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Maria LassnigDer Tod ist eine SphinxÖl auf Leinwand 100 x 115 cm. Gerahmt.ProvenienzDirekt von der
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Köln
Beschreibung
Maria Lassnig
Der Tod ist eine Sphinx
Öl auf Leinwand 100 x 115 cm. Gerahmt.
Provenienz
Direkt von der Künstlerin erworben (1990); Barbara Gross Galerie, München (mit rückseitigem Aufkleber); Privatsammlung, Süddeutschland
Ausstellungen
Luzern 1989 (Kunstmuseum), Graz (Neue Galerie), Wiener Secession, Maria Lassnig, Mit dem Kopf durch die Wand, Ausst.Kat.Nr.15, S.66/67 mit Farbabb.
Die überwältigende Mehrzahl der Werke Maria Lassnigs sind Selbstporträts. Sie wählt die Erforschung des eigenen Körpers und seiner stetig wechselnden Empfindungen als das maßgebliche künstlerische Thema, da es ihr im wahrsten Sinne am nächsten ist - mehr als jedes andere Sujet der Außenwelt je sein könnte. Ihr Beweggrund ist kein Narzissmus, sondern im Gegenteil eine schonungslose Selbsterforschung. Ohne Scheu vor intimen Entblößungen und ohne Rücksicht auf Ästhetik widmet sie sich einer intensiven Verinnerlichung, um das Körperbewusstsein, das ihr als außergewöhnlich sensibler Mensch besonders präsent ist, ungefiltert abbilden zu können. Realismus und Abstraktion gehen dabei fließend ineinander über, ihr Körper wird verkürzt, verzerrt, fragmentiert oder verschmilzt mit anderen Personen, Tieren oder Gegenständen.
Die Bildfindung geschieht nicht absichtsvoll, sondern ergibt sich als Ausdruck ihres jeweils aktuellen Empfindens. „Ich trete gleichsam nackt vor die Leinwand, ohne Absicht, ohne Planung, ohne Modell, ohne Fotografie, und lasse es entstehen. Doch habe ich einen Ausgangspunkt, der aus der Erkenntnis entstand, dass das einzig mir wirklich Reale meine Gefühle sind, die sich innerhalb des Körpergehäuses abspielen: physiologischer Natur, Druckgefühl beim Sitzen und Liegen, Spannungs- und räumliche Ausdehnungsgefühle - ziemlich schwierig darstellbare Dinge“, so beschreibt die Künstlerin selbst ihren Schaffensprozess (Maria Lassnig, zit. nach: Ausst.Kat. Maria Lassnig, Museum moderner Kunst/Museum des 20. Jahrhunderts Wien u.a., Wien 1985, S.79). Das daraus entstehende Motiv ist daher auch für den Betrachter nie restlos zu entschlüsseln, denn einzig die Künstlerin selbst weiß um die persönlichen Umstände, die es hervorbrachten.
„Der Tod ist eine Sphinx“ zeigt Lassnig als Mischwesen zwischen Mensch und Tier in der klassischen Liegeposition einer Sphinx, den Kopf auf einen Totenschädel reduziert, zwischen den Löwentatzen eine Fackel als Symbol von Leben und Tod.
Maria Lassnig
Der Tod ist eine Sphinx
Oil on canvas 100 x 115 cm. Framed.
Provenance
Acquired directly from the artist (1990); Barbara Gross Galerie, Munich (label verso); private collection, South Germany
Exhibitions
Luzern 1989 (Kunstmuseum), Graz (Neue Galerie), Wiener Secession, Maria Lassnig, Mit dem Kopf durch die Wand, exhib.cat.no.15, S.66/67 with colour illus.
The overwhelming majority of Maria Lassnig's works are self-portraits. She chooses the investigation of her own body and its constantly changing sensibilities as the decisive artistic theme, as it is literally the closest thing to her - more than any other subject of the outside could ever be. She is not motivated by narcissism, but quite the opposite, by merciless self-exploration. Without shyness of intimate exposure and without consideration of aesthetics, she dedicates herself to an intense internalisation in order to present an unfiltered depiction of body consciousness, something which is particularly present to a person of extraordinary sensitivity. Realism and abstraction merge seamlessly, her body is shortened, distorted, fragmented, or merged with other people, animals or objects.
The visualisation is not created intentionally, but rather as an expression of her current feeling. “I step, so to speak, naked in front of the canvas, without intention, without planning, without model, without photography, and allow it to emerge. However, I have a starting point which arose from the realisation that the only thing that is really real for me are my feelings that take place inside the body's shell: physiological nature, the pressure felt when sitting or lying down, feelings of tension and spatial expansion - rather difficult things to depict”, so the artist describes her own creative process (Maria Lassnig, quoted from: exhib. cat. Maria Lassnig, Museum moderner Kunst/Museum des 20. Jahrhunderts Wien, et al., Vienna 1985, p.79). The resulting motif can therefore never be completely deciphered by the viewer, as only the artist herself knows the personal circumstances which produced it.
“Death is a sphinx” shows Lassnig as a hybrid between human and animal in the classical reclining posture of a sphinx, the head reduced to a skull, with a torch between the lion paws symbolising life and death.
