Germany - 2nd page
not including Richter
See also : Germany Ancient Germany Ancient painting Art on paper Self portrait II Music and dance Cities Cars Cars II Porsche Mercedes-Benz Post war cars Post war cars II Cars 1970s 1980s Movies Animals Bird Horse Cats
Chronology : 16th century 1520-1539 1912 1914 1915 1920 1930-1939 1938 1967 1970 1988
See also : Germany Ancient Germany Ancient painting Art on paper Self portrait II Music and dance Cities Cars Cars II Porsche Mercedes-Benz Post war cars Post war cars II Cars 1970s 1980s Movies Animals Bird Horse Cats
Chronology : 16th century 1520-1539 1912 1914 1915 1920 1930-1939 1938 1967 1970 1988
later 1520s The Ordeal of the Lion
2015 SOLD for £ 9.3M including premium
Lucas Cranach the Elder enjoyed all topics related to morality, not without humor. On July 8 in London, Sotheby's sells a Bocca della Verita painted at the end of the 1520s. This oil on panel in large size, 111 x 100 cm, is estimated £ 6M, lot 8.
The artist transposes a medieval ordeal with characters in clothes of his time. The mouth of truth is a lie detecting test to convict or release the adulteress. Included in the legends of Tristan and Iseult and Merlin, this story was previously used by illustrators including Altdorfer and Lucas van Leyden.
Each character has a role. The woman puts a hand in the mouth of the lion raised on a pedestal to be at her level. She is held at the waist by her supposed lover disguised as a fool. Two men wait to establish the minutes of justice.
The alleged cuckolded husband is on the far right of the picture, opposite to the lion. He is accompanied by two lovely ladies who are his witnesses. At his side, a last character sends a wink of complicity towards the viewer of the painting.
This is not a comic book and the verdict of the lion is not known. The lack of fear in the attitude of the woman tells that she wants to win the ordeal. The scene becomes a funny symbol of feminine cunning.
I invite you to watch the video shared by Sotheby's :
The artist transposes a medieval ordeal with characters in clothes of his time. The mouth of truth is a lie detecting test to convict or release the adulteress. Included in the legends of Tristan and Iseult and Merlin, this story was previously used by illustrators including Altdorfer and Lucas van Leyden.
Each character has a role. The woman puts a hand in the mouth of the lion raised on a pedestal to be at her level. She is held at the waist by her supposed lover disguised as a fool. Two men wait to establish the minutes of justice.
The alleged cuckolded husband is on the far right of the picture, opposite to the lion. He is accompanied by two lovely ladies who are his witnesses. At his side, a last character sends a wink of complicity towards the viewer of the painting.
This is not a comic book and the verdict of the lion is not known. The lack of fear in the attitude of the woman tells that she wants to win the ordeal. The scene becomes a funny symbol of feminine cunning.
I invite you to watch the video shared by Sotheby's :
1912 Drei Pferde, gouache on card by Franz Marc
2018 SOLD for £ 15.4M including premium by Christie's
#AuctionUpdate ‘Drei Pferde’ by #FranzMarc achieves £15,421,250, more than 4 x the high estimate, making a new #WorldAuctionRecord for the artist. pic.twitter.com/Zk9zGc2j8G
— Christie's (@ChristiesInc) June 20, 2018
1912 The Prophet of Fire
2018 SOLD for $ 14M including premium
Ludwig Meidner got a good artistic training but his first activity as a fashion illustrator failed to provide him with decent living conditions. Installed in Berlin, he is subjugated in 1911 by an exhibition of the Italian Futurists. He comes now closer to the avant-gardes and gets help from Beckmann.
Assimilating his vocation to that of a hallucinated Jewish prophet, Meidner paints a series of Apocalyptic landscapes that offer a highly original style and appeal to the Expressionists.
On November 12 in New York, Sotheby's sells an oil on canvas 94 x 109 cm painted by Meidner in 1912, lot 25 estimated $ 12M. It is painted on both sides, a practice quite common in German groups, particularly understandable here considering the large size of the canvas and the poor resources of the artist. Please watch the video shared by Sotheby's.
The front side is an Apokalyptische Landschaft, with an expression of horror comparable to Munch's Scream. Two thick rivers of incandescent lava pour into an already shaken city where houses ready to collapse bend in all directions, anticipating the landscapes dislocated by Soutine. In the foreground two characters run madly. Columns of troops roam the square of this city of German architecture, making this artwork a premonition of the First World War.
