Kurt Schwitters

Ernst Schwitters, Lysaker (the artist's brother, by descent in 1948)
Marlborough Gallery, London (by 1963)
Bruno Lussato, Paris & Geneva (acquired from the above in 1972)
Thence by descent to the present owner

London, Marlborough Fine Art; Cologne, Wallraf-Richartz; Rotterdam, Museum Boymansvan Beuningen; Milan, Toninelli Arte & Rome, Marlborough Galleria d'Arte, Kurt Schwitters, 1963-64, no. 207, illustrated in the catalogue
New York, Marlborough-Gerson; Kansas City, Nelson Gallery of Art; Toronto Art Gallery; Dallas, Museum of Fine Art & San Francisco, Museum of Art, Kurt Schwitters, 1965, no. 147, illustrated in the catalogue
Düsseldorf, Städtische Kunsthalle; Berlin, Akademie der Künste; Stuttgart Staatsgalerie & Basel, Kunsthalle, Kurt Schwitters, 1971, no. 213, illustrated in colour in the catalogue
London, Marlborough Fine Art, Kurt Schwitters, 1972-73, no. 62, illustrated in the catalogue
Paris, Centre Georges Pompidou; Musée d'art Moderne de Paris; Valencia, IVAM Centre Julio Gonzàlez & Grenoble, Musée de Grenoble, Kurt Schwitters, 1994-95, illustrated in the catalogue

Bruno Lussato, Décodage. Les clés du sanctuaire, Paris, 1993, illustrated p. 180
Jutta Nestegard, Kurt Schwitters i Norge, unveröffentl. Typoskript, Magisterarbeit, våren, 1993, illustrated p. 159
Klaus Stadtmüller, Kurt Schwitters in Norwegen. Arbeiten, Dokumente, Ansichten, Hanover, 1997, illustrated p. 16
Karin Orchard & Isabel Schulz, Kurt Schwitters, Catalogue raisonné 1937-1948, vol. III, Ostfildern-Ruit, 2000, no. 2333, illustrated in colour p. 118

The board and collage elements are stable. UV examination reveals a spot of re-touching towards the centre of the upper edge (approx. 1.5cm. wide) and further lines and spots of re-touching to the lower part of the composition. There are minor losses in places along the extreme upper edge and fine, vertical and entirely stable splits to the wooden support throughout. This work is in overall fairly good condition.
"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."

Ivo Panaggi (1901-1981), the inspiration for the present work, was an Italian artist, architect and graphic designer closely associated with the Futurist movement. In 1922 he and Vinicio Paladini published the Manifesto dell'arte meccanica futurista (Manifesto of Futurist Mechanical Art), a treatise which analysed the significance of machines within contemporary culture and philosophy. The importance of Pannaggi’s work was recognised when he exhibited in the XV Venice Biennale in 1926. In the early 1930s he worked at the Bauhaus in Germany, later spending time in Norway before returning to settle in his hometown of Macerata in Italy.