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Auction Description for Lempertz: Contemporary Art
Viewing Notes:
Cologne: Friday, 23rd November 10am to 5.30pm. Saturday 24th November 10am to 4pm. Sunday, 25th November 11am to 3pm. Monday, 26th - 29th November 10am to 5.30pm. Friday, 30th November 10am to 1pm. Berlin (selection) Poststraße 22: Friday, 9th - 10th November 10am to 5pm. Sunday 11th November 10am to 3pm. Brussels (selection) Wolstraat 1 - Rue aux Laines: Wednesday, 14th November 10am to 6pm.
Sale Notes:
Due to processing reasons, we have been unable to translate the sale details on this occasion and apologise for any inconvenience this may cause you. www.lempertz.com

Contemporary Art

(286 Lots)

by Lempertz

Platinum House

286 lots with images

December 1, 2012

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

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MIMMO PALADINO, Untitled, 1982

Lot 701: MIMMO PALADINO, Untitled, 1982

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Description: Gouache and india ink on card with irregular lower margin 78 x 58 cm, framed under glass. The reverse signed and dated 'Mimmo Paladino 1982' with directional arrow.Provenance: Galerie Beyeler, Basle; Galerie Hachmeister, Münster

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C.O. PAEFFGEN, Untitled (Madonna und Carlos Leon), 1996

Lot 702: C.O. PAEFFGEN, Untitled (Madonna und Carlos Leon), 1996

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Description: Acrylic on photo canvas 80 x 70 cm. Monogrammed and dated 'C.O.P. 96' lower right. - Doubled canvas and with restored tear to right area.

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OTTO PIENE, Untitled, 1962

Lot 703: OTTO PIENE, Untitled, 1962

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Description: Fire gouache on paper 70 x 49.8 cm, framed under glass. Signed and dated 'OPiene 62' (joined) lower right and with number '9' lower left. - Slightly browned with small liquid trace to lower margin.

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ANNE UND PATRICK POIRIER, Untitled (Journal Herbier de Bordeaux - Tagebuchblätter), 1973

Lot 704: ANNE UND PATRICK POIRIER, Untitled (Journal Herbier de Bordeaux - Tagebuchblätter), 1973

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Description: Collage in 20 parts: India ink and wax, partly collage, on paper each 20.5 x 14.5 cm, framed together under glass. - Slight traces of age.

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ARNULF RAINER, Untitled (from: Gesichter mit Goya), 1983/1984

Lot 705: ARNULF RAINER, Untitled (from: Gesichter mit Goya), 1983/1984

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Description: India ink, chalk and pencil on black and white photograph 24 x 17 cm, framed under glass. Signed 'A.Rainer' lower right.

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OTTO RITSCHL, Komposition 69/60, 1969

Lot 706: OTTO RITSCHL, Komposition 69/60, 1969

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Description: Oil on canvas 130 x 97 cm, framed. Signed and dated 'Ritschl 69' lower left. The reverse signed, dated and titled 'Ritschl Komp. 69/60'. - Minor craquelure.Velte 1969/60

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NEO RAUCH, Untitled, 1996

Lot 707: NEO RAUCH, Untitled, 1996

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Description: Colour silkcreen on card 40 x 60 cm. Signed. Numbered by an unknown hand. The total edition was probably 230 copies, mostly unsigned. Addition for a masquerade ball, themed "horned", in the Schaubühne Lindenfels, Leipzig 1996. - Edges slightly browned.

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NEO RAUCH, Ankunft, 1997

Lot 708: NEO RAUCH, Ankunft, 1997

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Description: Colour silkscreen on chamois coloured card 70 x 100 cm. Signed, dated and numbered '7/25'. - Somewhat creased.

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ANSELM REYLE, Untitled, 1999

Lot 709: ANSELM REYLE, Untitled, 1999

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Description: Acrylic on canvas 120 x 103 cm. The reverse signed and dated 'Anselm Reyle '99'. - Minor soiling and the upper stretcher slat slightly pushing through to recto. Provenance: Galerie Giti Nourbakhsch, Berlin

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GEORGE RICKEY, One up one down excentric with acute angle II, 1980

