Los

334

Varlin (Willy Guggenheim)Brasserie Viennoise Öl auf Karton auf Pavatexplatte. 75,5 x 95,5 cm.

In Modern Art

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Varlin (Willy Guggenheim)Brasserie Viennoise Öl auf Karton auf Pavatexplatte. 75,5 x 95,5 cm.
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Varlin (Willy Guggenheim)
Brasserie Viennoise

Öl auf Karton auf Pavatexplatte. 75,5 x 95,5 cm. Gerahmt. Unten links graublau signiert 'VARLIN'. - Partiell mit Craquelé.

Pellanda/Guggenheim Kat. 350

Provenienz
Christie's, Zürich, 17.6.1991, Helvetica Sale, Los 499; Christie's, Zürich, Helvetica Sale, 11.4.1994, Los 108; Sammlung Klaus J. Jacobs, Zürich

Ausstellungen
Zürich 1960 (Kunsthaus), Varlin, Kat. Nr. 22; Aargau 2000 (Kunsthaus), Varlin Retrospektive, Kat. Nr. 350 mit ganzseitiger Farbabb.

Als Sohn eines Lithografen und Verlegers wächst Varlin, mit bürgerlichem Namen Willy Guggenheim, in Zürich auf. Nach einer Lehre als Lithograf geht Guggenheim 1921 nach Berlin und wird an der Staatlichen Kunstgewerbeschule Schüler von Emil Orlik. Zwei Jahre später zieht es ihn nach Paris, wo er bis zu seiner Rückkehr in die Schweiz 1932 lebt. In Paris besucht Guggenheim die Académie Lhote und die Académie Julian, arbeitet als Karikaturist und macht auf dem Montmartre Bekanntschaft mit Künstlern wie Jules Pascin und Chaim Soutine. Dort trifft er auch den Kunsthändler und Dichter Leopold Zborowsky, der ihm zu einem Atelier im La Ruche verhilft und die Wahl eines Künstlernamen empfiehlt: Varlin - eine Referenz an den französischen Revolutionär und Anarchisten Eugène Varlin.
Obschon lange als ein Sonderfall der Schweizer Kunst bewertet, würdigte man Varlins bedeutenden Beitrag für die schweizerische und europäische Kunst bereits zu Lebzeiten mit wichtigen Museumsausstellungen. Geprägt durch seine Aufenthalte in Berlin und Paris versteht sich sein Schaffen als Eloge an das Leben, das Alltägliche. Mit augenzwinkernder Melancholie treten die Menschen in Varlins realistisch-expressiven Werken so als Protagonisten einer teils bissigen, teils traurig ironischen und bitteren Comédie humaine auf. Als herausragende Arbeit der 1940er Jahre sucht seine bühnenhafte Darstellung der Brasserie Viennoise dem gemeinsamen und absurden Drama des menschlichen Daseins Ausdruck zu verleihen und erinnert so nicht zuletzt auch an die Werke seiner Schriftstellerfreunde Dürrenmatt und Loetscher.

Varlin (Willy Guggenheim)
Brasserie Viennoise

Oil on card on Pavatex panel. 75.5 x 95.5 cm. Framed. Signed 'VARLIN' in grey-blue lower left. - Partially with craqueleur.

Pellanda/Guggenheim Kat. 350

Provenance
Christie's, Zurich, 17.6.1991, Helvetica Sale, lot 499; Christie's, Zurich, Helvetica Sale, 11.4.1994, lot 108; Klaus J. Jacobs Collection, Zurich

Exhibitions
Zurich 1960 (Kunsthaus), Varlin, cat. no. 22; Aargau 2000 (Kunsthaus), Varlin Retrospektive, cat. no. 350 with full-page colour illus.

Varlin, whose given name was Willy Guggenheim, grew up in Zurich as the son of a lithographer and publisher. After his apprenticeship as a lithographer, Guggenheim went to Berlin in 1921 and became a student of Emil Orlik at the state school of applied art. Two years later he was drawn to Paris, where he lived until he returned to Switzerland in 1932. In Paris, Guggenheim went to the Académie Lhote and the Académie Julian, worked as a caricaturist and, in Montmartre, he became acquainted with artists like Jules Pascin and Chaim Soutine. That is also where he met the art dealer and poet Leopold Zborowski, who helped him to secure a studio in La Ruche and recommended he choose a pseudonym: Varlin - a reference to the French revolutionary and anarchist Eugène Varlin.
Although long considered a special case of Swiss art, Varlin's significant contribution to Swiss and European art was acknowledged through important museum exhibitions even during his own lifetime. Shaped by the time he spent in Berlin and Paris, his oeuvre is to be understood as an encomium to life, to the ordinary. Thus, with a conspiratorial melancholy, the people in Varlin's realistic-expressive works appear as the protagonists of a sometimes bitingly, sometimes sadly ironic and bitter Comédie humaine. As an outstanding work of the 1940s, his stage-like depiction of the Brasserie Viennoise seeks to give expression to the shared and absurd drama of human existence, thus recalling not least the works of his writer friends Dürrenmatt and Loetscher.
Varlin (Willy Guggenheim)
Brasserie Viennoise

Öl auf Karton auf Pavatexplatte. 75,5 x 95,5 cm. Gerahmt. Unten links graublau signiert 'VARLIN'. - Partiell mit Craquelé.

