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Josef AlbersStudy to Homage to the Square: Warm Welcom Öl auf Masonit. 56 x 56 cm. Gerahmt.

In Contemporary Art I & II

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Josef AlbersStudy to Homage to the Square: Warm Welcom Öl auf Masonit. 56 x 56 cm. Gerahmt. - Bild 1 aus 2
Josef AlbersStudy to Homage to the Square: Warm Welcom Öl auf Masonit. 56 x 56 cm. Gerahmt. - Bild 2 aus 2
Josef AlbersStudy to Homage to the Square: Warm Welcom Öl auf Masonit. 56 x 56 cm. Gerahmt. - Bild 1 aus 2
Josef AlbersStudy to Homage to the Square: Warm Welcom Öl auf Masonit. 56 x 56 cm. Gerahmt. - Bild 2 aus 2
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Josef Albers
Study to Homage to the Square: Warm Welcom

Öl auf Masonit. 56 x 56 cm. Gerahmt. Monogrammiert und datiert 'A 53' sowie am äußeren Rand mit Werkangaben. Rückseitig auf dem Masonit signiert, datiert und betitelt 'Study to Homage to the Square: "warm welcom"'[sic.] 'Albers 55' sowie mit Maßangaben und mehrzeiligen Angaben zum Werk. - Mit Atelier- und leichten Altersspuren.

Die vorliegende Arbeit wird in das in Vorbereitung befindliche Josef Albers Werkverzeichnis der Anni and Josef Albers Foundation, Bethany, Connecticut, aufgenommen.

Provenienz
Direkt vom Künstler; Privatsammlung, Lübeck; Privatsammlung, Norddeutschland

Ausstellungen
Berlin 2012 (Galerie Berinson), Josef Albers, 1888-1976, Gemälde, Zeichnungen, Druckgraphik, mit Farbabb. auf der Einladungskarte
Hamburg 1967 (Kunstverein), Vom Bauhaus bis zur Gegenwart, Meisterwerke aus deutschem Privatbesitz, Ausst.Kat.Nr.2, S.10 mit Abb.
Münster 1967 (Galerie Wilbrand), Josef Albers
Lübeck 1966 (Overbeck-Gesellschaft), Kontraste, Vier Möglichkeiten des Künstlerischen, Josef Albers, Karel Appel, Max Ernst, Robert Rauschenberg, Ausst.Kat.Nr.1

Der Künstler und Lehrer Josef Albers gilt als einer der wichtigsten Mittler zwischen der europäischen Avantgarde und der US-amerikanischen Malerei. So ist sein Einfluss auf die Entstehung der Minimal Art in einem Bild wie "Warm Welcom" aus der Serie Homage to the Square augenscheinlich. 1950 begann Albers in dieser Bildserie die optische Wahrnehmung von Farben und deren Wechselwirkung in unterschiedlichen Kombinationen auszuloten - eine Fragestellung, mit der er sich auch theoretisch auseinandersetzte, etwa in seinem 1963 erschienenen Buch "Interaction of Color". Der flächige Bildaufbau der Serie, für die Albers vier Varianten und fünf Formate definierte, resultiert aus der vertikal zentrierten, horizontal nach unten verrückten Anordnung verschiedenfarbiger Quadrate unterschiedlicher Größe. Die Farben - ein Protokoll der hier für "Warm Welcom" verwendeten Farben vermerkte Albers auf der Rückseite und auf der Vorderseite im Bereich des weißen Randes unter der Rahmenleiste - rhythmisieren die progressive Staffelung der Quadrate und verleihen ihr eine räumliche Wirkung. Seine serielle und forschende Arbeitsweise machte Josef Albers in den USA zu einem einflussreichen Lehrer zunächst am Black Mountain College in North Carolina unter anderem für Robert Rauschenberg, Donald Judd, Kenneth Noland aber auch für John Cage und Merce Cunningham, und später am Art Department der Yale University etwa für Eva Hesse und Richard Serra. Bevor Albers 1933 in die Staaten emigrierte, hatte er am Bauhaus in Weimar unterrichtet. Seine künstlerische Ausbildung hatte ihn zuvor nach einer Lehre zum Anstreicher unter anderem nach Essen geführt, wo er die Handwerker- und Kunstgewerbeschule (später Folkwangschule) besuchte.

