Joannis Avramidis

DescDE Avramidis, Joannis 1922 Batum/Georgien Ohne Titel (Baum). 1988. Bleistift-, Kugelschreiber- und Tuschfederzeichnung auf Butten. 50,5 x 38cm. Signiert und datiert oben links: Avramidis 88. Rahmen. Avramidis, Joannis 1922 Batum/Georgia Untitled (Tree). 1988. Sketch in lead pencil, ball-point pen and fountain pen on laid paper. 50.5 x 38cm. Signed and dated upper left: Avramidis 88. Framed.

Joannis Avramidis (b. 1922) Kopf (head) incised with signature and numbered 'AVRAMIDIS 6/6' (lower edge) bronze 30 x 16 x 15 cm. (excluding the wooden base) Cast at an unknown date, this work is number six from an edition of six Acquired directly from the artist by the present owner in the 1980s. The starting-point of all Avramidis's sculptures was the human body, reduced to the simplest possible elements of a column and sphere. The archaic character, influenced principally by ancient Greek sculpture, merged with the notion of absolute beauty, which manifests itself in forms of perfect rotundity.

Avramidis, Joannis (1922 Batum) Drei-Figuren-Relief 1977. Bronze, schwarz patiniert. 40 x 25,5 x 5,5cm. Ex. 112/400.Signiert und nummeriert vorne auf der Plinthenkante:Avramidis. Sowie seitlich auf der Plinthe Gießerstempel Venturi Arte, Bolognaund Stempel der Edition Euroart. Verso mit Wandhalterung versehen Avramidis, Joannis (1922 Batum) Drei-Figuren-Relief1977. Bronze, black patina. 40 x 25,5 x 5,5cm. Ex. 112/400. Signed andnumbered on the front on the plinth edge: Avramidis. On the plinth's side caster's stamp: Venturi Arte, Bologna andstamp of the Edition Euroart. Verso with wall mount.

Joannis Avramidis* (born in Batumi/Georgia, 1922) Kopf (head) Aluminium Height 42 cm 1966 Unicum provenance: acquired at the gallery Krugier et Cie, Geneva in 1970;since then Austrian private collection Invoice and authenticity certificate of the gallery Krugier et Cie,Genève, 5, Grand Rue from July, 16th 1970 exists; here described as“Le Combattant”, 1966, Aluminium, Pièce originale, Hauteur 42cm. We thank Prof. Joannis Avramidis for the confirmation ofauthenticity of the sculpture. “This is my concern: to openly display everything in my work. Toreveal the formula. Hence, others can also use it. To read, to examine merits andflaws. The formula: for producing a human oeuvre. Nature is the eternal supplier of data.” (adapted from Joannis Avramidis) Joannis Avramidis was born in 1922 in Batum at the Black Sea. Thepersecution and death of his father in imprisonment forced thefamily, which was Greek-born, to emigrate to Athens in 1939. In1943 Avramidis came to Vienna as a foreign worker. After the war heattended the Viennese Academy to study painting and sculpting underRobin Christian Andersen and Fritz Wotruba. In 1962 he represented Austria at the Biennale in Venice (where hebecame acquainted with Alberto Giacometti, who was fascinated byhis oeuvre). In 1966/67 he was Professor in Hamburg. From 1968until 1992 he worked as a Professor at the academy of Vienna. In1973 he was awarded the Grand Austrian State Prize for academicsand arts. There were exhibitions of his statuary artworldwide. Avramidis utilizes a strict and severe symbolism. The artistintends to create an objective, entirely physical form, whichavoids stylistic influences. The only references are the Antiquityand the Italian early Renaissance. Joannis Avramidis is aclassicist, who tireless forms his ideal, his model of perfection,the image of a strict, responsible manhood.

Joannis Avramidis (b.1922) Kopf (Head) incised with signature and numbered 'AVRAMIDIS 4/6' (lower right) bronze with black and brown patina 13 x 8 x 8 1/8in. (33 x 20.4 x 20.6cm.) Executed in 1961-1970, this work is number four from an edition of six Provenance Acquired directly from the artist by the previous owner. Brusberg Gallery, Berlin. Acquired from the above by the present owner in 1990. Literature Agora - A Retrospective of Scultptures and Drawings, 1953-1988, exh. cat., Berlin, Galerie Brusberg, 1989 (illustrated, p. 9). Exhibited Berlin, Galerie Brusberg, Agora - A Retrospective of Scultptures and Drawings, 1953-1988, April-July 1989. Post-Lot Text The starting-point of all Avramidis's sculptures was the human body, reduced to the simplest possible elements of a column and sphere. The archaic character, influenced principally by ancient Greek sculpture, merged with the notion of absolute beauty, which manifests itself in forms of perfect rotundity.