Lot 710: GEORGE RICKEY, One up one down excentric with acute angle II, 1980

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Description: Kinetic stainless steel sculpture with 2 needles and a plinth. Needle length approx. 76,5 cm, plinth 1 x 5 x 5 cm. Screwed on metal base. Signed and dated 'Rickey 1980' and numbered '1/3' (incised) on the plinth. - Minor traces of age.Unique work; only one sculpture has been realised.With written confirmation by The Estate of George Rickey, East Chatham, via email dated 07.10.2011.Provenance: Galerie Buchholz, Cologne

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PETER ROEHR, Untitled, 1966

Lot 711: PETER ROEHR, Untitled, 1966

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Description: Black cardboard labels on pressboard 48.5 x 55 cm. - Some paper abrasions and minor surface rubbing. With accompanying certificate from the estate of Peter Roehr, Paul Maenz, Berlin, from 5.10.2012.Provenance:Galerie Jülicher, Mönchengladbach; Private Possession, GermanyExhibition:Niederkrüchten 1967 (Galerie Jülicher), Peter Roehr und Charlotte Posenenske, Serielle Formationen und Installationen

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ALAN REYNOLDS, Structures-Group III (10.A), 1992

Lot 712: ALAN REYNOLDS, Structures-Group III (10.A), 1992

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Description: Cardboard elements on wood, all painted white 81.5 x 81.5 x 1 cm, framed under glass. The reverse of the wood signed, dated, titled and inscribed 'Reynolds 92 "Structures-Group III (10.A) (2/3 rd seale[?] variation from No10)' and with dimensions.Provenance: Annely Juda Fine Art, London (label verso)

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WINSTON ROETH, Simulator, 1999

Lot 713: WINSTON ROETH, Simulator, 1999

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Description: Tempera on wood 100 x 100 cm. The reverse signed, dated and titled 'SIMULATOR 1999 W. Roeth'. In original wooden box.Provenance: Galerie Vera Munro, Hamburg; Private Collection, Germany

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THOMAS RUFF, 3205, 2003

Lot 714: THOMAS RUFF, 3205, 2003

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Description: Chromogenic print, face-mounted to plexiglass. 80.5 x 111 cm. Signed, dated, titled and editioned 1/5 in pencil on both the verso of the print and on the reverse of the frame. - In artist's frame.Provenance: Gallery David Zwirner, New York (label affixed to the reverse of the frame)Literature: cf. Caroline Flossdorf (ed.), Thomas Ruff. Maschinen, exhib.cat. Kestner Gesellschaft, Hannover, Ostfildern-Ruit 2003, ill. p. 81The artwork is auctioned for the benefit of Deutsche AIDS-Hilfe, Bonn.

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THOMAS RUFF, Portrait (J. Renzel), 1988

Lot 715: THOMAS RUFF, Portrait (J. Renzel), 1988

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Description: Chromogenic print on Kodak paper, face-mounted to plexiglass. 159.5 x 120.2 cm (frame 209.5 x 165 cm). Signed, dated and editioned 2/4 in pencil on the verso. - In artist's frame. Winzen POR 057"It was around 1980 that Thomas Ruff first started to focus his attention on the 'portrait' as a genre, a type of picture which had played no more than a minor role at the Düsseldorf Academy at the time. [...] He opted for half-length portraits and for a depiction that was as neutral as possible, so that the focus was on the face of the subject, yet without turning the photograph into a psychological interpretation. Each person was photographed as though they were a plaster bust, on the assumption that a photograph can merely render things at a superficial level. Quite soon, in 1981, he specified the conditions under which photographs were to be taken: The subject had to sit on a stool, wearing everyday clothes, and was then photographed with a serious, quiet face. Any form of emotional involvement had to be avoided, such as smiling, grinning or 'flirting' with the camera. As models for his portrait, he intuitively selected individuals from his own environment: friends and acquaintances in his own age group whom he knew from the Academy or from Düsseldorf's night life on Ratinger Strasse. [ ...] Between 1984 and 1986 Thomas Ruff repeatedly experimented with formats of his 'portraits' in his quest for something other than the 'reduced reality' of a 24 x 18 format. When, in 1986, it became possible for him to produce five copies at the maximum width of the photographic paper, he discovered that he had created a completely new picture. Enlargement meant that the eyes and facial expression of the subject were intensified while at the same time putting the focus on the visual impact of the photograph." (Quoted from: Mathias Winzen (ed.), Thomas Ruff. Fotografien 1979 - heute, Cologne 2001, pp. 180/183)

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DANIEL RICHTER, Untitled, 2007

Lot 716: DANIEL RICHTER, Untitled, 2007

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Description: Colour woodcut on card 153 x 120 cm, framed under glass. Signed, dated and numbered 'AP VI/VI'. Artist's proof aside from the numbered edition of 16. Edition Sabine Knust, Maximilian Verlag, Munich.