The reverse seems in total contrast with the front. A serious young man reads a book. With his unusually hollowed cheeks, if he is not a self-portrait, he is at least a projection of the artist on his own misery.
The war breaks the creative impulse of Ludwig Meidner, who will continue his career with self-portraits and imaginary portraits of prophets and will be cataloged as a degenerate artist in 1937. He will never reach fame but Baselitz will remember his Apocalypses for howling against the Berlin wall.
Assimilating his vocation to that of a hallucinated Jewish prophet, Meidner paints a series of Apocalyptic landscapes that offer a highly original style and appeal to the Expressionists.
On November 12 in New York, Sotheby's sells an oil on canvas 94 x 109 cm painted by Meidner in 1912, lot 25 estimated $ 12M. It is painted on both sides, a practice quite common in German groups, particularly understandable here considering the large size of the canvas and the poor resources of the artist. Please watch the video shared by Sotheby's.
The front side is an Apokalyptische Landschaft, with an expression of horror comparable to Munch's Scream. Two thick rivers of incandescent lava pour into an already shaken city where houses ready to collapse bend in all directions, anticipating the landscapes dislocated by Soutine. In the foreground two characters run madly. Columns of troops roam the square of this city of German architecture, making this artwork a premonition of the First World War.
The reverse seems in total contrast with the front. A serious young man reads a book. With his unusually hollowed cheeks, if he is not a self-portrait, he is at least a projection of the artist on his own misery.
The war breaks the creative impulse of Ludwig Meidner, who will continue his career with self-portraits and imaginary portraits of prophets and will be cataloged as a degenerate artist in 1937. He will never reach fame but Baselitz will remember his Apocalypses for howling against the Berlin wall.
1913-1914 Berliner Strassenszene by E.L. Kirchner
2006 SOLD 38 M$ including premium by Christie's
Shared by Wikimedia :
1915 Das Soldatenbad by Kirchner
2018 SOLD for $ 22M including premium by Sotheby's
#AuctionUpdate One of only two paintings by a young Ernst Ludwig Kirchner depicting his experience of the psychological realities of WWI, this compelling depiction of Artillerymen from the Flechtheim collection brings $22 million pic.twitter.com/RQkM4WXsbj
— Sotheby's (@Sothebys) November 13, 2018
1920 Merz or the Anti-Dada
2014 SOLD 14 M£ including premium
The art of Kurt Schwitters is a direct consequence of the horrors of war. Along with Arp, he understands that the world has changed and that only a completely new vision may accompany the necessary rebirth.
Technically, Schwitters is very close to the Dada movement in which he had friends. In that defeated Germany promised to decadence, he built his art with torn newspapers and other trash. However, he opted for a positive message that is the opposite of the Dada destruction. Unsurprisingly, Schwitters was later persecuted by the Nazis chasing the decadent art.
His creed is summed up in a few cleverly chosen statements.
Pioneer of installations nearly half a century ahead of his time, he introduces himself to his colleagues as a painter who nails his pictures together.
He promotes his Merz revolution, a word that appeared perhaps by chance in one of his works after he tore a paper of the Kommerz und Privatbank. Merz is in only four letters a remarkable anticapitalist and anti-industrial motto.
On June 24 in London, Christie's sells a 1920 Merzbild in large size, 109 x 80 cm including the artist's frame. Positively titled Ja Was? Bild, it anticipates the paintings-poems by Miro. The reverse side covered by newspaper fragments must be considered as a full part of the Bild.
Ja Was? Bild is estimated £ 4M. I invite you to play the video shared by Christie's.
POST SALE COMMENT
This artwork is altogether extremely rare and historically important. It was sold for £ 14M including premium.
Technically, Schwitters is very close to the Dada movement in which he had friends. In that defeated Germany promised to decadence, he built his art with torn newspapers and other trash. However, he opted for a positive message that is the opposite of the Dada destruction. Unsurprisingly, Schwitters was later persecuted by the Nazis chasing the decadent art.
His creed is summed up in a few cleverly chosen statements.
Pioneer of installations nearly half a century ahead of his time, he introduces himself to his colleagues as a painter who nails his pictures together.
