3239
WALTER DEXEL
1/2
Description
WALTER DEXEL
(Munich 1890–1973 Brunswick)
Komposition 26. 1926.
Oil on canvas.
Signed lower right: WDEXEL. Signed, titled and dated on the reverse: W DEXEL KOMPOSITION 26.
66.2 × 58 cm.
Provenance: - Artist's studio. - Siegfired Poppe collection, Hamburg, acquired directly from the artist. - Galerie von Bartha, Basel. - Swiss private collection, acquired from the above gallery and by descent to the present owners. Exhibited: - Hanover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1.–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literature: Ruth Wöbkemeier and der Kunstverein in Bremen (ed.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, p. 249, no. 298 (with b/w ill.). In 1918 Walter Dexel accepted a role as the head of exhibitions at the Kunstverein in Jena. In addition to expanding the in-house collection, Dexel organised exhibitions of diverse artistic movements. This direct exchange with the artists, especially his encounters with the Bauhaus artist Moholy-Nagy and later with the De Stijl founder Theo van Doesburg, had a decisive influence on Dexel's painterly work. In 1922 Dexel finally detached himself from representational art and found his own distinct Constructivist idiom following strict, mathematical-rational rules. Dexel was interested in the relationship between colour, form and line within an almost square or rectangular picture plane. In order to explore the various arrangements and formations, the artist frequently employed the technique of collage, upon which the final paintings or reverse glass paintings would then be based (see lots 3234, 3236, 3237 and 3240). The collage for the present work was auctioned at a German auction house last year. ‘Komposition 26’ was created at the height of Dexel's artistic production and is exemplary of the artist’s work. The black ground of the canvas is complemented by a carefully balanced configuration of white rectangles and four smaller blocks of colour. According to the catalogue raisonné by Wöbkemeier, Dexel almost exclusively created smaller collages, studies and some reverse glass paintings in 1926. Only two oil paintings on canvas are listed: the present ‘Komposition 26’ and a second work titled ‘Figuration 26A’. The works follow one another in immediate succession and were undoubtedly made in the same creative process. In terms of composition, the two works are identical except for minimal differences; in the second painting, which could also be viewed as a counterpart, the canvas is contrastingly provided with a white, instead of black background. ‘Figuration 26A’ is part of the Riklis Collection of McCrory Corporation, one of the largest collections of geometric abstract art. The work has been held in the Museum of Modern Art in New York since the donation of the collection in 1984. Many of Dexel's paintings appearing on the art market date from the 1960s, a period when Dexel revisited his early work. It is therefore relatively rare for such early works from the 1920s to come onto the market, which underscores the importance of ‘Komposition 26’.
(Munich 1890–1973 Brunswick)
Komposition 26. 1926.
Oil on canvas.
Signed lower right: WDEXEL. Signed, titled and dated on the reverse: W DEXEL KOMPOSITION 26.
66.2 × 58 cm.
Provenance: - Artist's studio. - Siegfired Poppe collection, Hamburg, acquired directly from the artist. - Galerie von Bartha, Basel. - Swiss private collection, acquired from the above gallery and by descent to the present owners. Exhibited: - Hanover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1.–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literature: Ruth Wöbkemeier and der Kunstverein in Bremen (ed.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, p. 249, no. 298 (with b/w ill.). In 1918 Walter Dexel accepted a role as the head of exhibitions at the Kunstverein in Jena. In addition to expanding the in-house collection, Dexel organised exhibitions of diverse artistic movements. This direct exchange with the artists, especially his encounters with the Bauhaus artist Moholy-Nagy and later with the De Stijl founder Theo van Doesburg, had a decisive influence on Dexel's painterly work. In 1922 Dexel finally detached himself from representational art and found his own distinct Constructivist idiom following strict, mathematical-rational rules. Dexel was interested in the relationship between colour, form and line within an almost square or rectangular picture plane. In order to explore the various arrangements and formations, the artist frequently employed the technique of collage, upon which the final paintings or reverse glass paintings would then be based (see lots 3234, 3236, 3237 and 3240). The collage for the present work was auctioned at a German auction house last year. ‘Komposition 26’ was created at the height of Dexel's artistic production and is exemplary of the artist’s work. The black ground of the canvas is complemented by a carefully balanced configuration of white rectangles and four smaller blocks of colour. According to the catalogue raisonné by Wöbkemeier, Dexel almost exclusively created smaller collages, studies and some reverse glass paintings in 1926. Only two oil paintings on canvas are listed: the present ‘Komposition 26’ and a second work titled ‘Figuration 26A’. The works follow one another in immediate succession and were undoubtedly made in the same creative process. In terms of composition, the two works are identical except for minimal differences; in the second painting, which could also be viewed as a counterpart, the canvas is contrastingly provided with a white, instead of black background. ‘Figuration 26A’ is part of the Riklis Collection of McCrory Corporation, one of the largest collections of geometric abstract art. The work has been held in the Museum of Modern Art in New York since the donation of the collection in 1984. Many of Dexel's paintings appearing on the art market date from the 1960s, a period when Dexel revisited his early work. It is therefore relatively rare for such early works from the 1920s to come onto the market, which underscores the importance of ‘Komposition 26’.
