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Andreas Gursky Auction Price Results

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Andréas GURSKY (Né en 1955) ALBA, 1989 Cibachrome

Lot 84A: Andréas GURSKY (Né en 1955) ALBA, 1989 Cibachrome

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Description: Andréas GURSKY (Né en 1955) ALBA, 1989 Cibachrome Signé, titré, daté et numéroté 2/6 sur une étiquette au dos Image : 140 x 183 cm (55 x 72 in.) Feuille : 185 x 222 cm (723/4 x 871/2 in.) Expositions : Holzer Family Collection au Norton Museum of Art de Palm Beach en Floride, juin - septembre 2003.

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Andréas GURSKY (Né en 1955) SCHNORCHLER, 1988 Cibachrome monté sur mousse de polyuréthane

Lot 84B: Andréas GURSKY (Né en 1955) SCHNORCHLER, 1988 Cibachrome monté sur mousse de polyuréthane

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Description: Andréas GURSKY (Né en 1955) SCHNORCHLER, 1988 Cibachrome monté sur mousse de polyuréthane Signé, titré, daté et numéroté 12/12 sur une étiquette au dos 74 x 75 cm (29 x 291/2 in.) 30 000 / 35 000 € h: 74 w: 75 cm

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Original HAND-SIGNED Andreas Gursky Poster Plakat

Lot 148: Original HAND-SIGNED Andreas Gursky Poster Plakat

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Description: Gursky, Andreas 1955 -no text (Mönchehaus Museum Goslar)Offset 200833 x 23.2 in. (84 x 59 cm)Printer: no informationDescription / Details: (A) hand-signed by the artist in pen at the lower right

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ANDREAS GURSKY *

Lot 181: ANDREAS GURSKY *

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Description: ANDREAS GURSKY (* 1955) 'Montparnasse', Frankfurt: Portikus, 1995 First edition box with a loose-leafe colour photograph (26 x 47,5 cm) in a card portfolio, and 2 paperback books (text part: 32 pages, 10 illustrations, picture part: 30 illustrations in colour) Published in conjunction with a 1995 exhibition at Portikus Frankfurt am Main, this elegant, ambitiously designed, oversized publication is devoted to Andreas Gursky's monumental photograph of architect Jean Dubuisson's quarter-mile long Montparnasse housing block.

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Andreas Gursky 1955 Leipzig - 'Cheops' - Farb...

Lot 197: Andreas Gursky 1955 Leipzig - 'Cheops' - Farb...

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Description: Andreas Gursky. 1955 Leipzig - 'Cheops' - Farboffset/Papier. 84 x 59,4 cm. Mit Filzstift sign. r. u.: A. Gursky. Das Blatt liegt lose. Leichte Knickspuren. Farbspur links.

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Ensemble d'un coffret avec deux ouvrages, une planche et ouvrage

Lot 249: Ensemble d'un coffret avec deux ouvrages, une planche et ouvrage

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Description: Ensemble d'un coffret avec deux ouvrages, une planche, et un ouvrage :GU RSKY , ANDREAS (1955)*Montparnasse.Stuttgart / Frankfurt am Main : Oktagon Verlag / Portikus, 1995.Dans un coffret cartonné gris imprimé.28 x 49,5 cm.Un portfolio avec une reproduction de 26 x 48 cm de la photographied'un immeuble dans le quartier de Montparnasse à Paris.Deux livres brochés : « Texte » et « Image ».24 x 26,5 chaque.Édition originale.Très bon état.Réf : Parr / Badger Vol. II. p. 275*Andreas Gursky.Malmö : Rooseum, 1995.Relié, jaquette illustrée. 24,5 x 29,5 cm.Édition originale.Minimes défauts.

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Ensemble de six ouvrages :GURSKY, DEMAND, SASSE, RUFF, DICORCIA

Lot 252: Ensemble de six ouvrages :GURSKY, DEMAND, SASSE, RUFF, DICORCIA

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Description: Ensemble de six ouvrages :GURSky, ANDREAS (1955)*Andreas Gursky par Peter Galassi.new York : the Museum of Modern art, 2001.relié, toile grise, jaquette illustrée. 31 x 34,5 cm. 196 p. édition originale.DEMAND, THOMAS (1964)*Thomas Demand.Zürich / bielefeld : Kunsthalle Zürich / Kunsthalle bielefeld, 1998.broché. 26,5 x 41 cm. édition originale.RUFF, THOMAS (1958)*Thomas Ruff. 13 April - 9 Juni 1996.Malmö : rooseum, 1996. broché. 30,5 x 22 cm. 168 p. édition originale.SASSE, JORG (1962)*Vierzig fotografi en 1984-1991. Mit Texten von Gerda Breuer und Thomas Lange.München : schirmer/Mosel, 1992.relié, toile rouge, jaquette illustrée. 30,5 x 24,5 cm. 110 p. édition originale.Minimes défauts.DICORCIA, PHILIP-LORCA (1951)*Street Work 1993-1997.salamanca : ediciones universidad de salamanca, 1998.broché. 24 x 33,5 cm. 68 p. édition originale. Minimes défauts.*A Storybook Life.santa Fe : twin Palms Publishers : 2003.relié, toile blanche, sous jaquette illustrée.28,5 x 36,5 cm. édition originale de 5000 exemplaires.

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GURSKY, Andreas (1955) Fotografien. Photographs. Werke - Works. Jaarverslag KPN 1994.

Lot 260: GURSKY, Andreas (1955) Fotografien. Photographs. Werke - Works. Jaarverslag KPN 1994.

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Description: GURSKY, Andreas (1955)Fotografien.Photographs.Werke - Works.Jaarverslag KPN 1994.

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DDS. Andreas Gursky (b.1955) Montparnasse, the

Lot 300: DDS. Andreas Gursky (b.1955) Montparnasse, the

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Description: DDS. Andreas Gursky (b.1955) Montparnasse, the album, 1995, comprising one offset-lithograph printed in colours, signed in blue ball-point pen verso, published by Oktogon Verlag, Stuttgart, the list of residents and the photobook documenting the building each loose as issued within the silver cardboard box, the titled printed in black on the upper lid, overall size 280 x 495mm (11 x 19 11/2in)

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Gursky, Andreas (1955 Leipzig) Gasherd. 1980. Farboffset. 84 x 59,5 cm. Handsigniertes Ausstellungsplakat. Museum Haus Lange, Krefeld, 2008.

