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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

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

286 Lots
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NIKI DE SAINT PHALLE, Table, Tabouret et Vase, 1980

Lot 752: NIKI DE SAINT PHALLE, Table, Tabouret et Vase, 1980

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Description: 3 parts: Polyester-resin and laquer, painted. Table 73 x 81 x 60 cm; chair 48 x 38 x 31 cm; vase 19,5 x 17 x 18 cm (firmly mounted on table). The underside of table and chair each with signature stamp "Niki" and manufacturer's stamp "R. Haligon Plastiques d'Art". One of 20 copies, each painted differently. - Minor traces of age.Provenance: Kunsthandlung Osper, Cologne; Private Collection, GermanyExhibition: Ulm 1999 (Museum), Ludwigshafen/Rhein (Wilhelm-Hack-Museum), Niki de Saint Phalle, Liebe, Protest, Phantasie, exhib.cat., p.122 with col.ill. (different copy)

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THEODOROS STAMOS, Untitled, 1984

Lot 753: THEODOROS STAMOS, Untitled, 1984

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Description: Acrylic on card 77 x 57 cm, framed under glass. The reverse signed, dated and titled '"Infinity Field, Jerusalem Series" 1984 Stamos'. Exhibition: Zurich 1984 (Galerie Knoedler), Theodoros Stamos, Arbeiten von 1945 bis 1984, exhib.cat.no.118 with col.ill.

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SALVO, Ohne Titel (Untitled), 1996

Lot 754: SALVO, Ohne Titel (Untitled), 1996

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Description: Oil on burlap 30 x 40 cm, framed. The reverse signed 'Salvo'.With accompanying photo certificate, signed by the artist, from the Studio D'Arte Raffaelli Gallery, Trento.Provenance: Studio D'Arte Raffaelli, Trento; Private Property, Germany

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STEPHEN SHORE, Main Street and 2nd Ave., Valley City, South Dakota, 1973

Lot 755: STEPHEN SHORE, Main Street and 2nd Ave., Valley City, South Dakota, 1973

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Description: Chromogenic print on Fujicolor Crystal Archive paper, printed later. 44.8 x 56.4 cm (50.9 x 61.3 cm). Signed, dated, titled and editioned 3/8 in felt tip pen on the verso. - Matted and framed under glassProvenance: Gallery Rodolphe Janssen, Brussels (label affixed to the reverse of the frame)Literature: cf. Andrew Hiller (ed.), Stephen Shore. Uncommon Places. The complete Works, London 2007, ill. p. 27

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GUNTER SACHS, Le Cri, 1991

Lot 756: GUNTER SACHS, Le Cri, 1991

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Description: Photowork in 6 parts: Inkjet prints on cotton satin, relined with canvas, each in wooden frame. Varying height from 28.5 to 133 cm, total width 333 cm. Each with artist's thumbprint on the canvas. From an edition of 33.Provenance: Acquired directly from the artist by the present owner

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HANS-CHRISTIAN SCHINK, U-Bahn-Station (4), Pjöngjang, Nordkorea, 1989

Lot 757: HANS-CHRISTIAN SCHINK, U-Bahn-Station (4), Pjöngjang, Nordkorea, 1989

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Description: Chromogenic print, printed 2006. 33.7 x 50 cm (mat-opening), 56.4 x 72.5 cm (frame). Signed, dated, titled and editionend 1/7 in felt tip pen on a label affixed to the reverse of the artist's frame. Literature: Ulrike Bestgen u.a. (ed.), Hans-Christian Schink, exhib.cat. Neues Museum Weimar et al., Ostfildern 2011, ill. p. 159

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HANS-CHRISTIAN SCHINK, U-Bahn-Station (6), Pjöngjang, Nordkorea, 1989

Lot 758: HANS-CHRISTIAN SCHINK, U-Bahn-Station (6), Pjöngjang, Nordkorea, 1989

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Description: Chromogenic print, printed 2006. 33.5 x 50 cm (mat-opening), 56.3 x 72.5 cm (frame). Signed, dated, titled and editionend 1/7 in felt tip pen on a label affixed to the reverse of the artist's frame. Literature: Ulrike Bestgen u.a. (ed.), Hans-Christian Schink, exhib.cat. Neues Museum Weimar et al., Ostfildern 2011, ill. p. 159

