Lot 20
  • 20

Anselm Kiefer

Estimate
70,000 - 90,000 EUR
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Description

  • Anselm Kiefer
  • Bilderstreit
  • signé, daté et titré au dos
  • technique mixte sur plomb
  • 150 x 120 cm; 59 x 47 1/4 in.
  • Exécuté en 1976-1991.

Provenance

Galerie Yvon Lambert, Paris
Acquis auprès de celle-ci par le propriétaire actuel

Condition

The colours are fairly accurate in the catalogue illustration, although the overall tonality tends to light grey in the original and is less blue than the picture is in the catalogue. The work is in good original condition. In the lower half of the work, a few tiny dents are visible on the photography (also visible in the illustration) and are inherent to the artist's process.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

signed, dated and titled on the back; mixed media on lead. Executed in 1976-1991.

" ...Kiefer aime le plomb. Il l'utilise pour réaliser des livres et des bibliothèques de géant au poids colossal (Zweistromland - The High Priestess ou Bruch der Gefässe en 1990), pour façonner l'avion improbable de Melancholia ou de L'Ange de l'Histoire en 1989, les lits des Femmes de la Révolution en 1992. Le fabricant de sculptures est manifestement attiré par la qualité plastique de ce métal : lourd et mou, malléable à froid, (...). Le plomb entre d'ailleurs également dans la fabrication de ses tableaux. Il y intervient sous la forme d'objets façonnés, mais aussi des plaques, de matière première elle-même travaillée, attaquée, corrodée. (...). Pour Kiefer, "le plomb a toujours été un support pour les idées".".
(Daniel Arasse, De mémoire de tableaux ; catalogue d'exposition, Paris, Yvon Lambert, Anselm Kiefer, Cette obscure clarté qui tombe des étoiles, 1996)