PostWar & Contemporary Lot 3401 – 3519
AUCTION Thursday, 1 July 2021, 5.00 pm
PREVIEW Thursday, 24 to Monday, 28 June 2021, 10 am – 6 pm Tuesday, 29 June 2021, 10am – 4pm
Silke Stahlschmidt Head of Department Tel. +41 44 445 63 42 [email protected]
Clarisse Doge Tel. +41 44 445 63 46 [email protected]
Teresa Ranft Tel. +41 44 445 63 41 [email protected]
Els Oswald Tel. +41 44 445 63 49 [email protected]
Please note that due to the current situation, personal participation in the auction room is by reservation only. Please contact one of our department heads for more information.
Take advantage of the various ways to bid at our auctions: by telephone, online, or by written bid.
Additional photos: www.kollerauctions.com Due to layout reasons it may be possible that some sheet sizes are not fully illustrated. Please visit the online catalogue for untrimmed illustrations.
The condition of the prints are only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. 3401 SERGE POLIAKOFF (Moscow 1900–1969 Paris) 4 heures et quart - Académie Frochot. 1940. Charcoal and gouache on paper. Signed and dated lower centre: Serge Poliakoff 40. With the blindstamp lower right: S.P. 36 × 54 cm.
With the confirmation of authenticity by the Archives Serge Poliakoff, Paris, 4 March 2014. The work is recorded there under the archive number: 840024.
Provenance: - Studio Serge Poliakoff. - Private collection Switzerland.
Literature: Poliakoff, Alexis: Serge Poliakoff. Catalogue raisonné, Vol. 1 1922-1954, Paris 2004, no. 40-42 (colour ill.)
CHF 8 000 / 12 000 (€ 7 270 / 10 910)
| 3 PostWar & Contemporary
3402 ROBERTO CRIPPA (Monza 1921–1972 Milan) Toro. 1947. Wax and newspaper on wood. Signed, dated and dedicated on the rever- se: Crippa 47 pour Mrs. Annamaria Meyer. Amical Souvenir Roberto Crippa Sarlosco 1963. 30.5 × 32.5 cm.
The authenticity of this work has been confirmed by Dr. Gimmi Stefanini, CEO Galleria Pace, Milano, April 2021. We thank Dr. Stefanini for his kind support.
Provenance: - Sammlung Eric Meyer, France. - Private collection Switzerland.
Exhibition: Mannheim 1965, Roberto Crippa. Städtische Kunsthalle Mannheim, 10 April – 16 May, no. 1 (verso with the label).
CHF 2 000 / 3 000 (€ 1 820 / 2 730)
| 4 3403 MIQUEL BARCELÓ pictorial support itself. He transforms fruits a sensual note on the dark and rough (Felanitx 1957–lives and works a.o. in Paris) of the earth into still lifes with adobe, earth, background. The table indicates a spatial Le vase avec oranges. clay, sand and oil colours. The very process factor. The entire still life is given a dynamic Oil and sand on firm wove paper. of forming, kneading and painting are property through the painted colour and Signed bottom right: BARCELÓ. always perceptible in the final product. the sand, which themselves become a 65 × 49 cm. “Le Vase avec Oranges” shows the con- theme – areas of colour of a crusty, loamy nection of earth and water with Mallorca, character. It is the tactile nature of the Provenance: Private collection Switzerland. his homeland, which are constantly recur- painting material which dominates in the ring themes in his work. work of Miquel Barceló. Miquel Barceló’s pictorial cosmos thrives on a wealth of nuances of aesthetic and The artist directs our gaze to the volu- CHF 15 000 / 20 000 content-related elements, of material minous vase and powerful oranges. The (€ 13 640 / 18 180) and form. Inspired by various cultures, his objects in Barceló’s works often dominate works reflect his own heritage, appearing the entire picture surface. Plasticity is at once eternal and archaic, synthetic and accentuated through the shaded areas. organic. Barceló regularly moulds oranges, The oranges appear to bulge outwards; melons, tomatoes and artichokes from the the strong orange of the fruit takes on
| 5 PostWar & Contemporary
3404 JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. 1958. Ink and gouache on Japan paper. Signed lower right: Fautrier. 15.4 × 17.4 cm.
Provenance: - Galerie Bonnier, Geneva. - Purchased from the above by the present owner, since then private collec- tion Switzerland.
CHF 3 000 / 4 000 (€ 2 730 / 3 640)
3405 JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. 1958. Ink and gouache on Japan paper. Signed lower right: Fautrier. 9.2 × 13.8 cm.
Provenance: - Galerie Bonnier, Geneva. - Purchased from the above by the present owner, since then private collec- tion Switzerland.
CHF 4 000 / 5 000 (€ 3 640 / 4 550)
| 6 3406 WILFRID MOSER (1914 Zürich 1997) Ohne Titel. 1957. Oil on canvas. Signed and dated lower right: MOSER 57, as well as signed and dated on the reverse: MOSER 57. 65 × 81 cm.
Provenance: - Galerie Jeanne Bucher, Paris. - By descent to the present owner, since then private collection Switzerland.
CHF 5 000 / 7 000 (€ 4 550 / 6 360)
| 7 PostWar & Contemporary
3407 ROBERTO MATTA (Santiago de Chile 1911–2002 Civitavecchia) Sueño: un sogno. 1993. Oil on canvas. With the artist‘s signet lower left: Matta. Dated and numbered on the reverse: 1993 93/11. Furthermore with the faded measurements: 150 × 146. 150 × 146 cm.
The authenticity has been confirmed by The restless cosmopolitan, who prematu- nal visions. His fictional, gigantic and form- Ramuntcho Matta, Épaux-Bézu, March rely ended his architectural career in exploding works which sometimes also 2021. We thank Mr. Matta for his kind Le Corbusier‘s Paris office in order to reflect contemporary history, show fanciful support. draw and paint in the circle of the Parisian realms, dream worlds, fears, visions of hell, Surrealists, lived for a long time in New York chaos, extra-terrestrial creatures, utopian With the confirmation of authenticity from before finding a home in Italy in the last flying bodies, comic strips, amorphous the Archives de l‘oeuvre de Matta, Paris, phase of his life. „Art should expand the forms, as well as physics experiments that February 1996. The work is registered in universe instead of shrinking it“, said Matta, tie in with science fiction and computer the archives of the catalogue raisonné and indeed his large-scale and abstract games. But also blood streams, nerve under: 93/11. paintings open up new spaces. tracts, atoms and molecules. To this day, viewers are moved by his oversized and Provenance: After the Second World War, the artist, profound pictures which are represented in - Farsetti arte, Milan, auction 27 May 2017, interested in natural science and obsessed the most important museums worldwide. lot 548. with the universe, delved deeper and - Purchased from the above by the deeper into his own world of art, a world of CHF 50 000 / 70 000 present owner, since then private „cosmic Surrealism“. Cosmic forces seem (€ 45 450 / 63 640) collection Switzerland. to be at work in his art, as does the power of the subconscious. The Chilean artist Roberto Sebastián Antonio Matta Echaurren, who called The spirited and imaginative Matta did not himself simply Matta, was one of the most paint what he saw, but painted what he felt, important painters of the 20th century. resolutely drawing his images from perso-
| 8 „I am interested only in the unknown and I work for my own astonishment.“ Roberto Matta
| 9 PostWar & Contemporary
3408 ROLF ISELI (Bern 1934–lives and works a.o. in Bern) La masse humaine. 1976. Collage. Oil, chalk, sand and feathers on firm paper. Signed and dated twice lower left: Rolf Iseli 76, also titled lower centre and lower left: la masse humaine. 110 × 80 cm.
Provenance: Private collection Switzerland.
Exhibition: Zurich 1978, Rolf Iseli. Kunsthaus Zürich, 23 March - 7 May, cat. no. 127 (b/w ill.).
CHF 6 000 / 8 000 (€ 5 450 / 7 270)
| 10 3409* ROBERTO CRIPPA (Monza 1921–1972 Milan) Spiral. 1954. Oil on canvas. Signed and dated on the reverse: Crippa 54. 70.5 × 55.5 cm.
The authenticity of this work has been Exhibition: Milano 2014, Roberto Crippa. confirmed by Dr. Gimmi Stefanini, CEO Spazio e Materia, Il Cosmo di Crippa. Galleria Pace, Milano, April 2021. We thank Galleria Arte 92, 23 January – 22 March. Dr. Stefanini for his kind support. With the confirmation of authenticity by CHF 7 000 / 9 000 Roberto Crippa Jr. The work is registered (€ 6 360 / 8 180) under the number: ADN M/5/5/07.
Provenance: - Galleria Arte 92, Milano. - Formerly private collection Europe.
| 11 PostWar & Contemporary
3410* JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. Watercolour on blotting paper. Signed lower right: Fautrier. 50 × 64.5 cm.
Provenance: Formerly Galerie Di Meo, Paris.
CHF 7 000 / 9 000 (€ 6 360 / 8 180)
3411 JEAN FAUTRIER (Paris 1898–1964 Châtenay-Malabry) Untitled. 1942. Ink and gouache on Japan paper. Monogrammed and signed lower right: F42. 11.3 × 12.5 cm.
Provenance: Private collection Switzerland.
CHF 4 000 / 5 000 (€ 3 640 / 4 550)
| 12 3412 OLIVIER DEBRÉ (1920 Paris 1999) Bleu pâle de Loire. 1989. Oil on canvas. Signed, dated and titled on the reverse: O. Debré Bleu pâle de Loire 89. 38 × 55 cm.
The authenticity of this work has been His works are classified as colour field confirmed by Ms. Sylvie Debré-Huerre, painting. While they still followed a strict, Paris, 24 March 2021. This work will be formal structure in the 1950s, they beca- included in the forthcoming catalogue me freer in design in the following decade, raisonné. We thank Ms. Debré-Huerre for and then achieved a formal balance in her kind support. terms of composition in the 1970s.
Provenance: Private collection Switzerland. In addition to paintings, he created public artworks, especially in the 1980s. He „For me, making a painting is not at all designed stage curtains for the Comédie about creating an object, but is a kind of Français and the Shangai Opera, to name event that can be translated by an object.“ but two. In the first half of the 1980s, he Olivier Debré accepted an appointment at the École na- tionale supérieure des beaux-arts in Paris. A visit to the 1937 World Fair in Paris where he saw Picasso‘s „Guernica“ opened Olivier Debré‘s eyes to abstract art. After CHF 3 000 / 5 000 attending a few architecture lectures and (€ 2 730 / 4 550) graduating in history from the Sorbonne in 1942, he dedicated himself entirely to abstract painting in 1943.
| 13 PostWar & Contemporary
3413 3414 3415 MARK TOBEY MARK TOBEY MARK TOBEY (Centerville 1890–1976 Basel) (Centerville 1890–1976 Basel) (Centerville 1890–1976 Basel) Untitled. 1964. Untitled. Ca. 1965. Untitled. 1959. Monotyp, reworked by hand, on thin Tempera on paper. Tempera on wove paper. paper, firmly laid down on cardboard. Signed lower left: Tobey. Signed and dated lower right: Tobey 59. Signed and dated lower right: Tobey 64. 16.7 × 12.4 cm. 28.6 × 20.2 cm. 99 × 50.2 cm. Provenance: Formerly Galerie Wazzau, With the confirmation of authenticity by Provenance: Davos (verso with the label). the Committee Mark Tobey, Münster, - Galerie Beyeler, Basel. 26 October 2020. This work is registered - Purchased from the above. CHF 6 000 / 8 000 there under the number: 26/10/20-59.39. - By descent to the present owner, since (€ 5 450 / 7 270) then private collection Switzerland. Provenance: - Private collection USA, 1960s. CHF 9 000 / 14 000 - Private collection Switzerland. (€ 8 180 / 12 730) CHF 15 000 / 25 000 (€ 13 640 / 22 730)
| 14 | 15 PostWar & Contemporary
3416 MARK TOBEY (Centerville 1890–1976 Basel) Composition. 1957. Sumi ink on paper. Signed and dated lower right: Tobey 57. 59 × 87 cm.
Provenance: Through a Chinese student, from 1923 and a hitherto unattained and liberating - Galerie Beyeler, Basel onwards Tobey became acquainted with spontaneity, Tobey leads the gesture (verso with the label). the secrets of East Asian painting and Far into the pictorial space, unconsciously - Purchased from the above by the Eastern spirituality, which informed his cast following his own intuition. What appears present owner, since then private of mind and his artistic work, as did his nu- to be a product of chance is the result of a collection Switzerland. merous journeys to Europe and Asia. The meditatively energetic process. „decisive calligraphic impulse“ however, Exhibitions: Mannheim 1960/61, Mark which led him to the „white script“and ope- „Offhand, I really don’t know how I began Tobey. Städtische Kunsthalle Mannheim, ned up completely new dimensions for his this period - it happened one day, a sug- December - February, cat. no. 35 (verso work, was not felt by Tobey until his journey gestion of a brown-black painting which I with the label). to Asia in 1934. The artist spent an entire felt could be carried on in blacks. How long month in the hermetic world of a Zen I had this Sumi paintings in cold storage or Mark Tobey, a major pioneer of Abstract monastery in Japan, became fully engaged had the delayed-unrealized desire to paint Expressionism, is one of the most respec- in Zen Buddhism and Zen painting, which them I don’t know. It was a kind of fever, ted American artists of the 20th century. centres on meditation, and delved further like the earth in spring or a hurricane. [...] His works are the result of an almost lyrical into Far Eastern calligraphy. I could say I painted the Sumis to experi- combination of Western and Eastern ence a heightened sense of living.“ Mark culture – from Chinese scroll paintings to The present two works were created in an Tobey European Cubism. intermediate period in 1957, the so-called year of the Sumi ink drawings. In addition CHF 8 000 / 12 000 With his conversion to the Bahai faith in to the broad calligraphy, the two works (€ 7 270 / 10 910) 1918, the meditative calligraphic exercises feature decidedly three-dimensional, con- and the pictorial worlds of the Far East trasting layers of light and dark, which oc- were already influencing his compositions. cupy the entire surface. With a vehemence
| 16 3417 MARK TOBEY (Centerville 1890–1976 Basel) Composition. 1957. Sumi ink on paper. Signed and dated lower right: Tobey 57. 59 × 87 cm.