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GERHARD RICHTER, Untitled (L 8, 22.1.84), 1984

Lot 717: GERHARD RICHTER, Untitled (L 8, 22.1.84), 1984

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Description: Watercolour and graphite on paper 11.7 x 29.3 cm, framed under glass. Signed and dated '22.1.84 Richter' lower left. Reverse additionally signed and dated '22.1.84 Richter'. - Minor colour spalling due to material.We are grateful to the Gerhard Richter studio, Cologne, for the verbal confirmation of authenticity on 25.07.2012.Provenance: Galerie Fred Jahn, Munich; Galerie Tilly Haderek, StuttgartExhibition: Stuttgart 1985 (Staatsgalerie Stuttgart, Graphische Sammlung), Gerhard Richter, Aquarelle, exhib.cat.p.95 with ill. (label verso)

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GERHARD RICHTER, 3.3.94, 1994

Lot 718: GERHARD RICHTER, 3.3.94, 1994

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Description: Oil on chamois coloured, smooth card 21 x 29.8 cm, mounted on white card 40 x 49 cm, framed under glass. The reverse of the chamois coloured card signed and dated '3.3.94 Richter' and additionaly signed and dated 'Richter 3.3.94' on the card support. With written confirmation of authenticity from the studio Gerhard Richter, via email dated 18.09.2012.Provenance:Aschenbach Galerie, Amsterdam (label verso); Private Possession, GermanyLike a network, the entire sheet is covered by a polychrome layer of paint in a pattern reminiscent of honeycomb. The dominant colour is largely a rich white, with bluish-red streaks of paints moving through it along the edges. In the bottom right-hand corner the prevailing element is a mixture of rich berry tones that continue well into the centre of the painting. In a number of places the overall mass of paint branches out into graceful surface structures that stand out three-dimensionally from the surface, so that the layer of paint affords a glimpse of the underlying level of shimmering green.In this painting Gerhard Richter combines techniques which are known to us both from his large canvas works and from his overpainted photographs: In his "Abstract Paintings" he places layer upon layer, using a squeegee, in a process which could take several weeks: "Whenever he reaches a certain stage, he questions it, so that he can destroy it again at the next stage and regain the original openness." (Dietmar Elger, Gerhard Richter. Übersicht, in: Götz Adriani (ed.), Gerhard Richter. Bilder 1963-2007, Ausstellungskatalog (exhibition catalogue) Staatliche Kunstsammlungen Dresden und National Art Museum of China, Peking, Ostfildern 2008, p.43). In 'no. 3.3.94' Richter achieves this openness with only two layers: he started by applying an initial layer of green paint and then covered it with a second layer when it was dry. As this top layer did not provide consistent coverage but remained unbonded in numerous places, we are given a glimpse of the "picture behind the picture". We may even feel that we can see something representational in the abstract background, perhaps a landscape. This effect reminds us of Richter's overpainted photographs in which he modifies the original image with oil paint. In doing so he uses the same technique as in this work on paper: With a sweeping movement, Richter would pull the piece of paper over one of those squeegees which he used for his canvases and which is now covered with a variety of paint residues. The final result eventually depends on the speed of his movement and the intensity of pressure applied to the paper. The fine branch structure that dominates this painting, especially in the topmost part, was created by reducing the wiping movements to a minimum and by cautiously applying the medium, i.e. the paper, to the paint and then lifting it off. (On this technique, see Markus Heinzelmann: Verwischungen. Die übermalten Fotografien von Gerhard Richter als Objekte der Betrachtung, in: Markus Heinzelmann (ed.), Gerhard Richter. Übermalte Fotografien, Ausstellungskatalog (exhibition catalogue), Museum Morsbroich, Leverkusen, Ostfildern 2008, pp.84/85).