Lot 336: Gursky, Andreas (1955 Leipzig) Gasherd. 1980. Farboffset. 84 x 59,5 cm. Handsigniertes Ausstellungsplakat. Museum Haus Lange, Krefeld, 2008.

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Description: (1955 Leipzig) Gasherd. 1980. Farboffset. 84 x 59,5 cm. Handsigniertes Ausstellungsplakat. Museum Haus Lange, Krefeld, 2008.Die gehört zu Gurskys bekanntesten frühen Werken und stammt noch aus seiner Studentenzeit. Der dargestellte dreiflammigen Gasherd, befand sich in Gurskys Wohngemeinschaft. - Mit leichten marginalen Knickspuren, ansonsten in gutem Zustand.Colour offset on paper. Exhibition poster, signed by the artist. Museum Haus Lange, Krefeld, 2008. - With slight marginal creasemarks, otherwise in good condition.

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Andreas Gursky (b.1955)(after) Poster for the

Lot 383: Andreas Gursky (b.1955)(after) Poster for the

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Description: Andreas Gursky (b.1955)(after) Poster for the Deichtorhallen, Hamburg offset lithograph printed in colours, 1994, signed in black felt-tip pen, published by the Monchenhaus Museum, Goslar, on smooth wove paper, the full sheet printed to the edges, 830 x 590mm (32 3/4 x 23 1/4in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Andreas Gursky (b.1955)(after) Cheops offset

Lot 384: Andreas Gursky (b.1955)(after) Cheops offset

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Description: Andreas Gursky (b.1955)(after) Cheops offset lithograph printed in colours, 1995, signed in black felt-tip pen, published by the Monchenhaus Museum, Goslar, on smooth wove paper, the full sheet printed to the edges, 840 x 595mm (33 x 23 3/8in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Andreas Gursky* (1955)

Lot 544: Andreas Gursky* (1955)

Description: Untitled XV. Farboffsetdruck. 97 x 66 cm. Auflage 800. Am unteren Rand handsigniert und nummeriert: A. Gursky 249/800. Typografisch bez.: Art Poster Andreas Gursky Germany Untitled XV 2005, FIFA Worldcup Germany 2006. Manufacturer:

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Andreas Gursky, Niagara falls, 1989

Lot 547: Andreas Gursky, Niagara falls, 1989

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Description: Signed, dated, titled, editioned in pencil on the reverse of the plastic board and with dedication. Numbered 5/12. "The world can seem richer and more generous in disclosing its meanings when we are freed from its pressing fullness to contemplate its fixed, flattened image on a piece of paper. The effect is all the more seductive when [...] the photographer was already remote from the scene, whose antlike actors consequently seem all the more purposeful because blissfully unaware of the eye that regards them. Our Olympian detachment makes the familiar strange to us , and, like benign extraterrestrials who have unexpectedly encountered an inhabited planet, we study the view with disinterested curiosity, free equally of urgency and malice." (Peter Galassi, Gursky's world, in: Peter Galassi (ed.), Andreas Gursky, exhib.cat. Museum of Modern Art New York, New York 2001, p. 23). 75 x 58 cm (100.8 x 83.5 cm) Chromogenic print on plastic board Matted firmly and framed under glass

Condition Report: Slight discoloration due to age.

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GURSKY, ANDREAS UND FÖTTINGER, CLAUS 1955 Leipzig

Lot 738: GURSKY, ANDREAS UND FÖTTINGER, CLAUS 1955 Leipzig

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Description: GURSKY, ANDREAS UND FÖTTINGER, CLAUS 1955 Leipzig / - 1960 Nürnberg Ohne Titel. Tischlampe. 2004. Mischtechnik (Fotografie, Lampe).57 x 22 x 22cm. Nummeriert und signiert auf beiliegendem Zertifikat: Gursky, Föttinger, 69/100. Texte zur Kunst, Berlin (Hrsg.). Ex. 69/100.

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Gursky, Andreas1955 Leipzig - lebt und arbeitet in Düsseldorf

Lot 1102: Gursky, Andreas1955 Leipzig - lebt und arbeitet in Düsseldorf"Breitscheider Kreuz". 1991. Farboffset. Passepartout. Rahmen. Exemplar 40/50. 32 x 43,7cm (45 x 60cm). Rückseitig mit Bleistift signiert, datiert und nummeriert. Lichtrand durch

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Description: Gursky, Andreas1955 Leipzig - lives and works in Düsseldorf"Breitscheider Kreuz". 1991. Colour offset print. Matted and framed. Editioned 40/50. 32 x 43,7cm (45 x 60cm). Signed, dated and numbered in pencil on verso. A light-edge from the original frame. Some slight individual light-stains in the upper half of the image. Light-staining in the lower image margin (around, not on, the image).

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Gursky, Andreas1955 Leipzig - lebt und arbeitet in Düsseldorf

Lot 1103: Gursky, Andreas1955 Leipzig - lebt und arbeitet in Düsseldorf"Paris, Montparnasse". 1993. Offset. Originalkassette. Portikus und Oktagon Verlag, Frankfurt a.M. und Stuttgart 1995. 18,6 x 42,2cm Mit zwei Katalogen, erschienen im Oktagon Verlag,

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Description: Gursky, Andreas1955 Leipzig - lives and works in Düsseldorf"Paris, Montparnasse". 1993. Offset. Original case. Portikus und Oktagon Verlag, Frankfurt a.M. and Stuttgart 1995. 18,6 x 42,2cm. With two catalogues, published by Oktagon Verlag, Stuttgart 1995. In mint condition. Published in: Andreas Gursky. Fotografien 1984 bis heute. Ed.: Marie Luise Syring. München; Paris; London: Schirmer/Mosel, 1998. fig. pg. 46f.