Provenance: - Galerie Beyeler, Basel (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland.
Exhibitions: Mannheim 1960/61, Mark Tobey. Städtische Kunsthalle Mannheim, December - February, cat. no. 34 (verso with the label).
CHF 7 000 / 9 000 (€ 6 360 / 8 180)
| 17 PostWar & Contemporary
With his playfully light, fresh and colourful paintings, Kimber Smith is one of the great American exponents of abstraction, especially of the ‘New York School’. Like many American artists, Smith moved to Paris with his wife in 1954, where he lived and worked for over a decade. For him, Paris meant distancing himself from the autochthonous Abstract Expressionism prevalent in New York and having ac- cess to European painting traditions with ample scope for his personal development. Exposed to the work of Sam Francis, Joan Mitchell, Henri Matisse, Pierre Bonnard and others, Smith developed a distinctly lyrical and expressive style of painting.
While his first paintings with their eruptive expressiveness were still in the shadow of Abstract Expressionism, Smith found his personal geometric system of signs at the beginning of the 1960s with simple symbolic forms such as circles, lozenges, bars, triangles, etc., the iconography of which he derived from the details of everyday experiences. Ever-present in his paintings are the triangles that represent the ears of his cat. His compositions always retain an element of spontaneity and remain recognisable as an expression of the concrete, painterly process. His large paintings from the late 70s with their individual linear forms, pyramids, diamonds and flower-like spots have an almost Fauvist airiness. The generous brushstrokes enable the expression of freedom and light-heartedness, as well as the pain and sadness of his cancer diagnosis. Throughout his life, Kimber Smith was denied recognition by the American art world. His works are to be found primarily in museums and private collections in Europe, France, Belgium and Switzerland.
„Structure interests me. . . it holds things together. I am often called a colorist, which is maybe true, but I couldn’t care less about color: I take two or three tubes, sometimes the fullest ones. . . there it’s green, but it could have been black. . . that red could equally have been black. Color really isn’t important for me.“ Kimber Smith
3418 3419 KIMBER SMITH KIMBER SMITH (Boston 1922–1981 East Hampton) (Boston 1922–1981 East Hampton) Joes world. 1979. Garp. 1979. Acrylic on canvas. Acrylic on canvas. Monogrammed lower centre: KS, as well Monogrammed lower left: KS, as well as as monogrammed, dated and titled on the monogrammed, dated and titled on the overlap: KS 1979 JOE‘S WORLD. overlap: KS 79 GARP. 163 × 51 cm. 163 × 51 cm.
Provenance: Provenance: - Galerie Turske & Turske, Zurich - Galerie Turske & Turske, Zurich (verso with the label). (verso with the label). - Galerie M. Knoedler, Zurich - Purchased from the above by the (verso with the label). present owner, since then private - Purchased from the above by the collection Switzerland. present owner, since then private collection Switzerland. CHF 4 000 / 6 000 (€ 3 640 / 5 450) CHF 4 000 / 6 000 (€ 3 640 / 5 450)
| 18 | 19 PostWar & Contemporary
3420 KIMBER SMITH (Boston 1922–1981 East Hampton) Majus. 1979. Acrylic on canvas. Monogrammed lower left: KS, as well as monogrammed, dated, titled, with directional arrow and measurements on the overlap: KS JUNE 28 1979 MAJUS 64 × 20 inch. 163 × 51 cm.
Provenance: - Galerie Turske & Turske, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland.
CHF 4 000 / 6 000 (€ 3 640 / 5 450)
| 20 3421 KIMBER SMITH (Boston 1922–1981 East Hampton) Harpo. 1979. Acrylic on canvas. Monogrammed lower centre: KS, as well as monogrammed, dated and titled on the overlap: KS 1979 HARPO. 162 × 51 cm.
Provenance: - Galerie Turske & Turske, Zurich (verso with the label). - Galerie M. Knoedler, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland.
CHF 4 000 / 6 000 (€ 3 640 / 5 450)
| 21 PostWar & Contemporary
3422 3423 3424* PAUL JENKINS KAREL APPEL KAREL APPEL (Kansas City 1923–2012 New York) (Amsterdam 1921–2006 Zurich) (Amsterdam 1921–2006 Zurich) Phenomena heaven heaven heaven. 1965. Untitled. 1948. Tête jaune. 1973. Watercolour on firm paper. Gouache on paper, firmly laid on Oil on canvas. Signed lower left: Paul Jenkins, as well as cardboard. Signed lower right: appel, as well as on signed, dated, titled and with location on Signed and dated lower left: K. Appel 48. the reverse: appel. the reverse: Paul Jenkins Phenomena 48 × 32 cm. 46 × 27 cm. Heaven Heaven Heaven New York 1965. 77 × 56 cm. Provenance: Private collection Switzerland. Provenance: - Galerie Nova Spectra, Den Haag. Provenance: CHF 7 000 / 9 000 - Sotheby‘s Amsterdam, auction - Arthur Tooth & Sons, London (€ 6 360 / 8 180) 6 December 2000, lot 309. (verso with the label). - Private collection Belgium. - Art Gallery, Geneva (verso with the label). - Christie‘s Amsterdam, auction - Private collection Switzerland. 4 November 2015, lot 237. - Purchased from the above by the CHF 3 500 / 4 500 present owner. (€ 3 180 / 4 090) CHF 20 000 / 30 000 (€ 18 180 / 27 270)
| 22 | 23 PostWar & Contemporary
3425 ARMANDO (HERMAN DIRK VAN DODEWEERD) (Amsterdam 1929 – 2018 Potsdam) Gefechtsfeld. 1986. Oil and sand on canvas. Signed, dated and titled on the stretcher: ARMANDO GEFECHTSFELD 7-8-86. 165 × 225 cm.
Provenance: - Galerie Turske & Turske, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland.
CHF 6 000 / 8 000 (€ 5 450 / 7 270)
| 24 3426* JEAN DUBUFFET Exhibitions: (Le Havre 1901–1985 Paris) - Paris 1975/76, San Lazzaro et ses Amis. Paysage. 1974. Musée d’Art Moderne de la Ville de Paris, Collage. Colour pencils and felt-tip pen on 19 November – 11 January. thin cardboard. - London 1987, Jean Dubuffet. Works on Monogrammed and dated lower left: Paper 1974-85. Waddington Galleries, J.D.74. 30 September – 24 October, no. 8 34.5 × 34.5 cm. (colour ill.).
Provenance: Literature: M. Loreau (ed.): Catalogue des - Estate of the artist. Travaux de Jean Dubuffet. Fascicule XXIX. - Waddington Galleries, London Crayonnages, Récits, Conjectures, Paris, (verso with the label) 1979, no. 110 (b/w ill.). - Private Collection, Switzerland. - Christie‘s, Amsterdam, auction CHF 18 000 / 24 000 4 November 2015, lot 147 (verso with (€ 16 360 / 21 820) the label).
| 25 PostWar & Contemporary
3427 ARMANDO (HERMAN DIRK VAN DODEWEERD) (Amsterdam 1929 – 2018 Potsdam) Fahne. 1980/81. Oil and sand on canvas. Signed, dated and titled on the stretcher: ARMANDO FAHNE 1980-81. 226 × 175 cm.
Provenance: poet, sculptor, musician, theatre and film Where black and white collide, grey- - Galerie Turske & Turske, Zurich maker. He gradually discovered a passion looking clouds often form, as if there were (verso with the label). for drawing, painting and writing. From a struggle for supremacy in the painting - Purchased from the above by the 1979, the artist lived in Berlin, his second triggered by the expressive application of present owner, since then private home, creating large-format paintings with paint. The artist has deliberately painted collection Switzerland. meaningful titles in black and white and the present works without colour, thereby soon achieved his international breakt- lending them a pervasive visual power. By Exhibition: Berlin 1984, Armando. Fahnen. hrough as a painter. adding sand to the upper layers, he also Nationalgalerie Berlin, 13 January - obtains a dramatic effect. 26 February, no. 5 (colour ill.) The cumulative experiences of death, (verso with the label). suffering and pain, of good and evil, guilt The flag is already a symbol in itself. Its and innocence, as well as the confronta- threatening nature, historical significance Armando was born Herman Dirk von tion with the horrors of the Second World and the triumph and defeat with which it Dodeweerd in Amsterdam in 1929. The War run like a continuous thread through is associated, prompt the artist to use the multi-talented artist was one of the most Armando’s award-winning artistic and lite- much-torn and frayed black flag flapping important Dutch artists within contem- rary oeuvre, which depicts the tragedy of against a white background as a motif in porary art. Armando spent his youth in man in all its facets. „I suddenly had a great his series of works. Amersfoort, where he experienced the interest in the perpetrators out of too National Socialists and the concentration much sympathy for the victims,“ Armando CHF 8 000 / 16 000 camp at close quarters. Although Arman- later recalled. „I had found my subject.“ (€ 7 270 / 14 550) do studied art history and philosophy at The two abstracted and starkly contras- the University of Amsterdam from 1949 ting works on offer from the „Flags“ and to 1954, he was self-taught when it came „Battlefield“ series hark back to Armando‘s to learning the basics as a painter, writer, youth.
| 26 | 27 PostWar & Contemporary
3428 3429 MATIAS SPESCHA THEODOROS STAMOS (Trun 1925–2008 Zurich) (New York 1922–1997 Ioannina) Untitled. 1966. Infinity Field, Lefkada Series. 1980. Oil on canvas. Acrylic on canvas. Signed and dated (illegible) lower right: Titled, dated, signed and with the Spescha 66. measurements on the overlap: 55 × 45.5 cm. INFINITY FIELD LEFKADA SERIES 1980 STAMOS 50 × 60 inch. Provenance: 152 × 127 cm. - Germann, Zurich, auction 17 May 2010, lot 122. Provenance: - Purchased from the above by the - Turske Fine Art, Zurich (verso with the present owner, since then private label). collection Switzerland. - Galerie M. Knoedler, Zurich (verso with the label). CHF 3 000 / 5 000 - Purchased from the above by the (€ 2 730 / 4 550) present owner, since then private collection Switzerland.
CHF 30 000 / 40 000 (€ 27 270 / 36 360)
| 28 The American artist Theodoros Stamos who was of Greek parentage, was the youngest of the first generation of Abstract Expressionists. His deep Hellenic sensibilities, his strong identification with ancient myths and the classical philosophy of ancient Greece, as well as his affinity with nature had a lasting influence on his expressive colour field painting, which is characterised by large-scale homogeneously filled areas of colour.
Stamos developed a multifaceted formal language in his œuvre, which culminated in his mature work of the 1980s. In his very early works, the artist visualised his love of the sea and the underwater world with biomorphic forms. Around 1954 he began to work predominantly in series, which became increasingly dominated by expanses of colour. His „Sun Boxes“ of the 1960s, with sharp-edged geometric basic structures and balanced, striking colour inserts evoke the brightness of Attic light and the serenity of the Greek coast.
With their undefined forms and dynamic lines, his „Infinity Fields“ of the Lefkada Series seem less austere. The Greek island of Lefkada, where Stamos spent a large part of his time from 1970 onwards, is an elementary source of inspirati- on for the naming and choice of colour of the present works. PostWar & Contemporary
3430 SERGE POLIAKOFF (Moscow 1900–1969 Paris) Composition abstraite. 1962. Oil on canvas. Monogrammed lower right: S.P., also signed twice on the reverse: Serge Poliakoff. 41 × 33 cm.
This work is registered in the Archives At first Serge Poliakoff would vary the placed the cell-like colour planes next Serge Poliakoff, Paris, under the archive academic traditions, preferring represen- to each other. Agile and energised, the number: 962096. We thank Mr. Poliakoff tational motifs - houses, trees, depictions dynamic forms in his paintings are carefully for his kind support. of figures. Long after completing his stu- interlocked in the centre of the composi- dies at the Académie Frochot, he painted tion. Provenance: the present work on paper, „4 heures et - Galleria des Naviglio, Venice. quart“, in 1940. Perhaps as a reminder of As in the work offered here, „Composition - Galerie Ariel, Paris. the intensive painting lessons he took at Abstraite“, the white plane can be read - Galerie St. Léger, Geneva the Paris school. A colourful homage to his as a stabilising element which lends the - Drouot, Paris, auction 28 March 1983, first years in France. painting its central gravity. Stepping a little p. 45. closer to the painting, a multitude of diffe- - Sotheby‘s, London, auction Serge Poliakoff‘s first abstract painting rent tones can be discerned in the colours 27 June 1985, p. 507. was created in 1938 and exhibited at within a colour plane. The colour nuances - Galerie Koller, Zurich, auction the Paris gallery Le Niveau. From then overlap from deep dark blue to bright light 29 November 1985, lot 5160. on, abstraction became more and more blue. To achieve this, Poliakoff mixed pure - Purchased from the above by the prevalent, until the artist turned away from pigments, which he prepared himself with present owner, since then private collec- figurative painting altogether. By the end a binding agent. To obtain a somewhat tion Switzerland. of the 1940s, Serge Poliakoff had found his granular surface, he also mixed grains of unmistakable style: sand into the colours. While in the 1940s Exhibition: Venice 1969, Serge Poliakoff. the colour palette of his works was domi- Naviglio Venezia, 30 August – September Interlocking components combine to nated by grey and brown tones, Poliakoff (with ill.). form an often intensely coloured struc- began to use brighter colours in the 1950s. ture. Blue, red, yellow, black, white, green In his mature late work there are also some Literature: Poliakoff, Alexis: Serge Poliakoff. - asymmetrical planes of luminous primary almost monochrome compositions. As in Catalogue Raisonné, Volume III, 1959 – colours congregate close together and the painting presented here from 1962, 1962, no. 62-67 (with ill. p. 309). seem loosely and randomly, almost orga- the artist succeeded in imparting a strong nically, drawn to one another. His com- inner luminosity in his works, confronting After an adventurous arrival in Paris, positions have the appearance of having the viewer with a clear compositional Moscow-born Serge Poliakoff began his been created without a strict preliminary certainty, great artistic experience and studies in painting. From 1929 he was design, yet Serge Poliakoff worked with a mastery of the different pigments. enrolled at the Académie Frochot and the very clear, recognisable framework of basic Académie de la Grande Chaumière in Paris. lines and axes on which his canvases were CHF 50 000 / 80 000 In 1935 he went to London for two years structured. Extending from the corners or (€ 45 450 / 72 730) and attended first the Chelsea School the middle of the lateral edges, the forms of Art, and then the Slade School of Art, meet in the centre of the picture support. before settling in Paris. On these axes he loosely and intuitively
| 30 „How strange it is, both in life and in art: man looks far away, while, what he is looking for, is right next to him.“ Serge Poliakoff
| 31 PostWar & Contemporary
3431 3432 3433 THEODOROS STAMOS THEODOROS STAMOS ROBERTO CRIPPA (New York 1922–1997 Ioannina) (New York 1922–1997 Ioannina) (Monza 1921–1972 Milan) Infinity Field, Lefkada Series, #3. 1974. Infinity Field, Lefkada Series. For Caspar Untitled. 1972. Acrylic on paper. David Friedrich, #9. 1981. Collage. Oil and cork on paper on wood. Signed and dated lower left: Acrylic on paper. Signed and dated on the reverse: STAMOS 1974, as well as signed, dated, Signed, dated, titled and numbered on the R. Crippa 72. titled and numbered on the reverse: reverse: STAMOS 1981 „I.F.L. Series, For 92 × 73 cm. STAMOS 1974 „I.F.L. SERIES“ #3. 119K. Caspar David Friedrich“ #9. 125K. With a greek stamp. 77 × 57 cm. Provenance: Private collection Switzerland. 77 × 57 cm. Provenance: Literature: Stefanini, Gimmi/Crippa Jr., Provenance: - Galerie M. Knoedler, Zurich Roberto: Catalogo Generale delle Opere di - Galerie M. Knoedler, Zurich (verso with the label). Roberto Crippa, Milano 2007, Vol. 2, (verso with the label). - Purchased from the above by the no. 921. - Purchased from the above by the present owner, since then private present owner, since then private collection Switzerland. CHF 4 000 / 5 000 collection Switzerland. (€ 3 640 / 4 550) CHF 2 000 / 3 000 CHF 3 000 / 4 000 (€ 1 820 / 2 730) (€ 2 730 / 3 640)
| 32 | 33 PostWar & Contemporary
3434 SOL LEWITT (Hartford 1928–2007 New York) Floating Cube. 1987. Gouache on paper. Signed and dated lower right: S. Lewitt 87. 38 × 56 cm.
Provenance: interior decoration. In the 1960s, LeWitt - Private collection Sweden. developed his own characteristic style with - Sotheby‘s, London, auction a minimalist reduction to colour, form and 25 March 1993, lot 365. structure, putting the idea, or rather the - Private collection Europe. concept, before execution. - Sotheby‘s, London, auction 12 April 2017, lot 21. Sol LeWitt explained his increasing use of - Purchased from the above by the the cube which he employed as the basic present owner, since then private building block for his works, as follows: collection Switzerland. „The most interesting characteristic of the cube is that it is relatively uninteresting. There has been scarcely any other artist Compared to any other three–dimensional who has left his imprint on the develop- form, the cube lacks any aggressive force, ment of American art like Sol LeWitt, one implies no motion, and is least emotive. of the most important pioneers of Mini- Therefore, it is the best form to use as a malism and Conceptual art. The numerous basic unit for any more elaborate function, variations on cubes and the large-format the grammatical device from which the murals brought world-wide renown to the work may proceed.“ son of Jewish immigrants from Russia. CHF 8 000 / 14 000 The artist began his career as a draughts- (€ 7 270 / 12 730) man and graphic artist, initially focusing on the design of strictly geometric forms for
| 34 | 35 PostWar & Contemporary
3435 3436 3437 THEODOROS STAMOS THEODOROS STAMOS THEODOROS STAMOS (New York 1922–1997 Ioannina) (New York 1922–1997 Ioannina) (New York 1922–1997 Ioannina) Infinity Field, Lefkada Series for Infinity Field, Lefkada Series, Infinity Field. Lefkada Series. No. 12. 1981. C.D. Friedrich II. 1980/81. C.D. Friedrich, #3. 1981. Acrylic on canvas. Acrylic on paper. Acrylic on paper. Signed, dated and titled on the overlap: Signed, titled, dedicated with location and Signed, titled, dedicated and numbered STAMOS, INFINITY FIELD, LEFKADA number on the reverse: STAMOS „I.F.L.S., on the reverse: STAMOS 1981 „INFINITY SERIES #12 1981, also with MOIROPO.I., FOR C.D. FRIEDRICH.“ FIELD, LEFKADA SERIES“ For C.D. FRIED- directional arrow. A80.1#II. 128K. With a greek stamp. RICH, #3. 126K. With a greek stamp. 183 × 152.7 cm. 77 × 57 cm. 77 × 57 cm. Provenance: Provenance: Provenance: - Galerie Turske & Turske, Zurich - Galerie M. Knoedler Zurich - Galerie M. Knoedler, Zurich (verso with (verso with the label). (verso with the label). the label). - Purchased from the above by the - Purchased from the above by the - Purchased from the above by the present owner, since then private present owner, since then private present owner, since then private collection Switzerland. collection Switzerland. collection Switzerland. CHF 25 000 / 35 000 CHF 3 000 / 4 000 CHF 2 000 / 3 000 (€ 22 730 / 31 820) (€ 2 730 / 3 640) (€ 1 820 / 2 730)
| 36 „There is a strong and conscious relationship between my work and nature which finally manifests itself in an impersonal expression“. Theodoros Stamos
| 37 PostWar & Contemporary
3438* ROY LICHTENSTEIN (1923 New York 1997) Untitled. 1979. Oil on canvas. Signed, dedicated, as well as with location and date on the reverse: for Nana & Novarro with love. Southhampton 1979. Roy L. 31.5 × 42.5 cm.
This work will be included in the ped by Ben Day, the printing technique as a counterpart to works such as „Crying forthcoming catalogue raisonné by the was used in the 50s and 60s mainly in the Girl“ or „Nurse“, which with their use of Roy Lichtenstein Foundation. comic industry to produce shades and dots and stripes are absolutely captivating. secondary colours (e.g. green, purple, Provenance: orange, flesh tones) at low cost using dots On the reverse is a dedication by the artist - Nana und Eddy Novarro collection. printed in primary colours (cyan, magenta, to the photographer Eddy Novarro and his - Dr. Gerhard Cromme. yellow, black). Depending on the desired wife Renate, called Nana. - Formerly private collection Germany. effect, colour, or optical illusion, small Novarro photographed countless pro- coloured dots are arranged at different di- minent painters from 1950–70, including Exhibitions: stances or overlapping. Lichtenstein used Picasso, Miró, Giacometti, Chagall, Rothko - Münster 2011, Who is Who: Eddy this stylistic device like no other; it became and Fontana. As a token of gratitude for Novarro und die Avantgarde der 50er bis his personal trademark and can be found in his intimate portraits of the artists, he 70er Jahre. Picasso Museum, almost all his works. received drawings and fleeting sketches, 9 July - 9 October, no. 62, p. 146/147 but also paintings and objects. In this way, (colour ill.). This painting, however, given its technique, a unique collection was formed, ranging - Schwerin 2015, Kaleidoskop der Moder- does not have much in common with from Classical Modernism to Abstract ne: Chagall, Miró, Picasso und die Avant- those instantly recognisable compositions. Expressionism and Pop Art. Coming from garde. Staatliches Museum, 10 July - It was painted in Southampton in 1979 and this extraordinary collection and with its di- 18 October, p. 172 (colour ill.). counts as one of the artist‘s late works. stinctive technique, this work has a special Ten years earlier, Lichtenstein had bought significance within Lichtenstein‘s œuvre as The colours yellow, red, blue and black, like a property with a studio outside New York, a whole. a constant motif, literally permeate Roy where he worked in relative seclusion. With Lichtenstein‘s œuvre. The Pop Art artist a two–dimensional, impasto style in the CHF 80 000 / 120 000 achieved his breakthrough in the 1960s four primary colours on a comparably small (€ 72 730 / 109 090) primarily through his colourful, sumptuous canvas (31.5 × 42.5 cm), he created an prints strewn with benday dots. Develo- altogether singular geometric abstraction
| 38 | 39 PostWar & Contemporary
3439* BERNARD AUBERTIN (Fontenay-aux-Roses 1934–2015 Reutlingen) Sillage. 2014. Acrylic on canvas. Signed, dated, titled and with measurements: SILLAGE 41 × 33 cm 2014 Bernard Aubertin. 41 × 33 cm.
Provenance: - Galerie Heinz Holtmann, Cologne. - Purchased from the above by the present owner.
CHF 3 000 / 5 000 (€ 2 730 / 4 550)
3440* BERNARD AUBERTIN (Fontenay-aux-Roses 1934–2015 Reutlingen) Tombouctou. 2014. Acrylic on canvas. Signed, dated, titled and with measurements on the reverse: TOMBOUCTOU 2014 40 × 30 Bernard Aubertin. 40 × 30 cm.
Provenance: - Galerie Heinz Holtmann, Cologne. - Purchased from the above by the present owner.
Exhibition: Cologne 2015, Bernard Aubertin. Von ZERO bis heute. Galerie Heinz Holtmann, 10 May – 17 June, p. 16 (colour ill.).
CHF 3 000 / 5 000 (€ 2 730 / 4 550)
| 40 3441* PIERO DORAZIO Provenance: (Rome 1927–2005 Perugia) - Babuino Casa d‘Aste Rom, auction Interccio IV. 2005. January 2020, lot 846. Oil on canvas. - Purchased from the above by the Signed, dated and titled on the reverse: present owner, since then private PIERO DORAZIO MMV „INTERCCIO“ IV. collection Germany. With the studio stamp and number: STUDIO PIERO DORAZIO 6140. CHF 4 000 / 6 000 34.5 × 25 cm. (€ 3 640 / 5 450)
With the confirmation by the Studio Piero Dorazio. The work is registered there under the number: 6140.
| 41 PostWar & Contemporary
3442 CÉSAR (CÉSAR BALDACCHINI) (Marseille 1921–1998 Paris) Compression. 1970. Molten lead on a painted grid. Signed and dated lower right in the lead: César 1970. 88 × 59 cm.
With the confirmation of authenticity by the Archives Denyse Durand-Ruel, Rueil-Malmaison. The work is registered there under the number: 7978. The work will be included in the forthcoming „catalogue raisonné de l’oeuvre de l’artiste“.
Provenance: - Private collection France. - Private collection Switzerland.
CHF 7 000 / 9 000 (€ 6 360 / 8 180)
| 42 3443 ALICIA PENALBA (Buenos Aires 1913–1982 Paris) Alda II. 1963-70. Bronze. With the incised signature and number on the backside: APenalba 1/4, also with the foundry stamp: Valsuani. 62 × 120 × 37 cm. Condition issues.
Provenance: - Galerie d‘art moderne, Basel. - Purchased from the above in 1971 by the present owner, since then private collection Switzerland.
Literature: Torres, Maria (ed.): Penalba Alicia. Sculptor, Mexico 2016, no. 35b (with ill.).
CHF 10 000 / 15 000 (€ 9 090 / 13 640)
| 43 PostWar & Contemporary
3444 ARMAN (ARMAND PIERRE FERNANDEZ) (Nice 1928–2005 New York) Untitled. 2002. Sliced double bass and bow, traces of colours and colours on canvas. Unique. Signed on the underside of the canvas: arman. 180 × 120 × 12 cm.
With the confirmation of authenticity by the artist, 14 November 2002. This work is registered in the Archives Denyse Durand-Ruel, Rueil-Malmaison, under the number: 10512.
Provenance: - Dante Vecchiato Art Gallery, Padova. - Private Collection Switzerland.
CHF 12 000 / 18 000 (€ 10 910 / 16 360)
| 44 3445* long crack on the back of the door. The ALFRED HOFKUNST collector asked the artist if it was possible (Vienna 1942 - 2004 Cudrefin) to close the crack. However, the crack was Tür. 1971/74. so massive that it would not have been Pencil, pen and tempera on Formica plate. possible to carry out a perfect restoration Signed and dated upper centre: of the white and smooth surface without Hofkunst 71, as well as signed, dated and leaving a trace. inscribed on the reverse: Hofkunst 74 nochmals. Alfred Hofkunst decided to take his art- 200 × 125 cm. work back into the studio and to transform it. On the front he created a new crack, Provenance: which he embellished with a pencil. On - Collection Robert Rademacher, Cologne. the back he added to the damage with an - Galerie Krugier, Geneva. artificial and physical hole in the Formica - Private collection Belgium. surface. He added, as on the front three years earlier, a trompe-l’oeil leaf, which is The artwork “Tür” (Door) by this Swiss also signed: “Hofkunst 74 nochmals”. artist Alfred Hofkunst has a crack across its surface – is this unintended damage or The artist Alfred Hofkunst made the da- a trompe-l‘oeil conceived by the artist? mage into an enhancement. The originally damaged work has regained its value, Both is true in a way. entirely as conceived by the artist.