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GERHARD RICHTER, Graphit, 2005

Lot 719: GERHARD RICHTER, Graphit, 2005

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Description: Colour screenprints and offset lithograph on card 96 x 74.5 cm, framed under glass. Signed, dated and numbered '27/90'. Edition Kunstsammlung NRW, K20, Düsseldorf.Online Catalogue Raisonné Editions CR 129

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GERHARD RICHTER, Schweizer Alpen I (Motiv A1, A2, B1, B2, B3), 1969

Lot 720: GERHARD RICHTER, Schweizer Alpen I (Motiv A1, A2, B1, B2, B3), 1969

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Description: 5 screenprints in black and two blue-grey shades on card each 69.4 x 69.4 cm. Each signed and with edition stamp verso. One of 300 unnumbered copies. Edition Griffelkunst-Vereinigung Hamburg-Langenhorn e.V. - Traces of age and use.Butin 20

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GERHARD RICHTER, Untitled, 2008

Lot 721: GERHARD RICHTER, Untitled, 2008

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Description: Chromogenic print on Fujicolor Professional paper. 43.8 x 30 cm. Signed and dated in ballpoint pen on the image. From an edition of 125 unnumbered prints. Edition Museumsverein Morsbroich, Leverkusen. - Matted.

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DIETER ROTH, Little Tentative Recipe, 1969

Lot 722: DIETER ROTH, Little Tentative Recipe, 1969

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Description: Miniature book made from ca. 800 multicoloured Rotaprint-prints approx. 8.8 x 8.8 x 8.8 cm in stamped original wooden case 11.3 x 10.3 x 10.3 cm. Signed, dated and numbered '14/100'. Edition Hansjörg Mayer, Stuttgart. Dobke Bücher + Editionen p.161

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DIETER ROTH, Literaturwurst, 1969/1970

Lot 723: DIETER ROTH, Literaturwurst, 1969/1970

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Description: Shredded books with water, gelatine or fat and spices in sausage skin length approx. 45 cm. Signed, dated 'Roth 69' and inscribed 'A.P.' on label. Artist's proof aside from the numbered edition of 50. Edition René Block, Berlin. - Traces of age due to material.Dobke Bücher+Editionen, p.162

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DAVID REED, COLOR STUDY FOR VAMPIRE PAINTINGS, <<< 1996

Lot 724: DAVID REED, COLOR STUDY FOR VAMPIRE PAINTINGS, <<< 1996

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Description: Oil and alkyd on treated paper 21.5 x 13.4 cm. The reverse signed, dated and titled 'COLOR STUDY FOR VAMPIRE PAINTINGS FOR GRAZ 1996 # 6 David Reed' with directional arrow and information. In original cardboard box. There, additionally signed, titled and designated "357".Provenance: Galerie Rolf Ricke, Cologne

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GLEN RUBSAMEN, Beelitz, 1999

Lot 725: GLEN RUBSAMEN, Beelitz, 1999

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Description: Acrylic on canvas on wood 150 x 100 cm. The reverse signed, dated and titled 'Beelitz 1999 Glen Rubsamen'. - Minor superficial soiling to upper right margin.Provenance: Galerie Michael Cosar, Düsseldorf (stamp verso); Private Collection, Germany

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ED RUSCHA, Twentysix Gasoline Stations. Various Small Fires. The Sunset Strip. Thirtyfour Parking Lots. Business Cards. Crackers. Babycakes with weights. Colored People. Hard Light. Edward Ruscha, Prints and Publications. Joe Goode, Edward Ruscha.

Lot 726: ED RUSCHA, Twentysix Gasoline Stations. Various Small Fires. The Sunset Strip. Thirtyfour Parking Lots. Business Cards. Crackers. Babycakes with weights. Colored People. Hard Light. Edward Ruscha, Prints and Publications. Joe Goode, Edward Ruscha.