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GURSKY, ANDREAS(Gursky 1955 - lives and works in

Lot 3348: GURSKY, ANDREAS(Gursky 1955 - lives and works in

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Description: GURSKY, ANDREAS(Gursky 1955 - lives and works in Düsseldorf)Montparnasse. 1995.Colour photograph. Signed verso in ink: Andreas Gursky.26 x 47.5 cm. Provenance: Private collection Hamburg.GURSKY, ANDREAS(Gursky 1955 - lebt und arbeitet in Düsseldorf)Montparnasse. 1995.Farbfotografie. Verso mit Tinte signiert: Andreas Gursky.26 x 47,5 cm.Privenienz: Privatsammlung Hamburg.

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GURSKY, ANDREAS (Leipzig 1955 - lives and works in

Lot 3769: GURSKY, ANDREAS (Leipzig 1955 - lives and works in

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Description: GURSKY, ANDREAS (Leipzig 1955 - lives and works in Düsseldorf)Flugzeug Düsseldorf. 1989.Colour photograph, c-print. 25/30. Signed verso: Andreas Gursky. Image 31.5 x 45.5 cm on Kodak photographic paper 41 x 51 cm.Provenance: Swiss private collection. GURSKY, ANDREAS(Leipzig 1955 - lebt und arbeitet in Düsseldorf)Flugzeug Düsseldorf. 1989.Farbfotografie, c-Print. 25/30. Verso signiert: Andreas Gursky. Darstellung 31,5 x 45,5 cm auf Kodak-Fotopapier 41 x 51 cm.Provenienz: Privatsammlung Schweiz.Andreas Gursky gehört zu den bekanntesten Fotografen der Zeitgenössischen Kunst. Seine Ausbildung an der Düsseldorfer Kunstakademie bei Bernd und Hilla Becher hat seine künstlerische Entwicklung entscheidend mitgeprägt, so dass sich charakterische Merkmale der Bechers auch in seiner Fotografie wiederfinden: formale Klarheit, konstante und helle Beleuchtung und die Entwicklung von Bildtypen hin zur Serialität. Jedoch ist auch Individualität ein wichtiges Ziel der Bechers und so entwickelt Gursky in seinen Werken zwar bestimmte Bildtypen, geht aber nicht den Schritt in die Serialität. Das vorliegende Werk beispielsweise stammt aus einer Reihe von Fotografien um den Flughafen Düsseldorf, deren inhaltliche Verbindung der Flughafen ist, die aber jeweils eine andere Szene und somit eine andere Wirklichkeit abbilden. Der Betrachter bei 'Flugzeug Düsseldorf' steht auf einer Wiese, vor ihm erstreckt sich ein kleiner Tümpel, dahinter eine kleine Anhöhe. Nichts weist auf den Flughafen hin, wäre da nicht das gerade startende Flugzeug. In 'Flughafen Düsseldorf I' von 1984 stehen Sonntagsspaziergänger an einer Absperrung zum Flughafen, und in 'Flughafen Düsseldorf II' von 1994 steht ein Mann einsam auf dem riesigen Rollfeld. 'Der Zuschauer wird stiller Zeuge eines Augenblicks, in dem eine Szenerie, ein Ereignis, eine infinitesemiale Bewegung festgehalten werden - von den Akteuren unbemerkt und auch kaum beeinflussbar.' (zit. Felix Zdenek, in: Ausst.Kat.: Andreas Gursky. Fotografien 1984 - 1993, Deichtorhallen Hamburg, 4.02. - 10.4.1994, S. 5). Andreas Gursky bildet die Wirklichkeit ab, verändert sie manchmal, aber er kommentiert in seinen Werken nie, obwohl er durch die subjektive Wahl der Motive, wie z.B. Tourismus, Fabrikarbeit, Massenveranstaltungen, Politik, gesellschaftliche Themen anspricht. Künstlerisch stellt er an uns Betracher eine grosse Herausforderung: 'Landschaft und Stadtlandschaft, Natur und bebaute Umwelt werden bei Gursky nicht voraussetzungslos dargestellt: Sie stehen in Beziehung zu vorhandenen Strategien der bildenden Kunst, zu Formulierungen, die es - sowohl auf individueller Ebene als auch auf einer Metaebene - bereits gibt.' (zit. Lynne Cooke, in: Ausst.Kat.: Andreas Gursky. Fotografien 1984 bis heute, Kunsthalle Düsseldorf, 29.08. - 18.10.1998, S. 13).

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Andreas Gursky (b. 1955)

Lot 2: Andreas Gursky (b. 1955)

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Description: Ayamonte signed, titled, numbered and dated 'Ayamonte '97 5/6 Andreas Gursky' (on a paper label affixed to the reverse) color coupler print 68 3/4 x 98 3/4 in. (174.6 x 250.9 cm.) Executed in 1997. This work is number five from an edition of six.

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Andreas Gursky (b. 1955)

Lot 2: Andreas Gursky (b. 1955)

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Description: Andreas Gursky (b. 1955) Prada I titled, numbered and dated 'Ohne Titel IV '96 5/6' (on the reverse) chromogenic colour-print laminated to Plexiglas in artist frame overall: 52¼ x 88½in. (132.8 x 224.8cm.)image: 33½ x 73 5/8in. (85 x 187cm.)Executed in 1996, this work is number five from an edition of six

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ANDREAS GURSKY B. 1955 MAY DAY IV

