Galerie Koller /Dec 3, 2016
€1,395.22 - €1,860.29
Artworks in Arcadja3151
Some works of Max ErnstExtracted between 3,151 works in the catalog of Arcadja
Auction: Sotheby's -Jan 19, 2017 - Hong-kongLot number: 37
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Max Ernst STUDY FOR A TISSUE OF LIES 1891 - 1976 Executed in 1957. signed oil on panel 27.3 by 21.3 cm, 10 3/4 by 8 3/8 in. Alexander Iolas Gallery, New York Alex Lantiez, New York Acquired from the above by the present owner Exhibited London, Hanover Gallery, Max Ernst, Early and Recent Paintings and Sculpture, 7-15 August 1965, cat. no.24, illustrated Chicago, Museum of Contemporary Art, Dada and Surrealism in Chicago Collections, 1985 Literature Werner Spies, Max Ernst: Oeuvre-Katalog, Werke 1954-1963, Köln, 1998, p.104, cat. no. 3246, illustrated Catalogue Note Max Ernst’’’’’’’’s most famous paintings are characterized by the artist’’’’’’’’s depictions of fantastical worlds and dream-like imagery of imagined beasts and animals. A pioneer of both the Dada and Surrealist movements, Ernst’’’’’’’’s artistic vision was highly influenced by his traumatic experience as a soldier in Germany during World War I. Highly critical of Western culture and viewing the modern world as irrational, the artist devoted his artistic practice to the exploration of the unconscious and a critique of social conventions. The present work, through its title, references the artist’’’’’’’’s autobiography titled Biographical Notes, also known as Tissue of Truth, Tissue of Lies. In the book, Ernst writes about his experiences in third person, a technique inspired by Freud's revealing of one's own self by understanding the unconscious. In addition, throughout Ernst's œuvre, the image of the bird theme recurs from time to time in various guises as Hornebom, Dadamax or Loplop, in all instances presenting the alter ego of the artist and becoming part of Ernst’’’’’’’’s personal mythology. In this work, one bird and one fox are depicted against a colourful but confined cage. The bird can be seen as a symbol of freedom, human potential and flights of fancy on one side, and a symbol of entrapment and a victim on the other. The fox, often associated with a trickster, is an ultimately predatory and devouring force. The two mysterious animals emerge from the alienating environment seem trapped in their own fate. Utilizing a flattened pictorial style that recalls a kaleidoscopic vision, Ernst has created a fragmented reality that perhaps reflected post-war sentiments throughout Europe. Through years of creative practice in his painting skills, Ernst has arrived at a point where he can allow the forms of his subjects to grow more or less where they like and to define themselves.
Auction: Auctionata -Jan 18, 2017 - BerlinLot number: 17
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Max Ernst (1891-1976) Etching on wove paper Germany, 1967 Max Ernst (1891-1976) German painter, graphic artist and sculptor Signed lower right in pencil 'Max Ernst' Published by Verlag Wolfgang Hake, Cologne Printed by Georges Visat, Paris Edition: 68 copies Catalogue raisonné: Spies & Leppien 113 Print size: 22 x 15.5 cm Sheet size: 37 x 25 cm Very good condition The etching by the German artist Max Ernst was printed for 'Texte und Briefe' by Antonin Artaud. It depicts a tree and a bird-like creature on the right. The work is signed lower right in pencil 'Max Ernst'. It is in very good condition showing minimal signs of age. There is a handling crease in the upper left margin. The frame shows minimal signs of wear. The print measures 22 x 15.5 cm and the sheet size is 37 x 25 cm. Max Ernst (1891-1976) The German painter, printmaker and sculptor Max Ernst was co-founder of the Dada movement. 1922 he moved to Paris where he joined the circle of Surrealists before he immigrated to America in 1941 and returned to France in 1953. He is known for his Surrealist, fantastical paintings with mysterious creatures. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good if a protection as an original work of art or photography is given starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.
Auction: Auctionata -Dec 16, 2016 - BerlinLot number: 58
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Max Ernst, Bronze Relief IV, Bronze, 1970 Bronze, brown-green patinated Max Ernst (1891-1976) - Important German painter, printmaker and sculptor of Surrealism With the engraved signature ‘Max Ernst’’’’’’’’ and numbering '000/12' Presumably copy for the publisher aside from the edition Published by manus presse, Stuttgart Dimensions: 36.7 x 28.5 cm
Auction: Galerie Koller -Dec 3, 2016 - ZurichLot number: 3647
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MAX ERNST (Brühl 1891 - 1976 Paris) Les oiseaux. 1975. Colour lithograph. 46/99. Signed lower right: max ernst. Image 34.7 x 62.5 cm on Japan 57 x 77 cm. Published by Polígrafa, Barcelona and Le Cercle d'Art, Paris. Printed by Pierre Chave, Vence. Catalogue raisonné: No longer in Spies/Leppien. Literature: Pech, Jürgen: Max Ernst. Graphische Welten. Die Sammlung Schneppenheim, Cologne 2003, p. 438f. --------------- MAX ERNST (Brühl 1891 - 1976 Paris) Les oiseaux. 1975. Farblithografie. 46/99. Unten rechts signiert: max ernst. Darstellung 34,7 x 62,5 cm auf Japan 57 x 77 cm. Erschienen bei Polígrafa, Barcelona und Le Cercle d'Art, Paris. Gedruckt bei Pierre Chave, Vence. Werkverzeichnis: Nicht mehr bei Spies/Leppien. Literatur: Pech, Jürgen: Max Ernst. Graphische Welten. Die Sammlung Schneppenheim, Köln 2003, S. 438f.