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Description: 9 artist's books: Twentysix Gasoline Stations, 1962/1969, artist's book, paperback, 17.9 x 14 cm, 48 p., Edition Ed Ruscha, Los Angeles, 3rd edition (Engberg B1)Various Small Fires, 1964/1970, artist's book, paperback, 17.9 x 14 cm, 48 p., Edition Ed Ruscha, Los Angeles, 2nd edition (Engberg B2)The Sunset Strip,1966/1971, leporello with offset lithographs, 18.5 x 14.5 cm in card slipcase with foil-clad silver paper, Edition Ed Ruscha, Los Angeles, 2nd Edition (Engberg B4)Thirtyfour Parking Lots, 1967, artist's book, paperback, 25.5 x 20.3 cm, 48 p., Edition Ed Ruscha, Los Angeles, (Engberg B5)Business Cards, 1968, artist's book, paperback, binding with leather loop, 22.2 x 14.3 cm, 32 p., Edition Vaughan Printing, Santa Monica (Engberg B7). Cover signed by the artist.Crackers, 1969, artist's book, paperback, 22.5 x 15 cm, 240 p., Edition Heavy Industry Publications, Hollywood (Engberg B10)Babycakes, 1970, artist's book, paperback, binding with pink loop, 19.1 x 15.2 cm, 52 p., published in: Artists and Photographs, 1970, Edition Marian Goodman's Multiples, New York (Engberg B11)Colored People, 1972, artist's book, paperback, 18 x 14 cm, 64 p., Edition Ed Ruscha, Los Angeles (Engberg B16)Hard Light, 1978, artist's book, paperback, 17.8 x 12.7 cm, 120 p., Edition Heavy Industry Publications, Hollywood, and Moved Pictures, New York (Engberg B17)3 catalogues:Edward Ruscha, Prints and Publications 1962-74, exhib.cat. as leporello, 15.5 x 12 cm, 18 p., Edition Arts Council of Great Britain 1975.Joe Goode, Edward Ruscha, exhib.cat. Balboa Pavilion Gallery, Balboa, Kalifornien, paperback, 25.5 x 20.3 cm, 17 p., Edition Balboa Pavilion Gallery, Balboa, California 1968.Edward Ruscha, News, mews, pews..., Six organic screenprints, subscription brochure, 29.5 x 21 cm, 4 sheets, Editions Alecto, London 1970.1 record from Mason Williams, Music, Cover after a reference by Ed Ruscha, 31.5 x 31.5 cm, Edition Warner Bros., Seven Arts records, 1969Some minor traces of age.

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ROBERT ROTAR, Rotation No. 1, 1974

Lot 727: ROBERT ROTAR, Rotation No. 1, 1974

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Description: Oil on canvas 80 x 80 cm, framed. The reverse signed, dated and titled 'Robert Rotar Rotation No.1 1974'. - Some areas with tiny surface soiling and the left upper corner slightly wavy due to stretcher clamping. To be included as number G 400a in the forthcoming catalogue raisonné, compiled by Ingrid Skiebe, Düsseldorf. Provenance:Private Collection, Southern Germany; Private Property, RhinelandExhibition:Hagen 1979 (Karl Ernst Osthaus Museum), 18. Ausstellung Westdeutscher Künstlerbund (label verso)

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MARKUS RAETZ, Untitled, 1976

Lot 728: MARKUS RAETZ, Untitled, 1976

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Description: Mixed media on paper 62.5 x 90 cm, framed under glass. Monogrammed and dated 'M.R. 76' lower right. - Paper slightly wavy.Provenance: Private Collection, Switzerland

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BERNARD SCHULTZE, Szene 3 , 1986

Lot 729: BERNARD SCHULTZE, Szene 3 , 1986

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Description: India ink, watercolour and opaque white on sturdy card 73 x 102 cm, framed under glass. Signed, dated and titled 'Bernard Schultze 86 Szene 3' lower right. - The edges slightly bumped.The present work is included in the artist's handwritten catalogue raisonné.We are grateful to Barbara Herrmann, Cologne, for the helpful information.Provenance: Private Collection, Germany

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BERNARD SCHULTZE, Märchen, 1986

Lot 730: BERNARD SCHULTZE, Märchen, 1986

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Description: Oil on canvas 145 x 110 cm, framed. Signed and dated 'Bernard 86' lower right. The reverse signed, dated and titled 'Bernard Schultze 86 "Märchen"'.To be included in the forthcoming catalogue raisonné compiled by Barbara Herrmann, Cologne.Provenance: Private Collection, Germany

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BERNARD SCHULTZE,  In der Mitte der Blick, 1986

Lot 731: BERNARD SCHULTZE, In der Mitte der Blick, 1986

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Description: Oil on canvas 145 x 110 cm, framed. Signed and dated 'Bernard Schultze 86' lower right. The reverse signed, dated and titled 'Bernard Schultze "In der Mitte der Blick" 1986'.To be included in the forthcoming catalogue raisonné compiled by Barbara Herrmann, Cologne.Provenance: Private Collection, Germany

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BERNARD SCHULTZE, Blauer Stelz-Migof , 1970

