3450
GEORG BASELITZ
Description
GEORG BASELITZ
(Deutschbaselitz 1938–lives and works in Salzburg)
Untitled. 1981.
Black Indian Ink on paper.
Signed and dated lower right: G. Baselitz 17. VII.81. Also inscribed on the reverse: C 85-4-19.
61 × 43 cm.
Provenance: - Villa Grisebach Berlin, Auction 30 November 1991, Lot 404. - Purchased from the above by the present owner, since then private collection Germany. "The inversion of the motif in the painting gave me the freedom to deal with painterly problems." Georg Baselitz In the early 1980s, Georg Baselitz's œuvre included two series, "Orangenesser" (Orange Eaters) and "Trinker" (Drinkers), in which he analysed and executed the motifs using a wide variety of painterly techniques. He skilfully employed these prosaic subjects - eating an orange or drinking from a bottle - to create lively colour relationships and a hatched gestural brushwork that deliberately flaunts their own lack of elegance or apparent sophistication. The present ink drawing from 1981 is an outstanding example from his "Drinker" series. Pushed to the very left of the image, we see the drinker protruding into the picture, but we are neither at eye level with him, since he is standing on his head, nor can we look him in the eye, since he, as is also characteristic of Baselitz's portraits, being depicted in profile, does not communicate with the viewer at all, but looks past them into an imaginary space. In a few skilful brushstrokes, the artist conjures up before us a figure whose streamlined hair and dominant chin immediately catch the eye. The large nose, accentuated by lighter accents, also stands out, and the colloquial "drunkard's nose" is suggested. Unlike the detailed depiction of the figure, the bottle and glass are reduced to the most essential contours. On the one hand, Georg Baselitz seeks to separate form and content through the stylistic device of inverted representation, thus evidently turning against the hitherto irrevocable conventions of painting. On the other hand, his motifs are intended to represent pictorial types and not to serve as illustrations. According to the artist's own interpretation, he has created a portrait with a still life. But even under this artistic premise, abstraction and the denial of narration prove almost impossible for the viewer. In the mind's eye, a story immediately unfolds around the figure - Who is this? Why is he drinking? Does he drink a lot? Where is he looking?
(Deutschbaselitz 1938–lives and works in Salzburg)
Untitled. 1981.
Black Indian Ink on paper.
Signed and dated lower right: G. Baselitz 17. VII.81. Also inscribed on the reverse: C 85-4-19.
61 × 43 cm.
Provenance: - Villa Grisebach Berlin, Auction 30 November 1991, Lot 404. - Purchased from the above by the present owner, since then private collection Germany. "The inversion of the motif in the painting gave me the freedom to deal with painterly problems." Georg Baselitz In the early 1980s, Georg Baselitz's œuvre included two series, "Orangenesser" (Orange Eaters) and "Trinker" (Drinkers), in which he analysed and executed the motifs using a wide variety of painterly techniques. He skilfully employed these prosaic subjects - eating an orange or drinking from a bottle - to create lively colour relationships and a hatched gestural brushwork that deliberately flaunts their own lack of elegance or apparent sophistication. The present ink drawing from 1981 is an outstanding example from his "Drinker" series. Pushed to the very left of the image, we see the drinker protruding into the picture, but we are neither at eye level with him, since he is standing on his head, nor can we look him in the eye, since he, as is also characteristic of Baselitz's portraits, being depicted in profile, does not communicate with the viewer at all, but looks past them into an imaginary space. In a few skilful brushstrokes, the artist conjures up before us a figure whose streamlined hair and dominant chin immediately catch the eye. The large nose, accentuated by lighter accents, also stands out, and the colloquial "drunkard's nose" is suggested. Unlike the detailed depiction of the figure, the bottle and glass are reduced to the most essential contours. On the one hand, Georg Baselitz seeks to separate form and content through the stylistic device of inverted representation, thus evidently turning against the hitherto irrevocable conventions of painting. On the other hand, his motifs are intended to represent pictorial types and not to serve as illustrations. According to the artist's own interpretation, he has created a portrait with a still life. But even under this artistic premise, abstraction and the denial of narration prove almost impossible for the viewer. In the mind's eye, a story immediately unfolds around the figure - Who is this? Why is he drinking? Does he drink a lot? Where is he looking?