WALTER DEXEL
(München 1890–1973 Braunschweig)
Komposition 26. 1926.
Öl auf Leinwand.
Unten rechts signiert: WDEXEL. Verso signiert, betitelt und datiert: W DEXEL KOMPOSITION 26.
66,2 × 58 cm.
Provenienz: - Atelier des Künstlers. - Sammlung Siegfried Poppe, Hamburg, direkt beim Künstler erworben. - Galerie von Bartha, Basel. - Schweizer Privatsammlung, in obiger Galerie erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Hannover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literatur: Ruth Wöbkemeier und der Kunstverein in Bremen (Hrsg.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, S. 249, Nr. 298 (mit s/w Abb.). Ab 1918 nimmt Walter Dexel eine Anstellung im Jenaer Kunstverein als Ausstellungsleiter an. Neben dem Ausbau der hauseigenen Sammlung, fungiert Dexel als Organisator von Ausstellungen verschiedenster Kunstrichtungen. Dieser direkte Austausch mit den Künstlern sowie speziell die Begegnungen mit Moholy-Nagy vom Bauhaus und später mit dem de Stijl-Gründer Theo van Doesburg beinflussen das malerische Werk Dexels massgebend. 1922 kehrt Dexel der gegenständlichen Kunst endgültig den Rücken und findet zu seiner eigenen, vom Konstruktivismus geprägten Bildsprache, die streng mathematisch-rationalen Regeln folgt. Dexel interessiert sich für das Verhältnis von Farbe, Form und Linie innerhalb einer fast quadratischen oder rechteckigen Fläche. Um diese in unterschiedlichen Anordnungen und Formationen auszuprobieren, greift der Künstler gerne auf die Technik der Collage zurück, worauf dann die finalen Gemälde oder Hinterglasmalereien basieren (vgl. Lose 3234, 3236, 3237 und 3240). Die Collage zu dem vorliegenden Werk wurde letztes Jahr in einem deutschen Auktionshaus versteigert. "Komposition 26" entsteht zur Blütezeit in Dexels Schaffen und ist exemplarisch für sein Werk. Die schwarz grundierte Leinwand wird durch weisse und vier kleinere farbige Rechtecke ergänzt. Laut dem Werkverzeichnis von Wöbkemeier schafft Dexel im Jahr 1926 fast ausschliesslich kleinere Collagen, Studien sowie einige Hinterglasbilder. Ölgemälde auf Leinwand sind nur zwei verzeichnet. Das vorliegende "Komposition 26" und ein zweites Werk mit dem Titel "Figuration 26A". Die Werke folgen unmittelbar aufeinander und sind zweifelsohne im selben Schaffensprozess entstanden. Kompositorisch sind die beiden Werke bis auf minimale Unterschiede identisch, bei dem zweiten Gemälde, das auch als Gegenstück betrachtet werden könnte, ist die Leinwand anstelle von schwarz, weiss grundiert. "Figuration 26A" ist Teil der Riklis Collection of McCrory Corporation, eine der grössten Sammlungen geometrisch-abstrakter Kunst. Das Werk befindet sich seit der Schenkung der Sammlung 1984 im Museum of Modern Art in New York (vgl. Abb. 1). Viele Gemälde von Dexel, die auf dem Kunstmarkt auftauchen, stammen aus den 1960er-Jahren, wo Dexel sein Frühwerk wieder aufgreift. Es ist deshalb relativ selten, dass solch frühe Werke der 20er-Jahre auf den Markt kommen, was die Wichtigkeit von "Komposition 26" zusätzlich unterstreicht.
(München 1890–1973 Braunschweig)
Komposition 26. 1926.
Öl auf Leinwand.
Unten rechts signiert: WDEXEL. Verso signiert, betitelt und datiert: W DEXEL KOMPOSITION 26.
66,2 × 58 cm.