Auction: Christie's -Nov 17, 2016 - New-yorkLot number: 1281
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Max Ernst (1891-1976) La plus belle signed, numbered, dated and inscribed ‘Max Ernst 7/7 MA CAST 99’’’’’’’’ (on the right side of the base) bronze with black patina Height: 72 in. (183 cm.) Conceived in 1967; this bronze version cast in 1999 “When I come to a dead end in my paintings, which repeatedly happens, sculpture provides me with a way out. Because sculpture is even more like playing a game than painting is. In sculpture, both hands play a role, just as they do in love. It’’’’’’’’s as though I were taking a vacation, to return to painting afterwards, refreshed” - Max Ernst After having fled Europe for America at the outbreak of World War II, Ernst returned to France in 1953 with his fourth wife and fellow artist, Dorothea Tanning. He was welcomed upon his return with international acclaim as a master of modern art. In 1966, the year before he conceived La plus belle in stone, Ernst received the celebrated Grand Prize for Painting at the Venice Biennale. By 1967, the couple had settled in Huismes, in the serene countryside of the Loire Valley so that Ernst could pursue his artistic practice in relative privacy (fig. 1). It was in that pastoral location that, as Uwe Schneede states, the artist created works “filled with a fairytale atmosphere, witty, ironic and hinting at deeper implications” (The Essential Max Ernst, London, 1972, p. 195). La plus belle is part of a group of nine monumental freestanding sculptures that Ernst conceived while in Huismes. It retains the whimsy and fantastical nature of his earlier Surrealist and Dadaist works. Although the echoes of his integral involvement in the development of both Dadaism and Surrealism resonate within these late works, the characteristic highly imaginative imagery and playful sensibility representative of the artist’’’’’’’’s mature personal aesthetic transcends simple categorization. French writer Georges Bataille aptly describes Ernst as “the philosopher who plays,” as is evident in the friendly smile, off-set eyes, and twisted torso of La plus belle (quoted in op. cit., 2013, p. 295). Recalling the exhibition of the plaster version of this sculpture at Galerie Alexandre Iolas in Paris in 1968 (fig. 2), Mimi Johnson, Tanning’’’’’’’’s niece, recollected the good-humored nature of her uncle which was visibly manifested in his sculptures: “I remember when ‘La Plus Belle’’’’’’’’ was finished and delivered to the Iolas Gallery in Paris, and her neck was broken in transit…And Max just laughed” (quoted in H. Moss, “Max Ernst’’’’’’’’s Surprisingly Constant Medium, Stone,” T Magazine, 21 October, 2015). The distinctly feminine shape and graceful curvature of La plus belle, albeit abstracted and pared down, hints at it being an homage to Tanning. Fittingly, in 1961, Ernst described his relationship with sculpture in romantic terms: “[S]culpture originates in an embrace, two-handed, like love itself. It’’’’’’’’s the most simple, the most primeval art” (quoted in A. Bosquet, “Sculptures de Max Ernst,” Max Ernst, Oeuvre sculpté, 1913-1961, exh. cat., Le Point Cardinal, Paris, 1961). The totemic quality of this anthropomorphic form, mask-like face, and overall resemblance to early Cycladic sculpture, illustrates the personal lexicon of imagery that Ernst had developed with a notable emphasis on the influences of primitive and tribal art. Regarding this influence, John Russell emphasizes: “Ernst was a pioneer collector of what was once called ‘primitive art’’’’’’’’” (quoted in op. cit., 2013, pp. 206-207). According to Jürgen Pech, other casts of La plus belle are included in the collection of the Max Ernst Museum in Brühl (this version is installed as a permanent loan at the Kreissparkasse Cologne), the Botero Museum in Bogotá and the Museum Scharf-Gerstenberg in Berlin, as well as in the collection of Ursula and Heiner Pietzsch in Berlin. (fig. 1) The artist in his garden in Huismes in 1963. (fig. 2) The plaster version of La plus belle installed at the Galerie Alexandre Iolas reflected in a window looking onto the Boulevard Saint-Germain in Paris, January 1968. Provenance Alan Koppel Gallery, Chicago. Acquired from the above by the present owner, May 2000. Pre-Lot Text PROPERTY FROM A PRIVATE COLLECTION Literature J. Pech, Max Ernst, Plastiche Werke, Cologne, 2005, p. 192 (detail of another cast illustrated; another cast illustrated again, p. 193). W. Spies, ed., Max Ernst, Life and Work, Cologne, 2005, p. 301 (plaster version illustrated). W. Spies, S. and G. Metken and J. Pech, Max Ernst, Werke, 1964-1969, Cologne, 2007, p. 380, no. 4594,III (another cast and plaster version illustrated).