GEORG BASELITZ
(Deutschbaselitz 1938–lebt und arbeitet in Salzburg)
Ohne Titel. 1981.
Schwarze Tusche auf Papier.
Unten rechts signiert und datiert: G. Baselitz 17. VII.81. Verso mit Bleistift bezeichnet: C 85-4-19.
61 × 43 cm.
Provenienz: - Villa Grisebach Berlin, Auktion 30. November 1991, Los 404. - Vom heutigen Besitzer bei obiger Auktion erworben, seitdem Privatsammlung Deutschland. "Die Umkehrung des Motivs im Bild gab mir die Freiheit, mich mit malerischen Problemen auseinanderzusetzen." Georg Baselitz In den frühen 1980er Jahren entstehen im Œuvre von Georg Baselitz mit „Orangenesser“ (siehe Los 3684) und "Trinker" zwei Serien, deren Motive er mit Hilfe der unterschiedlichsten malerischen Techniken analysiert und umsetzt. Die prosaischen Sujets - das Essen einer Orange oder das Trinken aus einer Flasche – nutzt er gekonnt für lebendige Farbbeziehungen und eine schraffierte gestische Pinselführung, die ihren eigenen Mangel an Eleganz oder scheinbarer Raffinesse bewusst zur Schau stellt. Die vorliegende Tuschzeichnung von 1981 ist ein herausragendes Beispiel seiner sogenannten „Trinker“ Serie. An den linken Bildrand gedrängt sehen wir den Trinker ins Bild ragen, sind aber weder mit ihm auf Augenhöhe, da er ja auf dem Kopf steht, noch in Augenkontakt, da er, ebenfalls charakteristisch für Baselitz Porträts, in seiner Profildarstellung gar nicht in Kommunikation zum Betrachter tritt, sondern an ihm vorbei in einen imaginären Raum schaut. In wenigen gekonnten Pinselstrichen lässt der Künstler vor uns eine Gestalt entstehen, deren stromlinienförmigen Haare und das dominate Kinn sofort ins Auge stechen. Auch die grosse, durch hellere Akzente betonte Nase fällt auf, und die umgangssprachliche „Säufernase“ drängt sich auf. Entgegen der detaillierten Darstellung der Figur, sind Flasche und Glas auf die nötigsten Konturen reduziert. Georg Baselitz will zum einen durch das Stilmittel der umgekehrten Darstellung Form und Inhalt voneinander trennen, wodurch er sich offenkundig gegen die bis dahin unwiderruflichen Konventionen der Malerei wendet. Zum anderen sollen seine Motive Bildtypen repräsentieren und nicht der Illustration dienen. Im Selbstverständnis des Künstlers hat er ein Porträt mit einem Stillleben geschaffen. Aber selbst unter dieser künstlerischen Prämisse, gestaltet sich die Abstraktion und das Verneinen der Narration für den Betrachter als fast unmöglich. Vor dem geistigen Auge entspinnt sich sofort eine Geschichte um die Figur – Wer ist das? Wieso trinkt er? Trinkt er viel? Wo schaut er hin?
(Deutschbaselitz 1938–lebt und arbeitet in Salzburg)
Ohne Titel. 1981.
Schwarze Tusche auf Papier.
Unten rechts signiert und datiert: G. Baselitz 17. VII.81. Verso mit Bleistift bezeichnet: C 85-4-19.
61 × 43 cm.