He promotes his Merz revolution, a word that appeared perhaps by chance in one of his works after he tore a paper of the Kommerz und Privatbank. Merz is in only four letters a remarkable anticapitalist and anti-industrial motto.
On June 24 in London, Christie's sells a 1920 Merzbild in large size, 109 x 80 cm including the artist's frame. Positively titled Ja Was? Bild, it anticipates the paintings-poems by Miro. The reverse side covered by newspaper fragments must be considered as a full part of the Bild.
Ja Was? Bild is estimated £ 4M. I invite you to play the video shared by Christie's.
POST SALE COMMENT
This artwork is altogether extremely rare and historically important. It was sold for £ 14M including premium.
1938 The Fury of the Birds
2017 SOLD for £ 36M including premium
After the First World War, German artists like Max Beckmann, Max Ernst, George Grosz and Otto Dix brought social criticism to the level of a major art far beyond caricature. Of course the Nazi regime does not agree. Beckmann is one of the targets of Hitler's furious attacks on degenerate art.
Beckmann precipitately left Germany in 1937 and settled in Amsterdam. Like Miro at the same time in Spain, he could not manage to stay away from politics. He immediately conceived a great composition, first entitled Der Land des Wahnsinningen (the country of the insane) which would express his horror of the collectivisms.
Completed at the end of the summer of 1938, Hölle der Vögel (hell of birds) is the achievement of that project. This oil on canvas 120 x 160 cm is for sale by Christie's in London on June 27, lot 11. Three days before the press release of May 8, Financial Time announced an estimate of £ 30M.
This scene mixes the medieval and the modern to better express the permanent threat of abject persecution. Tortures are inflicted by hooded birds. In a claustrophobic atmosphere with black lines and garish colors, the victim chained on an Inquisition bed is a light spot. A bird plows his back to the blood with a large knife.
This lugubrious ceremony is presided by a harpy standing out of her broken egg with a monstrous breast. The crowd of secondary characters is made up of screaming nudes who perform the Hitler Grüss, removing any possible doubt about the interpretation of this allegory in the modern world.
The narrative abundance in that work is inspired by medieval imagery. The choice of the bird as a symbol of blind fury reminds the man-swallowing bird in Bosch's Hell.
The political violence in Hölle der Vögel may be compared to Picasso's Guernica, also conceived in 1937. Beckmann's painting, cautiously preserved in a private apartment in Paris until the end of the Second World War, would have deserved a similar notoriety.
Please watch both videos shared by Christie's, one of thempositioning the artwork within Beckmann's career and the other one in which the auction house chose to accompany it by the reading of a similarly inspired poem by W. H. Auden.
Beckmann precipitately left Germany in 1937 and settled in Amsterdam. Like Miro at the same time in Spain, he could not manage to stay away from politics. He immediately conceived a great composition, first entitled Der Land des Wahnsinningen (the country of the insane) which would express his horror of the collectivisms.
Completed at the end of the summer of 1938, Hölle der Vögel (hell of birds) is the achievement of that project. This oil on canvas 120 x 160 cm is for sale by Christie's in London on June 27, lot 11. Three days before the press release of May 8, Financial Time announced an estimate of £ 30M.
This scene mixes the medieval and the modern to better express the permanent threat of abject persecution. Tortures are inflicted by hooded birds. In a claustrophobic atmosphere with black lines and garish colors, the victim chained on an Inquisition bed is a light spot. A bird plows his back to the blood with a large knife.
This lugubrious ceremony is presided by a harpy standing out of her broken egg with a monstrous breast. The crowd of secondary characters is made up of screaming nudes who perform the Hitler Grüss, removing any possible doubt about the interpretation of this allegory in the modern world.
The narrative abundance in that work is inspired by medieval imagery. The choice of the bird as a symbol of blind fury reminds the man-swallowing bird in Bosch's Hell.
The political violence in Hölle der Vögel may be compared to Picasso's Guernica, also conceived in 1937. Beckmann's painting, cautiously preserved in a private apartment in Paris until the end of the Second World War, would have deserved a similar notoriety.
Please watch both videos shared by Christie's, one of thempositioning the artwork within Beckmann's career and the other one in which the auction house chose to accompany it by the reading of a similarly inspired poem by W. H. Auden.
1938 Self Portrait with Horn by Max Beckmann
2001 SOLD 22.5 M$ including premium by Sotheby's
The low resolution image below is shared for fair use by Wikimedia :
1941 The Decadent Metamorphosis of Max Ernst
2011 SOLD 16.3 M$ including premium
2016 SOLD for £ 7.6M including premium
PRE 2016 SALE DISCUSSION
The Stolen mirror by Max Ernst was sold for $ 16.3M including premium by Christie's on November 1, 2011. It is now estimated £ 7M for sale by Christie's in London on February 2, lot 106.
I introduced this painting as follows in 2011 :
World War II was a great shock to the inhabitants of planet Earth. The surrealist artists, accustomed to metaphors and symbols, went to express an anguished vision of the world.
The personal circumstances of Max Ernst had become difficult. German citizens living in France were suspects and prosecuted. Bucolic life with Leonora Carrington was no more possible. In July 1941, he emigrated to the United States with the help of Peggy Guggenheim.
Like all masterpieces of surrealism, the oil on canvas 65 x 81 cm that comes for sale is blurring the issue. It has a tragic title, The Stolen Mirror (possibly by reference to his separation from Leonora) and a significant subtitle, Product of France.
Dated 1941, probably painted in Santa Monica, this panoramic view of a seaside bordered by a road evokes the decadence of France at war, except that the monuments are inspired by Angkor Wat, this temple which anticipates what our cities will be after the end of the living world.
The technique of decalcomania is used by Ernst to provide a petrified texture to the living beings. Monumental pillars are transformed into naked women, or possibly it is the reverse. They shelter living but decomposed birds. A couple of lovers in the meadow is in a similar altogether sharp and rotting condition.
I invite you to watch the video shared by Christie's in 2011.
The Stolen mirror by Max Ernst was sold for $ 16.3M including premium by Christie's on November 1, 2011. It is now estimated £ 7M for sale by Christie's in London on February 2, lot 106.
I introduced this painting as follows in 2011 :
World War II was a great shock to the inhabitants of planet Earth. The surrealist artists, accustomed to metaphors and symbols, went to express an anguished vision of the world.
The personal circumstances of Max Ernst had become difficult. German citizens living in France were suspects and prosecuted. Bucolic life with Leonora Carrington was no more possible. In July 1941, he emigrated to the United States with the help of Peggy Guggenheim.
Like all masterpieces of surrealism, the oil on canvas 65 x 81 cm that comes for sale is blurring the issue. It has a tragic title, The Stolen Mirror (possibly by reference to his separation from Leonora) and a significant subtitle, Product of France.
Dated 1941, probably painted in Santa Monica, this panoramic view of a seaside bordered by a road evokes the decadence of France at war, except that the monuments are inspired by Angkor Wat, this temple which anticipates what our cities will be after the end of the living world.
The technique of decalcomania is used by Ernst to provide a petrified texture to the living beings. Monumental pillars are transformed into naked women, or possibly it is the reverse. They shelter living but decomposed birds. A couple of lovers in the meadow is in a similar altogether sharp and rotting condition.
I invite you to watch the video shared by Christie's in 2011.
1954 The Open-Wheeled Champion
2013 SOLD 19.6 M£ including premium
Everything goes very fast, in any meaning of the word, for Mercedes-Benz at the beginning of 1954. Technology is the best asset to win competitions. For coming back to racing, the German brand aligns the 300SL model for endurance and the W196 single-seater model for Formula 1.
They must win. Mercedes managed to take the best driver, Juan Manuel Fangio, world champion in 1951 with Alfa Romeo, who had just won the first two grand prix of the season on a Maserati.
For their first collaboration, Mercedes and Fangio win the Reims grand prix on a W196 with enclosed wheels. Surrounding the wheel by a piece of bodywork is a theoretical advantage because it limits the impact of air friction. The top speed exceeds 200 km / h.
At that time, the skill of the pilot is prevailing on theories. The next grand prix, at Silverstone, is sinuous. Powerless against Ferrari, Fangio requires the withdrawal of the enclosing to improve his freedom of action. This is the right decision.
Thus are born the chassis 005 and 006 of the W196. With the open wheeled 006, Fangio wins the next two grand prix, in Germany at the Nürburgring and in Switzerland at Bremgarten.
The 006 has no rival for the title of most prestigious single-seater car of all time, formerly driven by the most skilful driver of all time. It is for sale on July 12 by Bonhams at Goodwood.
POST SALE COMMENT
006 is not far from being the most prestigious car of all time in all categories. Its result at auction is the highest of all time: £ 19.6 million including premium.
An open wheeled W196 (perhaps the 006) is driven by Fangio himself during a demonstration at the Nürburgring in 1986. The image below is licensed under Creative Commons with attribution By Lothar Spurzem [CC-BY-SA-2.0-de (http://creativecommons.org/licenses/by-sa/2.0/de/deed.en)], via Wikimedia Commons.
They must win. Mercedes managed to take the best driver, Juan Manuel Fangio, world champion in 1951 with Alfa Romeo, who had just won the first two grand prix of the season on a Maserati.
For their first collaboration, Mercedes and Fangio win the Reims grand prix on a W196 with enclosed wheels. Surrounding the wheel by a piece of bodywork is a theoretical advantage because it limits the impact of air friction. The top speed exceeds 200 km / h.
At that time, the skill of the pilot is prevailing on theories. The next grand prix, at Silverstone, is sinuous. Powerless against Ferrari, Fangio requires the withdrawal of the enclosing to improve his freedom of action. This is the right decision.
Thus are born the chassis 005 and 006 of the W196. With the open wheeled 006, Fangio wins the next two grand prix, in Germany at the Nürburgring and in Switzerland at Bremgarten.
The 006 has no rival for the title of most prestigious single-seater car of all time, formerly driven by the most skilful driver of all time. It is for sale on July 12 by Bonhams at Goodwood.
POST SALE COMMENT
006 is not far from being the most prestigious car of all time in all categories. Its result at auction is the highest of all time: £ 19.6 million including premium.
An open wheeled W196 (perhaps the 006) is driven by Fangio himself during a demonstration at the Nürburgring in 1986. The image below is licensed under Creative Commons with attribution By Lothar Spurzem [CC-BY-SA-2.0-de (http://creativecommons.org/licenses/by-sa/2.0/de/deed.en)], via Wikimedia Commons.
1964 The Pleasure of the Buttered Toast
2017 SOLD for $ 17M including premium
In Düsseldorf in the years following the construction of the Berlin Wall, Gerhard Richter and Sigmar Polke finished their art studies at the Kunstakademie. They bring their frustration within a society that fails to find its way between capitalism and communism. Both are exiled from the Deutsche Demokratische Republik : Polke moved to the West in 1953 at the age of 12, Richter in 1961 at 29.
The influence of Joseph Beuys, professor since 1961 at the Kunstakademie, is preponderant : young artists may and must create some resolutely new forms of art. Richter and Polke cut out in the magazines the photos which display at their best the social banality. With other students they create in 1963 the movement Kapitalistischer Realismus regrouping the protesting painters.
The young artists create paintings where the form is generated by printing dots leaving unambiguous their inspiration from the magazines. Unlike Lichtenstein on the other side of the Atlantic, they nevertheless take liberties with the structure of this pattern.
Richter has an anti-militarist sensibility. Düsenjäger, oil on canvas 130 x 200 cm painted in 1963, was sold for $ 25.6M including premium by Phillips on November 16, 2016.
Polke is studying the consumerist society with its advertisements and posters offering promises to which disadvantaged families will not have access. On May 17 in New York, Christie 's sells at lot 15 B Frau mit Butterbrot, casein, household lacquer and oil on canvas 160 x 140 cm painted in 1964.
That young 'new woman' far larger than life is superbly stereotyped with a perfect hairstyle, hand and teeth. She raises to her mouth the buttered bread with an expression of intense pleasure as exaggerated as if she was playing for a commercial advertisement. Depending on his degree of frustration, the viewer can judge whether she wants to share her desire or to keep it selfishly.
The influence of Joseph Beuys, professor since 1961 at the Kunstakademie, is preponderant : young artists may and must create some resolutely new forms of art. Richter and Polke cut out in the magazines the photos which display at their best the social banality. With other students they create in 1963 the movement Kapitalistischer Realismus regrouping the protesting painters.
The young artists create paintings where the form is generated by printing dots leaving unambiguous their inspiration from the magazines. Unlike Lichtenstein on the other side of the Atlantic, they nevertheless take liberties with the structure of this pattern.
