617
Kenneth NolandImmingleAcryl auf Leinwand. 250 x 270 cm. Mit Atelierleiste gerahmt. Rückseitig auf
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Beschreibung
Kenneth Noland
Immingle
Acryl auf Leinwand. 250 x 270 cm. Mit Atelierleiste gerahmt. Rückseitig auf dem Keilrahmen zweifach signiert, datiert und betitelt 'IMMINGLE 1976 Kenneth Noland', sowie mit Maßangaben, Richtungspfeilen und Hängeskizze. - Mit leichten Altersspuren.
Provenienz
Galerie Wentzel, Hamburg (mit rückseitigem Aufkleber); Rheinische Unternehmenssammlung
Die streng geometrischen Kompositionen von Piet Mondrian gehören ebenso wie die vibrierende Farbbehandlung im Werk von Henri Matisse und die poetisch-zarten, halbabstrakten Gemälde Paul Klees - Künstler, mit denen er sich während seines Studiums und seinem Aufenthalt in Paris auseinandersetzt - zu den wichtigsten Inspirationsquellen für Kenneth Noland. Technisch wird für ihn 1953 ein Besuch im Atelier von Helen Frankenthaler maßgeblich, er übernimmt ihre Technik, sehr dünnflüssige Farbe auf ungrundierte Leinwand aufzubringen, so dass transparente, unregelmäßige Strukturen entstehen. Um 1958 Jahre schlägt Noland mit seinen Kreisbildern eine neue Richtung ein, die für ihn wegweisend sein wird. Die konzentrischen Kreise sind teils klar voneinander abgegrenzt, teils weisen sie einen freien, gestischen Farbauftrag auf. Die Hinwendung zu den chevrons, also keilförmigen Balkenformen, markiert Anfang der 1960er Jahre den Beginn der straight-edge-Malerei in seinem Werk. Die Kompositionen entfernen sich von der ursprünglich perfekten Balance innerhalb eines quadratischen Bildgrundes und lassen die Formen freier ausgreifen. Erstmals nutzt Noland nun shaped canvases - Diamant- und Rautenformen, die den gemalten Keilformen entgegenkommen. Ab 1966 findet er nach den freihändig gemalten früheren Formen in der Werkgruppe der Streifenbilder zu scharf gezogenen Konturen und experimentiert jetzt mit unterschiedlich dick- oder dünnflüssigem Farbauftrag, um die optische Präsenz der Farbe zu variieren. Die Streifenbilder, die teils extreme Querformate aufweisen, entstehen aus großen, auf dem Atelierboden bemalten Leinwandbahnen, die der Künstler im Anschluss beschneidet, um eine endgültige Komposition für das jeweilige Werk zu finden. Dieses Verfahren nutzt er auch in den ab Mitte der 1970er Jahre entstehenden, gänzlich unregelmäßigen Bildformaten, zu denen auch das hier angebotene „Immingle“ zählt. Wenige Jahre zuvor hatte Noland erstmals plastisch gearbeitet. Die Erfahrung mit den asymmetrischen, dreidimensionalen Formen geben wohl den entscheidenden Impuls, um sich auch auf dem Gebiet der Gemälde von den tradierten Bildformaten zu lösen, die Noland schon länger als einengend empfunden hatte. „Immingle“ wird dominiert von einem warmen Braun, das durch den dünnen Farbauftrag auf der ungrundierten Leinwand eine zarte, lebendige Struktur erhält. Es bildet gleichsam den Fond für die hellen Streifen, die wie Strahlen die äußeren Bereiche der Bildfläche durchschneiden. Sie balancieren die Komposition optisch aus und verleihen dem Werk eine außerordentliche Leichtigkeit.
„Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, Ausst.Kat. The Solomon R. Guggenheim Museum, New York 1977, S.36).
NB
Kenneth Noland
Immingle
Acrylic on canvas. 250 x 270 cm. Framed in studio frame. Signed, dated, and titled 'IMMINGLE 1976 Kenneth Noland' (twice) verso on stretcher and with dimensions, directional arrows and hanging sketch. - Minor traces of age.