Pellanda/Guggenheim Kat. 350

Provenienz
Christie's, Zürich, 17.6.1991, Helvetica Sale, Los 499; Christie's, Zürich, Helvetica Sale, 11.4.1994, Los 108; Sammlung Klaus J. Jacobs, Zürich

Ausstellungen
Zürich 1960 (Kunsthaus), Varlin, Kat. Nr. 22; Aargau 2000 (Kunsthaus), Varlin Retrospektive, Kat. Nr. 350 mit ganzseitiger Farbabb.

Als Sohn eines Lithografen und Verlegers wächst Varlin, mit bürgerlichem Namen Willy Guggenheim, in Zürich auf. Nach einer Lehre als Lithograf geht Guggenheim 1921 nach Berlin und wird an der Staatlichen Kunstgewerbeschule Schüler von Emil Orlik. Zwei Jahre später zieht es ihn nach Paris, wo er bis zu seiner Rückkehr in die Schweiz 1932 lebt. In Paris besucht Guggenheim die Académie Lhote und die Académie Julian, arbeitet als Karikaturist und macht auf dem Montmartre Bekanntschaft mit Künstlern wie Jules Pascin und Chaim Soutine. Dort trifft er auch den Kunsthändler und Dichter Leopold Zborowsky, der ihm zu einem Atelier im La Ruche verhilft und die Wahl eines Künstlernamen empfiehlt: Varlin - eine Referenz an den französischen Revolutionär und Anarchisten Eugène Varlin.
Obschon lange als ein Sonderfall der Schweizer Kunst bewertet, würdigte man Varlins bedeutenden Beitrag für die schweizerische und europäische Kunst bereits zu Lebzeiten mit wichtigen Museumsausstellungen. Geprägt durch seine Aufenthalte in Berlin und Paris versteht sich sein Schaffen als Eloge an das Leben, das Alltägliche. Mit augenzwinkernder Melancholie treten die Menschen in Varlins realistisch-expressiven Werken so als Protagonisten einer teils bissigen, teils traurig ironischen und bitteren Comédie humaine auf. Als herausragende Arbeit der 1940er Jahre sucht seine bühnenhafte Darstellung der Brasserie Viennoise dem gemeinsamen und absurden Drama des menschlichen Daseins Ausdruck zu verleihen und erinnert so nicht zuletzt auch an die Werke seiner Schriftstellerfreunde Dürrenmatt und Loetscher.

Varlin (Willy Guggenheim)
Brasserie Viennoise

Oil on card on Pavatex panel. 75.5 x 95.5 cm. Framed. Signed 'VARLIN' in grey-blue lower left. - Partially with craqueleur.

Pellanda/Guggenheim Kat. 350

Provenance
Christie's, Zurich, 17.6.1991, Helvetica Sale, lot 499; Christie's, Zurich, Helvetica Sale, 11.4.1994, lot 108; Klaus J. Jacobs Collection, Zurich

Exhibitions
Zurich 1960 (Kunsthaus), Varlin, cat. no. 22; Aargau 2000 (Kunsthaus), Varlin Retrospektive, cat. no. 350 with full-page colour illus.

Varlin, whose given name was Willy Guggenheim, grew up in Zurich as the son of a lithographer and publisher. After his apprenticeship as a lithographer, Guggenheim went to Berlin in 1921 and became a student of Emil Orlik at the state school of applied art. Two years later he was drawn to Paris, where he lived until he returned to Switzerland in 1932. In Paris, Guggenheim went to the Académie Lhote and the Académie Julian, worked as a caricaturist and, in Montmartre, he became acquainted with artists like Jules Pascin and Chaim Soutine. That is also where he met the art dealer and poet Leopold Zborowski, who helped him to secure a studio in La Ruche and recommended he choose a pseudonym: Varlin - a reference to the French revolutionary and anarchist Eugène Varlin.
Although long considered a special case of Swiss art, Varlin's significant contribution to Swiss and European art was acknowledged through important museum exhibitions even during his own lifetime. Shaped by the time he spent in Berlin and Paris, his oeuvre is to be understood as an encomium to life, to the ordinary. Thus, with a conspiratorial melancholy, the people in Varlin's realistic-expressive works appear as the protagonists of a sometimes bitingly, sometimes sadly ironic and bitter Comédie humaine. As an outstanding work of the 1940s, his stage-like depiction of the Brasserie Viennoise seeks to give expression to the shared and absurd drama of human existence, thus recalling not least the works of his writer friends Dürrenmatt and Loetscher.

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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Standard:
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(20,00 % für den 400.001 EUR übersteigenden Anteil des Zuschlags)
19,00 % MwSt. auf Aufgeld und Kosten nicht ausgewiesen und nicht erstattbar; Differenzbesteuerung

Also:
35,00 % Aufgeld auf den Zuschlagspreis
(31,00 % für den 400.000 EUR übersteigenden Anteil des Zuschlags)
Differenzbesteuerung, MwSt. enthalten, aber nicht ausgewiesen, nicht erstattbar

Also:
24,00 % Aufgeld auf den Zuschlagspreis
(20,00 % für den 400.001 EUR übersteigenden Anteil des Zuschlags)
7,00 % verauslagte Einfuhrumsatzsteuer auf den Zuschlagspreis, erstattbar bei Export aus der EU
19,00 % MwSt. auf Aufgeld und Kosten nicht ausgewiesen und nicht erstattbar; Differenzbesteuerung

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1. The art auction house, Kunsthaus Lempertz (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.
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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