Provenienz: - Atelier des Künstlers. - Sammlung Siegfried Poppe, Hamburg, direkt beim Künstler erworben. - Galerie von Bartha, Basel. - Schweizer Privatsammlung, in obiger Galerie erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Hannover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literatur: Ruth Wöbkemeier und der Kunstverein in Bremen (Hrsg.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, S. 249, Nr. 298 (mit s/w Abb.). Ab 1918 nimmt Walter Dexel eine Anstellung im Jenaer Kunstverein als Ausstellungsleiter an. Neben dem Ausbau der hauseigenen Sammlung, fungiert Dexel als Organisator von Ausstellungen verschiedenster Kunstrichtungen. Dieser direkte Austausch mit den Künstlern sowie speziell die Begegnungen mit Moholy-Nagy vom Bauhaus und später mit dem de Stijl-Gründer Theo van Doesburg beinflussen das malerische Werk Dexels massgebend. 1922 kehrt Dexel der gegenständlichen Kunst endgültig den Rücken und findet zu seiner eigenen, vom Konstruktivismus geprägten Bildsprache, die streng mathematisch-rationalen Regeln folgt. Dexel interessiert sich für das Verhältnis von Farbe, Form und Linie innerhalb einer fast quadratischen oder rechteckigen Fläche. Um diese in unterschiedlichen Anordnungen und Formationen auszuprobieren, greift der Künstler gerne auf die Technik der Collage zurück, worauf dann die finalen Gemälde oder Hinterglasmalereien basieren (vgl. Lose 3234, 3236, 3237 und 3240). Die Collage zu dem vorliegenden Werk wurde letztes Jahr in einem deutschen Auktionshaus versteigert. "Komposition 26" entsteht zur Blütezeit in Dexels Schaffen und ist exemplarisch für sein Werk. Die schwarz grundierte Leinwand wird durch weisse und vier kleinere farbige Rechtecke ergänzt. Laut dem Werkverzeichnis von Wöbkemeier schafft Dexel im Jahr 1926 fast ausschliesslich kleinere Collagen, Studien sowie einige Hinterglasbilder. Ölgemälde auf Leinwand sind nur zwei verzeichnet. Das vorliegende "Komposition 26" und ein zweites Werk mit dem Titel "Figuration 26A". Die Werke folgen unmittelbar aufeinander und sind zweifelsohne im selben Schaffensprozess entstanden. Kompositorisch sind die beiden Werke bis auf minimale Unterschiede identisch, bei dem zweiten Gemälde, das auch als Gegenstück betrachtet werden könnte, ist die Leinwand anstelle von schwarz, weiss grundiert. "Figuration 26A" ist Teil der Riklis Collection of McCrory Corporation, eine der grössten Sammlungen geometrisch-abstrakter Kunst. Das Werk befindet sich seit der Schenkung der Sammlung 1984 im Museum of Modern Art in New York (vgl. Abb. 1). Viele Gemälde von Dexel, die auf dem Kunstmarkt auftauchen, stammen aus den 1960er-Jahren, wo Dexel sein Frühwerk wieder aufgreift. Es ist deshalb relativ selten, dass solch frühe Werke der 20er-Jahre auf den Markt kommen, was die Wichtigkeit von "Komposition 26" zusätzlich unterstreicht.
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WALTER DEXEL
(Munich 1890–1973 Brunswick)
Komposition 26. 1926.
Oil on canvas.
Signed lower right: WDEXEL. Signed, titled and dated on the reverse: W DEXEL KOMPOSITION 26.
66.2 × 58 cm.
Provenance: - Artist's studio. - Siegfired Poppe collection, Hamburg, acquired directly from the artist. - Galerie von Bartha, Basel. - Swiss private collection, acquired from the above gallery and by descent to the present owners. Exhibited: - Hanover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1.–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literature: Ruth Wöbkemeier and der Kunstverein in Bremen (ed.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, p. 249, no. 298 (with b/w ill.). In 1918 Walter Dexel accepted a role as the head of exhibitions at the Kunstverein in Jena. In addition to expanding the in-house collection, Dexel organised exhibitions of diverse artistic movements. This direct exchange with the artists, especially his encounters with the Bauhaus artist Moholy-Nagy and later with the De Stijl founder Theo van Doesburg, had a decisive influence on Dexel's painterly work. In 1922 Dexel finally detached himself from representational art and found his own distinct Constructivist idiom following strict, mathematical-rational rules. Dexel was interested in the relationship between colour, form and line within an almost square or rectangular picture plane. In order to explore the various arrangements and formations, the artist frequently employed the technique of collage, upon which the final paintings or reverse glass paintings would then be based (see lots 3234, 3236, 3237 and 3240). The collage for the present work was auctioned at a German auction house last year. ‘Komposition 26’ was created at the height of Dexel's artistic production and is exemplary of the artist’s work. The black ground of the canvas is complemented by a carefully balanced configuration of white rectangles and four smaller blocks of colour. According to the catalogue raisonné by Wöbkemeier, Dexel almost exclusively created smaller collages, studies and some reverse glass paintings in 1926. Only two oil paintings on canvas are listed: the present ‘Komposition 26’ and a second work titled ‘Figuration 26A’. The works follow one another in immediate succession and were undoubtedly made in the same creative process. In terms of composition, the two works are identical except for minimal differences; in the second painting, which could also be viewed as a counterpart, the canvas is contrastingly provided with a white, instead of black background. ‘Figuration 26A’ is part of the Riklis Collection of McCrory Corporation, one of the largest collections of geometric abstract art. The work has been held in the Museum of Modern Art in New York since the donation of the collection in 1984. Many of Dexel's paintings appearing on the art market date from the 1960s, a period when Dexel revisited his early work. It is therefore relatively rare for such early works from the 1920s to come onto the market, which underscores the importance of ‘Komposition 26’.