Lot 3: ANDREAS GURSKY B. 1955 MAY DAY IV

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Description: signed, titled, dated 2000 and numbered 1/6 on the backing boardChromogenic color print in artist's framePROVENANCEGalerie Monika Sprüth, CologneGerard Faggionato Fine Arts, LondonAcquired by the present owner from the aboveEXHIBITEDBarcelona, Museo de Historia de la Ciutat de Barcelona, The Human Condition: the Dream of a Shadow, May - September 2004, p. 170, illustrated in colorLITERATURE AND REFERENCESExh. Cat., New York, Museum of Modern Art (and traveling), Andreas Gursky, 2001, cat. no. 59, pp. 182-183, illustrated in color (another example) and illustrated in color on the cover (detail)Exh. Cat., Chicago, Museum of Contemporary Art, Andreas Gursky, 2001 (another example)Richard Burbridge, "The Beauty and the Power", Creative Review, vol. 21, no. 4, April 2001, p. 82, illustrated in color (another example)Exh. Cat., Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Andreas Gursky, 2002, pp. 52-53, illustrated in color (another example)Exh. Cat., Liverpool, Tate Liverpool, Remix: Contemporary Art and Pop, 2002, cat. no. 10, p. 59, illustrated in color (another example)Exh. Cat., Oslo, Galleri K, Andreas Gursky, 2002 (another example)CATALOGUE NOTEThe importance of May Day IV was confirmed by the artist himself and the Museum of Modern Art, New York when they chose the work as the cover of the catalogue for his major retrospective in 2001. This exhibition confirmed Gursky as one of the greatest artistic visionaries of his generation. Very much sidelined as a medium until the early 1990s, Gursky has transformed photography into the vehicle for some of today's most exciting and profound conceptual art. Tackling many different aspects of art historical and photographic reference, his work also articulates many serious issues to do with the way that today's generation lives. The presence of May Day IV on the cover of the catalogue for this exhibition underlined the fact that this work was not only a masterpiece of contemporary photography but, like all truly great art, also somehow captured the zeitgeist of its generation.Trading on the strict, subconscious order which permeates all Contemporary existence, Andreas Gursky's photography scans the modern day landscape; assessing, analysing, highlighting and enhancing the gargantuan nature of the containers which enshroud human activity. Having been taught by Bernd and Hilla Becher at the Düsseldorf Kunstakademie in the early 1970s, his art continues their goal of an impersonal objectivity, which was inimical to West Germany's post war photographic development. Informed by the careful arrangements of Minimalism and the visual realization of an idea which was central to Conceptual Art, his photography proposes the world as a series of monumentally-scaled, beautifully packaged vitrines of life. Somehow hinting at the organized, engulfing nature of the 'landscapes' which we, as humanity, have created for ourselves, Gursky seizes on these places and moments. He enlarges their photographic reality to create grand tapestries which depict the complexities of Modern life.May Day IV is taken from a groundbreaking series of works which contain large crowds of people within the confines of the photographic frame. Gursky began this particular series in the early 1990s in the wake of the biggest economic slump in recent memory. During that time, the advanced Capitalist dream of the young upwardly mobile stockbroker was collapsing, and with the world falling apart around him, a new culture of ecstatic party revelling was being born in which people danced their way out of depression. As a result of economic cutbacks, people were forced to find alternative forms of entertainment and the cult of the large 'house party', held in underground, illegal sites, was born. So, on the one hand these vast centers of commerce in all of the major city centers of the world were packed with hundreds of stockbrokers attempting to buy and sell their way out of the slump, and on the other, vast warehouses in the middle of nowhere were being packed with revellers attempting to dance away their troubles. Gursky drew parallels between these two phenomenon in some of his most visually astounding works. Focussing solely on the almost claustrophobic gathering of large crowds into small buildings, Gursky witnessed how these spaces had come to possess a vast influence on the quality of human life. More than this, he had come to realize that these hidden, sanctified shrines to dance and the economy possessed a mutual visual compartmentalization, symptomatic of all human areas of consumption. In Gursky's hands the packed Dance- or Stock Exchange- floor, traditionally associated with the frantic hustle and bustle of competition and stress becomes a sublime spectacle of aesthetic order, a joyous explosion of structured color. With the dancer's or trader's hands raised as if in contemplatory prayer to a higher being, the formal structure of their organization is consciously aligned with that of the church and arrangement of color within the congregation knowingly paralleled with the aspirational and meditative experience of Abstract Expressionism.As it totally encompasses the viewer's panorama with its vast explosion of rhythmical color, the spectacular simplicity and beauty of May Day IV mark it out as Gursky's most significant work on the theme of rave parties. Ever since Hieronymous Bosch depicted a massed group of revellers in The Garden of Earthly Delights in the 15th Century, large scale depictions of social spectacle and debauchery have been ever present in art history. However, nowhere has it been presented on such a breathtaking scale as here. As the most politically loaded worker's holiday in the German calendar, May Day provides the opportunity for some of the largest parties and here, Gursky's viewpoint immediately makes us aware that we are the outsiders looking in on a very private activity. With no visible ceiling or floor, the only support structure that the revellers appear to have is the picture frame. Viewed from on-high, the God-like perspective of Gursky's gaze turns the hundreds of revellers into miniature insect-like forms uncannily dwarfed by their environment. As they buzz across the floor, the luminosity of their clothes creates a magnificent tapestry of interlocking colors which expands across the extreme horizon of the viewer's vision. This chaotic group of people seems to be organized by some invisible principle or hidden logic as the huge mass of color appears to sway in one large body towards the right side of the image, creating a magnificent sense of movement. They all appear to be moving in one direction, but Gursky's clever cropping ensures that the target of their motion, if indeed there is one, is obscured.Each individual has become submerged in a mass of crisply delineated, atomized cells which together form a flattened circuit-board like whole. Inviting the eye to scan across the lines of information, one becomes aware of a unique new development for Gursky. In May Day IV he has emphasized the digital nature of his production with an enhanced pixillation of the image to create a heightened grain structure on the surface of the photograph. Thus as one moves closer to the image, not only do smaller narratives within the constructed whole become more visible, but more colors articulate their behavior and begin to break down their very existence. As such, May Day IV presents to us, not necessarily the documentation of an event, but of a beautifully structured organism, a grand tableau which captures and halts the frantic movement of the dancers into a kaleidoscope of color and form. Aligning the sublime bliss of the rave with the Zen-like qualities of a Jackson Pollock 'action' painting or the Minimalist Geometry of a Gerhard Richter Farbfeld, Gursky here posits a highly majestic invitation for us to visit the new cathedrals of Modern Day Religion.

