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Max Ernst

Germany (Brühl 1891 -  Parigi 1976 ) Wikipedia® : Max Ernst
ERNST Max Chimère Rouge

Christie's /Jun 22, 2016
506,598.30 - 759,897.45
Not Sold

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Artworks in Arcadja
3063

Some works of Max Ernst

Extracted between 3,063 works in the catalog of Arcadja
Max Ernst - Hibou-arlequin

Max Ernst - Hibou-arlequin

Original 1955
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Lot number: 3631
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Description:
Description: MAX ERNST (Brühl 1891 - 1976 Paris) Hibou-Arlequin. 1955. Colour lithograph. Outside the edition of 200. Image 46.3 x 34.6 cm on vélin by BFK Rives (with the watermark) 56.2 x 45.6 cm. Published by L'Oeuvre Gravée, Paris/Zurich (with the blindstamp). Printed by Desjobert, Paris. Catalogue raisonné: Spies/Leppien, no. 67.
Max Ernst - Le Chant De La Grenouille

Max Ernst - Le Chant De La Grenouille

Original 1934
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Lot number: 542
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Description:
Max Ernst 1891 - 1976 LE CHANT DE LA GRENOUILLE signed; signed and dated 1934 on the reverse oil on canvas 19 by 24 cm, 7 1/2 by 9 3/8 in. This work is in very good condition overall. There are signs of handling and wear along the edges of the canvas. There is minor undulation in the upper quadrant. There are signs of fine craquelure throughout the composition visible upon close inspection. There are a few flecks of accretion in the upper right quadrant close to the corner of the canvas. Under UV light there is no evidence of restoration. Framed.
Max Ernst - The Table-cloth In The Atlantic Ocean

Max Ernst - The Table-cloth In The Atlantic Ocean

Original 1931
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Lot number: 141
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Description:
Lot Description Max Ernst (1891-1976) The table-cloth in the Atlantic Ocean (projet d'illustration pour "Babylone" de René Crevel) signed 'max ernst' (lower right) frottage and pencil on paper 7 1/8 x 4 1/2 in. (18 x 11.5 cm.) Executed in 1931 Provenance Buchholz Gallery (Curt Valentin), New York; sale, Sotheby's, New York, 16 February 1961, lot 1. Alexander Iolas Gallery, New York (no. 8A). Yves Saint Laurent et Pierre Bergé, Paris; their sale, Christie's, Paris, 17 November 2009, lot 994. Acquired at the above sale by the present owner. Pre-Lot Text PROPERTY FROM A PRIVATE EUROPEAN COLLECTION Literature W. Spies, S. & G. Metken, Max Ernst, Werke 1929-1938 , Cologne, 1979, no. 1735, p. 88 (illustrated). R. Crevel, Babylon , Paris, 1988, p. 50 (illustrated).
Max Ernst - Chimère Rouge

Max Ernst - Chimère Rouge

Original 1925
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Lot number: 26
Other WORKS AT AUCTION
Description:
Lot Description Max Ernst (1891-1976) Chimère rouge signed and dated 'max ernst 1925' (lower right) oil on canvas 28 3/4 x 16 3/8 in. (73 x 41.6 cm.) Painted in 1925 Special Notice Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance Aram D. Mouradian, Paris. Galerie D. Benador, Geneva. Frua d'Angeli, Turin. Galerie Jan Krugier, Geneva, by 1972. Alex Maguy [Galerie de l'Elysée], Paris. Private collection, Europe, by 1979, and thence by descent to the present owners. Pre-Lot Text PROPERTY FROM A PRIVATE EUROPEAN COLLECTION Literature G. Gatt, Max Ernst , Florence, 1968, no. 13, p. 89 (illustrated pl. 13; titled 'Chimera'). W. Spies, Max Enst: Collagen , Cologne, 1975, p. 112. W. Spies, S. & G. Metken, Max Ernst, Werke 1906-1925, Cologne, 1975, no. 669, p. 349 (illustrated). Exhibited London, The Matthiesen Gallery, Paintings by Max Ernst , November - December 1956, no. 5, p. 7 (dated '1924' and titled 'Chimère'). Geneva, Galerie Jan Krugier, Le silence des autres , November - December 1972, no. 8 (illustrated). View Lot Notes >
Max Ernst - Dimanche Après-midi Sur Les Champs Elysées