(Munich 1890–1973 Brunswick)
Komposition 26. 1926.
Oil on canvas.
Signed lower right: WDEXEL. Signed, titled and dated on the reverse: W DEXEL KOMPOSITION 26.
66.2 × 58 cm.
Provenance: - Artist's studio. - Siegfired Poppe collection, Hamburg, acquired directly from the artist. - Galerie von Bartha, Basel. - Swiss private collection, acquired from the above gallery and by descent to the present owners. Exhibited: - Hanover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1.–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literature: Ruth Wöbkemeier and der Kunstverein in Bremen (ed.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, p. 249, no. 298 (with b/w ill.). In 1918 Walter Dexel accepted a role as the head of exhibitions at the Kunstverein in Jena. In addition to expanding the in-house collection, Dexel organised exhibitions of diverse artistic movements. This direct exchange with the artists, especially his encounters with the Bauhaus artist Moholy-Nagy and later with the De Stijl founder Theo van Doesburg, had a decisive influence on Dexel's painterly work. In 1922 Dexel finally detached himself from representational art and found his own distinct Constructivist idiom following strict, mathematical-rational rules. Dexel was interested in the relationship between colour, form and line within an almost square or rectangular picture plane. In order to explore the various arrangements and formations, the artist frequently employed the technique of collage, upon which the final paintings or reverse glass paintings would then be based (see lots 3234, 3236, 3237 and 3240). The collage for the present work was auctioned at a German auction house last year. ‘Komposition 26’ was created at the height of Dexel's artistic production and is exemplary of the artist’s work. The black ground of the canvas is complemented by a carefully balanced configuration of white rectangles and four smaller blocks of colour. According to the catalogue raisonné by Wöbkemeier, Dexel almost exclusively created smaller collages, studies and some reverse glass paintings in 1926. Only two oil paintings on canvas are listed: the present ‘Komposition 26’ and a second work titled ‘Figuration 26A’. The works follow one another in immediate succession and were undoubtedly made in the same creative process. In terms of composition, the two works are identical except for minimal differences; in the second painting, which could also be viewed as a counterpart, the canvas is contrastingly provided with a white, instead of black background. ‘Figuration 26A’ is part of the Riklis Collection of McCrory Corporation, one of the largest collections of geometric abstract art. The work has been held in the Museum of Modern Art in New York since the donation of the collection in 1984. Many of Dexel's paintings appearing on the art market date from the 1960s, a period when Dexel revisited his early work. It is therefore relatively rare for such early works from the 1920s to come onto the market, which underscores the importance of ‘Komposition 26’.
WALTER DEXEL
(München 1890–1973 Braunschweig)
Komposition 26. 1926.
Öl auf Leinwand.
Unten rechts signiert: WDEXEL. Verso signiert, betitelt und datiert: W DEXEL KOMPOSITION 26.
66,2 × 58 cm.
