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Arnulf Rainer

Austria (Vienna 1929 ) - Artworks Wikipedia® - Arnulf Rainer
RAINER Arnulf Maus

Palais Dorotheum /Jun 11, 2015
14,000.00 - 20,000.00
30,000.00

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Artworks in Arcadja
998

Some works of Arnulf Rainer

Extracted between 998 works in the catalog of Arcadja
Arnulf Rainer - Gesichter Mit Goya

Arnulf Rainer - Gesichter Mit Goya

Original 1983-84
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Lot number: 79
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Arnulf Rainer (born 1929), From: Gesichter mit Goya, 1983/1984 Mixed media with ink and gouache over photo reproduction on light cardboard Austria, 1983/1984 Arnulf Rainer (born 1929) - Austrian graphic artist, photographer and painter; exponent of the Informal art Signed in pencil lower right ‘A. Rainer’’’’ Numbered in pencil on the reverse, ‘230/553’’’’ Sheet dimensions: 60.8 x 50.5 cm Matted under glass in a black wooden frame: 82 x 70 cm Good condition One of Rainer’’’’s well known ‘overpaintings’’’’. The current highest auction record for a ‘overpainting’’’’ by Rainer is more than €96,000
Arnulf Rainer - Ecke

Arnulf Rainer - Ecke

Original 1969-70
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Lot number: 97
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Arnulf Rainer, Ecke, Etching, 1969/70 Drypoint in brown-red on wove paper Austria, 1969/70 Arnulf Rainer (b. 1929) – Austrian painter Signed ‘A. Rainer’’’’ and numbered ‘147/200’’’’ in pencil Printed by Robert Finger, Vienna Published by Kunstverein Hamburg Catalogue raisonné: Breicha 101 (Illustration erroneously as portrait format) Plate dimensions: 20.9 x 27.9 cm; sheet dimensions: 64.6 x 49.5 cm This object is sold through the Berlin office
Arnulf Rainer - Ohne Titel.

Arnulf Rainer - Ohne Titel.

Original 1983
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Lot number: 542
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Arnulf Rainer 1929 Baden bei Wien - lebt und arbeitet in Wien und auf Schloss VornbachOhne Titel. 1983/84.Oil over black and white photography. Signed lower right. Verso dated and with red stamp 'Goyaserie'. On photo paper. 61 x 50,5 cm (24 x 19,8 in), the full sheet. We are grateful to the Atelier Arnulf Rainer for their kind support in cataloging this lot.PROVENANCE: Galerie Stadler, Paris (with typographic label on rear of frame, there inscribed). Called up: June 12, 2015 - ca. 16.15 h +/- 20 min.
Arnulf Rainer - Maus

Arnulf Rainer - Maus

Original 1963
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Lot number: 978
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Arnulf Rainer * (born in Baden near Vienna in 1929) ‘Maus’’’’, titled, signed, dated A. Rainer 63, with a dedicatory inscription on the reverse: ‘Der lieben …3…65’’’’ and a female nude crossed out (all in pencil), oil crayon, oil, graphite and watercolour on drawing board, 55 x 70 cm, framed, (K) Frame on loan Provenance: Private Ownership, Vienna
Arnulf Rainer - Untitled

Arnulf Rainer - Untitled

Original 1955
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Lot number: 745
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Arnulf Rainer * (born Baden near Vienna in 1929) Untitled (overpainting), 1955, oil on canvas, 53 x 42.5 cm, framed, (K) Provenance: Formerly the property of Josef Mikl Hassfurther auction: Wien nach 1945, Hotel Hilton, Vienna, 2 Dec.1989, catalogue no. 32, full page colour ill. Private Collection, Switzerland From the catalogue page above, with illustration and in Rainer’’’’ s hand: The painted surface shown here was a particular fragment destined for destruction, having been rejected for artistic reasons, SIGNING as my work cannot follow in this state. However, I am prepared to overpaint. Vienna 6. XII.89 A. Rainer’’’’s overpainting suggestions followed (see catalogue Part II no. 982, 983) in a letter: Vienna 6.6.1990 I refer to Mr Rainer’’’’s letter of 15 March. He has overpainted the colour reproduction from the Hassfurther catalogue twice and is sending you a coloured copy of each variation. As already mentioned in his letter, the price for overpainting the colour reproduction is ATS 33,600. Please let me know which variation you decide on. I look forward to hearing from you and remain, Yours Gabriele Wimmer Atelier Arnulf Rainer Catalogue page with handwritten note and 2 letters, one including a cost estimate for overpainting the painting, issued by the Atelier Arnulf Rainer, Vienna 15.3.1990 and one from 6.6.1990. I am still revising these paintings even today, steadily approaching complete blacking out, although I have long since forgotten what lay beneath. My favourite activity is overpainting an overpainting. I never wanted to destroy, but instead to perfect. I needed a certain positive contact to the overpainted image. Although not exclusively, I perform my artistic work primarily as a soliloquy. Just as a dream continues during deep sleep, overpainting is the development of this soliloquy into silence. A. R.1970 Are you still working on earlier paintings? In 1971 you noted that paintings are not for you to look at, but something to alter. Only on works made in recent years. I leave earlier works just as they are. I can no longer rediscover the feeling associated with the shapes and energy from those days. From: Arnulf Rainer in conversation with Antonia Hoerschelmann – Rätsel der Zusammenhänge, Vienna, 20 May 2014 Both texts from: Arnulf Rainer, catalogue of the Albertina, Vienna, Museum Frieder Burda, Baden-Baden, published by Buchhandlung Walther König, 2014 Hundertwasser und Rainer A Viennese memory While painting his work ‘Der Dampfer von Hokkaido’’’’ in a ryokan in 1961, Hundertwasser remembered ten painters of his time whose work he held in particularly high esteem. He entered their names into an irregularly bordered space in the green of the bow between the portholes. The list begins with Brauer, followed by Schröder-Sonnenstern, Dali, Fuchs, Picasso, Hausner, Lehmden, Rainer, and the two late surrealists, Biasi and Hantai. Picasso and Dali represented art history. Schröder-Sonnenstern is the ingenue who he met in Berlin and whose drawings in coloured pencil he always supported. He became acquainted with the works of Biasi and Hantai during his early years in Paris. All the other names, however, relate to his beginnings in Vienna, of the situation around 1950, of names and paintings which would move him most at that time, representing such a departure from his own visual world. Even from a distance of more than a decade, his thoughts return to this starting point, circling him again and again… And then we have the name Arnulf Rainer, a painter whose pull is greater than all the others, whose paintings both fascinate and shock him, drawing him in, repulsing him, and then drawing him closer again, in which he discovers the spirit of the avantgarde. Arnulf Rainer becomes something of an opponent, against whom he measures himself, admiring and withdrawing from him. In the 1960s he would telegraph him from Venice on the opening of an Exhibition: ‘Greetings, giant’’’’… Wieland Schmied from: Arnulf Rainer, Retrospektive 1950–1977, catalogue 5/1977, Kestner-Gesellschaft Hannover
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