庫特·舒維特

Ernst Schwitters, Lysaker (by descent from the artist in 1948, until 1981)

Private Collection (acquired through Galerie Gmurzynska, Cologne in 1981. Sold: Sotheby's New York, May 11, 1994, lot 40)

Acquired from the above by the present owner

Stockholm, Konstsalongen Samlaren im Konstnärshuset; Copenhagen, Statens Museum for Kunst und Kunstforeningen; Cologne, Wallraf-Richartz-Museum und Kölnischer Kunstverein & Rotterdam, Museum Boymans-van Beuningen, Kurt MERZ Schwitters. Retrospektivt, 1962-64, no. 182 (in Stockholm); no. 255 (in Cologne and Rotterdam)

Cologne, Galerie Gmurzynska, Kurt Schwitters, 1978, no. 97, illustrated in color in the catalogue

Paris, Grand Palais, FIAC, Galerie Gmurzynska, Kurt Schwitters, 1980, no. 54, illustrated in color in the catalogue

(possibly) Cologne, Museen der Stadt Köln, Westkunst. Zeitgenössische Kunst seit 1939, 1981, no. 113, illustrated in the catalogue

Cologne, Galerie Gmurzynska, Klassische Moderne, 1981, no. 181, illustrated in color in the catalogue

Madrid, Fundación Juan March & Barcelona, Fundació Joan Miró, Kurt Schwitters, 1982-83, no. 175

Vancouver, Vancouver Art Gallery, European Vision, 1987

Marlis Grüterich, 'Kurt Schwitters. Galerie Gmurzynska, Köln', in Kunstforum International, vol. 30, 1978, illustrated p. 220

Renato Maestri, 'ComMerzBankKurt-Schwitters. Una lezione rapsodica', in Domus, vol. 590, Milan, 1979, illustrated in color p. 47

Yusuke Nakahara, 'From the Lifeless View of Scrapping', in Bijutsu Techo, vol. 31, Tokyo, August 1979, illustrated in color

Heidi Bürklin, 'Kurt Schwitters: Vom Bürger zum Bürgerschreck', in Art. Das Kunstmagazin, vol. 10, Hamburg, 1981, illustrated in color p. 91

Ernst Nündel, Kurt Schwitters in Selbstzeugnissen und Bilddokumenten, Reinbek bei Hamburg, 1981, illustrated p. 120

Karin Orchard & Isabel Schulz, Kurt Schwitters, Catalogue raisonné, 1937-1948, vol. 3, Hanover, 2006, no. 3136, illustrated p. 455

Very good condition. There are no apparent restorations to the piece and the objects themselves seem to be securely fixed to the wood. The thin piece of plywood in the lower right quadrant that has remnants of a white paint layer on it appears fragile, but the painted parts seem to be stable. On the left edge towards the top, there is a small flake of paint protruding from the surface, most likely caused by a nail head working its way through the panel. There are two other examples of this on the left side of the lower edge. There is a dusty white residue which is particularly noticeable in the top and bottom left corners.
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.

This powerful assemblage dates from 1945, when Schwitters was living in England and continuing work on his Merz compositions.  Writing about Schwitters' late works, John Elderfield commented, "The creation of order, as much as the order itself, was the subject of what he did: the sense of competition between the artist and his surroundings that is given along with the order adds drama and excitement even to his smallest creations.  And that, as much as the order itself, carries with it the power to touch us - if only because it tells of a struggle we all must know.  For Schwitters, it was a kind of struggle that admitted no final or single victory, but had to be fought out daily as new surroundings, new styles, new influences kept on altering the context in which he worked.  Neither this nor the order to which he was committed ever changed.  The point of order he wrested from the tumult of his early revolutionary years became the ideal to which he was henceforth committed.  The fight for that order continued throughout his life" ((J. Elderfield, Kurt Schwitters, 1985, p. 240).