Lot 732: BERNARD SCHULTZE, Blauer Stelz-Migof , 1970

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Description: Mural relief: Migof in front of wood, covered with linen and painted 75 x 50 x 24 cm. Signed and dated 'Bernard Schultze 1970' lower right of panel. Migof monogrammed and dated 'B.Sch. 70' and aditionally signed 'Bernard Schultze'. Reverse of the wood signed, dated and titled 'blauer Stelz-Migof Bernard Schultze 1970'. - Some surface dust.The wooden panel was originally covered with linen only (cf. Lempertz sale 692, 27.5.1993, lot 1011) and was painted later in the 1990s by the artist.To be included in the forthcoming catalogue raisonné compiled by Barbara Herrmann, Cologne.Provenance: Private Property, Germany

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BERNARD SCHULTZE, Lynth,  1960

Lot 733: BERNARD SCHULTZE, Lynth, 1960

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Description: Mural relief: Migof on painted canvas approx. 147 x 97.5 x 44 cm. Signed and dated 'Bernard Schultze 1960' lower right canvas. Reverse of canvas signed, dated and titled '"Lynth" (1960) Bernard Schultze' along with the number '80P'. - Minor traces of age. To be included in the forthcoming catalogue raisonné compiled by Barbara Herrmann, Cologne.Provenance: Private Collection, GermanyExhibitions: Duisburg 2012/2013 (Museum Küppersmühle), Bernard Schultze, Gegenwelten, exhib.cat.Baden-Baden 1974 (Staatliche Kunsthalle), Die Welt der Migofs, exhib.cat.no.9, p.29 with col.ill.The work is currently on loan to the exhibition "Bernhard Schultze, Gegenwelten" in the Museum Küppersmühle, Duisburg:Duisburg, Museum Küppersmühle, Inner harbour Duisburg, Philosophenweg 55, 47051 DuisburgOpening hours: Wednesday 2:00 p.m. - 6:00 p.m., Thursday-Sunday 11:00 a.m. - 6:00 p.m.

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EMIL SCHUMACHER, G-24/1958, 1958

Lot 734: EMIL SCHUMACHER, G-24/1958, 1958

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Description: Mixed media on bitumen cardboard with irregular margins approx. 37 x 27 cm, framed under glass. Signed and dated 'Schumacher 58' lower right. - The cardboard firmly mounted onto the cardboard support. The support with foxing. The present work is registered at the Emil-Schumacher-Archiv, Hagen, under the number 0/5.029.Provenance: Private Property, Germany

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EMIL SCHUMACHER, GC-26/1989, 1989

Lot 735: EMIL SCHUMACHER, GC-26/1989, 1989

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Description: Gouache on two brown packing papers, mounted together, with irregular margins ca. 61 x 83 cm, framed under glass. Signed and dated 'Schumacher 89' lower right. - Traces of studio. The present work is registered at the Emil-Schumacher-Archiv, Hagen, under the number 0/2.194.Provenance: Galerie von Braunbehrens, Munich; Private Collection, Germany

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EMIL SCHUMACHER, Belua I, 1958

Lot 736: EMIL SCHUMACHER, Belua I, 1958

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Description: Oil, partly scratched, on canvas 120 x 96.5 cm. Signed and dated 'Schumacher 58', titled on the reverse of the stretcher 'Belua' and with the number '73/25' . - Some slight craquelure.The present work is registered at the Emil-Schumacher-Archiv, Hagen, under the number 0/3.258.Provenance: Private Collection, Switzerland"The more deeply the painter's vision rests within the unknown, the more refined are the resources he uses in order to expose this unknown element to the light of the world. The in-between state of the creative moment demands a concentration of the senses that blurs the borders between dreaming deeply and being wide awake.The switchover from the artist's inner being to the external character of the canvas always takes place in proportion to the fullness and talent of the artist; at the same time the canvas, i.e. the area, is thus overcome as an ongoing obstacle in order to achieve depth and thus three-dimensional space, which, in turn, corresponds to the painter's artistic volume. Again and again, no introduction and no interpretation can spare us the effort of endeavouring to understand a work of art. (1956)" (Emil Schumacher, in: Tayfun Belgin (ed.), Kunst des Informel, Malerei und Skulptur nach 1952, Cologne 1997, p.273)

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EMIL SCHUMACHER, Nambit, 1959