The work was produced in 1971 by the CHF 7 000 / 9 000 artist Alfred Hofkunst. He signed his work (€ 6 360 / 8 180) on the front, in the image of the painted sketch: Hofkunst 71. Three years later the artwork was unfortunately damaged by the owner of the time, resulting in a
| 45 PostWar & Contemporary
3446 3447 3448* CÉSAR (CÉSAR BALDACCHINI) CÉSAR (CÉSAR BALDACCHINI) VICTOR VASARELY (Marseille 1921–1998 Paris) (Marseille 1921–1998 Paris) (Pecs 1906–1997 Paris) Portrait de Compression (Seringues). Portrait de Compression (Gauloises). Tridim Har. 1980/92. Compression of syringes and pencil on Compression of Gauloises boxes and Acrylic on canvas. paper on wood. pencil on paper on wood. Signed lower centre: Vasarely, as well as Signed lower right: César. Signed lower right: César. signed, dated, titled and numbered on the 60 × 50 × 5 cm. 50 × 40 × 4.5 cm. reverse: (1394) VASARELY „Tridim Har“ In plexiglass frame. In plexiglass frame. 1980 Vasarely 226/93. 94 × 42 cm. With the confirmation of authenticity by With the confirmation of authenticity by the Archives Denyse Durand-Ruel, Paris, the Archives Denyse Durand-Ruel, Paris, With the confirmation of authenticity by April 2021. This work is registered there April 2021. This work is registered there Pierre Vasarely, President of the Fondation under the number: 7043. under the number: 7068. Vasarely, universal legatee and the moral We thank Mme. Durand-Ruel for her kind We thank Mme. Durand-Ruel for her kind right holder of Victor Vasarely, March 2021. support. support. We thank M. Vasarely for his kind support. This work will be included in the forthco- CHF 10 000 / 15 000 CHF 10 000 / 15 000 ming Catalogue Raisonné de l’Oeuvre (€ 9 090 / 13 640) (€ 9 090 / 13 640) Peint de Victor Vasarely, which is currently being compiled by the Fondation Vasarely, Aix-en-Provence.
Provenance: - Dobiaschofsky Auktionen, auction 2011, lot 1030 (verso with the label). - Private collection Switzerland.
CHF 20 000 / 30 000 (€ 18 180 / 27 270)
| 46 | 47 PostWar & Contemporary
3449 ALFRED HOFKUNST (Vienna 1942–2004 Cudrefin) Untitled. 1981. Acrylic and colour pen on paper on canvas. 240 × 170 cm.
The authenticity of this work has been confirmed by Mrs. Sabine Hofkunst, Cudrefin, May 2021. We thank Mrs. Hofkunst for her kind support.
Provenance: - Artist‘s studio. - Private collection Switzerland.
CHF 5 000 / 7 000 (€ 4 550 / 6 360)
| 48 | 49 PostWar & Contemporary
3450 ALFRED HOFKUNST (Vienna 1942–2004 Cudrefin) Untitled. 1981. Acrylic and colour pen on paper on canvas. 240 × 170 cm.
The authenticity of this work has been confirmed by Mrs. Sabine Hofkunst, Cudrefin, May 2021. We thank Mrs. Hofkunst for her kind support.
Provenance: - Artist‘s studio. - Private collection Switzerland.
CHF 5 000 / 7 000 (€ 4 550 / 6 360)
| 50 3451 ALFRED HOFKUNST (Vienna 1942–2004 Cudrefin) Kani Kolotoclu. 1981. Acrylic and colour pen on paper on canvas. 240 × 169,8 cm.
The authenticity of this work has been confirmed by Mrs. Sabine Hofkunst, Cudrefin, May 2021. We thank Mrs. Hofkunst for her kind support.
Provenance: - Artist‘s studio. - Private collection Switzerland.
CHF 5 000 / 7 000 (€ 4 550 / 6 360)
| 51 PostWar & Contemporary
3452 ALIGHIERO BOETTI (Turin 1940–1994 Rome) Aerei. 1984. Biro on paper on canvas (triptych). Signed, dated and inscribed on the reverse of the centre panel: Alighiero Boetti 1984 3 fogli inseparabili. 70 × 150 cm (each panel 70 × 50 cm).
With the confirmation of authenticity by cartoonist Guido Fuga produced a triptych painted the aeroplanes or even part of the the Archivio Alighiero Boetti, of aeroplanes strewn against a blue back- background. At the same time, of course, 11 March 2021. This work is registered ground. Having always been fascinated by he was questioning the relationship bet- there under the number: 9760. aeroplanes, Boetti took up this idea and ween artist and authorship. employed it in his series „Aerei“. Provenance: The opposition of order and chaos plays - Galerie Susan Wyss, Zurich. Countless aeroplanes of different ages, a major role in Boetti’s work and is skilfully - Purchased from the above by the pre- sizes and types are scattered crisscross implemented in the „Aerei“. Against the sent owner, since then private collection over the deep blue sky. They fly in different calm, structured background he has Switzerland. directions, some out of the picture, some placed the jumble of aeroplanes. While towards the viewer. A picture puzzle of the background is accurately and evenly „... I would like to have an assistant draw a aviation history. painted, there do not seem to be any thousand planes on a sheet with a back- specifications for the aircraft. The viewer ground bluer than the sky of the nativity The individual aeroplanes are to be found is faced with the challenge of finding their scene. They would be precisely executed, in all works of this series, but the colour of way around the picture and so is immersed drawn from all perspectives and angles, the background, the painting technique, in the cosmos created by Boetti. evoking desire. It must be an explosion!“ the size, and the person making the work Alighiero Boetti always differ. CHF 200 000 / 300 000 Boetti believed in the concept of shared (€ 181 820 / 272 730) In 1977, in a collaborative project, the artist creativity and so it were often his assis- Alighiero Boetti and the architect and tants, but also untrained participants, who
| 52 Ausklapper
| 53 PostWar & Contemporary
3453* 3454* BEN (VAUTIER) KEITH HARING (Napels 1935–lives and works in Nice) (Reading 1958–1990 New York) Art is unlimited. 2010. Subway Drawing. 1980s. Acrylic on canvas. Charcoal on black paper. Signed and dated lower right: Ben 010, as 105 × 70 cm. well as numbered on the reverse: N‘6555. 30 × 100 cm. Provenance: - Collection Chandler Wade, USA. With the confirmation of authenticity by - Collection Great Britain. the artist, Nice, 9 November 2010. CHF 20 000 / 30 000 Provenance: (€ 18 180 / 27 270) - Artist‘s studio. - Purchased directly from the artist by the current owner, since then private collec- tion Switzerland.
CHF 3 000 / 4 000 (€ 2 730 / 3 640)
“I kept seeing more and more of these black spaces, and I drew on them whenever I saw one. Because they were so fragile, people left them alone and respected them; they didn’t rub them out or try to mess them up. It gave them this other power. It was this chalk-white fragile thing in the middle of all this power and tension and violence that the subway was. People were completely enthralled.”
Keith Haring
| 54
PostWar & Contemporary
Andy Warhol – Children Paintings (Installation view) 3.12.83 -10.3.84 at Galerie Bruno Bischofberger, Utoquai 29, 8008 Zurich Photo Credit: Galerie Bruno Bischofberger, Männedorf-Zurich
3455* ANDY WARHOL (Pittsburgh 1928–1987 New York) Terrier (from: Toys series). 1983. Synthetic polymer and screenprint on canvas. Signed and dated on the overlap: Andy Warhol 83. Also numbered on the stretcher: 5. 35.5 × 28 cm.
Andy Warhol revolutionised art with his the most banal everyday objects into diately took to the idea suggested by his Pop Art and is undoubtedly one of the sought-after artworks. At the beginning gallerist Bruno Bischofberger of creating most influential artists of the 20th century. of the 1960s, this virtuoso artistic genius an exhibition especially for children. After a nervous breakdown at the age discovered silkscreen printing, a technique of eight, Warhol remained bedridden for that enabled him to create series of works The „Terrier“ at play in the offered painting several weeks and discovered a passion for and to work at a furious pace. With his is part of the „Toys Series“ of 128 works comics, films, drawing and handicrafts. Factory, founded in 1962, which became with monkeys, parrots, clowns and robots. the epitome of the world of art, music and Warhol found inspiration for the small- After studying pictorial design and gradu- glamour, the annual production of his pain- format works in his private collection of ating with a degree in painting and design, tings increased in leaps and bounds. wind-up tin toys. The cute terrier capti- in 1950 he moved to New York, where he vates with its eager playfulness and takes discovered modern consumer society with „It must have been Walt Disney. I cut out the viewer on a journey into the realm of its many temptations, dark sides, celebri- Walt Disney Dolls. It was actually Snow children’s play. ties, headlines and tragedies. Fascinated White that influenced me“, Warhol said by this world, Warhol soon rose to become in answer to the question of which artist CHF 50 000 / 70 000 the city‘s most successful commercial influenced him first. Since his artistic work (€ 45 450 / 63 640) artist. Yet he wanted more. He wanted to had always been guided by the ethos of become an artist and quickly transformed play, it is hardly surprising that he imme-
| 56 | 57 PostWar & Contemporary
3456* 3457* 3458 ANDY WARHOL ANDY WARHOL ANDY WARHOL (Pittsburgh 1928–1987 New York) (Pittsburgh 1928–1987 New York) (Pittsburgh 1928–1987 New York) Holly Leaves and Berries. 1958. Still life flowers. 1952. Brown Sam. Ca. 1954. Ink and ink wash on paper. Ink and ink wash on paper. Watercolour and offset on paper. With the stamps on the reverse: Estate of With the stamps on the reverse: Estate of Signed lower left: Andy Warhol, as well as Andy Warhol and Andy Warhol Foundation Andy Warhol and Andy Warhol Foundation titled centre right: sam. With the stamp for the Visual Art, furthermore with the for the Visual Art, furthermore with the and reference number on the reverse: number: 324.014. number: 314.012 and XA-12-34. Andy Warhol Authentification Board 37.8 × 28.7 cm. 35.5 × 27.5 cm. A152.0510. 22.7 × 14.6 cm. Provenance: Formerly Susan Sheehan Provenance: Formerly Susan Sheehan Gallery, New York (verso with the label). Gallery, New York (verso with the label). CHF 5 000 / 7 000 (€ 4 550 / 6 360) CHF 4 000 / 6 000 CHF 5 000 / 7 000 (€ 3 640 / 5 450) (€ 4 550 / 6 360)
| 58
PostWar & Contemporary
3459 FRANCESCO CLEMENTE (Naples 1952–lives and works a.o. in New York) A narrow path. 1981. Pastel on wove paper. Signed, dated and titled on the reverse: Francesco Clemente ‚a narrow path‘, 1981. 60 × 45.6 cm.
The authenticity of this work has been confirmed by Ms. Mary Boone, New York, April 2021. We thank Ms. Boone for her kind support.
Provenance: - Artist‘s studio. - Purchased directly from the artist by the present owner, since then private collection Switzerland.
CHF 2 000 / 3 000 (€ 1 820 / 2 730)
3460* JAN FABRE (Antwerp 1958 – lives and works in Antwerp) A walnut with extension. 2005. Watercolour, pencil and colour pencil on photo paper. Signed lower left: Jan Fabre, also dated lower right: 2005. 12.5 × 17.5 cm.
Provenance: - Artist‘s studio. - Private collection Belgium.
CHF 3 000 / 5 000 (€ 2 730 / 4 550)
3461* MR. BRAINWASH (THIERRY GUETTA) (Garges-lès Gonesse 1966) Mickey Mouse. 2020. Acrylic, stencil, spray paint and colour screenprint on paper. Signed at the right margin: Mr. Brainwash, as well as signed, dated, with fingerprint and number on the reverse: 2020 Mr. Brainwash N° X94518944A, as well as numbered lower right: 9520043. 76.7 × 56.8 cm.
Provenance: - Artist‘s studio. - Purchased from the above by the present owner.
CHF 7 000 / 9 000 (€ 6 360 / 8 180)
| 60
PostWar & Contemporary
3462* ALFRED KORNBERGER (1933 Vienna 2002) Stehender Teilakt. 1991. Ballpoint pen on paper. Signed and dated lower right: Kornberger 91. 23.5 × 18.5 cm (visible size).
This work will be included in the forthcoming catalogue raisonné of the works on paper and will be registered there under number: AK1991118.
Provenance: Private collection Europe.
CHF 1 400 / 1 800 (€ 1 270 / 1 640)
3463* TOM WESSELMANN (Cincinnati/Ohio 1931–2004 New York) Drawing for Sunset Nude. 2002. Ballpoint pen on transparent paper. Signed and dated upper right: Wesselmann 02 as well as numbered lower left: D0273. 6.7 × 8 cm.
CHF 5 000 / 7 000 (€ 4 550 / 6 360)
| 62 3464* MEL RAMOS (Sacramento 1935–2018 Oakland) Drawing lesson. 1990. Pencil on paper. Signed and dated lower right: Mel Ramos 90. 57 × 58.5 cm.
CHF 20 000 / 30 000 (€ 18 180 / 27 270)
| 63 PostWar & Contemporary
3465 TOM WESSELMANN (Cincinnati/Ohio 1931–2004 New York) Pastel-Nude on the beach. Ca. 1965. Pastel and graphite on paper. Signed and dated lower right: Wesselmann ca. 65, as well as signed, dated and numbered on the reverse: Wesselmann ca. 65. D6533 #359. 19.7 × 23.2 cm.
