- 43
馬克斯·恩斯特
估價
1,800,000 - 2,500,000 USD
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招標截止
描述
- Max Ernst
- 《意識的風景》
- 款識：畫家簽名Max Ernst（右下）；簽名Max Ernst題款並紀年N. Y. C. 1942（背面）
- 油畫畫布
- 18.1 x 15英寸
- 46 x 38公分
來源
Maurice Lefebvre-Foinet, Paris
Private Collection (acquired by descent from the above and sold: Christie's London, February 6, 2001, lot 75)
Private Collection (acquired by descent from the above and sold: Christie's London, February 6, 2001, lot 75)
Acquired at the above sale
展覽
New York, Valentine Gallery, Max Ernst, 1942, no. 27, illustrated in color
Beverly Hills, The Copley Galleries, Max Ernst, 30 Years of Work, a Survey, 1949, no. 36, illustrated in color
Paris, Galerie René Drouin, Max Ernst, 1950, no. 14, illustrated in color
Cologne, Wallraf-Richartz Museum, Max Ernst, 1962, no. 70, illustrated in color
Zurich, Kunsthaus, Max Ernst, 1963
Stockholm, Moderna Museet, Max Ernst, 1969, no 65, illustrated in color
Amsterdam, Stedelijk Museum, Max Ernst, 1969-70, no. 62, illustrated in color
Stuttgart, Württembergischer Kunstverein, Max Ernst, 1970, no. 72, illustrated in color
London & New York, Helly Nahmad Gallery, Max Ernst, 2006-07, no. 31, illustrated in color
Zurich, Kunsthaus Zurich, Miró, Monet, Matisse - The Nahmad Collection, 2011-12, illustrated
Beverly Hills, The Copley Galleries, Max Ernst, 30 Years of Work, a Survey, 1949, no. 36, illustrated in color
Paris, Galerie René Drouin, Max Ernst, 1950, no. 14, illustrated in color
Cologne, Wallraf-Richartz Museum, Max Ernst, 1962, no. 70, illustrated in color
Zurich, Kunsthaus, Max Ernst, 1963
Stockholm, Moderna Museet, Max Ernst, 1969, no 65, illustrated in color
Amsterdam, Stedelijk Museum, Max Ernst, 1969-70, no. 62, illustrated in color
Stuttgart, Württembergischer Kunstverein, Max Ernst, 1970, no. 72, illustrated in color
London & New York, Helly Nahmad Gallery, Max Ernst, 2006-07, no. 31, illustrated in color
Zurich, Kunsthaus Zurich, Miró, Monet, Matisse - The Nahmad Collection, 2011-12, illustrated
出版
Pantheon, XXXII. Jg.., 1974, Issue 3, p. 290, illustrated in color
Sigrid Werner Spies & Günther Metken, Max Ernst, Oeuvre-Katalog, Werke 1939-1953, Cologne, 1987, no. 2394, p. 47
Sigrid Werner Spies & Günther Metken, Max Ernst, Oeuvre-Katalog, Werke 1939-1953, Cologne, 1987, no. 2394, p. 47
Condition
Very good condition. Original canvas. Under UV light, some retouching present along the edges to repair frame abrasion, and a half inch line of inpainting to the lower center. Other areas throughout the composition fluoresce, but this is due to the nature of the pigment. Overall, the painting is in very good and stable condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
Ernst painted the present work in New York, soon after he immigrated from war-torn Europe. Titled in English on the reverse, the grattage forms of the present painting call to mind the sky scrapers that Ernst must have seen upon coming to port in New York Harbor.