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Andreas Gursky (b. 1955)

Lot 3: Andreas Gursky (b. 1955)

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Description: Andreas Gursky (b. 1955) New York, Stock Exchange signed, titled, numbered and dated 'Andreas Gursky Börse New York 1991 1/4' (on the reverse)chromogenic colour-print laminated to Plexiglas in artist's frame image: 51½ x 65in. (130.7 x 165cm.)overall: 67 5/8 x 80¾in. (172 x 205.2cm.)Executed in 1991, this work is number one from an edition of four

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ANDREAS GURSKY

Lot 4: ANDREAS GURSKY

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Description: PROPERTY OF AN IMPORTANT EUROPEAN COLLECTOR B.1955 JAMES BOND ISLAND I signed on a label affixed to the reverse c-print in artist's frame 307 by 223.3cm. 120 7/8 by 87 7/8 in. Executed in 2007, this work is number 5 from an edition of 6.

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Andreas Gursky (B. 1955)

Lot 5: Andreas Gursky (B. 1955)

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Description: Klitschkochromogenic color print81 1/2 x 102 3/4 in. ( 207 x 261 cm.)Executed in 1999. This work is from an edition of six.

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ANDREAS GURSKY (b. 1955)

Lot 6: ANDREAS GURSKY (b. 1955)

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Description: ANDREAS GURSKY (b. 1955)Grundig Nürnbergsigned, titled, dated 93 and numbered 5/5 on the reverseCibachrome print65 by 80in. 165.1 by 203.2cm.PROVENANCEGalerie Mai 36, ZurichPrivate Collection, BerlinEXHIBITEDcf., Hamburg, Deichtorhallen; Amsterdam, De Appel Foundation, Andreas Gursky: Fotografien 1984-1993, February-July 1994, p. 117, illustrated in colorcf., Liverpool, Tate Gallery, Andreas Gursky: Images, July-August 1995, p. 45, illustrated in color

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Lot 6: Andreas Gursky (B. 1955)

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Description: Leipzig signed, dated, titled and numbered 'A. Gursky, 95, Leipzig, 4/5' (on the reverse) c-print mounted behind Plexiglas in artist's frame 731/4 x 97in. (185.8 x 246.4cm.) PROVENANCE Galerie Rodolphe Janssen, Brussels. Monika Spr쳌th Gallery, K”ln. LITERATURE 'Andreas Gursky: Fotografien 1994-1998', Wolfsburg 1998 (another from the edition illustrated in colour, p. 41). NOTES Shot from a distance, the industrial cityscape nonetheless features even the most minute of details, thus appearing as an image of a macrocosm. Although a photograph of the artist's native city, 'Leipzig' bears no trace of nostalgic, romantic feeling and conveys the characteristic distance and objectivity of Gursky's work, a position he adopted from his professors at the State Academy of Art in D쳌sseldorf, Bernd and Hilla Becher. The horizontal composition of the work, leaving half the space to the sky, embues it with a feeling of calmness and tranquility that contrasts severly with the reality of the messy urban environment of the Eastern German city. Indeed the concentartion of cranes and others industrial elements in the middle-ground comes as a disruption to the silence of the foreground, in which an empty road seems to reflect the void of the sky in the background. In this no man's land, where technology adds an uncanny effect to nature, Gursky suspends the industrial action and makes the image speak through colours and composition. As in all of Gursky's works, 'Leipzig' stands half-way between a objective documentation and subjective delectation.

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ANDREAS GURSKY

Lot 6: ANDREAS GURSKY

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Description: ANDREAS GURSKY B.1955 PYONGYANG IV signed on a label affixed to the reverse cibachrome print in artist's frame 304.5 by 207cm. 119 7/8 by 81 1/2 in. Executed in 2007, this work is from an edition of 7.

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PROPERTY FROM THE PISCES TRUST ANDREAS GUR...

Lot 7: PROPERTY FROM THE PISCES TRUST ANDREAS GUR...

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Description: PROPERTY FROM THE PISCES TRUSTANDREAS GURSKY(b. 1955)ENGADINsigned, titled and dated "1995" on a label adhered to the reversec-print73 3/4 x 114 5/8 in. (186 x 291 cm)executed in 1995this work is from an edition of six

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ANDREAS  GURSKY

Lot 7: ANDREAS  GURSKY

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Description: B.1955 UNTITLED  VI c-print  in  artist's  frame 73  3/8    x  93  7/8    in.    186.5  x  238.5  cm. Executed  in  1997,  this  work  is  from  an  edition  of  six.

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Andreas Gursky (b. 1955)

Lot 8: Andreas Gursky (b. 1955)

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Description: May Day IIsigned, titled, dated and numbered 'May Day II '98 2/6 A. Gursky' (on the reverse)color coupler print73 1/4 x 88 in. (186 x 226 cm.)Executed in 1998. This work is number two from an edition of six.

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l - ANDREAS GURSKY

Lot 8: l - ANDREAS GURSKY

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Description: B. 195599 CENT81 1/2 x 132 in. 207 x 336 cm.signed, titled, dated 99 and numbered 6/6 on the backing board chromogenic color printPROVENANCEHeiner Bastian Fine Art, BerlinStellan Holm Gallery, New YorkAcquired by the present owner from the above in 2003EXHIBITEDNew York, Museum of Modern Art; Madrid, Museo Nacional Centro de Arte Reina Sofía, Palacio de Velázquez, Parque del Buen Retiro, Andreas Gursky, March - September 2001, pl. no. 58, pp. 180-181, illustrated in color (another example)Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Andreas Gursky, February - April 2002, pp. 44-45, illustrated in color (another example)NOTEDuring the 1980's, Gursky emerged as one of the leading lights among a group of German photographers schooled by the eminent professors Bernd and Hilla Becher. The Bechers' teaching concentrated on the formal structure and documentary aspects of photography. Absorbing their systematically objective and rigorously conceptual style, Gursky's art provides a poetic commentary on our world, consisting of a series of monumental, animated "vitrines" which highlight our relative insignificance within the magnitude of our surroundings. Andreas Gursky's investigation of contemporary culture through detailed, high-gloss images has shaped his reputation as the most influential and popular contemporary photographer of his day. He was one of the first contemporary photographers to use new photo editing technologies to manipulate and alter his large scale photographs. While the audience is aware that the image has been manipulated, they are kept in the dark as to which and how much the elements have been altered. We are forced to accept the inauthentic qualities in a seemingly objective reality. Gursky's modification flattens the image and emphasizes the formalistic structure of the work; making the image seem clearer but also more abstract at the same time.In 99 Cent Store Andreas Gursky very skillfully uses the minimalist programmed structure of the shelves in combination with fantastically vivid colors and creates an all-over composition without any weaknesses. The striking visual presence created by this technique is especially evident in the present work, which is considered one of the most important photographs within his oeuvre, equal only to Paris, Montparnasse (1993) and Rhein I (1996).