Provenienz: - Atelier des Künstlers. - Sammlung Siegfried Poppe, Hamburg, direkt beim Künstler erworben. - Galerie von Bartha, Basel. - Schweizer Privatsammlung, in obiger Galerie erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Hannover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literatur: Ruth Wöbkemeier und der Kunstverein in Bremen (Hrsg.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, S. 249, Nr. 298 (mit s/w Abb.). Ab 1918 nimmt Walter Dexel eine Anstellung im Jenaer Kunstverein als Ausstellungsleiter an. Neben dem Ausbau der hauseigenen Sammlung, fungiert Dexel als Organisator von Ausstellungen verschiedenster Kunstrichtungen. Dieser direkte Austausch mit den Künstlern sowie speziell die Begegnungen mit Moholy-Nagy vom Bauhaus und später mit dem de Stijl-Gründer Theo van Doesburg beinflussen das malerische Werk Dexels massgebend. 1922 kehrt Dexel der gegenständlichen Kunst endgültig den Rücken und findet zu seiner eigenen, vom Konstruktivismus geprägten Bildsprache, die streng mathematisch-rationalen Regeln folgt. Dexel interessiert sich für das Verhältnis von Farbe, Form und Linie innerhalb einer fast quadratischen oder rechteckigen Fläche. Um diese in unterschiedlichen Anordnungen und Formationen auszuprobieren, greift der Künstler gerne auf die Technik der Collage zurück, worauf dann die finalen Gemälde oder Hinterglasmalereien basieren (vgl. Lose 3234, 3236, 3237 und 3240). Die Collage zu dem vorliegenden Werk wurde letztes Jahr in einem deutschen Auktionshaus versteigert. "Komposition 26" entsteht zur Blütezeit in Dexels Schaffen und ist exemplarisch für sein Werk. Die schwarz grundierte Leinwand wird durch weisse und vier kleinere farbige Rechtecke ergänzt. Laut dem Werkverzeichnis von Wöbkemeier schafft Dexel im Jahr 1926 fast ausschliesslich kleinere Collagen, Studien sowie einige Hinterglasbilder. Ölgemälde auf Leinwand sind nur zwei verzeichnet. Das vorliegende "Komposition 26" und ein zweites Werk mit dem Titel "Figuration 26A". Die Werke folgen unmittelbar aufeinander und sind zweifelsohne im selben Schaffensprozess entstanden. Kompositorisch sind die beiden Werke bis auf minimale Unterschiede identisch, bei dem zweiten Gemälde, das auch als Gegenstück betrachtet werden könnte, ist die Leinwand anstelle von schwarz, weiss grundiert. "Figuration 26A" ist Teil der Riklis Collection of McCrory Corporation, eine der grössten Sammlungen geometrisch-abstrakter Kunst. Das Werk befindet sich seit der Schenkung der Sammlung 1984 im Museum of Modern Art in New York (vgl. Abb. 1). Viele Gemälde von Dexel, die auf dem Kunstmarkt auftauchen, stammen aus den 1960er-Jahren, wo Dexel sein Frühwerk wieder aufgreift. Es ist deshalb relativ selten, dass solch frühe Werke der 20er-Jahre auf den Markt kommen, was die Wichtigkeit von "Komposition 26" zusätzlich unterstreicht.
(München 1890–1973 Braunschweig)
Komposition 26. 1926.
Öl auf Leinwand.
Unten rechts signiert: WDEXEL. Verso signiert, betitelt und datiert: W DEXEL KOMPOSITION 26.
66,2 × 58 cm.
Provenienz: - Atelier des Künstlers. - Sammlung Siegfried Poppe, Hamburg, direkt beim Künstler erworben. - Galerie von Bartha, Basel. - Schweizer Privatsammlung, in obiger Galerie erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Hannover 1974, Internationale Grafik und Malerei des 20. Jahrhunderts, Junior Galerie Hannover, 25.1–3.3.1974. - Münster 1979, Bilder, Aquarelle, Collagen, Leuchtreklame, Typographie, Landesmuseum für Kunst und Kulturgeschichte, 27.5.–29.7.1979. - Berlin 1983, Kunstamt Wedding von Berlin, 3.9.–6.10.1983. - Bremen 1990/91, Walter Dexel. Bild Zeichen Raum. Retrospektive. Ausstellung zum 100. Geburtstag, Kunsthalle Bremen, 11.11.1990–13.1.1991. Literatur: Ruth Wöbkemeier und der Kunstverein in Bremen (Hrsg.): Walter Dexel (1890–1973). Werkverzeichnis. Gemälde, Hinterglasbilder, Gouachen, Aquarelle, Collagen, Ölstudien, Entwürfe zu Bühnenbildern, Heidelberg 1995, S. 249, Nr. 298 (mit s/w Abb.). Ab 1918 nimmt Walter Dexel eine Anstellung im Jenaer Kunstverein als Ausstellungsleiter an. Neben dem Ausbau der hauseigenen Sammlung, fungiert Dexel als Organisator von Ausstellungen verschiedenster Kunstrichtungen. Dieser direkte Austausch mit den Künstlern sowie speziell die Begegnungen mit Moholy-Nagy vom Bauhaus und später mit dem de Stijl-Gründer Theo van Doesburg beinflussen das malerische Werk Dexels massgebend. 