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HANS-CHRISTIAN SCHINK, A9/A38 Autobahnkreuz Rippachtal (3), 1998

Lot 759: HANS-CHRISTIAN SCHINK, A9/A38 Autobahnkreuz Rippachtal (3), 1998

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Description: Chromogenic print, flush-mounted to plexiglass. 95 x 119 cm (frame 125.5 x 147.5 cm). Signed, dated, titled and editioned 1/3 in ink on the reverse of the frame.Literature: Hans-Christian Schink. Verkehrsprojekte Deutsche Einheit/ Traffic Projects German Unity, exhib.cat. Martin-Gropius-Bau, Berlin et al., Ostfildern-Ruit 2004, with ill.

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WALTER STÖHRER, Untitled, 1982

Lot 760: WALTER STÖHRER, Untitled, 1982

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Description: Mixed media over etching on wove paper 79 x 53 cm, framed under glass. Signed and dated 'W. Stöhrer 1982' lower right. Provenance: Galerie Brusberg, Berlin

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ANTONI TÀPIES, Untitled, 1961

Lot 761: ANTONI TÀPIES, Untitled, 1961

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Description: Oil pastel on cardboard 49 x 38 cm, framed under glass. Signed tàpies' lower right. - The reverse partly mounted on card support with adhesive strips. With accompanying photo certificate from the Fundació Antoni Tàpies from 2012.Provenienz: Private Possession, FranceThis drawing served as a draft for the magazine "das kunstwerk", published between 1946 and 1991. The work was printed in colour on the title page of the June edition 1961 (year 14, issued 12). In the magazine itself it was accompanied by an article by the art historian Udo Kultermann.Kultermann defines the essence of Antoni Tàpies's work as follows:"Tàpies's work displays a new character of reality for the artistic as such. The focus is no longer on something that has been made or composed, but on something that 'is' - forms of reality that have come into being as if by themselves, without any traces of human activity whatsoever. The characteristic element is above all serenity, a calm selfhood of the painting and a non-human material existence that no longer seems to have anything to do with psychology or with the compulsive urge of the human soul to express itself. For Tàpies, the reality of the painting centres around meditation, the possibility to relax under a new reality, a reality in which the inner world of humans and the external world of objects are in harmony with each other." (Udo Kultermann, Antoni Tàpies, in: Das Kunstwerk, year 14, issue 12, June 1961, p.4)

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ANTONI TÀPIES, Untitled, 1961

Lot 762: ANTONI TÀPIES, Untitled, 1961

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Description: Acrylic and watercolour on cardboard 51.3 x 40.5 cm, framed under glass. Signed 'tàpies' lower left. - Foxing. The reverse partially mounted on card support. With accompanying photo certificate from the Fundació Antoni Tàpies from 2012.Provenance: Private Property, FranceThis is the alternative draft for the cover of "das kunstwerk" year 14, issue 12, June 1961, which was not published.

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JEAN TINGUELY, Untitled, 1970

Lot 763: JEAN TINGUELY, Untitled, 1970

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Description: Felt tip pen on paper napkin in iron object box 40 x 50 x 11.5 cm. - Traces of age.

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PAUL THEK, Schellenberger Wald (Baldeneysee) , 1972

Lot 764: PAUL THEK, Schellenberger Wald (Baldeneysee) , 1972

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Description: India ink and graphite on notebook paper, double-sided work 15.6 x 24 cm, framed under glass. Signed and dated 'Thek '72' lower right. - Traces of studio. The paper slightly browned, reverse with remnants of adhesive tape.With accompanying certificate from Michael Gustav Nickel, Galerie Jöllenbeck, Cologne, dated 8.10.2012.Provenance: Private Property, GermanyThe drawing was created in connection with the spacious installation "A station of the cross" (1972), which depicts an altar made from birch trunks. The Schellenberg Forrest served as an inspiration source to the artist.