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f,m - ANDREAS GURSKY

Lot 8: f,m - ANDREAS GURSKY

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Description: B. 1955STATEVILLE, ILLINOISmeasurementsimage: 184.2 by 285.1cm.; 72 1/2 by 112 1/4 in.alternate measurementsoverall: 206 by 307cm.; 81 by 120 7/8 in.signed on a label affixed to the reversecibachrome printExecuted in 2002, this work is from an edition of 6.PROVENANCEMatthew Marks Gallery, New YorkNOTETrading on the order underlying human existence, Andreas Gursky's work scans the contemporary landscape, assessing, analysing, and highlighting the subconscious, controlling effects of its gargantuan manmade structures. Seizing on places and moments of the everyday and overlooked, his insightful and penetrating eye enhances the compartmentalised, ordered nature of the lives we lead, exposing through distance what is usually hidden by our proximity to it. Affording rare glimpses of life's hidden rhythms, his photography proposes the world as a series of monumentally-scaled, beautifully packaged spaces; inanimate architectural vitrines which have total control over the lives they contain. Depicting the honeycombed inner sanctum of Stateville, Illinois high security prison, the present work is one of his most powerful and arresting images. It takes his idea of the 'landscape as container' to its ultimate conclusion and evokes our underlying impotence and insignificance within the landscape. Like his images of stock exchanges, store interiors and sprawling concert venues, this work encourages us to acknowledge the structural effects and impact of our surrounding architecture and environment. The basic organization of Stateville, Illinois is very similar in composition to the artist's Bibliothek from 1999, and like Bibliothek, the prison's panopticon or 'round-house' form provides a structure with a central point from which one can see its panoramic entirety. Perhaps appropriate for a prison, the effect achieved when photographed frontally is of being surrounded and enclosed. Considering the subject, this claustrophobic effect becomes a potent examination of freedom, life and the human condition.Informed by the enlightened tutelage of Bernd and Hilla Becher under whom he studied at the Düsseldorf Kunstakademie during the early 1970's, Gursky's work shares with theirs a sense of documentary distance and objectivity. It also looks to the careful geometric arrangements of Minimalism and to the visual realization of an idea central to much Conceptual Art. Gursky's lens does not judge but rather seeks to expose the geometries of life imposed upon it. Stateville, Illinois challenges the viewer's expectations and is a spectacular example of his unwavering eye for the profound. Its totalitarian structure and cohesion appears more like a Bauhaus model of utilitarian organization than a Level 1, maximum-security facility. Each cell is exactly the same as the next and is stacked neatly in a row of four. The prisoners themselves, faceless and far-away, are de-humanized by their anonymity and uniformity within their surroundings. We the viewer are placed in the centre of this modern day Coliseum; spectators in a theatre of quotidian activity. Presented in this way, we are compelled to reflect upon the frequently overlooked kaleidoscopic patterns imposed upon our lives by the shackles of the architectural spaces we construct and inhabit.Andreas Gursky, Bibliotek, 1999

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Andreas Gursky (b. 1955)

Lot 8: Andreas Gursky (b. 1955)

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Description: Untitled IV (Prada I) signed, titled, numbered and dated 'A. Gursky o.T. IV 1996 3/6' (on the Plexiglas on the reverse). chromagenic print in artist frame 521/4 x 881/2in. (132.8 x 224.8cm.) Executed in 1996, this work is number three from an edition of six. PROVENANCE Jean Bernier Gallery, Athens. LITERATURE M.L. Syring (ed.), Andreas Gursky. Photographs from 1984 to the Present, D쳌sseldorf 1998 (another from the edition illustrated in colour, p. 41). B. Riemschneider & U. Grosenick (eds.), Art at the Turn of the Millennium, Cologne 1999 (another from the edition illustrated in colour, p. 206). P. Galassi (ed.), Andreas Gursky, Ostfildern-Ruit 2001 (another from the edition illustrated in colour, pl. 24, p. 103). Grosse Illusionen. Thomas Demand, Andreas Gursky, Edward Ruscha, Bonn 1999 (another from the edition illustrated, p. 19). NOTES "Andreas Gursky's art has arisen from a restless, risky process of experiment (......) in which na‹ve curiosity mingles with sophisticated calculation and alert scrutiny of other art." Peter Galassi, in 'Andreas Gursky', New York 2001. Nowhere is this aesthetic more intriguingly explored than in Gursky's 'Prada' series, of which Untitled IV (Prada I) is one of the most captivating examples. The Prada store represents the apex of consumer fetishism: with its severe architectural lines, luxurious acres of empty space and sparsely populated shelves suffused with a muted, meditative light, it has become almost a place of worship, albeit a rather exclusive one, the new cathedral of the secular West. In Untitled IV (Prada I), it is those most fetishised of objects, women's shoes, that are displayed with the deceptively seductive simplicity that has become synonymous with that label. The artist's choice of store is very much deliberate. While fully aware of its social implications, Gursky uses the rigorous architectural purity of the store to indulge his affinity for the imposing clarity of unbroken parallel forms. The aesthetic at play owes much more to the dispassionate ideals of Minimalism than to the cynicism of Conceptual art, and in particular to Donald Judd, whose transformation of what Peter Galassi has called "the solemn majesty of infinite progression (...) into the anaesthetic repetitions of the assembly line and the display case" has a particular significance here. There is also a conscious artificiality at play in this work. In the early 1990s, Gursky began to doctor his pictures digitally, largely to eliminate anecdotal detail and accentuate the underlying formal structure. However, unlike most artists working with computers, he still makes colour prints from celluloid negatives, and as a result, his images retain crystalline definition, minuscule grain and a high-gloss sheen. This rigorous adherence to the conventions of documentary photography, that is a flawless technique and a dispassionate treatment of subject matter, was made famous by artists like Bernd and Hilla Becher, Gursky's mentors at the Kunstakademie, D쳌sseldorf. The success of his approach lies in the skillful combination of the distance and purity of the Minimalist aesthetic with the technological sophistication of his digital adjustments that serve to enhance the formal beauty of the work and play with the audience: whilst aware that the image has been manipulated, we cannot know which elements have been changed or removed and instead are compelled to surrender to the seductive 'reality' with which we are presented.