Max Ernst - Dimanche Après-midi Sur Les Champs Elysées

Original 1958
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Gross Price
Lot number: 21
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Description:
Max Ernst 1891 - 1976 DIMANCHE APRÈS-MIDI SUR LES CHAMPS ELYSÉES signed Max Ernst (lower right); signed Max Ernst , dated 58 and inscribed Les Champs Elysées on the reverse oil on board 83 by 69.6cm. 32 5/8 by 27 3/8 in. Painted in 1958. Provenance Dorothea Tanning, Bourg-la-Reine & New York Private Collection, Switzerland (acquired in 1988) Private Collection, Switzerland (acquired from the above. Sold: Christie's, London, 7th February 2012, lot 137) Purchased at the above sale by the late owner Exhibited Stuttgart, Württembergischer Kunstverein, Max Ernst , 1970, no. 101 (titled Les Champs Elysées ) Munich, Haus der Kunst & Berlin, Nationalgalerie, Max Ernst. Retrospektive , 1979, no. 301, illustrated in the catalogue (with incorrect medium and measurements and as dating from 1957) Ascoli Piceno, Complesso Monumentale di Sant'Agostino, Chagall - Licini e il sopra naturale... in Arp, Ernst, Klee, Miró, Savinio , 2001-02, illustrated in colour in the catalogue Literature John Russell, Max Ernst, Life and Work , London, 1967, no. 109, illustrated (with incorrect medium and as dating from 1957) Edward Quinn, Max Ernst , Paris, 1976, no. 366, illustrated in colour p. 296 (with incorrect medium and as dating from 1957) Werner Spies, Max Ernst Œuvre-Katalog, Werke 1954-1963 , Cologne, 1998, no. 3343, illustrated p. 153 Ernst’’’’’’’’s pre-war work had been characterised by a spirit of inventiveness and experimentation, and whilst this remained central to his art in the years directly following the war, he also began to channel his energy in new directions. Describing Ernst’’’’’’’’s work of this period, Werner Spies commented: ‘He became increasingly preoccupied with issues intrinsic to his oeuvre and its development […]. On the whole, this process of self-questioning continued to be conducted in terms of the two fundamental techniques that he had first employed in the 1920s: collage and frottage […]. The latter, as a result of their technique, which covered the picture plane with a finely articulated, sensuous pattern, were devoted largely to subjects of a more painterly nature, ones that at first glance presented few problems of interpretation. The sensuousness of the transparent colours and textures could easily be related to the concerns of post-war painting in general’’’’’’’’ (W. Spies in Max Ernst. A Retrospective (exhibition catalogue), Tate Gallery, London, 1991, p. 252). In Dimanche après-midi sur Les Champs Elysées Ernst experiments with colour and form, scraping through layers of paint to create a wonderful complexity of texture. The figures appear to blend into the board as much as they emerge from it, creating a powerful interplay between foreground and background and, by implication, between subject and painted surface. This relationship appears to have particularly intrigued Ernst and found expression in another aspect of his post-war work. By 1958 Ernst was living in Huismes, a small village in the Loire region of France. Much of his work grew out of the surrounding environment; sculptures in particular were often formed from found objects and transformed into curious likenesses of the people that surrounded him. At the same time, his home there was populated with sculptures and paintings which came almost to take on an active role in the life of the household. The expressive physiognomy of the two figures of the present work, which are reminiscent of the puckish characters of his sculpture, reflects this conflation between his work and his life, as is indicated in the title – Dimanche après-midi sur Les Champs Elysées (Sunday afternoon on the Champs-Elysées). The work’’’’’’’’s first owner was the American artist Dorothea Tanning. Ernst and Tanning met in 1942 when he visited her studio in New York. The pair fell in love, marrying in a double ceremony with Man Ray and Juliet Browner in 1946. They lived first in Sedona in Arizona (fig. 1), before relocating to France. Tanning was already experiencing some success as an artist when she met Ernst and although influenced by the Surrealists, continued to develop a distinctive aesthetic of her own. Following Ernst's death in 1976 she returned to New York where she continued to paint and write to great acclaim until her death in 2012 at the age of 101.
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