Tuesday, February 3, 2015

Wassily Kandinsky at Auction

Christie’s Evening Sale of Impressionist & Modern Art Nov 16, 2016

Christie’s has announced complete details of its upcoming Evening Sale of Impressionist & Modern Art on November 16. Forty-nine works by the major artists of the era, including Wassily Kandinsky, Pablo Picasso, Claude Monet, Chaim Soutine, Paul Cézanne, among others. The evening sale is expected to achieve in excess of $200 million.



Wassily Kandinsky’s Rigide et courbé (Rigid and Curved) (estimate: $18-25 million), undoubtedly the most important Paris period painting by Kandinsky to ever appear on the market, is a highlight of its November 16th Impressionist and Modern Art Evening Sale in New York. Rigide et courbé (Rigid and Curved) is one of the most celebrated and dynamic compositions, of grand scale. The canvas is densely packed with lively geometric vignettes and a thoughtfully textured surface composed of sand mixed with paint, a technique Kandinsky used only in his Paris paintings of 1934-1935. The present work, first owned by Solomon R. Guggenheim who acquired it from Kandinsky in 1936, has been extensively published and highly exhibited from 1937-1949. Estimated at $18-25 million, the painting is undoubtedly the most important Paris period painting by Kandinsky to ever appear on the market. It is being offered from an important private American collection and has not been on the market since 1964. The upcoming sale preview marks the first time in over 50 years that the work will be publicly displayed.

Conor Jordan, Deputy Chairman of Impressionist and Modern Art, remarked: “With its dynamic sweep of upward energy, Kandinsky’s Rigide et courbé, a late masterpiece from the mid-1930s, unseen in public for over fifty years, evokes an epic paean, a rhapsodic song of thanksgiving suggesting the bright hope the artist saw in his new home in Paris following his flight from Nazi Germany. Abstract forms, runic symbols and mythic references, summoning Kandinsky's life and career, intertwine with veiled allusions to contemporary events, across the broad dimensions of this technically audacious canvas which is richly worked in oil and sand. It ranks among the greatest Kandinskys still in private hands.”

CHRISTIE’S IMPRESSIONIST AND MODERN ART SALE IN LONDON ON 6 FEBRUARY 2013

The landscapes that Wassily Kandinsky (1866-1944) painted in Murnau between 1908 and 1909 reflect the first full flowering of his art and mark the beginning of the artist’s epic pioneering journey into abstraction. His 1909 painting




Murnau - Ansicht mit Burg, Kirche und Eisenbahn, epitomises the way that he magnified and intensified colour to the point where it begins to float freely and operate as a dynamic, abstract and interactive pictorial entity on the painting’s surface (estimate: £5-7 million). Kandinsky’s works from these years are the first in Kandinsky’s oeuvre to demonstrate his independence from the influences of Van Gogh, Gauguin and French Fauvism and the emergence of a new and wholly unique vision.

Near-autonomous colour set deliberately against contrasting dark shadows presents a near panoramic overview of the leafy skyline of the small and sleepy Bavarian town of Murnau as seen from the rear of the house that Kandinsky shared with his lover and fellow pioneering artist Gabriele Münter. Kandinsky’s discovery of Murnau proved the catalyst for his liberation of colour from form; it also prompted his renewed affection for folk art and inspired his profound sense of the ‘spiritual.’

Heightening his use of colour to a level of expressionistic intensity, and broadening his brushstrokes to the point where each mark takes on a formal function of its own within the work, Kandinsky’s Murnau landscapes rapidly grew to become increasingly abstract statements about the nature of painting itself.

Sotheby's  Impressionist and Modern Art May 3, 2005




Sotheby's evening sale of Impressionist and Modern Art on May 3, 2005 will include a rediscovered masterpiece by Wassily Kandinsky entitled Zwei Reiter und liegende Gestalt (Two Riders and Reclining Figure).

Painted in 1909-10, this brilliantly-colored and fantastical composition had, until recently, been unseen for nearly a century and largely unknown to scholars. It is one of two compositions that the artist originally painted on the front and back of a single piece of millboard.

The other composition, which has since been separated from the reverse of the present work, is currently in the collection of the Minneapolis Institute of Arts. Kandinsky gave the double-sidedpainting to his friend and fellow Expressionist painter Alexej von Jawlensky, and the present work, Zwei Reiter undliegende Gestalt, is estimated to sell for $15/25 million.

"The recent exhibition at the Minneapolis Institute of Arts, in which the museum's Studie zuI mprovisation 5 (Study for Improvisation 5) was re-united with its long-lost companion Zwei Reiter und liegende Gestalt (Two Riders and Reclining Figure) was a moment of historic importance to scholars and enthusiasts of Kandinsky's art. Both works represent the very moment when one of the 20th Century's leading artists would foreverc hange the course of Western Art through the creation of Abstraction. Zwei Reiter und liegende Gestalt is a symphony of heightened color, abstracted form and dynamically charged space. This work issues from a key moment in Kandinsky's career and demonstrates why he was one of the most important contributors to the birth of Modern Art. 