Provenienz: - Villa Grisebach Berlin, Auktion 30. November 1991, Los 404. - Vom heutigen Besitzer bei obiger Auktion erworben, seitdem Privatsammlung Deutschland. "Die Umkehrung des Motivs im Bild gab mir die Freiheit, mich mit malerischen Problemen auseinanderzusetzen." Georg Baselitz In den frühen 1980er Jahren entstehen im Œuvre von Georg Baselitz mit „Orangenesser“ (siehe Los 3684) und "Trinker" zwei Serien, deren Motive er mit Hilfe der unterschiedlichsten malerischen Techniken analysiert und umsetzt. Die prosaischen Sujets - das Essen einer Orange oder das Trinken aus einer Flasche – nutzt er gekonnt für lebendige Farbbeziehungen und eine schraffierte gestische Pinselführung, die ihren eigenen Mangel an Eleganz oder scheinbarer Raffinesse bewusst zur Schau stellt. Die vorliegende Tuschzeichnung von 1981 ist ein herausragendes Beispiel seiner sogenannten „Trinker“ Serie. An den linken Bildrand gedrängt sehen wir den Trinker ins Bild ragen, sind aber weder mit ihm auf Augenhöhe, da er ja auf dem Kopf steht, noch in Augenkontakt, da er, ebenfalls charakteristisch für Baselitz Porträts, in seiner Profildarstellung gar nicht in Kommunikation zum Betrachter tritt, sondern an ihm vorbei in einen imaginären Raum schaut. In wenigen gekonnten Pinselstrichen lässt der Künstler vor uns eine Gestalt entstehen, deren stromlinienförmigen Haare und das dominate Kinn sofort ins Auge stechen. Auch die grosse, durch hellere Akzente betonte Nase fällt auf, und die umgangssprachliche „Säufernase“ drängt sich auf. Entgegen der detaillierten Darstellung der Figur, sind Flasche und Glas auf die nötigsten Konturen reduziert. Georg Baselitz will zum einen durch das Stilmittel der umgekehrten Darstellung Form und Inhalt voneinander trennen, wodurch er sich offenkundig gegen die bis dahin unwiderruflichen Konventionen der Malerei wendet. Zum anderen sollen seine Motive Bildtypen repräsentieren und nicht der Illustration dienen. Im Selbstverständnis des Künstlers hat er ein Porträt mit einem Stillleben geschaffen. Aber selbst unter dieser künstlerischen Prämisse, gestaltet sich die Abstraktion und das Verneinen der Narration für den Betrachter als fast unmöglich. Vor dem geistigen Auge entspinnt sich sofort eine Geschichte um die Figur – Wer ist das? Wieso trinkt er? Trinkt er viel? Wo schaut er hin?
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GEORG BASELITZ
(Deutschbaselitz 1938–lives and works in Salzburg)
Untitled. 1981.
Black Indian Ink on paper.
Signed and dated lower right: G. Baselitz 17. VII.81. Also inscribed on the reverse: C 85-4-19.
61 × 43 cm.
Provenance: - Villa Grisebach Berlin, Auction 30 November 1991, Lot 404. - Purchased from the above by the present owner, since then private collection Germany. "The inversion of the motif in the painting gave me the freedom to deal with painterly problems." Georg Baselitz In the early 1980s, Georg Baselitz's œuvre included two series, "Orangenesser" (Orange Eaters) and "Trinker" (Drinkers), in which he analysed and executed the motifs using a wide variety of painterly techniques. He skilfully employed these prosaic subjects - eating an orange or drinking from a bottle - to create lively colour relationships and a hatched gestural brushwork that deliberately flaunts their own lack of elegance or apparent sophistication. The present ink drawing from 1981 is an outstanding example from his "Drinker" series. Pushed to the very left of the image, we see the drinker protruding into the picture, but we are neither at eye level with him, since he is standing on his head, nor can we look him in the eye, since he, as is also characteristic of Baselitz's portraits, being depicted in profile, does not communicate with the viewer at all, but looks past them into an imaginary space. In a few skilful brushstrokes, the artist conjures up before us a figure whose streamlined hair and dominant chin immediately catch the eye. The large nose, accentuated by lighter accents, also stands out, and the colloquial "drunkard's nose" is suggested. Unlike the detailed depiction of the figure, the bottle and glass are reduced to the most essential contours. On the one hand, Georg Baselitz seeks to separate form and content through the stylistic device of inverted representation, thus evidently turning against the hitherto irrevocable conventions of painting. On the other hand, his motifs are intended to represent pictorial types and not to serve as illustrations. According to the artist's own interpretation, he has created a portrait with a still life. But even under this artistic premise, abstraction and the denial of narration prove almost impossible for the viewer. In the mind's eye, a story immediately unfolds around the figure - Who is this? Why is he drinking? Does he drink a lot? Where is he looking?
(Deutschbaselitz 1938–lives and works in Salzburg)
Untitled. 1981.