1922 kehrt Dexel der gegenständlichen Kunst endgültig den Rücken und findet zu seiner eigenen, vom Konstruktivismus geprägten Bildsprache, die streng mathematisch-rationalen Regeln folgt. Dexel interessiert sich für das Verhältnis von Farbe, Form und Linie innerhalb einer fast quadratischen oder rechteckigen Fläche. Um diese in unterschiedlichen Anordnungen und Formationen auszuprobieren, greift der Künstler gerne auf die Technik der Collage zurück, worauf dann die finalen Gemälde oder Hinterglasmalereien basieren (vgl. Lose 3234, 3236, 3237 und 3240). Die Collage zu dem vorliegenden Werk wurde letztes Jahr in einem deutschen Auktionshaus versteigert. "Komposition 26" entsteht zur Blütezeit in Dexels Schaffen und ist exemplarisch für sein Werk. Die schwarz grundierte Leinwand wird durch weisse und vier kleinere farbige Rechtecke ergänzt. Laut dem Werkverzeichnis von Wöbkemeier schafft Dexel im Jahr 1926 fast ausschliesslich kleinere Collagen, Studien sowie einige Hinterglasbilder. Ölgemälde auf Leinwand sind nur zwei verzeichnet. Das vorliegende "Komposition 26" und ein zweites Werk mit dem Titel "Figuration 26A". Die Werke folgen unmittelbar aufeinander und sind zweifelsohne im selben Schaffensprozess entstanden. Kompositorisch sind die beiden Werke bis auf minimale Unterschiede identisch, bei dem zweiten Gemälde, das auch als Gegenstück betrachtet werden könnte, ist die Leinwand anstelle von schwarz, weiss grundiert. "Figuration 26A" ist Teil der Riklis Collection of McCrory Corporation, eine der grössten Sammlungen geometrisch-abstrakter Kunst. Das Werk befindet sich seit der Schenkung der Sammlung 1984 im Museum of Modern Art in New York (vgl. Abb. 1). Viele Gemälde von Dexel, die auf dem Kunstmarkt auftauchen, stammen aus den 1960er-Jahren, wo Dexel sein Frühwerk wieder aufgreift. Es ist deshalb relativ selten, dass solch frühe Werke der 20er-Jahre auf den Markt kommen, was die Wichtigkeit von "Komposition 26" zusätzlich unterstreicht.
Impressionist & Modern Art (A199)
Sale Date(s)
Lots: 3201-3272
Please read clause 8 in our auction conditions (in all catalogues or on www.kollerauctions.com) regarding the collection of items.
Important Information
- 25.00 % buyer's premium on the hammer price
- 22.00 % buyer's premium on the amount of the hammer price exceeding 10,000
- 15.00 % buyer's premium on the amount of the hammer price exceeding 400,000
7.7.00 % VAT on buyer's premium
Different tax regulations may apply, if the object is exported to a none-E.U. member country
Terms & Conditions
CONDITIONS KOLLER ZURICH
By participating in the auction the bidder accepts the following Auction Conditions of Koller Auctions Ltd ("Koller").
1. Legal status of the parties
The auction items are auctioned by Koller in the name and on the account of the seller (the "Seller"). The bid in Swiss francs is accepted from the highest bidder (the "Purchaser") recognised by Koller in the course of the auction resulting in the conclusion of a purchase contract between the Seller and the Purchaser.
2. Surcharge
2.1 In addition to the bid price, the Purchaser must pay a surcharge on such bid price calculated as follows:
(i) on a successful bid of up to CHF 10 000: 25 %
(ii) on a successful bid over CHF 10 000 up to CHF 400 000:
25 % on the first CHF 10 000 and 20 % on the difference between CHF 10 000 and the bid.
(iii) on a successful bid over CHF 400 000:
25 % on the first CHF 10 000, 20 % on CHF 390 000 and 15 % on the difference between CHF 400 000 and the bid.
2.2 If the winning bid is placed in the course of an internet live online auction ("Online Auction"), the surcharges are subject to the conditions published on the respective Internet sites.
2.3 The Purchaser must pay Swiss value added tax ("VAT") on the surcharge. The stated percentage of the surcharge relates to the successful bid for each individual item.
2.4 The full tax is charged on all items marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration.
2.5 The Purchaser agrees that Koller also receives a commission from the Seller.
3. Disclaimer
3.1 The items are auctioned in the condition existing at the time of the successful bid.
3.2 The items are described to the best of our knowledge and belief. However, Koller cannot accept any liability for the details provided in the catalogue. The items can be inspected during the preview. The Purchaser is therefore invited to inspect an item prior to the auction and, possibly with the support of an independent specialist advisor, to form its own opinion of the correspondence between the lot and the catalogue description. For the specifications of the items the print edition of the catalogue in the German language (including any later amendments) shall be exclusively applicable. Koller reserves the right to call in experts or specialists of its choice to give an opinion and to rely upon that opinion. Koller cannot be held liable for the correctness of such opinions. Neither any such expert opinions or reports, nor the descriptions of items provided by Koller or other statements pertaining to an item (including statements pertaining to the value thereof) constitute explicit or implicit warranties.
