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KAREL APPEL | Tigerbird
估價
500,000 - 700,000 EUR
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招標截止
描述
- Tigerbird
- signed and dated K. Appel '52
- oil on canvas
- 115 x 146,5 cm; 45 1/4 x 57 11/16 in.
- Executed in 1952.
來源
Martha Jackson Gallery, New York
Private Collection
Galerie Cazeau-Béraudière, Paris
Private collection, Netherlands
Sale: Van Ham, Köln, Modern Kunst und Zeitgenössische Kunst, 30 November 2016, lot 103
Private Collection
Natalie Seroussi, Paris
Private Collection
Galerie Cazeau-Béraudière, Paris
Private collection, Netherlands
Sale: Van Ham, Köln, Modern Kunst und Zeitgenössische Kunst, 30 November 2016, lot 103
Private Collection
Natalie Seroussi, Paris
展覽
New York, Martha Jackson Gallery, First American Exhibition, 6 - 31 December 1954; catalogue, no. 3
Minneapolis, Walker Art Center, School of Paris 1959: The Internationals, 5 April -17 May 1959; catalogue, p.19 & 48, no. 3
Amsterdam, Stedelijk Museum Amsterdam, Appel, 25 June - 30 August, 1965; catalogue, no. 29
Bruxelles, Palais des Beaux-Arts, Appel, 16 September – 6 October 1965; catalogue, no. 14
Bochum, Städtische Kunstgalerie Bochum, Karel Appel. Gemälde, 31 October - 5 December 1965; catalogue, no. 18
Copenhagen, Charlottenborg-Udstillingen, Karel Appel, 11 - 26 December 1965; catalogue, no. 22
Stockholm, Moderna Museet, Karel Appel. Paintings 1947-65, 26 February - 27 March 1966; catalogue, no. 17
Minneapolis, Walker Art Center, School of Paris 1959: The Internationals, 5 April -17 May 1959; catalogue, p.19 & 48, no. 3
Amsterdam, Stedelijk Museum Amsterdam, Appel, 25 June - 30 August, 1965; catalogue, no. 29
Bruxelles, Palais des Beaux-Arts, Appel, 16 September – 6 October 1965; catalogue, no. 14
Bochum, Städtische Kunstgalerie Bochum, Karel Appel. Gemälde, 31 October - 5 December 1965; catalogue, no. 18
Copenhagen, Charlottenborg-Udstillingen, Karel Appel, 11 - 26 December 1965; catalogue, no. 22
Stockholm, Moderna Museet, Karel Appel. Paintings 1947-65, 26 February - 27 March 1966; catalogue, no. 17
出版
Ragon, Michel, Karel Appel Peinture 1937-57., 1988, Paris, p. 400, no. 706 (illustrated)
Condition
The colours are fairly accurate in the printed catalogue illustration.There are some hairline cracks to the surface visible under close inspection only. The edges present wear marks some of which have resulted in tiny cracks. A minor loss is located at the extremity of the lower right edge. Under Violet light inspection there are few carefully restored areas that fluoresce.
"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."
"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."
拍品資料及來源
I have always dreamed of revolutionary forms of expression, that would reflect the very game of life and society, nature and city. I have always dreamed of catching the secret movement of existence with the most spontaneity, flexibility and transparence.
Karel Appel Member of the Experimentele Groep, the CoBrA movement founded in 1948 by a group of young enlightened painters: Asger Jorn (Copenhagen), Pierre Alechinsky, Constant (both from Brussels) and Karel Appel (Amsterdam). Fueled by humanist philosophy and praising the renaissance of human thinking in the post-war context, CobrA dreamed itself international, libertarian and experimental. In 1948, Constant wrote: "A painting is no longer a structure of colors and lines, but rather a beast, a night, a scream, a person, or all of it at once" (Manifesto in Reflex, October 8, 1948). It was in this context that Appel started a revolution, painting his most essential works inspired by artistic forms not yet influenced by Western conventions and abolishing the frontier between abstract and figurative art.
In 1952, with the painting Tigerbird, Appel followed in the footsteps of Picasso and Paul Klee, borrowing to primitive, popular and raw art as well as naive art. Combining naturalist and expressionist influences, Tigerbird celebrates life, childhood, newfound freedom and light with an exceptional creative energy. In this vibrant and dynamic composition, the treatment of material is shaper than ever. Self-sufficient, the paintbrush is fast and bold. The vivid palette of colors is gaudy, and associated with impasto, gives the work a radiating picturesque power evoking softness, innocence, childhood brutality.
This work is registered in the archives of the Karel Appel Foundation.
Karel Appel Member of the Experimentele Groep, the CoBrA movement founded in 1948 by a group of young enlightened painters: Asger Jorn (Copenhagen), Pierre Alechinsky, Constant (both from Brussels) and Karel Appel (Amsterdam). Fueled by humanist philosophy and praising the renaissance of human thinking in the post-war context, CobrA dreamed itself international, libertarian and experimental. In 1948, Constant wrote: "A painting is no longer a structure of colors and lines, but rather a beast, a night, a scream, a person, or all of it at once" (Manifesto in Reflex, October 8, 1948). It was in this context that Appel started a revolution, painting his most essential works inspired by artistic forms not yet influenced by Western conventions and abolishing the frontier between abstract and figurative art.
In 1952, with the painting Tigerbird, Appel followed in the footsteps of Picasso and Paul Klee, borrowing to primitive, popular and raw art as well as naive art. Combining naturalist and expressionist influences, Tigerbird celebrates life, childhood, newfound freedom and light with an exceptional creative energy. In this vibrant and dynamic composition, the treatment of material is shaper than ever. Self-sufficient, the paintbrush is fast and bold. The vivid palette of colors is gaudy, and associated with impasto, gives the work a radiating picturesque power evoking softness, innocence, childhood brutality.
This work is registered in the archives of the Karel Appel Foundation.