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VOLKER TANNERT, Untitled (Corrida), 1990

Lot 765: VOLKER TANNERT, Untitled (Corrida), 1990

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Description: Oil on canvas 100 x 70 cm, framed. The reverse signed and dated '90' Volker Tannert'. - Some minor craquelure.Provenance: Galerie Jule Kewenig, Cologne Exhibition: Cologne 1991 (Galerie Jule Kewenig), Volker Tannert, Neue Bilder und Panamarenko, Multiples 1986-1991

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JUNIOR TOSCANELLI, Untitled (Gelage), 2001/2002

Lot 766: JUNIOR TOSCANELLI, Untitled (Gelage), 2001/2002

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Description: Acrylic on canvas 100 x 100 cm. The reverse signed and dated 'JUNIOR TOSCANELLI 2001/02.Provenance: Edition Copenhagen, Copenhagen; Private Collection, Germany

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NORBERT TADEUSZ, Untitled (Einsiedlerkrebs II), 1979

Lot 767: NORBERT TADEUSZ, Untitled (Einsiedlerkrebs II), 1979

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Description: Oil on canvas 145 x 160 cm, framed. The reverse signed and dated 'Januar 79 Februar Tadeusz 79' and with directional arrow. - Some minor craquelure.Provenance: Acquired directly from the artist

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WOLFGANG TILLMANS, Rat on trash bag, 1995

Lot 768: WOLFGANG TILLMANS, Rat on trash bag, 1995

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Description: Chromogenic print on Fujicolor Professional paper, printed 2000. 40.5 x 30.4 cm. Signed, dated and editioned 2/10 (+ 1 A.P.) in pencil on the verso. - Framed under glass. Literature: cf. Burkhard Riemschneider (ed.), Wolfgang Tillmans, Cologne et al 2002, with ill.

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HEINZ TRÖKES, Verlassenes Haus , 1961

Lot 769: HEINZ TRÖKES, Verlassenes Haus , 1961

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Description: Oil on canvas 75 x 100 cm, framed. Signed and dated 'Trökes 61' lower left. The reverse dated and titled '"VERLASSENES HAUS" 2.6.61' along with dimensions. - Some slight craquelure.Krause 585Provenance: Galerie Der Spiegel, CologneExhibition: Cologne 1962 (Galerie Der Spiegel), Heinz Trökes, Bilder, Gouachen, Zeichnungen, exhib.cat.no.13

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FRED THIELER, Untitled, 1964

Lot 770: FRED THIELER, Untitled, 1964

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Description: Mixed media, collage on canvas 90 x 130 cm. Signed and dated 'F Thieler 64' lower left. Primed white strechter inscribed 'F. IX/64' and number '18'.Provenance: Galerie von Braunbehrens, Munich; Private Collection, GermanyWith written confirmation of authenticity from Richard Thieler via email dated 24.10.2012.

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GÜNTHER UECKER, Untitled (Vision Rapperswil Nr.17), 1982

Lot 771: GÜNTHER UECKER, Untitled (Vision Rapperswil Nr.17), 1982

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Description: Nails and latex paint on canvas on wood on canvas approx. 64 x 52 cm. The reverse of canvas signed and dated 'Uecker 82' and with directional arrow and information.With accompanying photo certificate from the artist.Literature: Ralph Merten, Wirklichkeit der Farbe, Max Ackermann, Günther Uecker, Stuttgart 1992, cat.no.61, p.165 with col.ill.

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GÜNTHER UECKER, Verletztes Feld. Poesie der Destruktion, 1982