Josef Albers
Study to Homage to the Square: Warm Welcom

Oil on Masonite. 56 x 56 cm. Framed. Monogrammed and dated 'A 53', information on the work in outer margin. Signed, dated, and titled 'Study to Homage to the Square: "warm welcom"[sic.] 'Albers 55' verso on masonite and with measurements and multiline information on the work. - Traces of studio and minor traces of age.

The present work is to be included in the forthcoming Josef Albers catalogue raisonné compiled by Anni and Josef Albers Foundation, Bethany, Connecticut.

Provenance
Acquired directly from the artist; private collection, Lübeck; private collection, North Germany

Exhibitions
Berlin 2012 (Galerie Berinson), Josef Albers (1888-1976), Gemälde, Zeichnungen, Druckgraphik, with colour illus. on invitation card
Hamburg 1967 (Kunstverein), Vom Bauhaus bis zur Gegenwart, Meisterwerke aus deutschem Privatbesitz, exhib.cat.no.2, p.10 with illus.
Münster 1967 (Galerie Wilbrand), Josef Albers
Lübeck 1966 (Overbeck-Gesellschaft), Kontraste, Vier Möglichkeiten des Künstlerischen, Josef Albers, Karel Appel, Max Ernst, Robert Rauschenberg, exhib.cat.no.1

The artist and teacher Josef Albers is considered to be one of the most important mediators between European avant-garde and US-American painting. Thus, his influence on the creation of minimal art in a picture such as 'Warm Welcom' from the series 'Homage to the Square' is obvious. In 1950, on the basis of this series of pictures, Albers began to sound out the visual perception of colours and their interaction in various combinations - a problem that he also theoretically examined, in his book 'Interaction of Color', published in 1963, for example. The two-dimensional picture composition of this series, for which Albers defined four variants and five formats, results from the vertically centred, horizontally downward orientated, displaced layout, of differently coloured squares of various sizes. The colours - Albers recorded the colours he used for 'Warm Welcom' on the verso and on the recto in the area of the white margin under the stretcher bar - rhythmize the progressive scaling of the squares and lend them spatial impact. His serial and enquiring working methods made Jospef Albers an influential teacher in the USA, first at Black Mountain College in North Carolina, for Robert Rauschenberg, Donald Judd, Kenneth Noland among others and also for John Cage and Merce Cunningham, and later at the art department of Yale University, i.e. for Eva Hesse and Richard Serra. Before emigrating to the States in 1933, he had taught at Bauhaus in Weimar. Previously, following an apprenticeship as a house painter, his artistic education had brought him to Essen where he attended the arts and crafts school (later Folkwang school).
Josef Albers
Study to Homage to the Square: Warm Welcom

Öl auf Masonit. 56 x 56 cm. Gerahmt. Monogrammiert und datiert 'A 53' sowie am äußeren Rand mit Werkangaben. Rückseitig auf dem Masonit signiert, datiert und betitelt 'Study to Homage to the Square: "warm welcom"'[sic.] 'Albers 55' sowie mit Maßangaben und mehrzeiligen Angaben zum Werk. - Mit Atelier- und leichten Altersspuren.

Die vorliegende Arbeit wird in das in Vorbereitung befindliche Josef Albers Werkverzeichnis der Anni and Josef Albers Foundation, Bethany, Connecticut, aufgenommen.

Provenienz
Direkt vom Künstler; Privatsammlung, Lübeck; Privatsammlung, Norddeutschland

Ausstellungen
Berlin 2012 (Galerie Berinson), Josef Albers, 1888-1976, Gemälde, Zeichnungen, Druckgraphik, mit Farbabb. auf der Einladungskarte
Hamburg 1967 (Kunstverein), Vom Bauhaus bis zur Gegenwart, Meisterwerke aus deutschem Privatbesitz, Ausst.Kat.Nr.2, S.10 mit Abb.
Münster 1967 (Galerie Wilbrand), Josef Albers
Lübeck 1966 (Overbeck-Gesellschaft), Kontraste, Vier Möglichkeiten des Künstlerischen, Josef Albers, Karel Appel, Max Ernst, Robert Rauschenberg, Ausst.Kat.Nr.1

