Lot 369
  • 369

Kurt Schwitters

Estimate
70,000 - 90,000 GBP
Sold
137,000 GBP
bidding is closed

Description

  • Kurt Schwitters
  • Pannaggi's Faselo (Pannaggi's Sailboat)
  • signed K Schwitters and dated 1938 (lower right)
  • wood, collage and wooden spool on composite board

Provenance

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

Exhibited

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

Literature

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

Catalogue Note

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.
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