Provenance: 60s proved to be a resounding success, usually placed his nude models in elaborate - Sidney Janis Gallery, New York henceforth becoming his trademark and interiors, for instance in front of gathered (acquired directly from the artist). used by him in various permutations for curtains or overflowing fruit bowls. - Private collection since 1997. years. „I like to think that my work is about - Sotheby‘s, New York, auction all kinds of pleasures.“ With this appa- In the present work, the lady seems to 15 May 2013, lot 258. rently innocuous sentence, Wesselmann be looking directly into the viewer‘s face. - Purchased from the above by the indicated that his nude paintings reflect Apart from that, Wesselmann presents present owner, since then private the pleasure usually sought in the erotic his model as flat and cool, without face or collection Switzerland. motif of the female nude. By deliberately identity, depriving her of any individuality, mixing mass media clichés with genres and nor allowing her to tell her story. The only Exhibitions: New York 2010, Tom Wessel- motifs from the artistic pictorial tradition, feature to break through this coolness is mann: Paintings, Steel Drawings, Works and using techniques of the avant-garde, the red smiling mouth with gleaming white on Paper, Maquettes. David Janis Gallery, Wesselmann broke with old conventions of perfectly aligned teeth, which can be found March - May. erotic representation. again and again in Tom Wesselmann’s works from 1961 onwards. Tom Wesselmann repeatedly drew on the In contrast to Henri Matisse, who inspi- images, commodities and desires of Ame- red him, and who used subtly nuanced „For many years, drawing, especially from rican everyday culture in his œuvre. He eroticism, Wesselmann consciously made the nude, was a desperate attempt to cap- created his first cartoons out of boredom it sexually provocative. He staged his ture something significant of the beauty of while serving on the home front during the figures - first his wife Claire, and from the the woman I was confronted with. It was al- Korean War. Later, small-format abstract early 1980s his assistant Monica Serra - as ways frustrating because the beauty of the collages followed, reflecting the influences objects of lust, their nipples and genitals woman is so elusive.“ Tom Wesselmann of Henri Matisse and Willem de Kooning. highlighted by bikini tan lines, reducing them to mere surfaces onto which ideas CHF 50 000 / 70 000 The motif of the „Great American Nudes“ are projected. Since Wesselmann’s aes- (€ 45 450 / 63 640) developed by Wesselmann in the early thetic gaze always took precedence, he
| 64 | 65 PostWar & Contemporary
3466* JOHN CHAMBERLAIN (Rochester 1927–2011 New York) Heidi (A Birthday Card). 1991. Chrome, steel and lacquer. Titled in the center right: Heidi. 81.2 × 28 × 15.2 cm.
Heidi Connor was Chamberlain‘s Business and Studio Manager (1980-1990).
Provenance: Formerly collection Heidi Connor (Birthday present from the artist 1991-2015).
CHF 90 000 / 140 000 (€ 81 820 / 127 270)
„I am more interested in seeing what the material tells me, than in imposing my will on it.“ John Chamberlain
| 66 3467* JOHN CHAMBERLAIN (Rochester 1927–2011 New York) Untitled (Happy Birthday Love The Coconuts). 1991. Chrome, steel and lacquer. With the incised title: HAPPY BIRTHDAY LOVE THE COCONUTS. 81.2 × 28 × 15.2 cm.
Provenance: Formerly collection Heidi Connor (Birthday present from the artist 1991-2015).
CHF 90 000 / 140 000 (€ 81 820 / 127 270)
The US sculptor John Chamberlain is one of the most important pioneers of Pop Art and because his metal sculptures are rooted in Nouveau Réalisme and Abstract Expressionism, he can be seen as one of the central figures of American post-war art.
Raised in Chicago, John Chamberlain worked as a barber on an American Navy aircraft carrier during World War II. The three years spent on these massive metal ships influenced the budding artist‘s perceptions and interests. He attended the Art Institute of Chicago for two years from 1950, and in 1955 he studied for a short time at the renowned Black Mountain College.
In the late 1950s, he created his first collages and reliefs - an accumulation of individual parts put together - parts without an inner connection, but with a certain aesthetic appeal of their own. In the beginning he used flat materials such as painted or unpainted pieces of paper or cardboard, aluminium foil and various textiles, but before long small metal sheets also appeared in his collages (cf. Schwarz, Dieter. John Chamberlain, Paper Paradisio. Drawings, Collages, Reliefs, Paintings. Kunstmuseum Winterthur 2005, p. 14).
„I wasn‘t interested in cars per se, I was interested in either the colour or the shape or the amount - just the sheet metal. It already had a coat of paint on it. And some of it was formed.“ (John Chamberlain). As the artist stated, what mattered to him was not the origin of the material, but the pictorial effect of a reused material, in a new form. In contrast to artworks as assemblages or ready-mades, Cham- berlain defined his works as autonomous sculptures that are no longer associated with the original objects - mostly sheet metal from automobiles. His „recycled“ sculptures are understood in the moment, as a new appropriation, the result of his artistic expression.
The two works on offer from 1991 are good examples of Chamberlain‘s mature artistic expression: shinily painted, vibrant birthday greetings adorn the colourful horizontal cards, with metal bands in ceremonial folds, like ribbons tied on a gift. A cheerful painting made of rather crude steel. Despite the turbulence of the heavy material itself and the production technique, Chamberlain manages to convey a sense of individual strength, which in this case also achieves an almost ironic effect. Two works that wonderfully reflect Chamberlain‘s personality and excellent craft.
| 67 PostWar & Contemporary
3468* FRANK STELLA (Malden 1936–lives and works in New York) Guifa e la Berreta Rossa. 1985. Wall relief. Oil, urethan, enamel, fluorescent alkyd and acrylic on canvas. 330 × 406 × 78.7 cm.
Provenance: and also I wouldn‘t ask anyone to do that in ration were Pablo Picasso and El Lissitzky, - Artist‘s studio. front of my paintings. To go further, I would who were already working with reliefs in the - Leo Castelli Gallery, New York. like to prohibit them from doing that in first half of the 20th century. - Greenberg Gallery, St. Louis. front of my painting. That‘s why I make the - Private collection. paintings the way they are, more or less.“ The early wall reliefs of „Exotic Birds“ are Frank Stella still very close to his Minimal Art works. Exhibition: Over time, however, he moved more and - New York 1986, Frank Stella: New Work, Since the 1950s, the American artist Frank more towards three-dimensional, and, in Pillars and Cones Series. The Greenberg Stella has been one of the leading and terms of painting, he turned increasingly Gallery, 9 November 1985 – 4 January. most innovative exponents of Abstract towards Abstract Expressionism. - Washington 1986, Direction 1986. Expressionism. The Hirshhorn Museum & Sculpture The present work „Giufa e la Berretta Garden, 6 February – 30 March, no. 35. His „Stripe“ paintings of the 1960s were Rossa“ belongs to the series of „Cones and - St. Louis 1986. Steinberg Gallery of Art. prominent examples of Minimal Art, but Pillars“ from the mid-1980s. Starting from - Albuquerque 1989, Painting in Three soon revealed Stella‘s love of experimen- an expressively painted canvas, individual Dimensions. Albuquerque Museum, tation, as he quickly departed from the elements made of aluminium of different 22 January – 18 March, no. 47. classical canvas format and worked with sizes, shapes and designs are placed over - New York 1995, Frank Stella. Vreg „Shaped Canvases“. and next to each other. In addition to the Baghoomian Gallery, New York, classically painted canvas, Stella uses 9 September – 7 October. This exploration of the relationship different techniques for the individual - St. Louis 1995, In Relief. Greenberg Van between painting and sculpture would panels, which when put together create an Doren Gallery, St. Louis, become the overriding theme in Frank impressive harmony and energy. The artist 1 September – 1 December. Stella‘s œuvre from the 1970s onwards. masterfully plays with the painterly design - New York 2014, Stella Oustanding. He left behind two-dimensional painting of the surfaces. This monumental work Artemus, 19 September – 31 October. and turned his attention to the wall relief. exerts its maximum effect at a distance, He used this to analyse his position within when the interplay of the individual ele- „One could stand in front of any Abstract- painting and to attain a different, deeper ments reveals its full impact. Expressionist work for a long time, and approach. Although with this new medi- walk back and forth, and inspect the um a sculptural aspect entered his works, CHF 300 000 / 500 000 depths of the pigment and the inflection for Stella it was always about painting, (€ 272 730 / 454 550) and all the painterly brushwork for hours. in-depth analysis, and the possible further But I wouldn‘t particularly want to do that developments. His role models and inspi-
| 68 | 69 PostWar & Contemporary
3469 SAM FRANCIS (San Mateo 1923–1994 Santa Monica) Untitled. 1964. Acrylic on paper. Signed on the reverse: Sam Francis. 10.3 × 13.9 cm.
Provenance: Formerly Galerie Wazzau, Davos (verso with the label).
CHF 6 000 / 8 000 (€ 5 450 / 7 270)
Painted in the last months of his life, Sam Francis‘ present work is part of the „Last Works“ series, all of which reflect a fierce demonstra- tion of his artistic will to create and are characterised by the artist‘s typically masterful use of colour.
In 1994 Francis went through an involuntary creative break. His cancer caused paralysis of his right hand and confined him to a wheelchair for several months. Since he had been in the habit of painting with both hands, he initially found it very unpleasant to only use his left hand. During this time, when his illness took hold, the artist produced around 170 paintings on canvas and paper, 152 of which are preserved today („The Last Works“). Each of them is accorded a special significance in the artist‘s late work, with an individual date of completion on the reverse.
The present work gives no hint of Francis‘ physical and psychological weakness, yet in his usual manner it allows us to participate in a visual drama of primal power. Against an almost snow-white background, opulent overlapping lines of oceanic blue are laid out, cont- rasting with energetic splashes of deep red that take over the entire composition. Francis‘ work embodies contrast in two respects: the two primary colours used here, red and blue, are engaged in a conflict between order and disorder, structure and chaos. For while the blue lines embody structure and unity on the canvas, the confused reds create an unruly spectacle on the surface of the work.
With the present work, Sam Francis created one of the last pre-eminent arrangements of colour and form that seem to fight against the white surface like the artist against his incurable disease, leaving his mark on the canvas with unmistakable vibrancy.
| 70 3470* SAM FRANCIS (San Mateo 1923–1994 Santa Monica) Exhibitions: Literature: Untitled. 1994. - Los Angeles 1995, Sam Francis: The Last - Burchett-Lere, Debra, ed. Sam Francis: Acrylic on canvas. Works. Los Angeles County Museum of Catalogue Raisonné of Canvas and Panel With the estate stamp on the reverse: Art, 25 May – 1 September Paintings, 1923–1994, Berkeley 2011; The Sam Francis Estate, as well as with (with colour ill.). cat. no. 1756, DVD I (colour ill.). the archive number (twice) on the overlap: - Basel 1997, The Complete Paintings - Exh. cat.: Agee, William C.: Sam Francis. SFP94-80, and the inscribed date by the (152) from the Last Studio of Sam Paintings 1947–1990, Museum of studio‘s assistant: 7-25-94. Francis. Galleri Faurschou 11 – 18 June Contemporary Art Los Angeles, 1999, 35.6 × 45.8 cm. (Art Basel) (with colour ill.). no. 51 (ill.). - Copenhagen 1999, Sam Francis: The - Exh. cat.: Sam Francis, Museo d’Arte Provenance: Last Works. Galleri Faurschou, Mendrisio, 1997, pp. 20–21 (ill.) - Estate of the Artist, California (1994). 18 March – 5 June (with colour ill.) and exh. brochure (ill.). - Galleri Faurschou, Copenhagen (1996). - Oslo 2005, Sam Francis-de siste arbeider. - Exh. cat.: Sam Francis. Les années parisi- - Kaare Berntsen Collection, Oslo. Kaare Berntsen Galleri, 12 – 27 February ennes 1950–1961, Galerie nationale du - Hollis Taggart, New York (with colour ill.). Jeu de Paume, Paris 1995, p. 39 (ill.). (verso with the label). - Galerie von Vertes, Zurich CHF 30 000 / 40 000 (verso with the label). (€ 27 270 / 36 360)
| 71 PostWar & Contemporary
3471* KEITH SONNIER (Mamou 1941–2020 Southhampton) Frankfurt Dyad III. 1989. Light installation. Neon, glass, mirror and aluminium. 205 × 203 × 16 cm.
Provenance: Large installations such as „Ba-o-Ba - Galerie St. Gilles, Zurich. Berlin“ at the Neue Nationalgalerie or the - Private collection Germany. „Lightway“ at Munich Airport demonstrate to great effect how these works encom- Keith Sonnier was together with Dan pass an entire space, whether outside Flavin, James Turrell and Richard Serra or inside, and provide passers-by with a one of the founders of „New Sculpture“ unique experience, often without being in the 1960s. The conventional concept aware of it. of sculpture was expanded to include process-based elements using industrial Sonnier uses his art to interpret society and ephemeral materials. and culture, and with his installations he seeks to reveal stimuli or new aspects From early on, Sonnier became interested within culture, and to endow the viewer in neon light and used it for his installati- with an appreciation of the world. ons. Of course, the neon tubes themsel- ves form part of the compositions, but CHF 12 000 / 18 000 the light and its effect on the space also (€ 10 910 / 16 360) belong to the sculpture. The classic sculp- ture plinth is replaced by the wall and floor on which the works are either installed, or referred to by the light.
| 72 | 73 PostWar & Contemporary
3472* DAMIEN HIRST (Bristol 1965–lives and works in Devon) Circle Spin Painting. 2009. Acrylic on firm paper. Handsigned, as well as with the stamped signature on the reverse: Damien Hirst, also with the stamp: This painting was made by ... to celebrate the opening of Damien Hirst Requiem at the PinchuckArt- Centre on April 25-26th 2009 ©Damien Hirst. Furthermore with the blindstamp: HIRST. Diameter 52 cm.
