KURT SCHWITTERS (1887-1948)
KURT SCHWITTERS (1887-1948)
KURT SCHWITTERS (1887-1948)
KURT SCHWITTERS (1887-1948)
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This lot has been imported from outside of the UK … 显示更多 PROPERTY FROM THE COLLECTIONS OF ELLEN R. SUDDRETH, JULIE R. BAKER AND HENRY S. ROSENTHAL
KURT SCHWITTERS (1887-1948)

i 29 Wilhelm Haspe

细节
KURT SCHWITTERS (1887-1948)
i 29 Wilhelm Haspe
signed and dated 'Kurt Schwitters. 1926.' (on the artist's mount)
paper and printed paper collage on paper laid down on the artist's mount
image: 4 1⁄8 x 5 1⁄4 in. (10.5 x 13.4 cm.)
artist's mount: 7 1⁄2 x 7 3⁄4 in. (19 x 19.7 cm.)
Executed in 1926
来源
Ernst Schwitters, the artist's son, Lysaker.
The Lord's Gallery, London, on commission from the above.
Acquired from the above by the family of the present owner in 1959.
出版
K. Orchard & I. Schulz, eds., Kurt Schwitters, catalogue raisonné, vol. II, 1923-1936, Ostfildern, 2003, no. 1480, p. 223 (illustrated).
展览
Wiesbaden, Nassauischer Kunstverein im Neuen Museum, Grosse Merz Ausstellung, March 1927, no. 65; this exhibition later travelled to Bochum, Städtischer Gemäldegalerie and Wuppertal, Ruhmeshalle.
London, The Lord's Gallery, Kurt Schwitters, October - November 1958, no. 73 (titled 'Wilhelm').
注意事项
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

荣誉呈献

Micol Flocchini
Micol Flocchini Head of Day Sale

拍品专文

Around 1926 Schwitters’ Constructivist development of the “Merzbild”—a picture assembled from the detritus of everyday life into a new, cohesive and aesthetically pleasing order—had reached a turning point.
Fusing the chaotic, deconstructive aesthetics of Dada and his early Merz pictures with the ordering principles he had found first in Piet Mondrian and Theo Van Doesburg’s de Stijl, and then in the Constructivism of artists like László Moholy-Nagy and El Lisstitzky, Schwitters sought now to create a mature form of Merz that aimed to expose and articulate the inner rhythm of nature running through all his assembled forms. “Nature of Chance often carries together things which correspond to that which we call rhythm,” Schwitters wrote, “the only task of the artist is to recognize and limit, to limit and recognize” (Kurt Schwitters, “Kunst und Zeiten,” quoted in J. Elderfield, Kurt Schwitters, exh. cat., The Museum of Modern Art, New York, 1985, p. 189).

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