Richter has an anti-militarist sensibility. Düsenjäger, oil on canvas 130 x 200 cm painted in 1963, was sold for $ 25.6M including premium by Phillips on November 16, 2016.
Polke is studying the consumerist society with its advertisements and posters offering promises to which disadvantaged families will not have access. On May 17 in New York, Christie 's sells at lot 15 B Frau mit Butterbrot, casein, household lacquer and oil on canvas 160 x 140 cm painted in 1964.
That young 'new woman' far larger than life is superbly stereotyped with a perfect hairstyle, hand and teeth. She raises to her mouth the buttered bread with an expression of intense pleasure as exaggerated as if she was playing for a commercial advertisement. Depending on his degree of frustration, the viewer can judge whether she wants to share her desire or to keep it selfishly.
1967 The Psychedelic Jungle of Sigmar Polke
2015 SOLD for $ 27M including premium
On June 29, 2011, Sotheby's sold for £ 5.75M including premium Dschungel (Jungle), a dotted painting on canvas 160 x 245 cm executed in 1967 by Sigmar Polke.
At that time Polke was a young photographer and painter who had not yet completed his art studies. Along with his elder fellow Gerhard Richter, another East German passed to the West, he considered the anti-Art of creating large size images from trivial pictures.
They were influenced by the pop art of Lichtenstein and Warhol with an additional feeling typical of Germany at that time, questioning the contradiction between leisure and war for the use of our planet.
In the same 2011 sale, Stadtbild II painted in 1968 by Polke was sold for £ 4.6M including premium. The theme looks opposite to Jungle, the city against the tropical scenery, but the contrasts of colors are similarly striking and both artworks question the society by imitating the travel posters.
I described Dschungel as follows before the 2011 sale :
The unidentified tropical landscape in backlighting is dominated by a huge sun rising or setting over the sea with a spectacular halo. The painting, including dark leaves in the foreground, is entirely built with small dots of color, as if it were an advertisement poster.
Dschungel is now lot 8 for sale by Sotheby's in New York on May 12.
At that time Polke was a young photographer and painter who had not yet completed his art studies. Along with his elder fellow Gerhard Richter, another East German passed to the West, he considered the anti-Art of creating large size images from trivial pictures.
They were influenced by the pop art of Lichtenstein and Warhol with an additional feeling typical of Germany at that time, questioning the contradiction between leisure and war for the use of our planet.
In the same 2011 sale, Stadtbild II painted in 1968 by Polke was sold for £ 4.6M including premium. The theme looks opposite to Jungle, the city against the tropical scenery, but the contrasts of colors are similarly striking and both artworks question the society by imitating the travel posters.
I described Dschungel as follows before the 2011 sale :
The unidentified tropical landscape in backlighting is dominated by a huge sun rising or setting over the sea with a spectacular halo. The painting, including dark leaves in the foreground, is entirely built with small dots of color, as if it were an advertisement poster.
Dschungel is now lot 8 for sale by Sotheby's in New York on May 12.
1970 The Preferred Car of Jo Siffert
2017 SOLD for $ 14M including premium
Porsche had never won the 24 hours of Le Mans. A change in regulations announced after the 1968 season by the ACO for the two classes 3 liters and 5 liters is seized as an opportunity. Porsche creates in parallel the models 908 and 917.
The rule for the 5 liter homologation requires that the model is produced in 25 identical units. Porsche's motivation is so intense that they line up their twenty-five 917 in the yard of the factory as early as April 1969. Success is still questionable because the 917 is very difficult to drive. None of them finished the 24 hours of Le Mans 1969 and a driver died during that race.
Porsche immediately conceived the necessary improvements, resulting in two variants of the chassis for each of the two models : K for Kurz Heck and LH for Lang Heck. The short variant is faster in top speed but less stable. Many drivers will prefer the LH.
On August 18 at Pebble Beach, Gooding sells a historically important 917K, lot 44 estimated $ 13M. Here is the link to the press release.
This car assembled in 1970 was immediately entered in the training and test sessions at Le Mans, Nürburgring and Ehra-Lessien in April and May, demonstrating the exceptional speed achieved by the 917K model.