Provenance: Formerly Workshop PinchuckArtCentre, Kiew, 2009.
CHF 18 000 / 24 000 (€ 16 360 / 21 820)
| 74 3473 DAMIEN HIRST (Bristol 1965–lives and works in Devon) Heart Spin Painting. 2009. Acrylic on firm paper. Handsigned and with the signature stamp on the rever- se: Damien Hirst, as well as with the stamp: This painting was made by ... to celebrate the opening of Damien Hirst Requiem at the PinchuckArtCentre on April 25-26th 2009 ©Damien Hirst. Furthermore with the blindstamp: HIRST. 51 × 51.5 cm.
Provenance: - Workshop PinchuckArtCentre, Kiew, 2009. - Private collection Switzerland.
CHF 20 000 / 30 000 (€ 18 180 / 27 270)
| 75 PostWar & Contemporary
3474* DAMIEN HIRST (Bristol 1965–lives and works in Devon) Shark Spin Painting. 2009. Acrylic on firm paper. With the stamped signature on the reverse: Damien Hirst, also with the stamp: This painting was made by ... to celebrate the opening of Damien Hirst Requiem at the PinchuckArtCentre on April 25-26th 2009 ©Damien Hirst. Furhtermore with the blindstamp: HIRST. 49 × 66 cm.
Provenance: Formerly Workshop PinchuckArtCentre, Kiew, 2009.
CHF 3 000 / 4 000 (€ 2 730 / 3 640)
3475* DAMIEN HIRST (Bristol 1965–lives and works in Devon) Heart Spin Painting. 2009. Acrylic on firm paper. With the stamped signature on the reverse: Damien Hirst, also with the stamp: This painting was made by ... to celebrate the opening of Damien Hirst Requiem at the PinchuckArtCentre on April 25-26th 2009 ©Damien Hirst. Furthermore with the blindstamp: HIRST. 51 × 51 cm.
Provenance: Formerly Workshop PinchuckArtCentre, Kiew, 2009.
CHF 3 000 / 4 000 (€ 2 730 / 3 640)
| 76 3476 DAMIEN HIRST (Bristol 1965–lives and works in Devon) Butterfly Spin Painting. 2009. Acrylic on firm paper. Signed on the reverse: Damien Hirst, also with the stamp: This painting was made by ... to celebrate the opening of Damien Hirst Requiem at the PinchuckArtCentre on April 25-26th 2009 ©Damien Hirst. Furthermore with the blindstamp: HIRST. 54 × 68 cm.
Provenance: Formerly Workshop PinchuckArtCentre, Kiew, 2009.
CHF 15 000 / 20 000 (€ 13 640 / 18 180)
| 77 PostWar & Contemporary
3477 ELVIRA BACH (Neuenhain 1951–lives and works in Berlin) Ohne Titel. 1998. Acrylic on canvas. 7-parts. Signed, dated and numbered on the reverse of the seventh canvas: Bach 1998 1-7. Each 30 × 24 cm.
The authenticity of this work has been confirmed by the artist, April 2021. We thank Ms. Bach for her kind support.
CHF 10 000 / 15 000 (€ 9 090 / 13 640)
| 78 | 79 PostWar & Contemporary
3478* JOHANNES BRUS (Gelsenkirchen 1942 - lives and works in Essen) Junge mit Nashorn (2-parts). 1984. Plaster and pigments. Height 110 cm.
Provenance: - Artist‘s studio. - Private collection Belgium.
Literature: Friese, Peter/Gallwitz, Klaus/ Winter, Peter: Johannes Brus. From: Kunst der Gegenwart aus Niedersachsen, no. 47, Hannover 1998, p. 67, cat. no. 41 (colour ill.).
CHF 5 000 / 7 000 (€ 4 550 / 6 360)
3479* JOHANNES BRUS (Gelsenkirchen 1942 - lives and works in Essen) Junge mit Adler (2-parts). 1984. Plaster and pigments. Height 97 cm.
Provenance: - Artist‘s studio. - Private collection Belgium.
Literature: Friese, Peter/Gallwitz, Klaus/ Winter, Peter: Johannes Brus. From: Kunst der Gegenwart aus Niedersachsen, no. 47, Hannover 1998, p. 66, cat. no. 40 (colour ill.).
CHF 5 000 / 7 000 (€ 4 550 / 6 360)
| 80 3480 KARL KORAB Provenance: - Galerie Jan Krugier, Geneva (Falkenstein 1936 – lives and works (verso with the label). in Vienna) - Purchased from the above by the Jack in the box. 1972. present owner, since then private Oil on canvas. collection Switzerland. Signed and dated lower right: Korab 72, as well as signed and dated on the stretcher: Literature: Aigner, Carl: Karl Korab - Malerei K. KORAB 1972, and titled on the canvas: aus Leidenschaft. Eine Werkmonographie, „JACK IN THE BOX“. Weitra 2017, no. 58. 135 × 100 cm. CHF 20 000 / 30 000 The authenticity of this work has been (€ 18 180 / 27 270) confirmed by the artist, Krems, February 2021. We thank Prof. Korab for his kind support.
| 81 PostWar & Contemporary
3481* CHRISTOPHER WINTER (Kent 1968 – lives and works a.o. in Berlin) Night Blindness. 2008. Acrylic on canvas. Signed, dated, titled and with the refe- rence number on the reverse: Christopher Winter 2008 „Night Blindness“ Ref CW20087. 111 × 110 cm.
Provenance: - Artist‘s studio. - Purchased from the present owner directly from the artist, since then private collection Germany.
Exhibition: New York 2008, Christopher Winter. Big small works. Edelman Arts.
CHF 4 000 / 6 000 (€ 3 640 / 5 450)
3482* CHRISTOPHER WINTER (Kent 1968 – lives and works a.o. in Berlin) Uppers and Downers. 2009. Acrylic on canvas. Signed, titled and with the reference number on the reverse: Christopher Winter Ref. CW200924 „Uppers and Downers“. 76 × 100 cm.
Provenance: - Artist‘s studio. - Purchased from the present owner directly from the artist, since then private collection Germany.
Exhibition: Cologne 2009, Christopher Winter. Lehr Zeitgenössische Kunst.
CHF 4 000 / 6 000 (€ 3 640 / 5 450)
| 82 3483 SALOME (WOLFGANG LUDWIG CIHLARZ) (Karlsruhe 1954–lives and works in Berlin) We. 1983. Oil and gouache on canvas. Signed, dated and titled lower right: Salome We 83. 183.5 × 274 cm.
Provenance: - Galerie Bischofberger, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland.
CHF 8 000 / 14 000 (€ 7 270 / 12 730)
| 83 PostWar & Contemporary
3484* 3485* MARKUS LÜPERTZ GEORG BASELITZ - Private collection, Munich. (Reichenberg 1941–lives and works (Deutschbaselitz 1938–lives and works - Christie‘s, London, auction n Düsseldorf) in Salzburg) 18 October 1990, lot 410. Eule Athen. 2015. Falke. 1972. - Galerie Werner, Cologne. Bronze, painted. Ink and watercolour on a double-sided - Purchased from the above by the With the stamped monogram, number printed booksheet from the 19th century. present owner, since then private and the foundry stamp on the back of the Monogrammed, dated and titled lower collection Belgium. plinth: M. E.A. SCHMÄKE DÜSSELDORF. centre: „Falke“ 72 G.B. Height 38 cm. 58 × 43.7 cm. CHF 12 000 / 18 000 (€ 10 910 / 16 360) CHF 15 000 / 20 000 Provenance: (€ 13 640 / 18 180) - Galerie Heiner Friedrich, Munich.
| 84
PostWar & Contemporary
3486* JAN FABRE (Antwerp 1958 – lives and works in Antwerp) Adsum qui feci (Hier ben ik, ik ben de schuldige) (I, here before you, am the guilty party). 2016. Beetle wings on canvas. 164 × 220 cm.
Provenance: casings. In addition to these sculptu- mental points of his artistic practice: hu- - Artist‘s studio. ral works, he also produces numerous man life and metamorphosis, both natural - Private collection Belgium. drawings with ballpoint pens, for which not and artificial. The scarabs covering the only paper, but also objects and architec- canvas and the clock they depict symbo- Born in Antwerp in 1958, Jan Fabre is one ture serve as a surface. lise, in the Italian and Flemish pictorial lan- of the most innovative and diverse artistic guage of the „Vanitas“, the transition from personalities on the international contem- Fabre‘s ability to work successfully in the earthly dimension to eternal life. The porary art scene. different genres in parallel, and to connect dogs, in turn, symbolise loyalty, devotion them with each other, lends his creative and even submission. The motifs of fidelity Known for his drawings in ballpoint pen and output the character almost of a total and loyalty as well as vanity and transience his elaborate sculptures, he has made a work of art. Central themes in Fabre‘s work run through his visual and theatrical work, name for himself over the past 40 years, are the human body, its development and through which the artist perceptively not only as a visual artist, but also as a transience, the study and reinterpretation describes his view of the transience of choreographer, director, author and stage of ancient art, the aesthetics and horrors earthly life. designer. He uses and experiments with a of medieval history, and the mythology of wide variety of media. human perception. The meticulously arranged iridescent beetle casings absorb the light and, de- The Belgian first caused a stir in the 1970s The present works illustrate Fabre‘s diver- pending on the incidence of light and the with his Action Art, when, for example, sity, as well as his engagement with various perspective of the viewer, reproduce it in a he burned banknotes and resurrected sciences, and the recurring link between dazzling palette of green, blue and orange: them in form of ash drawings. A few years fact-based theory and practice. None an organic mosaic emerges. On the use of later, Fabre began to work intensively in of this is surprising, since the artist was beetles in his artistic practice, Fabre exp- sculpture. In this he was inspired by the trained as a botanist. lains: „I use resilient materials that appear Flemish Old Masters, but also by Ensor and fragile. The colour of these beetle casings Magritte. The body and its anatomy have For „Adsum qui feci“ (2016), as in all his will never fade because the outer memb- been a constant theme for him ever since. most significant works, Fabre employs rane contains chitin, one of the strongest For some sculptural works, he reverts to a technique which makes a formidable and lightest natural materials on earth.“ purely traditional materials such as marble impression: the work, created through a and bronze, while other works are made of meticulous selection and installation of CHF 100 000 / 150 000 silicone or covered with iridescent beetle thousands of beetles, charts the funda- (€ 90 910 / 136 360)
| 86 Ausklapper
| 87 PostWar & Contemporary
3487* JAN FABRE (Antwerp 1958 – lives and works in Antwerp) En Grieske Tragedie. 1981. Polyester and acrylic. Edition 2/2. Turtle: 16 × 36 × 19 cm. Tomato: 8.5 × 7 cm.
Provenance: - Artist‘s studio. - Private collection Belgium.
CHF 9 000 / 12 000 (€ 8 180 / 10 910)
3488* MARKUS LÜPERTZ (Reichenberg 1941–lives and works in Düsseldorf) Neptun. 2015. Bronze, painted. With the stamped monogram, numbered and the foundry stamp on the back of the plinth: M. 1/45 SCHMÄKE DÜSSELDORF. Height 43 cm.
CHF 15 000 / 20 000 (€ 13 640 / 18 180)
| 88 3489* STEPHAN BALKENHOL (Fritzlar 1957 - lives and works in Karlsruhe) Laocoön. 2016. Bronze, patinated and painted. On the underside with the incised signature, dating and numbering: St. Balkenhol 2016-20/24-. 35 × 56 × 35.2 cm.
Provenance: of pathos, pain, suffering, joy and desire. black trousers. Although depicting the - Artist‘s studio. The seemingly inconspicuous and unmis- priest and his two sons in a death struggle - Private collection Belgium. takable sculptures and reliefs tell nothing, against two serpents, in which the three reveal nothing of themselves, remain men lose their lives, Balkenhol shows the Literature: Galerie Löhrl, Mönchenglad- strangely absent, elusive, enigmatic and three figures without clear emotions, see- bach: Stephan Balkenhol. Werkverzeichnis fictitious. They are ordinary and yet unique, mingly staring into the void, and imposes der Bronze-Editionen 1992-2019. they leave their mark on public space, and no particular characteristics on them. Mönchengladbach 2019, no. 43 (colour ill.). are admired in important exhibitions in Stephan Balkenhol has the courage to museums. Balkenhol sees the special in reinvent figuration as a subject of contem- German art professor Stephan Balkenhol the ordinary and represents more norma- porary sculpture. is one of the most important and popular lity with his work than any other contem- sculptors in contemporary art. His often porary artist. CHF 8 000 / 12 000 roughly crafted and pithy male and female (€ 7 270 / 10 910) figures or animals, which the artist hews In the bronze sculpture „Laocoön“ presen- with a chisel from mighty logs, or makes ted here, the artist depicts his favourite from bronze and paints in colour, are free iconic figure, the man in a white shirt and
| 89 PostWar & Contemporary
3490* STEPHAN BALKENHOL (Fritzlar 1957 - lives and works in Karlsruhe) Kopfrelief Frau. 2017. Wooden relief, painted. Signed and dated on the reverse: Stephan Balkenhol 2017. 41.8 × 35.9 × 4.5 cm.
Provenance: - Artist‘s studio. - Private collection Belgium.