Black Indian Ink on paper.
Signed and dated lower right: G. Baselitz 17. VII.81. Also inscribed on the reverse: C 85-4-19.
61 × 43 cm.
Provenance: - Villa Grisebach Berlin, Auction 30 November 1991, Lot 404. - Purchased from the above by the present owner, since then private collection Germany. "The inversion of the motif in the painting gave me the freedom to deal with painterly problems." Georg Baselitz In the early 1980s, Georg Baselitz's œuvre included two series, "Orangenesser" (Orange Eaters) and "Trinker" (Drinkers), in which he analysed and executed the motifs using a wide variety of painterly techniques. He skilfully employed these prosaic subjects - eating an orange or drinking from a bottle - to create lively colour relationships and a hatched gestural brushwork that deliberately flaunts their own lack of elegance or apparent sophistication. The present ink drawing from 1981 is an outstanding example from his "Drinker" series. Pushed to the very left of the image, we see the drinker protruding into the picture, but we are neither at eye level with him, since he is standing on his head, nor can we look him in the eye, since he, as is also characteristic of Baselitz's portraits, being depicted in profile, does not communicate with the viewer at all, but looks past them into an imaginary space. In a few skilful brushstrokes, the artist conjures up before us a figure whose streamlined hair and dominant chin immediately catch the eye. The large nose, accentuated by lighter accents, also stands out, and the colloquial "drunkard's nose" is suggested. Unlike the detailed depiction of the figure, the bottle and glass are reduced to the most essential contours. On the one hand, Georg Baselitz seeks to separate form and content through the stylistic device of inverted representation, thus evidently turning against the hitherto irrevocable conventions of painting. On the other hand, his motifs are intended to represent pictorial types and not to serve as illustrations. According to the artist's own interpretation, he has created a portrait with a still life. But even under this artistic premise, abstraction and the denial of narration prove almost impossible for the viewer. In the mind's eye, a story immediately unfolds around the figure - Who is this? Why is he drinking? Does he drink a lot? Where is he looking?
GEORG BASELITZ
(Deutschbaselitz 1938–lebt und arbeitet in Salzburg)
Ohne Titel. 1981.
Schwarze Tusche auf Papier.
Unten rechts signiert und datiert: G. Baselitz 17. VII.81. Verso mit Bleistift bezeichnet: C 85-4-19.
61 × 43 cm.
Provenienz: - Villa Grisebach Berlin, Auktion 30. November 1991, Los 404. - Vom heutigen Besitzer bei obiger Auktion erworben, seitdem Privatsammlung Deutschland. "Die Umkehrung des Motivs im Bild gab mir die Freiheit, mich mit malerischen Problemen auseinanderzusetzen." Georg Baselitz In den frühen 1980er Jahren entstehen im Œuvre von Georg Baselitz mit „Orangenesser“ (siehe Los 3684) und "Trinker" zwei Serien, deren Motive er mit Hilfe der unterschiedlichsten malerischen Techniken analysiert und umsetzt. Die prosaischen Sujets - das Essen einer Orange oder das Trinken aus einer Flasche – nutzt er gekonnt für lebendige Farbbeziehungen und eine schraffierte gestische Pinselführung, die ihren eigenen Mangel an Eleganz oder scheinbarer Raffinesse bewusst zur Schau stellt. Die vorliegende Tuschzeichnung von 1981 ist ein herausragendes Beispiel seiner sogenannten „Trinker“ Serie. An den linken Bildrand gedrängt sehen wir den Trinker ins Bild ragen, sind aber weder mit ihm auf Augenhöhe, da er ja auf dem Kopf steht, noch in Augenkontakt, da er, ebenfalls charakteristisch für Baselitz Porträts, in seiner Profildarstellung gar nicht in Kommunikation zum Betrachter tritt, sondern an ihm vorbei in einen imaginären Raum schaut. In wenigen gekonnten Pinselstrichen lässt der Künstler vor uns eine Gestalt entstehen, deren stromlinienförmigen Haare und das dominate Kinn sofort ins Auge stechen. Auch die grosse, durch hellere Akzente betonte Nase fällt auf, und die umgangssprachliche „Säufernase“ drängt sich auf. Entgegen der detaillierten Darstellung der Figur, sind Flasche und Glas auf die nötigsten Konturen reduziert. Georg Baselitz will zum einen durch das Stilmittel der umgekehrten Darstellung Form und Inhalt voneinander trennen, wodurch er sich offenkundig gegen die bis dahin unwiderruflichen Konventionen der Malerei wendet. Zum anderen sollen seine Motive Bildtypen repräsentieren und nicht der Illustration dienen. Im Selbstverständnis des Künstlers hat er ein Porträt mit einem Stillleben geschaffen. Aber selbst unter dieser künstlerischen Prämisse, gestaltet sich die Abstraktion und das Verneinen der Narration für den Betrachter als fast unmöglich. Vor dem geistigen Auge entspinnt sich sofort eine Geschichte um die Figur – Wer ist das? Wieso trinkt er? Trinkt er viel? Wo schaut er hin?