It is purchased in June 1970 by Jo Siffert who does not use it in competition but leases it for the preparation of the film Le Mans. It is one of three 917K starring in this movie for which they also served as camera cars for shooting at full speed. This 917K was Siffert's favorite car and led his funeral procession in October 1971.
The car was found 30 years later in a Parisian suburb, covered with dust but untouched except for the absence of the engine. The next owner bought an original engine from the same series. The complete restoration was supervised by a former Porsche engineer who still had access to the factory archives of the 917 program.
Please watch the video shared by Gooding.
The rule for the 5 liter homologation requires that the model is produced in 25 identical units. Porsche's motivation is so intense that they line up their twenty-five 917 in the yard of the factory as early as April 1969. Success is still questionable because the 917 is very difficult to drive. None of them finished the 24 hours of Le Mans 1969 and a driver died during that race.
Porsche immediately conceived the necessary improvements, resulting in two variants of the chassis for each of the two models : K for Kurz Heck and LH for Lang Heck. The short variant is faster in top speed but less stable. Many drivers will prefer the LH.
On August 18 at Pebble Beach, Gooding sells a historically important 917K, lot 44 estimated $ 13M. Here is the link to the press release.
This car assembled in 1970 was immediately entered in the training and test sessions at Le Mans, Nürburgring and Ehra-Lessien in April and May, demonstrating the exceptional speed achieved by the 917K model.
It is purchased in June 1970 by Jo Siffert who does not use it in competition but leases it for the preparation of the film Le Mans. It is one of three 917K starring in this movie for which they also served as camera cars for shooting at full speed. This 917K was Siffert's favorite car and led his funeral procession in October 1971.
The car was found 30 years later in a Parisian suburb, covered with dust but untouched except for the absence of the engine. The next owner bought an original engine from the same series. The complete restoration was supervised by a former Porsche engineer who still had access to the factory archives of the 917 program.
Please watch the video shared by Gooding.
1988 Self Portrait of Kippenberger in Picasso Underpants
2014 SOLD for $ 22.6M including premium
Regarding painting, the time of Martin Kippenberger could have been a lost generation. He admires Picasso as the ultimate artist who summarizes the art of the twentieth century. He likes the photo made by Duncan in 1962 where Picasso is shirtless, wearing only white underpants.
In 1988, Kippenberger is activist, ambitious and worldly. Coming to Vienna for business, he unintentionally arrives in a grubby hotel because all the others are full. He stages himself in Picasso pants and looks in the mirror. He sees how much he is ugly.
Kippenberger's self-portraits in Picasso underwears display an unpleasant bearded man with a beer belly. He is 35 years old. This series not only shows the beginning of the inexorable physical decline of the artist, but it mostly questions the future of artistic expression in the classis form of painting.
On November 12 in New York, Christie's sells an oil on canvas 242 x 202 cm, lot 40 estimated 15M. In an arrogant attitude opposite to Picasso's, the man without legs is placed on a shelf as if he were a pottery.
Another painting of same size was sold for $ 18.6M including premium by Christie's on May 12, 2014. The man is seen through a buttocks-shaped keyhole. His attitude is so abject that he prefers hiding his head in a blue drop.
Another one, sold for $ 4.1M including premium by Sotheby's on May 12, 2009, had been discussed in this column. Showing the man bending as for vomiting, it is the most realistic of these three artworks.
In 1988, Kippenberger is activist, ambitious and worldly. Coming to Vienna for business, he unintentionally arrives in a grubby hotel because all the others are full. He stages himself in Picasso pants and looks in the mirror. He sees how much he is ugly.
Kippenberger's self-portraits in Picasso underwears display an unpleasant bearded man with a beer belly. He is 35 years old. This series not only shows the beginning of the inexorable physical decline of the artist, but it mostly questions the future of artistic expression in the classis form of painting.
On November 12 in New York, Christie's sells an oil on canvas 242 x 202 cm, lot 40 estimated 15M. In an arrogant attitude opposite to Picasso's, the man without legs is placed on a shelf as if he were a pottery.
Another painting of same size was sold for $ 18.6M including premium by Christie's on May 12, 2014. The man is seen through a buttocks-shaped keyhole. His attitude is so abject that he prefers hiding his head in a blue drop.
Another one, sold for $ 4.1M including premium by Sotheby's on May 12, 2009, had been discussed in this column. Showing the man bending as for vomiting, it is the most realistic of these three artworks.