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Maria Lassnig
Der Tod ist eine Sphinx
Öl auf Leinwand 100 x 115 cm. Gerahmt.
Provenienz
Direkt von der Künstlerin erworben (1990); Barbara Gross Galerie, München (mit rückseitigem Aufkleber); Privatsammlung, Süddeutschland
Ausstellungen
Luzern 1989 (Kunstmuseum), Graz (Neue Galerie), Wiener Secession, Maria Lassnig, Mit dem Kopf durch die Wand, Ausst.Kat.Nr.15, S.66/67 mit Farbabb.
Die überwältigende Mehrzahl der Werke Maria Lassnigs sind Selbstporträts. Sie wählt die Erforschung des eigenen Körpers und seiner stetig wechselnden Empfindungen als das maßgebliche künstlerische Thema, da es ihr im wahrsten Sinne am nächsten ist - mehr als jedes andere Sujet der Außenwelt je sein könnte. Ihr Beweggrund ist kein Narzissmus, sondern im Gegenteil eine schonungslose Selbsterforschung. Ohne Scheu vor intimen Entblößungen und ohne Rücksicht auf Ästhetik widmet sie sich einer intensiven Verinnerlichung, um das Körperbewusstsein, das ihr als außergewöhnlich sensibler Mensch besonders präsent ist, ungefiltert abbilden zu können. Realismus und Abstraktion gehen dabei fließend ineinander über, ihr Körper wird verkürzt, verzerrt, fragmentiert oder verschmilzt mit anderen Personen, Tieren oder Gegenständen.
Die Bildfindung geschieht nicht absichtsvoll, sondern ergibt sich als Ausdruck ihres jeweils aktuellen Empfindens. „Ich trete gleichsam nackt vor die Leinwand, ohne Absicht, ohne Planung, ohne Modell, ohne Fotografie, und lasse es entstehen. Doch habe ich einen Ausgangspunkt, der aus der Erkenntnis entstand, dass das einzig mir wirklich Reale meine Gefühle sind, die sich innerhalb des Körpergehäuses abspielen: physiologischer Natur, Druckgefühl beim Sitzen und Liegen, Spannungs- und räumliche Ausdehnungsgefühle - ziemlich schwierig darstellbare Dinge“, so beschreibt die Künstlerin selbst ihren Schaffensprozess (Maria Lassnig, zit. nach: Ausst.Kat. Maria Lassnig, Museum moderner Kunst/Museum des 20. Jahrhunderts Wien u.a., Wien 1985, S.79). Das daraus entstehende Motiv ist daher auch für den Betrachter nie restlos zu entschlüsseln, denn einzig die Künstlerin selbst weiß um die persönlichen Umstände, die es hervorbrachten.
„Der Tod ist eine Sphinx“ zeigt Lassnig als Mischwesen zwischen Mensch und Tier in der klassischen Liegeposition einer Sphinx, den Kopf auf einen Totenschädel reduziert, zwischen den Löwentatzen eine Fackel als Symbol von Leben und Tod.
Maria Lassnig
Der Tod ist eine Sphinx
Oil on canvas 100 x 115 cm. Framed.
Provenance
Acquired directly from the artist (1990); Barbara Gross Galerie, Munich (label verso); private collection, South Germany
Exhibitions
Luzern 1989 (Kunstmuseum), Graz (Neue Galerie), Wiener Secession, Maria Lassnig, Mit dem Kopf durch die Wand, exhib.cat.no.15, S.66/67 with colour illus.
The overwhelming majority of Maria Lassnig's works are self-portraits. She chooses the investigation of her own body and its constantly changing sensibilities as the decisive artistic theme, as it is literally the closest thing to her - more than any other subject of the outside could ever be. She is not motivated by narcissism, but quite the opposite, by merciless self-exploration. Without shyness of intimate exposure and without consideration of aesthetics, she dedicates herself to an intense internalisation in order to present an unfiltered depiction of body consciousness, something which is particularly present to a person of extraordinary sensitivity. Realism and abstraction merge seamlessly, her body is shortened, distorted, fragmented, or merged with other people, animals or objects.
The visualisation is not created intentionally, but rather as an expression of her current feeling. “I step, so to speak, naked in front of the canvas, without intention, without planning, without model, without photography, and allow it to emerge. However, I have a starting point which arose from the realisation that the only thing that is really real for me are my feelings that take place inside the body's shell: physiological nature, the pressure felt when sitting or lying down, feelings of tension and spatial expansion - rather difficult things to depict”, so the artist describes her own creative process (Maria Lassnig, quoted from: exhib. cat. Maria Lassnig, Museum moderner Kunst/Museum des 20. Jahrhunderts Wien, et al., Vienna 1985, p.79). The resulting motif can therefore never be completely deciphered by the viewer, as only the artist herself knows the personal circumstances which produced it.
“Death is a sphinx” shows Lassnig as a hybrid between human and animal in the classical reclining posture of a sphinx, the head reduced to a skull, with a torch between the lion paws symbolising life and death.
Moderne und Zeitgenössische Kunst - Evening Sale
Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.
Wichtige Informationen
Nothing important.
AGB
standard | standard
Conditions of Sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers
