78
78
Kurt Schwitters
OHNE TITEL (ABSTRAKTES BILD MIT OCKERFARBENEM KREIS) (UNTITLED (ABSTRACT PAINTING WITH OCHRE CIRCLE))
Estimate
200,000300,000
LOT SOLD. 77,500 USD
JUMP TO LOT
78
Kurt Schwitters
OHNE TITEL (ABSTRAKTES BILD MIT OCKERFARBENEM KREIS) (UNTITLED (ABSTRACT PAINTING WITH OCHRE CIRCLE))
Estimate
200,000300,000
LOT SOLD. 77,500 USD
JUMP TO LOT

Details & Cataloguing

The Collection of Edward Albee

|
New York

Kurt Schwitters
1887 - 1948
OHNE TITEL (ABSTRAKTES BILD MIT OCKERFARBENEM KREIS) (UNTITLED (ABSTRACT PAINTING WITH OCHRE CIRCLE))
signed with the artist's initials and dated 47 
oil on board
16 5/8 by 14 1/4 in. 42.2 by 36.1 cm.
Executed in 1947.
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Provenance

Harry Pierce, Elterwater, United Kingdom (gift of the artist in 1947-48)
Joyce G. Priestley, Thirsk, United Kingdom (by descent from the above in 1967)
Annely Juda Fine Art, London
Acquired from the above in 1996

Exhibited

Kendal, England, Abbot Hall Art Gallery, Kurt Schwitters in the Lake District, October - November 1964, cat. no. 15
London, Annely Juda Fine Art; Paris, Galerie Denise René & Düsseldorf, Galerie Hans Mayer, 1945 The End of the War, June - December 1995, cat. no. 60, illustrated 

Literature

Karin Orchard & Isabel Schulz, Kurt Schwitters, Catalogue Raisonné 1937-1948, Vol. III, Ostfildern-Ruit 2006, cat. no. 3411, p. 581, illustrated

Catalogue Note

Executed more than twenty years after Ohne Titel (Konstruktion mit Rotem Kreis und Schwarzem Dreieck) (lot 7), the present lot is an important abstract work from the artist’s mature period. Schwitters was incredibly inspired by his surroundings in the Lake District of England, where he lived in exile, and 1947 was one of the most productive years in the artist’s life. He experienced a rediscovery of his Expressionist roots and painted landscapes and portraits with a naturalism unseen in his earlier production. In the present lot, Schwitters imbues his painting with the qualities of an assemblage by overlapping abstract shapes and creating textures by varying brushstrokes. This is a forceful but organic composition, entirely abstract but not attached to or tied down by any particular set of rules. Living in self-imposed exile, playing the part of perennial outsider, Schwitters proves himself here as one of the most defiantly original artists of the first half of the twentieth century. Towards the end of his life, Schwitters seemed determined to use his entire arsenal of artistic skills to finally bring everything together.

The Collection of Edward Albee

|
New York