Lot 772: GÜNTHER UECKER, Verletztes Feld. Poesie der Destruktion, 1982

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Description: Nails and latex paint on canvas on wood 40 x 40 x 8 cm. The reverse of wood signed, dated and titled 'Verletztes Feld Poesie der Destruktion Uecker 1982' and with directional arrow and information. - Traces of studio.With accompanying photo certificate from the artistProvenance: Galerie Ehrensperger, Zurich; Private Collection, GermanyNails are a medium in Uecker's art and perfectly subservient to the artist's intentions. He succeeds in eliciting a wide range of expression from these rigid utilitarian objects: Nails can become fields that gently sway in the wind, totally forgetting their metallic nature. They can become places of tranquillity and peace, e.g. in the prayer room of the Reichstag building in Berlin. Often, however, Uecker also exploits the destructive potential of nails, as in this 'Injured Field - Poetry of Destruction'. The title alone indicates the ambivalence that characterises this work which combines two highly conflicting positions: violence and poetry.'Injured Field'. Günther Uecker drove a large number of nails into a canvas-covered wooden board, tightly overlapping each other, so that they form an impenetrable field of nails. In fact, some of the nails were driven into the wood with such force that they protrude on the other side. The canvas, stretched over the wooden frame, was cut open in several places, so that the wood underneath is now visible and appears bare and naked. Sometimes the artist opened the surface even further by cutting deep notches into the wood, using an axe. He finished by treating the heads of the nails mainly with his hands, after dipping his fingers into white paint. It almost seems as if, by 'laying on hands', the artist wanted to tone down the aggressiveness of his action.'Poetry of Destruction'. The fascinating element is the auratic effect of the work, caused precisely by Uecker's radical method. We can see that the artist wanted to express the duality of destruction and vulnerability and that he succeeded in translating this into aesthetic terms. Dieter Honisch also emphasises the very personal nature of Injured Fields which repeatedly occur in Uecker's oeuvre: "He [Uecker] discloses the motivation behind his work in a way that is almost psychoanalytical: affection, destruction and comfort. In doing so he releases those totally heterogeneous forces that influence the creative process. In fact, no other artist has ever disclosed their own intentions and feelings so clearly and ruthlessly when taking on the liability of a visually creative process. It is a form of teaching at an elevated level. After all, what Uecker shows is not the stages [...] that led to the creation of his works, but rather his psychological, contradictory feelings, even feelings that endanger the work itself. These are emotions with which an artist must contend within himself in order to create a work that is ultimately unique." (Dieter Honisch, Uecker, Stuttgart 1983, p.156).

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CORNELIUS VÖLKER, Ohne Titel (Handtaschen tragen) , 1999

Lot 773: CORNELIUS VÖLKER, Ohne Titel (Handtaschen tragen) , 1999

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Description: Oil on canvas 160 x 120 cm. The reverse signed and dated 'Cornelius Völker 1999' and inscribed '2-XXI'. - The stretcher pushing slightly through to verso. Provenance: Private Possession, Germany

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MICHAEL WESELY, Santa Margarida, Roses, 20.8.1996, 1996

Lot 774: MICHAEL WESELY, Santa Margarida, Roses, 20.8.1996, 1996

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Description: Cibachrome print. 124 x 231 cm (frame). Unique. Typed information about the work on a gallery label affixed to the reverse of the artist's frame.Provenance: Walter Storms, Munich (label affixed to the reverse)Literature: Michael Wesely. Photographien. Photographs, exhib.cat. Galerie Fahnemann, Berlin 2001, with ill.

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MATTHIAS WEISCHER, Untitled, 2005

Lot 775: MATTHIAS WEISCHER, Untitled, 2005

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Description: Wax crayon on paper 26.5 x 38 cm, framed under glass. The reverse signed and dated 'M. Weischer 05' and with work number 'WV 661'. Provenance: Galerie Eigen + Art, Berlin/Leipzig (label verso)

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MATTHIAS WEISCHER, Untitled, 2005

Lot 776: MATTHIAS WEISCHER, Untitled, 2005

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Description: Wax crayon on paper 26.5 x 38 cm, framed under glass. The reverse signed and dated 'M. Weischer 05' and with work number 'WV 669'. Provenance: Galerie Eigen + Art, Berlin/Leipzig (label verso)

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MATTHIAS WEISCHER, Untitled, 2005

Lot 777: MATTHIAS WEISCHER, Untitled, 2005

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Description: Wax crayon on paper 26.5 x 38 cm, framed under glass. The reverse signed and dated 'M. Weischer 05' and with the work number 'WV 663'. Provenance: Galerie Eigen + Art, Berlin/Leipzig (label verso)

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MATTHIAS WEISCHER, Untitled, 2005