3.3 Subject to Clause 4 below, no guarantee or warranty whatsoever is given in respect of legal and material defects. The liabilities of the Seller vis-à-vis the Purchaser are limited to the same extent as the liabilities of Koller vis-à-vis the Purchaser.
4. Guarantee for forged items
4.1 Koller shall reverse the purchase (subject to Clauses 4.2 and 4.3 below) and shall reimburse the purchase price and the surcharge (incl. VAT) to the Purchaser if the item proves to be a forgery. A “forgery” shall be deemed to exist if the item in the reasonable opinion of Koller is an imitation created with the intention of causing a deception with respect to the originator, age, period, culture or source, where the correct description of such content is not reflected in the auction catalogue (taking account of any additions), and where this circumstance significantly impairs the value of the item in comparison to an item corresponding to the catalogue description. A lot shall not be deemed to have been forged if it is merely damaged and/or has been subjected to restoration work and/or modifications of any nature whatsoever.
4.2 The guarantee given to the Purchaser in accordance with the above provision shall not be applicable at the discretion of Koller if:
(i) the description of the item in the auction catalogue was supported by the view of a specialist or by the prevailing view of specialists, or if the description in the auction catalogue suggested that differences of opinion exist in this respect;
(ii) the forgery was not identifiable as such at the time of the successful bid in accordance with the current state of research and with the generally acknowledged and usual methods, or only with disproportionate effort;
(iii) the forgery (in Koller’s careful view) was produced before 1880; or
(iv) the purchase item is a painting, watercolour, a drawing or sculpture which according to the details set out in the auction catalogue should have been created prior to 1880.
4.3 This guarantee is applicable from the day of the successful bid for a period of two (2) years (three (3) weeks for jewellery). It shall be granted exclusively to the Purchaser and may not be assigned to any third party. Assertion of the guarantee claim shall be conditional upon the Purchaser making a complaint to Koller by registered letter immediately after the discovery of the defect, and returning the purchase item to Koller in the same condition as it was handed over to him and unencumbered by third parties' claims. The Purchaser must provide proof that the item is a forgery. Koller may demand that the Purchaser obtains at his own expense expert opinions from two independent individuals who are recognised experts in the field. However, Koller shall not be bound by any such expert opinion, and reserves the right to obtain additional expert advice at its own expense.
4.4 Koller may at its complete discretion waive the assertion of grounds for exclusion pursuant to the above Clause 4.2 or the fulfilment of preconditions pursuant to the above Clause 4.3.
4.5 The claims of the Purchaser against Koller under Clause 4.1 are limited to the reimbursement of the purchase price and surcharge (incl. VAT) paid by the Purchaser. Further or other claims of the Purchaser against Koller or its employees are excluded under any legal title whatsoever.
5. Participation in the auction
5.1 Any party may participate in an auction as a Purchaser. However, Koller reserves the right at its complete discretion to prevent any person entering its premises or attending or participating in its auctions.
5.2 Purchasers who are not personally known to Koller must register at least 48 hours before the auction, using the form provided for this purpose. A copy of the passport of the Purchaser must be enclosed with registration, signed with legal effect. In the event of every payment default of the Purchaser, Koller shall be entitled to charge the credit card of the Purchaser in accordance with the details provided on the registration form up to the level of the owed sum plus the expenses of the card provider.
5.3 If a Purchaser who is unknown to Koller is planning to bid for items with upper estimated values of more than CHF 15 000, he shall be required to present to Koller in advance a certificate of creditworthiness issued by a bank approved by Koller.
5.4 In the case of bids for items with upper estimated values of more than CHF 30 000, Koller may demand that the Purchaser first remits 20 % of the lower estimated value as security. Following the auction, Koller will offset this sum against its claims and the claims of the Seller, and will reimburse any possible surpluses to the Purchaser without delay.
6. Auction
6.1 Koller may initiate the auctioning of an item below the minimum selling price agreed upon with the Seller. A bid placed at an auction is a binding offer. The bidder shall remain bound by his bid until this is either outbid or rejected by Koller. Double bids shall immediately be called once again; in case of doubt, the auction management shall decide.
6.2 Koller may refuse a bid either without giving reasons or if a Purchaser fails to fulfil the conditions for participation in an auction pursuant to the above Clauses 5.2 to 5.4. Koller may also knock down or withdraw auctioned items without a sale even if this is not apparent to the auction participants.
6.3 Koller reserves the right to combine, separate or omit numbered lots in the catalogue or to offer them out of sequence. Koller reserves the right to sell lots “conditionally” at its sole discretion, in which event the hammer price will be considered as conditional and the highest bidder will remain bound by his bid for 14 days following the auction. The highest bidder will be released from all obligations if he does not receive a statement from Koller within this period declaring the hammer price as final.