Provenance
Galerie Wentzel, Hamburg (label verso); Corporate Collection, Rhineland
Piet Mondrian's strong geometrical compositions, the vibratory colouration in the works of Henri Matisse and the poetically delicate, half-abstract paintings by Paul Klee - artists he explored during his studies and stay in Paris - can all be classed as Kenneth Noland's most important sources of inspiration. A visit to Helen Frankenthaler studio in 1953 was a decisive moment for him, technically; he adopted her technique of applying thin paint to unprimed canvas, so that transparent, irregular structures emerge. In 1958, Noland took a new direction with his circle pictures, one that would be groundbreaking for him. The concentric circles are at times clearly separate from each other, while others show a free, gestural colour application. The turn to the chevron, wedge-shaped beams, marked the start of his straight-edge paintings in his work of the early 1960s. The compositions move away from the originally perfect balance within a square picture ground, allowing the forms to sprawl out more freely. For the first time, Noland uses shaped canvases - diamond and lozenge shapes, which accomodate the painted wedge shapes. From 1966, after the early freehand-painted forms in the striped picture group, he came upon sharply drawn contours and experimented now with various thick or thin applications of paint, in order to vary the optical presence of the colour. The stripe pictures, some exhibiting extreme horizontal formats, are created from large canvas strips painted on the studio floor, which the artist then trims in order to discover the final composition for the respective work. He also uses this process in the completely irregular picture formats he created from the mid-1970s, to which the present work "Inmingle" also belongs. Just a few years earlier, Noland had worked sculpturally for the first time. His experience with asymetrical, three-dimensional forms probably give the deciding impulse to disengage himself from the area of traditional picture-format painting , which Noland had long regarded as constricting. "Inmingle" is dominated by a warm brown which is given a delicate, lively structure by the thin paint on the unprimed canvas. It forms, so to speak, the base for the light stripes that cut through the outer areas of the picture surface like rays. They balance the composition optically and lend the work an extraordinary lightness.
"Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, exhib.cat. The Solomon R. Guggenheim Museum, New York 1977, p.36).
Immingle
Acryl auf Leinwand. 250 x 270 cm. Mit Atelierleiste gerahmt. Rückseitig auf dem Keilrahmen zweifach signiert, datiert und betitelt 'IMMINGLE 1976 Kenneth Noland', sowie mit Maßangaben, Richtungspfeilen und Hängeskizze. - Mit leichten Altersspuren.
Provenienz
Galerie Wentzel, Hamburg (mit rückseitigem Aufkleber); Rheinische Unternehmenssammlung
Die streng geometrischen Kompositionen von Piet Mondrian gehören ebenso wie die vibrierende Farbbehandlung im Werk von Henri Matisse und die poetisch-zarten, halbabstrakten Gemälde Paul Klees - Künstler, mit denen er sich während seines Studiums und seinem Aufenthalt in Paris auseinandersetzt - zu den wichtigsten Inspirationsquellen für Kenneth Noland. Technisch wird für ihn 1953 ein Besuch im Atelier von Helen Frankenthaler maßgeblich, er übernimmt ihre Technik, sehr dünnflüssige Farbe auf ungrundierte Leinwand aufzubringen, so dass transparente, unregelmäßige Strukturen entstehen. Um 1958 Jahre schlägt Noland mit seinen Kreisbildern eine neue Richtung ein, die für ihn wegweisend sein wird. Die konzentrischen Kreise sind teils klar voneinander abgegrenzt, teils weisen sie einen freien, gestischen Farbauftrag auf. Die Hinwendung zu den chevrons, also keilförmigen Balkenformen, markiert Anfang der 1960er Jahre den Beginn der straight-edge-Malerei in seinem Werk. Die Kompositionen entfernen sich von der ursprünglich perfekten Balance innerhalb eines quadratischen Bildgrundes und lassen die Formen freier ausgreifen. Erstmals nutzt Noland nun shaped canvases - Diamant- und Rautenformen, die den gemalten Keilformen entgegenkommen. Ab 1966 findet er nach den freihändig gemalten früheren