Lot 778: MATTHIAS WEISCHER, Untitled, 2005

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Description: Wax crayon on paper 38 x 26.5 cm, framed under glass. The reverse signed and dated 'M. Weischer 05' and with work number 'WV 667' . Provenance: Galerie Eigen + Art, Berlin/Leipzig (label verso)

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ANDY WARHOL,  Joseph Beuys in Memoriam, 1986

Lot 779: ANDY WARHOL, Joseph Beuys in Memoriam, 1986

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Description: Colour screenprint on wove card 81.3 x 61 cm. Signed and numbered '81/90'. Print from the portfolio "Für Joseph Beuys". Edition Galerie Bernd Klüser and Edition Schellmann, Munich (verso stamp). Feldman/Schellmann/Defendi II.371

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ANDY WARHOL, Cologne Cathedral, 1985

Lot 780: ANDY WARHOL, Cologne Cathedral, 1985

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Description: Colour screenprint Lenox Museum Board 100 x 80 cm, framed under glass. Signed and numbered '39/60'. Edition Hermann Wünsche, Bonn (stamp verso). - Small crease to middle right margin. Feldman/Schellmann/Defendi II.361

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FRITZ WINTER, Untitled, 1960

Lot 781: FRITZ WINTER, Untitled, 1960

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Description: Oil on paper 24 x 27.7 cm, framed under glass. Signed and dated 'fWinter 60' lower right. - Traces of age.Provenance: Fritz-Winter-Haus, AhlenWe are grateful to Mrs Helga Gausling, Fritz-Winter-Haus, Ahlen, for confirming authenticity via telephone on the 18.09.2012.

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FRITZ WINTER, Untitled, 1960

Lot 782: FRITZ WINTER, Untitled, 1960

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Description: Oil on paper 23.9 x 17.7 cm, framed under glass. Signed and dated 'fWinter 60' lower right. - Evenly browned, with minimal foxing, upper margin slightly creased. The reverse in the middle of upper margin firmly mounted on paper support.Provenance: Fritz-Winter-Haus, AhlenWe are grateful to Mrs Helga Gausling, Fritz-Winter-Haus, Ahlen, for confirming authenticity via telephone on the 18.09.2012.

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FRITZ WINTER, Vertikal , 1966

Lot 783: FRITZ WINTER, Vertikal , 1966

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Description: Oil on canvas 70 x 60.5 cm. Signed and dated 'FWinter66' to lower right. The reverse signed, dated and titled 'Vertikal Winter 66'. - The overlap protected with fabric tape.With accompanying photo certificate from the Fritz-Winter-Haus, Ahlen, dated 25.09.2012.Provenance: Galerie Schüler, Berlin; Waltraut and Ernst Benda Collection, Karlsruhe

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CONRAD WESTPHAL, Untitled, 1958

Lot 784: CONRAD WESTPHAL, Untitled, 1958

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Description: Mixed media on cardboard 49.5 x 70 cm, framed under glass. Signed and dated 'Westphal 58/43' lower left. Reverse designated "Mischtechnik" and with the work number "6304509". - Minor traces of age.

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CHRISTOPHER WOOL, Untitled, 1991

Lot 785: CHRISTOPHER WOOL, Untitled, 1991

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Description: Colour offset on paper 99 x 65 cm, framed under glass. The reverse signed, dated and numbered '18/40'. Edition Kölnischer Kunstverein, Cologne. - Upper margin two slight creases backed on reverse with paper tape.

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RÉMY ZAUGG, Untitled (Technique et Nature IV) , 1967

Lot 786: RÉMY ZAUGG, Untitled (Technique et Nature IV) , 1967

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Description: Oil on canvas 30.5 x 25.5 cm, framed. The reverse signed and dated 'R. Zaugg 67'. Exhibition: Lörrach 1967 (Galerie Regio), Das kleine Format (label verso)

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BERND ZIMMER, Untitled (Landschaft) , 1982

Lot 787: BERND ZIMMER, Untitled (Landschaft) , 1982

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Description: Mixed media on paper 70x 100 cm, framed under glass. Signed and dated 'B. Zimmer 82' lower right. - The mat opening evenly browned.

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