CHF 9 000 / 14 000 (€ 8 180 / 12 730)
„My sculptures do not tell stories. Something mysterious is hidden in them. It is not my task to reveal it, but the viewer‘s to discover it.“ Stephan Balkenhol
| 90 | 91 PostWar & Contemporary
3491* 3492* ZENG JIANYONG ZENG JIANYONG (Chenghai 1971 – lives and works in Beijing (Chenghai 1971 – lives and works in Beijing and Shenzhen) and Shenzhen) The Header No. 68. 2008. The Header No. 54. 2007. Ink and watercolour on handmade paper Ink and watercolour on handmade paper on wood. on wood. Signed and dated in Chinese lower left: Signed and dated in Chinese lower right: Zeng Jianyong 2008. Zeng Jianyong 2007. 90 × 53 cm. 72 × 144 cm.
With the confirmation of authenticity by With the confirmation of authenticity by Heather James Fine Art, New York, Heather James Fine Art, New York, 26 September 2017. 26 September 2017.
Provenance: Provenance: - Heather James Fine Art, New York - Heather James Fine Art, New York (verso with the label). (verso with the label). - Private collection. - Private collection.
CHF 5 000 / 7 000 CHF 7 000 / 10 000 (€ 4 550 / 6 360) (€ 6 360 / 9 090)
| 92 „I appreciate the weaknesses of human nature such as irrationality and fragility.“ Zeng Jianyong
Born in Chenghai in 1971, Zeng Jianyong is a famous contemporary Chinese artist working in ink.
In 1994, he graduated from Huaqiao University with a major in Chinese painting and went on to study printmaking at the Central College of Fine Arts in Beijing. His brilliant works in ink have attracted keen interest from renowned galleries in China and the United States, as well as on the international auction market. Zeng Jianyong’s unique style is the result of a variety of schools and influences - a sophisti- cated fusion of Eastern and Western art movements - from traditional Chinese painting, oil painting and printmaking, to contemporary colour painting, creative experiences with picture books, multimedia, and three-dimensional animation amongst other things, as well as his intuitive perception.
As his son grew up, Zeng Jianyong’s childhood memories were awakened, and he addressed them in his iconic work „The Header“. In the present work, the artist skilfully and subtly captures the precious fragility of life in an innocent, fearful, and sorrowful-looking boy, who, with his disproportionately large head and silver-grey, watery and searching eyes, elicits concern and helplessness in the viewer. The title „Header“ is given to the highest-achieving children in schools in China. They are often put under great pressure by their parents to win this award. Although a „Header“ enjoys a certain amount of prestige, this does not guarantee happiness. A „Header“ may be envied, but is often met with rejection, ridicule and bullying from his classmates. Zeng Jianyong brilliantly presents the tensions and discomfort of his protagonist’s inner world with bloodshot stains and tears suggesting physical abuse.
| 93 PostWar & Contemporary
3493* 3494* ZENG JIANYONG ZENG JIANYONG (Chenghai 1971 – lives and works in Beijing (Chenghai 1971 – lives and works in Beijing and Shenzhen) and Shenzhen) The Header No. 67. 2007. The Header No. 74. 2008. Ink and watercolour on handmade paper Ink and watercolour on handmade paper on wood. on wood. Signed and dated in Chinese lower left: Signed and dated in Chinese lower right: Zeng Jianyong 2007. Zeng Jianyong 2008. 90 × 73 cm. 90 × 73 cm.
With the confirmation of authenticity by With the confirmation of authenticity by Heather James Fine Art, New York, Heather James Fine Art, New York, 26 September 2017. 26 September 2017.
Provenance: Provenance: - Heather James Fine Art, New York - Heather James Fine Art, New York (verso with the label). (verso with the label). - Private collection. - Private collection.
CHF 5 000 / 7 000 CHF 5 000 / 7 000 (€ 4 550 / 6 360) (€ 4 550 / 6 360)
| 94 3495* ALBRECHT SCHNIDER (Luzern 1958 - lives and works in Hilterfingen) Untitled. 1996. Oil on canvas. 260 × 332 cm.
The authenticity of this work has been of a line of young men all striding clearly confirmed by Ms. Brigitte von towards the left. The five men with blank Niederhäusern, Studio Albrecht Schnider, stares seem oppressive in their anonymi- Hilterfingen, April 2021. We thank Ms. von ty, and with the progressive fading of the Niederhäusern for her kind support. paint, they are in danger of disappearing completely. According to Schnider, the Provenance: figures are neither friends nor brothers; - Artist‘s studio. rather, the artist depicts the same person - Private collection Belgium. in the five phases of a sequence of move- ments. With Albrecht Schnider, loneliness, The distinguished Swiss artist Albrecht perceptible as the prevailing mood, is taken Schnider produced the present painting in literally: one encounters oneself. Brussels in 1996, a work underpinned by drawing, and striking for the clarity of its „I am constantly looking at the picture. And composition, as the highpoint and culmi- I look for the moment when the picture nation of his large-format figure paintings. looks at me.“ Albrecht Schnider Inspired by Ferdinand Hodler‘s Eurhythmie from 1895, Schnider emphasises time CHF 30 000 / 40 000 and temporality through the arrangement (€ 27 270 / 36 360)
| 95 PostWar & Contemporary
3496 CÉSAR (CÉSAR BALDACCHINI) (Marseille 1921–1998 Paris) Centaure. 1985. Ballpoint- and felt-tip pen on glossy paper. Signed, dedicated, titled and with lower right: César, Dessin original pour Caro 1985 Ice. 31.9 × 45.1 cm.
With the confirmation of authenticity by the Archives Denyse Durand-Ruel, Paris, January 2021. This work is recorded there under the number: 5916. We thank Mme. Durand-Ruel for her kind support.
Provenance: - Galerie Michelle Champetier, Nice (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland.
CHF 2 000 / 3 000 (€ 1 820 / 2 730)
3497 SILVIA BÄCHLI (Baden 1956–lives and works in Basel) Fabrik.1983. Ink on paper (centrefold). Monogrammed and dated on the reverse: S.B. `83. 29.7 × 42 cm.
„Each of my drawings must retain something unfinished, a possibility for the viewer to join in, slip in, continue spinning.“ Silvia Bächli
The authenticity of this work has been confirmed by the artist, Basel, April 2021. We thank Ms. Bächli for her kind support.
Provenance: Private collection Switzerland.
CHF 2 000 / 3 000 (€ 1 820 / 2 730)
| 96 3498 3499 NOT VITAL NOT VITAL (Sent 1948 - lives and works in (Sent 1948 - lives and works in Lower Engadine) Lower Engadine) Untitled. 1984. Flock. 1983. Oil on paper. Oil on paper. Signed and dated lower centre: Signed, dated and titled lower centre: Not Vital `84. Flock Not Vital `83. 43.2 × 35.6 cm. 43.2 × 35.6 cm.
The authenticity of this work has been The authenticity of this work has been confirmed by the Not Vital Studio, Sent, confirmed by the Not Vital Studio, Sent, March 2021. We thank Mr. Daniele Agostini March 2021. We thank Mr. Daniele Agostini for his kind support. for his kind support.
Provenance: Provenance: - Galerie Barbara Farber, Amsterdam. - Galerie Barbara Farber, Amsterdam. - Private collection Switzerland. - Private collection Switzerland.
Exhibition: Almere/Niederlande 1998/99, Exhibition: Almere/Netherlands 1998/99, De Collectie Lagerwey. Almeers Centrum De Collectie Lagerwey. Almeers Centrum Hedendaagse Kunst-De Paviljoens, Hedendaagse Kunst-De Paviljoens, 13 November – 10 January, p. 28. 13 November – 10 January, p. 28.
CHF 2 000 / 3 000 CHF 2 000 / 3 000 (€ 1 820 / 2 730) (€ 1 820 / 2 730)
| 97 PostWar & Contemporary
3500 JAMES LICINI (Zurich 1937–lives and works in Nürensdorf) Stahlbau NP120. Steel beam, screwed with rust patina. Unique. With the monogram stamp on the plinth: JL. 46 × 14 × 15 cm.
CHF 2 000 / 3 000 (€ 1 820 / 2 730)
3501* FRANCO GRIGNANI (Pavia 1908–1999 Milan) Enamel wooden relief psychostructure. 1968. Enamel and wood. 46.8 × 19.5 × 8.9 cm.
The authenticity of this work has been confirmed by Ms. Manuela Grignani, May 2021. We thank Ms. Grignani for her kind support.
Provenance: - Collection Winfried Gaul. - Private collection Germany.
CHF 2 000 / 3 000 (€ 1 820 / 2 730) | 98 3502* NOT VITAL (Sent 1948 - lives and works in Lower Engadine) 700 Snowballs. 2017. Lot of 3 plaster sculptures. Diameter between 6 and 9 cm.
With the handsigned and numbered (no. 237-239) confirmations of authenticity by the artist.
CHF 1 000 / 2 000 (€ 910 / 1 820)
3503* HERBERT ZANGS (1924 Krefeld 2003) Untitled. From the 1970s, dated by the artist: 1953. Sculpture. Wooden box and shovel, painted in white. On the box and in the box signed and dated: Zangs 53. 36 × 27 × 17 cm.
The authenticity of this work has been confirmed by Emmy de Martelaere, Paris, April 2021. We thank Mme. de Martelaere for her kind support.
Provenance: Formerly Galerie Jan Krugier, Paris.
CHF 2 500 / 3 500 (€ 2 270 / 3 180)
| 99 PostWar & Contemporary
3504 PETER FISCHLI DAVID WEISS (Zurich 1952–lives and works in Zurich) (1946 Zurich 2012) Wall. 1986/87. Rubber. are a collection of replicas of worthless without prior knowledge of art history. This Edition 4/5. everyday objects… we want to take things kind of artistic creation shows parallels 41.7 × 93 × 33.7 cm. out of the niche where they belong and with American Pop Art. The essential diffe- transport them somewhere else, but wit- rence, however, is revealed in the intention Provenance: hout denying their origins.“ – Peter Fischli of the artist duo: in contrast to Pop Art, - Galerie Monika Sprüth, Cologne. which gives iconic status to certain every- - Purchased in 1994 from the above, since The artist duo Peter Fischli and David day objects, the Swiss artists concentrate then private collection Switzerland. Weiss are amongst the most interna- on the production of replicas of worthless - Private collection, Switzerland. tionally respected exponents of Swiss everyday objects, devoting themselves to contemporary art. Their often parodic take the commonplace, the ordinary and the „Unlike Pop art, which turns one particular on everyday themes enables the wider mediocre. object into an icon, [Rubber Sculptures] public to access to their art directly, even
| 100 The shiny black rubber cast of a brick wall day objects is unconventional. Thus, with this version, the wall is one of the earliest is a perfect example of their penchant for „Wall“, Fischli & Weiss skilfully represent objects in the 24-part series, created ordinary objects and their transformation the playful and the casually disarming, and between 1986 and 1987 and exhibited at into a work of art. Fischli & Weiss make bestow an often forgotten everyday struc- Art Basel shortly afterwards. use of a material which is typically used for ture with an aesthetic that is nevertheless car tyres and other durable products. Like unexpected. CHF 70 000 / 90 000 Pop Art, the choice of this material evokes (€ 63 640 / 81 820) associations with industry and mass Created in 1986, the work belongs to production. Although rubber has appeared Fischli & Weiss‘ popular series of „Rubber before as a found object in Fluxus or Pop Sculptures“ (1986/2005), an encyclopa- Art assemblages, its use for casting every- edic collection of realistic sculptures. In
| 101 PostWar & Contemporary
3505* CHRISTO (VLADIMIROV JAVACHEFF) (Gabrovo 1935–2020 New York) Wrapped Monument to Cristobal Colon (project for Barcelona). 1984. Collage. Photograph by Wolfgang Volz, tape, pencil, enamel paint, charcoal and wax crayon on cardboard. Signed and dated upper left: Christo 1984, as well as titled along the upper margin: WRAPPED MONUMENT TO CRISTOBAL COLON (project for Barcelona). 35.5 × 28 cm.
The authenticity of this work has been confirmed by Jonathan Henery, the Archive Christo and Jeanne-Claude, New York, April 2021. We thank Mr. Henery for his kind support.
Provenance: Formerly private collection Switzerland.
CHF 12 000 / 18 000 (€ 10 910 / 16 360)
| 102 3506 CHRISTO (VLADIMIROV JAVACHEFF) (Gabrovo 1935–2020 New York) Wrapped Trees, Project for the Fondation Beyeler, Riehen, “I think it takes much greater coura- Switzerland. 1997. Collage. Pencil, pastel, coloured pencils, fabric and yarn on ge to create things to be gone than firm paper on wood. Signed and dated lower right: Christo 1997 as well as titled to create things that will remain.” lower left: Wrapped Trees / Project for the Fondation Beyeler, Christo Riehen, Switzerland. Signed, dated and numbered on the reverse: © Christo 1997 #2. 66.7 × 77.5 cm.
The authenticity of this work has been confirmed by Matthias Koddenberg, the Archive Christo and Jeanne-Claude, New York, March 2021. We thank Mr. Koddenberg for his kind support.
Provenance: - Galerie Beyeler, Basel (verso with the label). - Acquired from the above in 1998 by the present owner, since then private collection Switzerland.
CHF 35 000 / 45 000 (€ 31 820 / 40 910)
| 103 PostWar & Contemporary
„If you take Matisse, Mondrian and Rothko, then you have my work. True, there are other painters, but if you take just those three from this century, you can say quite a lot about my œuvre.“ Sean Scully
As an art student, encountering the works of Mark Rothko opened Sean Scully‘s eyes to abstract art and rendered all attempts to find a figurative position irrelevant. When he moved to New York in 1975, the direct confrontation of his own art and the European art tradition, influenced by the Constructivism of artists such as Piet Mondrian and Bridget Riley, with Minimal Art and American Abstract Expressionism, led to the discovery or invention of his distinct pictorial language.