Formen in der Werkgruppe der Streifenbilder zu scharf gezogenen Konturen und experimentiert jetzt mit unterschiedlich dick- oder dünnflüssigem Farbauftrag, um die optische Präsenz der Farbe zu variieren. Die Streifenbilder, die teils extreme Querformate aufweisen, entstehen aus großen, auf dem Atelierboden bemalten Leinwandbahnen, die der Künstler im Anschluss beschneidet, um eine endgültige Komposition für das jeweilige Werk zu finden. Dieses Verfahren nutzt er auch in den ab Mitte der 1970er Jahre entstehenden, gänzlich unregelmäßigen Bildformaten, zu denen auch das hier angebotene „Immingle“ zählt. Wenige Jahre zuvor hatte Noland erstmals plastisch gearbeitet. Die Erfahrung mit den asymmetrischen, dreidimensionalen Formen geben wohl den entscheidenden Impuls, um sich auch auf dem Gebiet der Gemälde von den tradierten Bildformaten zu lösen, die Noland schon länger als einengend empfunden hatte. „Immingle“ wird dominiert von einem warmen Braun, das durch den dünnen Farbauftrag auf der ungrundierten Leinwand eine zarte, lebendige Struktur erhält. Es bildet gleichsam den Fond für die hellen Streifen, die wie Strahlen die äußeren Bereiche der Bildfläche durchschneiden. Sie balancieren die Komposition optisch aus und verleihen dem Werk eine außerordentliche Leichtigkeit.
„Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, Ausst.Kat. The Solomon R. Guggenheim Museum, New York 1977, S.36).
NB
Kenneth Noland
Immingle
Acrylic on canvas. 250 x 270 cm. Framed in studio frame. Signed, dated, and titled 'IMMINGLE 1976 Kenneth Noland' (twice) verso on stretcher and with dimensions, directional arrows and hanging sketch. - Minor traces of age.
Provenance
Galerie Wentzel, Hamburg (label verso); Corporate Collection, Rhineland
Piet Mondrian's strong geometrical compositions, the vibratory colouration in the works of Henri Matisse and the poetically delicate, half-abstract paintings by Paul Klee - artists he explored during his studies and stay in Paris - can all be classed as Kenneth Noland's most important sources of inspiration. A visit to Helen Frankenthaler studio in 1953 was a decisive moment for him, technically; he adopted her technique of applying thin paint to unprimed canvas, so that transparent, irregular structures emerge. In 1958, Noland took a new direction with his circle pictures, one that would be groundbreaking for him. The concentric circles are at times clearly separate from each other, while others show a free, gestural colour application. The turn to the chevron, wedge-shaped beams, marked the start of his straight-edge paintings in his work of the early 1960s. The compositions move away from the originally perfect balance within a square picture ground, allowing the forms to sprawl out more freely. For the first time, Noland uses shaped canvases - diamond and lozenge shapes, which accomodate the painted wedge shapes. From 1966, after the early freehand-painted forms in the striped picture group, he came upon sharply drawn contours and experimented now with various thick or thin applications of paint, in order to vary the optical presence of the colour. The stripe pictures, some exhibiting extreme horizontal formats, are created from large canvas strips painted on the studio floor, which the artist then trims in order to discover the final composition for the respective work. He also uses this process in the completely irregular picture formats he created from the mid-1970s, to which the present work "Inmingle" also belongs. Just a few years earlier, Noland had worked sculpturally for the first time. His experience with asymetrical, three-dimensional forms probably give the deciding impulse to disengage himself from the area of traditional picture-format painting , which Noland had long regarded as constricting. "Inmingle" is dominated by a warm brown which is given a delicate, lively structure by the thin paint on the unprimed canvas. It forms, so to speak, the base for the light stripes that cut through the outer areas of the picture surface like rays. They balance the composition optically and lend the work an extraordinary lightness.
"Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, exhib.cat. The Solomon R. Guggenheim Museum, New York 1977, p.36).