6.4 Written bids from potential Purchasers who cannot attend the auction in person are accepted up to 48 hours before the bidding begins.
6.5 Potential Purchasers may bid by telephone if they have given written notice at least 48 hours before the auction starts. Koller does not accept telephone bids for amounts under CHF 500 and Purchasers are requested to leave a written bid or participate in the salesroom.
6.6 Potential Purchasers who intend to place their bids in the course of an Online Auction via the internet may participate in the auction once their registration applications have been approved by Koller. Koller reserves the right to decline registration applications at its discretion.
6.7 Koller refuses all liability for any kind of bids as well as advance notifications of telephone bidding which are not taken into consideration. Telephone bidders and persons giving written instructions are also subject to the provisions of Clause 5 relating to proof of identity and financial soundness. In the case of Purchasers who place bids in the course of an Online Auction via the internet, Clause 5 only applies with regards to financial soundness.
7. Transfer of title
Ownership of an auctioned item shall be transferred to the Purchaser as soon as the purchase price and the surcharge (incl. VAT) have been comprehensively paid and Koller has attributed these payments to the corresponding item.
8. Collection of the auctioned items
8.1 The auctioned items must be collected at the Purchaser's own expense within 7 days from the end of the auction during official opening hours. If time permits, the items may be handed over after each auction session. The handover shall be performed following comprehensive payment of the purchase price as well as the surcharge (incl. VAT) and the attribution of this sum to the auctioned item by Koller. Cheques offered as payment must be confirmed by the drawee bank before the auctioned item is handed over.
8.2 During the aforementioned period Koller shall be liable for loss, theft, damage or destruction of items which have been auctioned and paid for, but only up to the total of the auction price, surcharge and VAT. Koller ceases to have liability after the aforementioned period, and the Purchaser shall be responsible for ensuring adequate insurance cover for the auctioned item. No liability can be assumed for frames and glass. If the auctioned items are not collected within 7 days, Koller will store the works at a company of their choice at the purchaser’s own risk and expense or on their own premises at a daily rate of CHF 10 per object.
8.3 Transport orders may be sent to Koller in writing. Unless otherwise agreed in writing, transport insurance shall be taken out for the sold items at the expense of the Purchaser. Glazed pictures and fragile items shall not be sent by Koller.
9. Payment for the auctioned items
9.1 The invoice for a successful bid for an auctioned item is payable within 7 days from the end of the auction. Irrespective of the Purchaser's instructions, Koller may use any payments by the Purchaser as settlement for any debt owed by the Purchaser to Koller or the Seller and set off any debt which it owes to the Purchaser against its own claims. If the Purchaser defaults on a payment, default interest of 10 % p.a. shall be charged on top of the invoiced sum.
9.2 If the Purchaser does not pay or does not pay promptly, Koller may moreover in its own name and in the Seller's name optionally (i) insist on the fulfilment of the purchase agreement or (ii) without further notice withdraw from the purchase agreement and waive the subsequent performance of the Purchaser or assert a claim for compensation for non-performance; in the latter case Koller shall also be entitled, irrespective of a possible minimum sales price, to sell the item either directly or on the occasion of an auction, and may use the proceeds to reduce the debts of the Purchaser. Any possible sales price above the original hammer price shall be paid out to the Seller. The Purchaser is liable to Koller and the Seller for all prejudice caused by non-payment or late payment.
9.3 Koller retains a right of retention and a lien on all the Purchaser's items in its custody until full payment of all monies owed. Koller may exercise such liens in accordance with the legislation on the enforcement of debts or by private sale (including in its own name). The plea of prior lien exploitation pursuant to Art. 41 of the Swiss Debt Collection and Bankruptcy Act is excluded.
10. Representation
Each Purchaser shall be personally liable for the bid placed by him. Proof of the power of representation may be requested from persons bidding as agents for a third party or as an organ of a corporate body. The agent shall be jointly and severally liable with his principal for the fulfilment of all obligations.
11. Miscellaneous provisions
11.1 The auction shall be attended by an official from the city of Zurich. The attending official, the local authority and the state have no liability for the acts of Koller.
11.2 Koller reserves the right to publish illustrations and photographs of sold items in its own publications and the media and to publicise its services therewith.
11.3 The aforementioned provisions form part of each individual purchase agreement concluded at the auction. Amendments are binding only with Koller's written agreement.
11.4 The present Auction Conditions and all amendments thereof are governed by Swiss law.
11.5 The courts of the Canton of Zurich shall be exclusively responsible for settling disputes (including the assertion of offsetting and counterclaims) which arise out of or in conjunction with these Auction Conditions (including their validity, legal effect, interpretation or fulfilment). Koller may, however, initiate legal proceedings before any other competent court.