At the same time, the Irishman Scully was very conscious of tradition, so that he was never interested in the disruption or renewal of art, but in deepening and intensifying it. His interest in the traditional is confirmed in the present work, for example, with his use of the pastel technique. This is a rather old-fashioned technique that had its heyday in the 18th and 19th centuries, but was somewhat forgotten amongst the avant-garde of the 20th century. Fascinated by the „powdery“ yet closed surface, Scully uses his pastels, often in con- junction with paintings, to create intimate, mysterious works. Above all, the haptic surface of his pastels underlines the way in which his artworks differ from the hard-edge paintings of the time.
Our pastel „9-11-96“ is an outstanding example of this group of works. Like diary entries, they are titled only with a date, which also indi- cates that they were created spontaneously. In his works, Scully draws on a limited repertoire of both colour and form, which neverthel- ess inspires him to create imaginative combinations. Stripes in the most diverse variations determine the shapes, while muted, earthy tones define the colour palette.
The present work is composed as a triptych, as is so often the case. In each field Scully plays with the strength of the strokes and the colour nuances of white and black. He plays with contrasts, which, however, fit together harmoniously in a balanced network of relation- ships.
| 104 3507* SEAN SCULLY (Dublin 1945–lives and works a.o. in Berlin) 9-11-96. 1996. Pastel on firm paper. Signed, titled and dated lower right: Sean Scully 9.11.96. 57.5 × 76 cm.
The work is recorded in the archive of the Sean Scully Studio.
Provenance: - Galeria Carles Taché, Barcelona. - Purchased in 1996 from the above by the present owner, since then private collection Austria.
CHF 70 000 / 90 000 (€ 63 640 / 81 820)
| 105 PostWar & Contemporary
3508 MARCELLO MORANDINI (Mantua 1940–lives in Varese) 155-1971. 1971. Wood, painted. Unique. Signed, dated and inscribed on the reverse: „M. Morandini 155-1971 Esemplare unico“ . 130 × 130 × 27 cm.
The authenticity of this work has been confirmed by the artist, Varese, March 2021. We thank Mr. Morandini for his kind support.
Provenance: - Collection C. Stehrenberger, Kreuzlingen. - Private collection Switzerland.
Exhibitions: - Hannover 1972, Marcello Morandini, Kestner-Gesellschaft, 6 October - 5 November. - Pesaro 1972, Marcello Morandini, Galleria Il Segnapassi, 18 November - 7 December. - Trieste 1972, Centro La Cappella, Basta il Progetto, 15 December - 15 February. - Ferrara 1978, Marcello Morandini. Struttura Scultura Architettura, Palazzo dei Diamanti, 5 March - 2 April.
Literature: - Exh.cat.: Marcello Morandini. Skulpturen, Strukturen, Zeichnungen. Wilhelm-Hack- Museum, Ludwigshafen, 1979, p. 62. - Exh.cat.: Marcello Morandini Analysen - Entwürfe - Realisationen. Ausstellungs- räumen im Stadttheater, Ingoldstadt, 1987, p. 224. - Exh.cat.: Marcello Morandini, Antolo- gica arte-design. Civico Museo d‘Arte Moderna e Contemporanea, Castello di Masnago, Varese, 2000, p. 65. - Exh.cat.: Nollert, Angelika/Hufnagl, Florian: Prinzip Morandini, Design - Kunst - Architektur. Neues Museum Nürenberg, 2009, p. 181.
CHF 7 000 / 9 000 (€ 6 360 / 8 180)
| 106 3509 LUIS TOMASELLO Switzerland. (La Plata/Argentinien 1915–2014 Paris) - By descent to the present owner, since Atmosphère chromoplastique No. 379. then private collection Austria. 1975. Acrylic on wood. Exhibitions: Signed, titled, dated, numbered, with - Den Haag 1976, Tomasello. size and directional arrow on the reserve: Galerie Nouvelles Images. ATMOSPHÈRE CHROMOPLASTIQUE No. - Paris 1976, Tomasello. Musée dʼArt 379. 1975. 0.90 × 0.90 cm L. TOMASELLO moderne de la Ville de Paris. 1975. - Hornu (Mons) 1976, Tomasello. 90 × 90 × 8 cm. Les Ateliers du Grand-Hornu, Galerie d‘Art. 6 February - 14 March. The authenticity of this work has been - Arles 1981, Tomasello. Musée Réattu. confirmed by the Archives Luis Tomasello, CHF 18 000 / 24 000 Paris, April 2020. We thank Ms. Patricia (€ 16 360 / 21 820) Newcomer for her kind support.
Provenance: - Artist‘s studio. - Purchased directly from the artist by the previous owner, private collection
| 107 PostWar & Contemporary
3510 ARNALDO POMODORO (Morciano di Romagna 1926–lives and works in Milan) Ruota II, Studio. 1995. Bronze. 4/9. With the incised signature and date on the plinth: Arnaldo Pomodoro `95. Diameter 30 cm.
Provenance: - Galerie Semiah Huber, Zurich. - Purchased from the above by the present owner, since then private collection Switzerland.
Website: www.arnaldopomodoro.it/ catalogue_raisonne, no. 933 (AP 698a).
CHF 20 000 / 30 000 (€ 18 180 / 27 270)
| 108 | 109 PostWar & Contemporary
3511 MAX COLE (Kansas 1937 - lives and works in New York) Untitled. 1992. Indian ink on firm paper. Signed lower left: Cole, also dated lower right: August 18, 1992. 56.5 × 75.5 cm.
With the confirmation of authenticity by the artist, Las Vegas, April 2021. We thank Max Cole for her kind support.
„I like the process of having to be precise“ – Max Cole
Provenance: - Galerie Schlégl, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland.
CHF 1 800 / 2 400 (€ 1 640 / 2 180)
3512 GOTTFRIED HONEGGER (1917 Zurich 2016) Biseautage. 1965. Cardboard, cut. Sketch in pencil on the reverse. Signed, dated and dedicated on the reverse: In Erinnerung Guter Tage Ihr Honegger Paris 1965. 78 × 57 cm.
The authenticity of this work has been confirmed by Philippe P. Rey, Gottfried Honegger Estate Zurich, March 2021. We thank Mr. Rey for his kind support.
Provenance: Private collection Switzerland.
CHF 1 200 / 1 800 (€ 1 090 / 1 640)
| 110 3513* ANTONIO CALDERARA (Abbiategrasso 1903–1978 Lake Orta) Lettera di un convalescente. 1976. Watercolour and pencil on firm paper. On the reverse with the archive number: INV. D00539. 15.8 × 15.5 cm.
Provenance: - Artist‘s studio. - Formerly Fondazione Antonio e Carmela Calderara, Vacciago.
CHF 4 500 / 5 500 (€ 4 090 / 5 000)
| 111 PostWar & Contemporary
3514 MAX COLE (Kansas 1937 -lives and works in New York) Dune. 1986. Acrylic on canvas. Signed, titled and dated: MAX COLE DUNE1986. 133 × 157 cm.
With the confirmation of authenticity by stripes across the entire background of vertical, repetitive lines, a record of intense the artist, Las Vegas, April 2021. her paintings. The resulting rhythm is concentration, said to contain energy as We thank Max Cole for her kind support. punctuated by regular, ultra-thin vertical embedded content. Cole describes this hairline strokes. process, which she has used for over 50 Provenance: years, as meditative. Although sometimes - Galerie Schégl, Zurich. Cole is often associated with Post–Con- compared to the work of Agnes Martin, - Purchased from the above by the structivist, Post-Minimalist and Concrete the similarities between the practices are present owner, since then private movements because she produces her only superficial. „There is no other way to collection Switzerland. works in series. Such attributions, however, produce the work except for a depth of would not do justice to the effort and engagement requiring the abandonment With a synchrony of meticulous precision precision that go into her work, which in of the self“, she has explained, „and this and clarity, the American artist Max Cole Cole‘s case is an existential part of the process opens the door to infinity, enab- creates works that radiate both lightness content. In „Dune“, the obsessive working ling reach beyond the physical. For me, art and inner peace. Since the early 1970s, method with its endless line markings be- must transcend the material.“ Cole‘s paintings and drawings, run through comes tangible and develops an incredible with fine horizontal lines, have been radiance. Both are powerfully conveyed to CHF 9 000 / 15 000 founded on a working principle that has the viewer. (€ 8 180 / 13 640) hardly changed to this day. By using the colours black, white, grey and, rarely, pastel Max Cole‘s paintings suggest an ap- shades, the artist lays parallel horizontal proach to infinity through the use of
| 112 | 113 PostWar & Contemporary
3515 ELENA LUX-MARX (Oberammergau 1944 – lives and works in Zurich) Three middle mixtures in contrast to a sky blue. 1988. Acrylic on canvas. Signed, dated and titled on the overlap: „THREE MIDDLE MIXTURES IN CONTRAST TO A SKY BLUE“ E. Lux-Marx 7.3.88, also inscribed: O. 143 × 135 cm.
The authenticity of this work has been confirmed by the artist, Zurich, April 2021. We thank Ms. Lux-Marx for her kind support.
Provenance: - Artist‘s studio. - Purchased directly from the artist by the present owner, since then private collection Switzerland.
CHF 2 000 / 3 000 (€ 1 820 / 2 730)
3516 ELENA LUX-MARX (Oberammergau 1944 – lives and works in Zurich) A Copy of the painting „three middle mixtures on its own“ (Landschaft-See- schaft). 1988. Acrylic on canvas. Signed, dated and titled on the overlap: A COPY OF THE PAINTING „THREE MIDD- LE MIXTURES ON ITS OWN“ (LANDSCHAFT-SEESCHAFT) E. Lux-Marx 12.7.88, also inscribed: O. 143 × 135 cm.
The authenticity of this work has been confirmed by the artist, Zurich, April 2021. We thank Ms. Lux-Marx for her kind support.
Provenance: - Artist‘s studio. - Purchased directly from the artist by the present owner, since then private collection Switzerland.
CHF 2 000 / 3 000 (€ 1 820 / 2 730)
| 114 3517 JOSEF STAUB (Baar 1931–2006 Schlieren) BIG BEND V. 1985. Chrome steel. Lower right with the incised monogram and date: ST 85. 93 × 106 × 73 cm.
The authenticity of this work has been confirmed by the Archiv Josef Staub, Baden, April 2021. The sculpture is registered there under the number: 322. We thank Mr. Fredi Staub for his kind support.
Provenance: - Galerie Schlégl, Zurich. - Purchased from the above by the present owner, since then private collection Switzerland.
Literature: Frehner, Matthias: Josef Staub: konkrete Organik: Plastiken, Zeichnungen, Gemälde, Zurich 2001, p. 60 (b&w ill.).
„... Order is not a restriction of freedom; rather, freedom can only develop through order. This is the case in all domains....“ Josef Staub
CHF 10 000 / 15 000 (€ 9 090 / 13 640)
| 115 PostWar & Contemporary
3518 WIM DELVOYE (Wervik 1965 - lives and works in Brighton) Trophy (scale model 1:5). 2011. Bronze, electrolytically silvered. With the incised signature and number on the underside: Wim Delvoye 1/3, also with the foundry stamp: Art Castina Belgium. 50.5 × 16.5 × 25 cm.
The authenticity of this work has been confirmed by the Studio Wim Delvoye, Gentbrugge, April 2021. We thank the studio for its kind support.
Provenance: - Sperone Westwater Gallery, New York. - Purchased from the above in 2012 by the present owner, since then private collection Switzerland.
CHF 20 000 / 30 000 (€ 18 180 / 27 270)
“I’m not interested in sculpting cubes or painting monochromes, it’s too easy. Art must fascinate people and doing easy things is not a good way to seek fascination.” Wim Delvoye
| 116 3519* WIM DELVOYE (Wervik/Belgium 1965–lives and works in Brighton) Jesus Twisted. 2006. Bronze, patinated in black. At the bottom of the cross with the incised signature, date and number: WDelvoye 2006 3/3. 396 × 102 × 42 cm.
The authenticity of this work has been confirmed by the Studio Wim Delvoye, Brighton, May 2020. We thank the studio for its kind support.
Provenance: - Artist‘s studio. - Deweer Art Gallery, Netherlands (verso with the label). - Private collection Belgium.
The conceptual artist Wim Delvoye was born in Belgi- um in 1965. His focus is the representation of aesthetic opposites, and the contradictions they produce are often provocative. Characterised by humour and subversive irony, he questions the established value systems of consumer society. His works are controversial, which is his core ob- jective. Annoying the viewer is part of his artistic repertoire. Through his art, things which are uncomfortable or critical of institutions can be presented visually. With a good deal of profound wit, he mixes the profane and the sublime in his works. The banal becomes art through ornament, and folk art becomes museum quality. Tradition and utopia meet, as well as craft and high tech. His penchant for monumental art, his curiosity, his intuitive enthusiasm for the strange are what characterise the work of Wim Delvoye.
His works are subject to a chain of ideas, led by two principles. Firstly, the fact that the function of an everyday object can be easily recognised. Secondly, the misrepresentation of these objects through the artist’s adaptation. Delvoye thus brings together different styles from art history, primarily from the local tradition of Gothic and Rococo in a contemporary version. This is how his series of twisted sculptures function, made in bronze or silver, in which the body of Christ is rotated around an elliptical cross. The supporting cross sculptures are cast in different forms: circles, infinite Möbius bands or, as in the work presented here, in the form of a DNA double helix. Wim Delvoye creates the crucifixes with reference to genetics, geometry, or topology, until he finds a flowing form. The continual stream in his sculptures embodies the same principle of the cycle of the tortured and resurrected Christ. The clothes and Christ’s crown of thorns are taken from traditional iconography of the crucifixion.
CHF 60 000 / 80 000 (€ 54 550 / 72 730)
| 117