Lot 737: EMIL SCHUMACHER, Nambit, 1959

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Description: Mixed media on canvas 80 x 60 cm, framed. Signed and dated '59 Schumacher' lower right. - Studio traces and craquelure to pastose areas.The present work is registered at the Emil-Schumacher-Archiv, Hagen, under the number 0/3.696.Provenance: Samuel M. Kootz Gallery, New York; Philadelphia Museum of Art (label verso); Galerie Braunbehrens, Munich; Private Collection, GermanyExhibitons: Philadelphia 1994 (Museum of Art), Paintings from Europe and the Americas in the Philadelphia Museum of Art, exhib.cat., p.425 with ill.Hamburg 1998 (Chapel Art Center), Munich (Galerie von Braunbehrens), Emil Schumacher und das Materialbild, exhib.cat., p.28/29 with col.ill. "Nambit" (1959) is an example of Schumacher's approach to materials as he focuses primarily on the textural qualities of the oil paint. The paste-like application of the paint creates a crust that is full of tracks with an almost three-dimensional character. As well as this rich oil paint, the artist places an intentionally furrowed relief as an artistic element, thus adding an organic effect to the surface. The material quality of the paint is thus transformed in its own outer appearance, so that it "works" and comes "alive".Yet the expressiveness of this painting is also due to its actual colours, as the outer edge is dominated by tones of black and grey, while the centre is lit up by a light beige and a warm russet. Schumacher's energetic individual brushstrokes serve to combine these two parts of the painting - parts that initially appear highly contrastive in colour. This results in a perfectly staged dramatic scene and thus a single unit. It adds an element of mystery to "Nambit'". This and also the emblematic structure of the black lines at the centre give it a certain wild and atavistic character, so that the viewer feels powerfully drawn into it.

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EMIL SCHUMACHER, Taubenschlag , 1943

Lot 738: EMIL SCHUMACHER, Taubenschlag , 1943

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Description: Gouache on laid paper 32.5 x 41 cm, framed under glass. Signed and dated 'Schumacher 43' upper left. - The margins mounted with paper tape to the cardboard support. The present work is registered at the Emil-Schumacher-Archiv, Hagen, under the number 0/4.448.

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XANTI (ALEXANDER) SCHAWINSKY, Ste - 162, 1975

Lot 739: XANTI (ALEXANDER) SCHAWINSKY, Ste - 162, 1975

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Description: Synthetic fibre, partly coloured, stretched in front of acrylic on canvas 89.5 x 79.5 cm, framed. The reverse of canvas signed, dated 'Schawinsky 1975' and titled 'Ste - 162'. - Some minor soiling and canvas with restored tear.

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DAVID STERN, Baum + Architektur winterlicht (Tree + Architecture winterlight), 1988

Lot 740: DAVID STERN, Baum + Architektur winterlicht (Tree + Architecture winterlight), 1988

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Description: Oil on canvas 120 x 100 cm. The reverse signed, dated and titled 'BAUM + ARCHITEKTUR WINTERLICHT David Stern 2/88'. - Some surface dust.

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HIROSHI SUGIMOTO, Tokyo International Forum, 1999

Lot 741: HIROSHI SUGIMOTO, Tokyo International Forum, 1999

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Description: Gelatin silver print. 58.6 x 47 cm (60.4 x 49.4 cm). Blind stamped '13/25' and '944' in the lower margin. Flush-mounted to card, signed in pencil below the image on the mount. - Matted and framed under glass.Literature: Kari Dahlgren (ed.), Hiroshi Sugimoto: Architecture, exhib. cat. Museum of Contemporary Art, Chicago, New York 2003, ill. p. 143

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HIROSHI SUGIMOTO, Lafayette, 1977

Lot 742: HIROSHI SUGIMOTO, Lafayette, 1977

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Description: Gelatin silver print. 42.2 x 54.5 cm (50.7 x 60.7 cm). Signed, dated, titled and editioned 2/25 in pencil on the verso. - Minor handling mark in the right area of the image. Matted and framed under glass. Literature: cf. Hiroshi Sugimoto, Theaters, New York 2000, ill. p. 37 (variant)"Movie theaters are built as theaters of illusion. But in Sugimoto's equally disturbing and beautiful photographs, such interiors are reintroduced as metaphors. They remind us of our own vision that is confined in a permanent theatre of illusion. [...] Sugimoto's 'Theaters' therefore strangely resemble the living camera obscura which we are ourselves." (cited from: Hans Belting, The Theater of Illusion, in: Hiroshi Sugimoto, Theaters, New York 2000, p. 8)