(Deutschbaselitz 1938–lebt und arbeitet in Salzburg)
Ohne Titel. 1981.
Schwarze Tusche auf Papier.
Unten rechts signiert und datiert: G. Baselitz 17. VII.81. Verso mit Bleistift bezeichnet: C 85-4-19.
61 × 43 cm.
Provenienz: - Villa Grisebach Berlin, Auktion 30. November 1991, Los 404. - Vom heutigen Besitzer bei obiger Auktion erworben, seitdem Privatsammlung Deutschland. "Die Umkehrung des Motivs im Bild gab mir die Freiheit, mich mit malerischen Problemen auseinanderzusetzen." Georg Baselitz In den frühen 1980er Jahren entstehen im Œuvre von Georg Baselitz mit „Orangenesser“ (siehe Los 3684) und "Trinker" zwei Serien, deren Motive er mit Hilfe der unterschiedlichsten malerischen Techniken analysiert und umsetzt. Die prosaischen Sujets - das Essen einer Orange oder das Trinken aus einer Flasche – nutzt er gekonnt für lebendige Farbbeziehungen und eine schraffierte gestische Pinselführung, die ihren eigenen Mangel an Eleganz oder scheinbarer Raffinesse bewusst zur Schau stellt. Die vorliegende Tuschzeichnung von 1981 ist ein herausragendes Beispiel seiner sogenannten „Trinker“ Serie. An den linken Bildrand gedrängt sehen wir den Trinker ins Bild ragen, sind aber weder mit ihm auf Augenhöhe, da er ja auf dem Kopf steht, noch in Augenkontakt, da er, ebenfalls charakteristisch für Baselitz Porträts, in seiner Profildarstellung gar nicht in Kommunikation zum Betrachter tritt, sondern an ihm vorbei in einen imaginären Raum schaut. In wenigen gekonnten Pinselstrichen lässt der Künstler vor uns eine Gestalt entstehen, deren stromlinienförmigen Haare und das dominate Kinn sofort ins Auge stechen. Auch die grosse, durch hellere Akzente betonte Nase fällt auf, und die umgangssprachliche „Säufernase“ drängt sich auf. Entgegen der detaillierten Darstellung der Figur, sind Flasche und Glas auf die nötigsten Konturen reduziert. Georg Baselitz will zum einen durch das Stilmittel der umgekehrten Darstellung Form und Inhalt voneinander trennen, wodurch er sich offenkundig gegen die bis dahin unwiderruflichen Konventionen der Malerei wendet. Zum anderen sollen seine Motive Bildtypen repräsentieren und nicht der Illustration dienen. Im Selbstverständnis des Künstlers hat er ein Porträt mit einem Stillleben geschaffen. Aber selbst unter dieser künstlerischen Prämisse, gestaltet sich die Abstraktion und das Verneinen der Narration für den Betrachter als fast unmöglich. Vor dem geistigen Auge entspinnt sich sofort eine Geschichte um die Figur – Wer ist das? Wieso trinkt er? Trinkt er viel? Wo schaut er hin?
PostWar & Contemporary (A199)
Sale Date(s)
Lots: 3401-3488
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By participating in the auction the bidder accepts the following Auction Conditions of Koller Auctions Ltd ("Koller").
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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.
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(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.
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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.