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Kenneth Noland
Immingle
Acryl auf Leinwand. 250 x 270 cm. Mit Atelierleiste gerahmt. Rückseitig auf dem Keilrahmen zweifach signiert, datiert und betitelt 'IMMINGLE 1976 Kenneth Noland', sowie mit Maßangaben, Richtungspfeilen und Hängeskizze. - Mit leichten Altersspuren.
Provenienz
Galerie Wentzel, Hamburg (mit rückseitigem Aufkleber); Rheinische Unternehmenssammlung
Die streng geometrischen Kompositionen von Piet Mondrian gehören ebenso wie die vibrierende Farbbehandlung im Werk von Henri Matisse und die poetisch-zarten, halbabstrakten Gemälde Paul Klees - Künstler, mit denen er sich während seines Studiums und seinem Aufenthalt in Paris auseinandersetzt - zu den wichtigsten Inspirationsquellen für Kenneth Noland. Technisch wird für ihn 1953 ein Besuch im Atelier von Helen Frankenthaler maßgeblich, er übernimmt ihre Technik, sehr dünnflüssige Farbe auf ungrundierte Leinwand aufzubringen, so dass transparente, unregelmäßige Strukturen entstehen. Um 1958 Jahre schlägt Noland mit seinen Kreisbildern eine neue Richtung ein, die für ihn wegweisend sein wird. Die konzentrischen Kreise sind teils klar voneinander abgegrenzt, teils weisen sie einen freien, gestischen Farbauftrag auf. Die Hinwendung zu den chevrons, also keilförmigen Balkenformen, markiert Anfang der 1960er Jahre den Beginn der straight-edge-Malerei in seinem Werk. Die Kompositionen entfernen sich von der ursprünglich perfekten Balance innerhalb eines quadratischen Bildgrundes und lassen die Formen freier ausgreifen. Erstmals nutzt Noland nun shaped canvases - Diamant- und Rautenformen, die den gemalten Keilformen entgegenkommen. Ab 1966 findet er nach den freihändig gemalten früheren Formen in der Werkgruppe der Streifenbilder zu scharf gezogenen Konturen und experimentiert jetzt mit unterschiedlich dick- oder dünnflüssigem Farbauftrag, um die optische Präsenz der Farbe zu variieren. Die Streifenbilder, die teils extreme Querformate aufweisen, entstehen aus großen, auf dem Atelierboden bemalten Leinwandbahnen, die der Künstler im Anschluss beschneidet, um eine endgültige Komposition für das jeweilige Werk zu finden. Dieses Verfahren nutzt er auch in den ab Mitte der 1970er Jahre entstehenden, gänzlich unregelmäßigen Bildformaten, zu denen auch das hier angebotene „Immingle“ zählt. Wenige Jahre zuvor hatte Noland erstmals plastisch gearbeitet. Die Erfahrung mit den asymmetrischen, dreidimensionalen Formen geben wohl den entscheidenden Impuls, um sich auch auf dem Gebiet der Gemälde von den tradierten Bildformaten zu lösen, die Noland schon länger als einengend empfunden hatte. „Immingle“ wird dominiert von einem warmen Braun, das durch den dünnen Farbauftrag auf der ungrundierten Leinwand eine zarte, lebendige Struktur erhält. Es bildet gleichsam den Fond für die hellen Streifen, die wie Strahlen die äußeren Bereiche der Bildfläche durchschneiden. Sie balancieren die Komposition optisch aus und verleihen dem Werk eine außerordentliche Leichtigkeit.
„Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, Ausst.Kat. The Solomon R. Guggenheim Museum, New York 1977, S.36).
NB
Kenneth Noland
Immingle
Acrylic on canvas. 250 x 270 cm. Framed in studio frame. Signed, dated, and titled 'IMMINGLE 1976 Kenneth Noland' (twice) verso on stretcher and with dimensions, directional arrows and hanging sketch. - Minor traces of age.
