Lot 48
48
Karel Appel (1921-2006)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY OF A PRIVATE COLLECTOR 
Karel Appel (1921-2006)

Phyllis (From the Nude series)

Details
Karel Appel (1921-2006)
Phyllis (From the Nude series)
signed 'Appel' (lower left); titled 'Phyllis' (on the stretcher)
oil on canvas
194.5 x 130 cm.
Painted in 1963
Provenance
Martha Jackson Gallery, New York.
Private Collection, Venezuela.
Anonymous sale, Sotheby's London, 22 June 2007, lot 201.
Acquired at the above sale by the present owner.
Exhibited
Zurich, Gimpel & Hanover, Appel nus, 4 October-9 November 1963, no. 10 (illustrated). This exhibition later travelled to: Paris, Galerie Europe, 28 November 1963-1 January 1964; London, Gimpel Fils, 4-29 February 1964; New York, Martha Jackson Gallery, April 1964 and New York, Stephen Hahn, 1964.
New York, Martha Jackson Gallery, Karel Appel: Paintings of the Sixties, November-December 1976.
Buffalo, Anderson Gallery, Karel Appel: Expressions from the Collection, February-April 1992.
Buffalo, Anderson Gallery, Karel Appel: An Historical Overview, January-February 1995.
Special Notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. “ ! ”: Lot is imported from outside the EU. For each Lot the Buyer’s Premium is calculated as 37.75% of the Hammer Price up to a value of €30,000, plus 31.7% of the Hammer Price between €30,001 and €1,200,000, plus 22.02% of any amount in excess of €1,200,000.

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Lisa Snijders
Lisa Snijders
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Lot Essay

This work is registered in the Archive of the Karel Appel Foundation.

Painted in 1963, Karel Appel's Phyllis, with her distorted proportions and antagonistic stance, creates a dialogue with Willem de Kooning's seminal series of Women.
Phyllis is painted with an abundance of explosive energy, applying a bursting palette of violent colours. His expressive brushstroke blurs the distinction between fore-and background, merging figure and landscape.
Appel's unique vision is apparent in his treatment of emotion over representation. One of the premiere artists in the CoBrA movement, Appel sought to evoke the primal essence of his subject. De Kooning and Appel shared many motivations and Phyllis is a prime example of their collective ambition.

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