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Andreas Gursky (b. 1955)

Lot 8: Andreas Gursky (b. 1955)

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Description: Andreas Gursky (b. 1955) Chicago Board of Trade signed, titled, dated and numbered 'Chicago Board of Trade '97 1/6 A. Gursky' (on the reverse)color coupler print face-mounted on Plexiglas 73 x 95 1/8 in. (185.4 x 241.6 cm.) Executed in 1997. This work is number one from an edition of six.

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Untitled IX, 1998

Lot 8: Untitled IX, 1998

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Description: Untitled IX, 1998C-print in artist’s wooden frame. 53 1/4 x 89 in. (135.3 x 226 cm).  Signed, titled and dated “Andreas Gursky O.T. IX ‘98” and numbered of six on the reverse. This work is from an edition of six.

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Andreas Gursky (b. 1955)

Lot 8: Andreas Gursky (b. 1955)

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Description: Andreas Gursky (b. 1955) Salerno signed, titled, numbered and dated 'Salerno 1990 1/4 Andreas Gursky' (on the reverse)chromogenic colour-print laminated to Plexiglas in artist frame overall: 67 x 80 7/8in. (170.2 x 205.5cm.)image: 51 x 65¼in. (129.5 x 165.5cm.)Executed in 1990, this work is number one from an edition of four

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ANDREAS GURSKY

Lot 8: ANDREAS GURSKY

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Description: ANDREAS GURSKY B.1955 FRANKFURT C-print mounted on Plexiglas in artist's frame 93 3/4 x 199 1/4 in. 238 x 506 cm. Executed in 2007, this work is number five from an edition of six.

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ANDREAS GURSKY

Lot 9: ANDREAS GURSKY

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Description:

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Andreas Gursky (b. 1955)

Lot 9: Andreas Gursky (b. 1955)

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Description: New York Mercantile Exchange signed 'Andreas Gursky' on a label affixed to the backing board chromagenic print in artist frame 783/4 x 65in. (200 x 165cm.) Executed in 1991, this work is number four from an edition of four. PROVENANCE Johnen & Sch”ttle Gallery, Cologne. LITERATURE Z. Felix (ed.), Andreas Gursky. Fotografien 1984 - 1993, Munich 1994 (another from the edition illustrated in colour, p. 101).

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Lot 9: Andreas Gursky, b. 1955

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Description: salerno 1990 signed, titled, dated 8.3.95 and inscribed A.P on the reverse cibachrome print 34.5 by 44.5cm., 13I by 17Iin. This work is the artist's proof for an edition of 30. Provenance Acquired directly from the artist by the present owner Literature Exhibition Catalogue, Dusseldorf, Kunsthalle, Andreas Gursky, 1998, p. 73, illustration in colour of another example (from the edition of larger-sized works).

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ANDREAS GURSKY

Lot 9: ANDREAS GURSKY

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Description: ANDREAS GURSKY B.1955 RHEIN I signed, titled, dated '96 , and numbered 6/6 on a label affixed to the reverse c-print behind glass in artist's frame 73 x 87 in. 185.4 x 221 cm. Executed in 1996, this work is number six from an edition of six.

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ANDREAS GURSKY

Lot 9: ANDREAS GURSKY

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Description: Ocean IV Signed 'Andreas Gursky' on the reverse of the work and again on a gallery label affixed to the backing board. This work is number 3 from an edition of 6.

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Lot 10: GURSKYAndreas Gursky

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Description: b. 1955 PRADA III signed, titled, dated 98 and numbered 5/6 on the reverse c-print 67 by 118ain. 170.2 by 300.4cm. Provenance Galerie Ghislaine Hussenot, Paris Private Collection, New York Exhibited Bregenz, Kunsthaus Bregenz, Lucinda Devlin, Andreas Gursky, Candida Höfer: Rooms, 1999, pp. 36-37, illustration of another example in color Bonn, Kunstmuseum Bonn; Miami, Museum of Contemporary Art, Grosse Illusionen: Thomas Demand, Andreas Gursky, Edward Ruscha, 1999, p. 64, illustration of another example in color Gursky's Prada series utilizes the spare architectonic structure of a fashion showroom as a tableau vivant. Prada III is a monumental photograph in which a minimalist vitrine of black sweaters, arranged in controlled, grid-like succession, seems to glow with an inner light. The frontal presentation of the architecture, with its simple geometry and subtle, contrasting hues, reads like an iconic object of worship, a secular shrine to consumer culture. There is a decided push-and-pull between the repetition and quantifying of these mundane objects and the forceful marketing and brand recognition that feeds on collective desire. In Prada III, the artist exaggerates and elongates the display of shelves "to emphasize formal elements that enhance the picture...that in real terms of perspective would be impossible to realize". (Andreas Gursky in Lynne Cooke, "Andreas Gursky: Visionary (Per)Versions," Andreas Gursky, Munich, 1998, p. 14) Manipulating the image through digital processing, Gursky highlights the chilling and luscious atmosphere of his compelling subject.