Der Künstler und Lehrer Josef Albers gilt als einer der wichtigsten Mittler zwischen der europäischen Avantgarde und der US-amerikanischen Malerei. So ist sein Einfluss auf die Entstehung der Minimal Art in einem Bild wie "Warm Welcom" aus der Serie Homage to the Square augenscheinlich. 1950 begann Albers in dieser Bildserie die optische Wahrnehmung von Farben und deren Wechselwirkung in unterschiedlichen Kombinationen auszuloten - eine Fragestellung, mit der er sich auch theoretisch auseinandersetzte, etwa in seinem 1963 erschienenen Buch "Interaction of Color". Der flächige Bildaufbau der Serie, für die Albers vier Varianten und fünf Formate definierte, resultiert aus der vertikal zentrierten, horizontal nach unten verrückten Anordnung verschiedenfarbiger Quadrate unterschiedlicher Größe. Die Farben - ein Protokoll der hier für "Warm Welcom" verwendeten Farben vermerkte Albers auf der Rückseite und auf der Vorderseite im Bereich des weißen Randes unter der Rahmenleiste - rhythmisieren die progressive Staffelung der Quadrate und verleihen ihr eine räumliche Wirkung. Seine serielle und forschende Arbeitsweise machte Josef Albers in den USA zu einem einflussreichen Lehrer zunächst am Black Mountain College in North Carolina unter anderem für Robert Rauschenberg, Donald Judd, Kenneth Noland aber auch für John Cage und Merce Cunningham, und später am Art Department der Yale University etwa für Eva Hesse und Richard Serra. Bevor Albers 1933 in die Staaten emigrierte, hatte er am Bauhaus in Weimar unterrichtet. Seine künstlerische Ausbildung hatte ihn zuvor nach einer Lehre zum Anstreicher unter anderem nach Essen geführt, wo er die Handwerker- und Kunstgewerbeschule (später Folkwangschule) besuchte.

Josef Albers
Study to Homage to the Square: Warm Welcom

Oil on Masonite. 56 x 56 cm. Framed. Monogrammed and dated 'A 53', information on the work in outer margin. Signed, dated, and titled 'Study to Homage to the Square: "warm welcom"[sic.] 'Albers 55' verso on masonite and with measurements and multiline information on the work. - Traces of studio and minor traces of age.

The present work is to be included in the forthcoming Josef Albers catalogue raisonné compiled by Anni and Josef Albers Foundation, Bethany, Connecticut.

Provenance
Acquired directly from the artist; private collection, Lübeck; private collection, North Germany

Exhibitions
Berlin 2012 (Galerie Berinson), Josef Albers (1888-1976), Gemälde, Zeichnungen, Druckgraphik, with colour illus. on invitation card
Hamburg 1967 (Kunstverein), Vom Bauhaus bis zur Gegenwart, Meisterwerke aus deutschem Privatbesitz, exhib.cat.no.2, p.10 with illus.
Münster 1967 (Galerie Wilbrand), Josef Albers
Lübeck 1966 (Overbeck-Gesellschaft), Kontraste, Vier Möglichkeiten des Künstlerischen, Josef Albers, Karel Appel, Max Ernst, Robert Rauschenberg, exhib.cat.no.1

The artist and teacher Josef Albers is considered to be one of the most important mediators between European avant-garde and US-American painting. Thus, his influence on the creation of minimal art in a picture such as 'Warm Welcom' from the series 'Homage to the Square' is obvious. In 1950, on the basis of this series of pictures, Albers began to sound out the visual perception of colours and their interaction in various combinations - a problem that he also theoretically examined, in his book 'Interaction of Color', published in 1963, for example. The two-dimensional picture composition of this series, for which Albers defined four variants and five formats, results from the vertically centred, horizontally downward orientated, displaced layout, of differently coloured squares of various sizes. The colours - Albers recorded the colours he used for 'Warm Welcom' on the verso and on the recto in the area of the white margin under the stretcher bar - rhythmize the progressive scaling of the squares and lend them spatial impact. His serial and enquiring working methods made Jospef Albers an influential teacher in the USA, first at Black Mountain College in North Carolina, for Robert Rauschenberg, Donald Judd, Kenneth Noland among others and also for John Cage and Merce Cunningham, and later at the art department of Yale University, i.e. for Eva Hesse and Richard Serra. Before emigrating to the States in 1933, he had taught at Bauhaus in Weimar. Previously, following an apprenticeship as a house painter, his artistic education had brought him to Essen where he attended the arts and crafts school (later Folkwang school).

Contemporary Art I & II

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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3%LIVE Surcharge + VAT

 

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme



19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR


 


24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme



24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

AGB

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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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