Provenance
Galerie Wentzel, Hamburg (label verso); Corporate Collection, Rhineland
Piet Mondrian's strong geometrical compositions, the vibratory colouration in the works of Henri Matisse and the poetically delicate, half-abstract paintings by Paul Klee - artists he explored during his studies and stay in Paris - can all be classed as Kenneth Noland's most important sources of inspiration. A visit to Helen Frankenthaler studio in 1953 was a decisive moment for him, technically; he adopted her technique of applying thin paint to unprimed canvas, so that transparent, irregular structures emerge. In 1958, Noland took a new direction with his circle pictures, one that would be groundbreaking for him. The concentric circles are at times clearly separate from each other, while others show a free, gestural colour application. The turn to the chevron, wedge-shaped beams, marked the start of his straight-edge paintings in his work of the early 1960s. The compositions move away from the originally perfect balance within a square picture ground, allowing the forms to sprawl out more freely. For the first time, Noland uses shaped canvases - diamond and lozenge shapes, which accomodate the painted wedge shapes. From 1966, after the early freehand-painted forms in the striped picture group, he came upon sharply drawn contours and experimented now with various thick or thin applications of paint, in order to vary the optical presence of the colour. The stripe pictures, some exhibiting extreme horizontal formats, are created from large canvas strips painted on the studio floor, which the artist then trims in order to discover the final composition for the respective work. He also uses this process in the completely irregular picture formats he created from the mid-1970s, to which the present work "Inmingle" also belongs. Just a few years earlier, Noland had worked sculpturally for the first time. His experience with asymetrical, three-dimensional forms probably give the deciding impulse to disengage himself from the area of traditional picture-format painting , which Noland had long regarded as constricting. "Inmingle" is dominated by a warm brown which is given a delicate, lively structure by the thin paint on the unprimed canvas. It forms, so to speak, the base for the light stripes that cut through the outer areas of the picture surface like rays. They balance the composition optically and lend the work an extraordinary lightness.
"Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, exhib.cat. The Solomon R. Guggenheim Museum, New York 1977, p.36).
Immingle
Acryl auf Leinwand. 250 x 270 cm. Mit Atelierleiste gerahmt. Rückseitig auf dem Keilrahmen zweifach signiert, datiert und betitelt 'IMMINGLE 1976 Kenneth Noland', sowie mit Maßangaben, Richtungspfeilen und Hängeskizze. - Mit leichten Altersspuren.
Provenienz
Galerie Wentzel, Hamburg (mit rückseitigem Aufkleber); Rheinische Unternehmenssammlung
Die streng geometrischen Kompositionen von Piet Mondrian gehören ebenso wie die vibrierende Farbbehandlung im Werk von Henri Matisse und die poetisch-zarten, halbabstrakten Gemälde Paul Klees - Künstler, mit denen er sich während seines Studiums und seinem Aufenthalt in Paris auseinandersetzt - zu den wichtigsten Inspirationsquellen für Kenneth Noland. Technisch wird für ihn 1953 ein Besuch im Atelier von Helen Frankenthaler maßgeblich, er übernimmt ihre Technik, sehr dünnflüssige Farbe auf ungrundierte Leinwand aufzubringen, so dass transparente, unregelmäßige Strukturen entstehen. Um 1958 Jahre schlägt Noland mit seinen Kreisbildern eine neue Richtung ein, die für ihn wegweisend sein wird. Die konzentrischen Kreise sind teils klar voneinander abgegrenzt, teils weisen sie einen freien, gestischen Farbauftrag auf. Die Hinwendung zu den chevrons, also keilförmigen Balkenformen, markiert Anfang der 1960er Jahre den Beginn der straight-edge-Malerei in seinem Werk. Die Kompositionen entfernen sich von der ursprünglich perfekten Balance innerhalb eines quadratischen Bildgrundes und lassen die Formen freier ausgreifen. Erstmals nutzt Noland nun shaped canvases - Diamant- und Rautenformen, die den gemalten Keilformen entgegenkommen. Ab 1966 findet er nach den freihändig gemalten früheren Formen in der Werkgruppe der Streifenbilder zu scharf gezogenen Konturen und experimentiert jetzt mit unterschiedlich dick- oder dünnflüssigem Farbauftrag, um die optische Präsenz der Farbe zu variieren. Die Streifenbilder, die teils extreme Querformate aufweisen, entstehen aus großen, auf dem Atelierboden bemalten Leinwandbahnen, die der Künstler im Anschluss beschneidet, um eine endgültige Komposition für das jeweilige Werk zu finden. Dieses Verfahren nutzt er auch in den ab Mitte der 1970er Jahre entstehenden, gänzlich unregelmäßigen Bildformaten, zu denen auch das hier angebotene „Immingle“ zählt. Wenige Jahre zuvor hatte Noland erstmals plastisch gearbeitet. Die Erfahrung mit den asymmetrischen, dreidimensionalen Formen geben wohl den entscheidenden Impuls, um sich auch auf dem Gebiet der Gemälde von den tradierten Bildformaten zu lösen, die Noland schon länger als einengend empfunden hatte. „Immingle“ wird dominiert von einem warmen Braun, das durch den dünnen Farbauftrag auf der ungrundierten Leinwand eine zarte, lebendige Struktur erhält. Es bildet gleichsam den Fond für die hellen Streifen, die wie Strahlen die äußeren Bereiche der Bildfläche durchschneiden. Sie balancieren die Komposition optisch aus und verleihen dem Werk eine außerordentliche Leichtigkeit.
„Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, Ausst.Kat. The Solomon R. Guggenheim Museum, New York 1977, S.36).
NB
Kenneth Noland
Immingle
Acrylic on canvas. 250 x 270 cm. Framed in studio frame. Signed, dated, and titled 'IMMINGLE 1976 Kenneth Noland' (twice) verso on stretcher and with dimensions, directional arrows and hanging sketch. - Minor traces of age.
Provenance
Galerie Wentzel, Hamburg (label verso); Corporate Collection, Rhineland
Piet Mondrian's strong geometrical compositions, the vibratory colouration in the works of Henri Matisse and the poetically delicate, half-abstract paintings by Paul Klee - artists he explored during his studies and stay in Paris - can all be classed as Kenneth Noland's most important sources of inspiration. A visit to Helen Frankenthaler studio in 1953 was a decisive moment for him, technically; he adopted her technique of applying thin paint to unprimed canvas, so that transparent, irregular structures emerge. In 1958, Noland took a new direction with his circle pictures, one that would be groundbreaking for him. The concentric circles are at times clearly separate from each other, while others show a free, gestural colour application. The turn to the chevron, wedge-shaped beams, marked the start of his straight-edge paintings in his work of the early 1960s. The compositions move away from the originally perfect balance within a square picture ground, allowing the forms to sprawl out more freely. For the first time, Noland uses shaped canvases - diamond and lozenge shapes, which accomodate the painted wedge shapes. From 1966, after the early freehand-painted forms in the striped picture group, he came upon sharply drawn contours and experimented now with various thick or thin applications of paint, in order to vary the optical presence of the colour. The stripe pictures, some exhibiting extreme horizontal formats, are created from large canvas strips painted on the studio floor, which the artist then trims in order to discover the final composition for the respective work. He also uses this process in the completely irregular picture formats he created from the mid-1970s, to which the present work "Inmingle" also belongs. Just a few years earlier, Noland had worked sculpturally for the first time. His experience with asymetrical, three-dimensional forms probably give the deciding impulse to disengage himself from the area of traditional picture-format painting , which Noland had long regarded as constricting. "Inmingle" is dominated by a warm brown which is given a delicate, lively structure by the thin paint on the unprimed canvas. It forms, so to speak, the base for the light stripes that cut through the outer areas of the picture surface like rays. They balance the composition optically and lend the work an extraordinary lightness.
"Noland's search for the ideal Platonic form has crystallized into an art in which color and form are held in perfect equilibrium. The spare geometry of his form heightens the emotional impact of his color. The rational and the felt, distilled form and sensuous color intermesh to create a magic presence.” (Diane Waldman, in: Kenneth Noland. A Retrospective, exhib.cat. The Solomon R. Guggenheim Museum, New York 1977, p.36).
Contemporary Art
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4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, -telephonically or via the internet. The placing of bids in absentia must reach -Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with ticket number and item description. In the event of ambiguities, the listed ticket number -becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b – d of the Civil Code) do not -apply. Telephonic bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction. The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
