picture carrier bears testimony to the influence of music on the artist's work, which he listens to in his studio on a regular basis. In his notes of 1984, the artist comments on the intense preoccupation with Glen Gould's jazz adaption of Johann Sebastian Bach: ”Glenn Gould, Goldberg Variations. I have been listening to hardly anything else for almost a year. What is starting to bother me, is the perfection. The totally absurd, boring, malicious perfection. No wonder that he died early. I should listen to the radio”. (Gerhard Richter, Notizen 1984, in: Dietmar Elger und Hans Ulrich Obrist (ed.), Gerhard Richter, Text 1961 bis 2007: Schriften, Interviews, Briefe, Cologne 2008, p.134).

Condition Report: The outer left-hand margin in one spot with a slight loss of material.

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Cy Twombly, Untitled, 1963/1964

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Description: Signed 'Cy Twombly'.“Twombly occupies a unique position among the young generation of American artists. The loner, who left Paris in order to settle in Rome, is an outsider, a 'character'. His graphic language is poetry and commentary, fleeting gesture and écriture automatique, sexual liberation, affirmation and denial of one's own self. As full of ambiguity as is life, it appears on the edges of walls, in schoolyards, and on the pedestals of monuments. What is miraculous about this language, is that it comprises neither syntax nor logic but vibrates with life, breaks with all abundance of meaning through the white void. The synthetic notation creates a dense atmosphere which comes very close to what we call a >poetic world<. It, however, has nothing to do with literature in the literal sense of the word; it rather holds colour, form density, and gesture of the hand”. (Pierre Restany, Die Revolution des Zeichens, in: Harald Szeemann (ed.), Cy Twombly, Bilder, Arbeiten auf Papier, Skulpturen, exhib.cat. Städtische Kunsthalle Düsseldorf, Munich 1987, p. 26)

Condition Report: Minor traces of age.

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