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Andreas Gursky (b. 1955)

Lot 10: Andreas Gursky (b. 1955)

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Description: Gran Canaria signed, titled, numbered and dated 'Gran Canaria, '95, 5/6, A. Gursky' (on the reverse) chromagenic print in artist frame 61 5/8 x 901/2in. (156.5 x 230cm.) Executed in 1995, this work is number five from an edition of six. PROVENANCE Matthew Marks Gallery, New York. LITERATURE U. Grosenick (ed.), Andreas Gursky. Fotografien 1994 - 1998, Ostfildern-Ruit 1998 (another from the edition illustrated in colour, p. 31). NOTES Andreas Gursky's work presents a compelling image of contemporary reality which can seduce or repel us, or perhaps both. Maintaining his habitual objective distance from his subject matter, his photographs do not so much mirror as embody the gorgeous, cold-hearted spectacle of the purgatorial landscapes and architecture of the post-industrial world. Gran Canaria is one such photograph. Ostensibly the scene of a developing coastline in a location familiar to many at least by name as a popular holiday destination, Gursky manages to transform the individual elements of the composition into an almost sublime landscape of form and colour. Yet the immensity of the scale of the work means that the content is still clearly visible, inevitably indicating some kind of social commentary on the scene on the part of the artist. The scale serves to mimic the immensity and impersonality of the world and inevitably draws attention to the absence of a human presence in the work. But, just to confound the viewer further, we cannot tell if this absence is real or digitally manipulated, rendering the artist's intentions uncertain. Yet it is precisely this ambiguity that liberates the viewer from any specific reading of the work and leaves the eye free to roam across it, luxuriating in the precision and detail of its composition.

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 - Andreas Gursky , b.1955 Dubai World II cibachrome print in artist's frame

Lot 10: - Andreas Gursky , b.1955 Dubai World II cibachrome print in artist's frame

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Description: signed on the reverse; signed on a label affixed to the reverse cibachrome print in artist's frame

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Andreas Gursky

Lot 11: Andreas Gursky

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Description: Andreas Gurskyb. 1955O.T. VIsigned, titled, dated 97 and numbered 3/6 on the reversecibachrome print186 by 239 cm.73 1/4 by 94 1/8 in.ProvenanceGalerie Monika Spruth, CologneAcquired directly from the above by the present owner in 1997LiteratureExhibition Catalogue, Wolfsburg, Kunstmuseum; Winterthur, Fotomuseum; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Turin, Castello di Rivoli, Museo d'Arte Contemporanea; Lisbon, Centro Cultural de Belem, Andreas Gursky: Fotografien, 1994-1998, 1998, p. 71, illustration of another example in colourExhibition Catalogue, Dusseldorf, Kunsthalle; London, Serpentine Gallery, Andreas Gursky: Photographs from 1984 to the Present, 1999, p. 113, illustration of another example in colourExhibition Catalogue, Bonn, Kunstmuseum; North Miami, Museum of Contemporary Art, Great Illusions: Demand, Gursky, Ruscha, 1999, p. 42, illustration of another example in colour"Masses of grains of sand, masses of illuminated grid patterns, human masses, architectural masses: we are only really alone in a museum. Not a sound, not a movement in front of Jackson Pollock's monumental work One: Number 31 painted in 1950. The only traces of action are in the painting... Let us remind ourselves of all the things that are not visible on Gursky's... photograph... casually dressed young people carrying rucksacks or large shoulder bags standing in front of the Pollock painting, yet turning to other paintings in the room... [Gursky] places Pollock's horizontal-format painting right in the middle of the photograph, between a strip of ceiling and a strip of carpet. The concealed row of lights above the painting, the same grey colour as the ceiling, blurs the upper end of the wall, which is rendered immaterial by the indirect lighting. It is even less clear where the wall on which the painting is hanging ends and the carpeted floor begins, for under the painting and its narrow shadow the light creates a diffuse area of chiaroscuro. The Pollock painting seems to be floating on a cushion of air... Even if Gursky transports Jackson Pollock's painting into a contemplative sphere, he is not afraid of creating a link between this masterpiece of perfectly formed formlessness and the Prada principle. o.T. VI is a look into the display cabinet: a shrine for an ornament."Annelie Lutgens in Exhibition Catalogue Supplement, Wolfsburg, Kunstmuseum, op. cit., p. XIX

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Lot 11: Andreas Gursky (b. 1955)

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Description: Gursky, A. Atlanta This work is from an edition of six. cibachrome print 73 x 101in. (186 x 256cm.) Executed in 1996. PROVENANCE Monika Sprth Galerie, Cologne LITERATURE R. Durand, "Distance and Emptiness", Art Press, vol. no. 226, July August 1997, p. 20 (illustrated). G. Hilty, Young German Artists 2 at the Saatchi Gallery, London, The Saatchi Gallery 1997, n.p. (illustrated). C. Ratcliff, "The Seeing Game", Art in America, vol. no. 7, July 1998, p. 86 (illustrated). Tema Celeste, vol. no. 69-70, August/September 1998, p. 60 (illustrated). EXHIBITION Madrid, Galeria Javier Lopez, Andreas Gursky, April-May 1997. London, The Saatchi Gallery, Young German Artists 2, September-November 1997 (another print exhibited). Dsseldorf, Kunsthalle, Andreas Gursky-Photographs from 1984 to the Present, August-October 1998, p. 95 (illustrated, another print exhibited). New York, Matthew Marks Gallery, Andreas Gursky, November 1997- January 1998 (another print exhibited). Wolfsburg, Kunstmuseum; Winterthur, Fotomuseum; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Turin, Castello di Rivoli, Museo d'Arte Contemporanea; and Lisbon, Centro Cultural de Belm, Andreas Gursky-Fotografien 1994-1998, May 1998-December 1999, pp. 8-9 (illustrated; another print exhibited). Milwaukee Art Museum; Seattle, Henry Art Gallery; Houston, Contemporary Arts Museum; and Columbus Museum of Art, Andreas Gursky, February 1998-March 1999, no. 5 (illustrated; another print exhibited).

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Klitschko

Lot 11: Klitschko

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Description: Andreas Gursky (b. 1955) Klitschko colour coupler print face mouted on Plexiglas in wooden artist frame 81 7/8 x 103in. (208 x 261.3cm.) Executed in 1999, this work is number four from an edition of six

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 - Andreas Gursky , Monaco Cibachrome, Print

Lot 12: - Andreas Gursky , Monaco Cibachrome, Print

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Description: cibachrome print in artist's frame

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