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HIROSHI SUGIMOTO, E.U.R. Palazzo della Civiltà, 1998

Lot 743: HIROSHI SUGIMOTO, E.U.R. Palazzo della Civiltà, 1998

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Description: Gelatin silver print. 46.9 x 58.7 cm (49.2 x 60.5 cm). Blind stamped '16/25' and 'XXX' in the lower margin. Flush-mounted to card, signed in pencil below the image on the mount. - Matted and framed under glass.Literatur: cf. Kari Dahlgren (ed.), Hiroshi Sugimoto: Architecture, exhib.cat Museum of Contemporary Art, Chicago, New York 2003, ill. p. 87

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HIROSHI SUGIMOTO, Kunsthaus Bregenz, 2000

Lot 744: HIROSHI SUGIMOTO, Kunsthaus Bregenz, 2000

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Description: Gelatin silver print. 58.6 x 47 cm (60.4 x 49.5 cm). Blind stamped '17/25' and '950' in the lower margin. Flush-mounted to card, signed in pencil below the image on the mount. - Matted and framed under glass.Literature: cf. Kari Dahlgren (ed.), Hiroshi Sugimoto: Architecture, Ausst.kat Museum of Contemporary Art, Chicago, New York 2003, ill. p. 145

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HIROSHI SUGIMOTO, AEG Turbinenhalle, 2000

Lot 745: HIROSHI SUGIMOTO, AEG Turbinenhalle, 2000

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Description: Gelatin silver print. 46.9 x 58.7 cm (49.2 x 60.5 cm). Blind stamped '11/25' and '947' in the lower margin. Flush-mounted to card, signed in pencil below the image on the mount. - Matted and framed under glass.Literature: cf. Kari Dahlgren (ed.), Hiroshi Sugimoto. Architecture, exhib.cat. Museum of Contemporary Art Chicago, New York 2003, ill. p. 39

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THOMAS STRUTH, Via Vanella Gaetani, 1988

Lot 746: THOMAS STRUTH, Via Vanella Gaetani, 1988

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Description: Gelatin silver print on Agfa paper. 57.9 x 42.5 cm (60.8 x 48.6 cm). Signed, dated, titled and editioned 6/10 in pencil on the verso. - Matted and in artist's frame.

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JÖRG SASSE,

Lot 748: JÖRG SASSE, "5127, 1995", 1995

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Description: Chromogenic print on plastic board, face-mounted to plexiglass. 113 x 87.7 cm (115.7 x 90 cm). Signed, dated, titled and editioned 4/6 in felt tip pen on the reverse of the mount. Provenance: Lehmann Maupin, New York (label affixed to the reverse of the mount)Literature: Andreas Kreul (ed.), Jörg Sasse. Arbeiten am Bild, Munich et al. 2001, ill. p. 102

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RICHARD SERRA, Balance, 1972

Lot 749: RICHARD SERRA, Balance, 1972

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Description: Original lithograph on wove cardboard 90 x 114.5 cm. Signed and numbered '38/68'. Edition Gemini G.E.L., Los Angeles (with embossed stamps, registration number verso). - The edges browned.Bersworth-Wallrabe CR 6

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RICHARD SERRA, Core, 1987

Lot 750: RICHARD SERRA, Core, 1987

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Description: Black screenprint with black paintstick on chamois coloured Arches wove paper 125.7 x 144.8 cm, framed. Signed, dated and numbered '25/30'. Edition Gemini G.E.L., Los Angeles (embossed stamp). - Some creasing.Berswordt-Wallrabe CR 42

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SEO, Spiegelbild, 2004

Lot 751: SEO, Spiegelbild, 2004

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Description: Acrylic and paper collage on canvas 190 x 270 cm, framed. The reverse signed, dated and titled '"Spiegelbild" 26.04.04 SEO' with dimensions.Exhibitions: Berlin 2009 (Galerie Michael Schultz), Oldenburg 2009/2010 (Kulturspeicher im Stadtmuseum), Gladbeck (Neue Städtische Galerie), Constructed landscapes, Sven Drühl, Seo, Maik Wolf (not in cat.)Mannheim 2006 (Kunsthalle), Full HouseBerlin 2005 (Künstlerhaus Bethanien), Seo, Falkenrot Preis, exhib.cat., p.46/47 with col.ill.Literature: Christoph Tannert, Seo, Monografie, München et.al. 2009, p.152/153 with col.ill.

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