Acquired by his fellow artist, Alexej von Jawlensky, the work has been unseen for nearly a century. Its discovery, and the subsequent research that led to scholars' identification of the work as the lost companion to the great painting belonging to the Minneapolis museum, is a thrilling occurrence. Its appearance now on the market creates a historic and almost unique opportunity for collectors to acquire a great work from the artist's most important period."

When Kandinsky painted Zwei Reiter und liegende Gestalt in 1909-10 he was integrating this new metaphysical aesthetic with his existing predilection for depicting symbolic motifs and Russian-inspired iconography. The mounted rider, for example, is understood to be the symbol of the Christian dragon slayer, St. George. One can decipher his lance-like arms, outstretched in opposite directions, as he leaps over the hills with his horse. The sleeping figure along the bottom left edge is understood to be symbolic of introspection and imagination, which were both characteristics that Kandinsky valued very highly in his art.

The present work also codifies the stylistic and thematic concerns that Kandinsky would extol one year later in his treatise, Concerning the Spiritual in Art, in which he wrot epassionately about his color theories and the recent advances of his art. This treatise set the stage for the direction of all of his future work in that it gave resounding praise for color as a means of complete and spiritually-penetrating expression.

The fact that Jawlensky acquired this important painting, and its attached companion, directly from Kandinsky is not surprising, given that the two artists frequently exchanged pictures over the course of their lifetimes. Jawlensky received the double-sided millboard from Kandinsky before 1914. The two compositions were subsequently separated whilst the painting was in Jawlensky's possession and the present work was signed by an unidentified hand, which may have been that of the artist himself, Jawlensky or his assistant Lisa Kümmel.

Mr. Norman continued,"Jawlensky had separated some of his own double-sided millboard compositions, and in letters maintained in the archives, he instructs his son to do so to many of his own compositions. Sotheby's recent sale of Jawlensky's 1910 masterpiece Schokko (Schokko mit Tellerhut) for a record $8.3 million is one such example. As with theaforementioned painting and the present pairs of Zwei Reiter und liegende Gestalt and Studie zu Improvisation 5,each picture set off on its own separate journey through history."


SOTHEBYS’ SALE of German & Austrian Art February 5, 2007





Painted in 1909, Wassily Kandinsky’s Weilheim-Marienplatz ( est: £1,500,000-2,000,000/€2,230,000-2,970,000) is a strikingly colourful depiction of the main market square in Weilheim, a small town in Upper Bavaria.



Captivated by the charm, colourful facades and romantic atmosphere of Bavarian towns, Kandinsky (1866-1944) and his artist-friends Jawlenksy, Münter and von Werefkin (who were later to form the ‘Blaue Reiter’ group) moved to the Bavarian town of Murnau in 1908. The weeks Kandinksy spent there were pivotal in the development of his art: his work took ona renewed energy, and the fauviste influence he had absorbed in Paris now combined with the influence of the folk art he encountered around him – in particular that of glass painting. As a result, Kandinsky’s works of the time became almost two dimensional, with colour playing an increasingly important role as a means of expression.



Weilheim-Marienplatz is both a seminal work from this important period in Kandinsky’s career and an early indicatorof the artist’s move towards abstraction – something that was to play a major part in the development of Modern Art.
 

Sotheby's 2015






Estimate 200,000300,000 GBP


Estimate 6,000,0008,000,000 GBP

Sotheby's evening sale of Impressionist and Modern Art on May 3, 2005 will include a rediscovered masterpiece by Wassily Kandinsky entitled Zwei Reiter und liegende Gestalt (Two Riders and Reclining Figure). Painted in 1909-10, this brilliantly-colored and fantastical composition had, until recently, been unseen for nearly a century and largely unknown to scholars. It is one of two compositions that the artist originally painted on the front and back of a single piece of millboard. The other composition, which has since been separated from the reverse of the present work, is currently in the collection of the Minneapolis Institute of Arts. Kandinsky gave the double-sided painting to his friend and fellow Expressionist painter Alexej von Jawlensky, and the present work, Zwei Reiter und liegende Gestalt, is estimated to sell for $15/25 million. Prior to its exhibition and sale in New York, Zwei Reiter und liegende Gestalt will be on view at Sotheby's Bond Street Galleries in London on March 17, 18 and 20. David Norman, Executive Vice President and Co-Chairman of Sotheby's Impressionist and Modern Art Department Worldwide, said, "The recent exhibition at the Minneapolis Institute of Arts, in which the museum's Studie zu Improvisation 5 (Study for Improvisation 5) was re-united with its long-lost companion Zwei Reiter und liegende Gestalt (Two Riders and Reclining Figure) was a moment of historic importance to scholars and enthusiasts of Kandinsky's art. Both works represent the very moment when one of the 20th Century's leading artists would forever change the course of Western Art through the creation of Abstraction. Zwei Reiter und liegende Gestalt is a symphony of heightened color, abstracted form and dynamically charged space. This work issues from a key moment in Kandinsky's career and demonstrates why he was one of the most important contributors to the birth of Modern Art. Acquired by his fellow artist, Alexej von Jawlensky, the work has been unseen for nearly a century. Its discovery, and the subsequent research that led to scholars' identification of the work as the lost companion to the great painting belonging to the Minneapolis museum, is a thrilling occurrence. Its appearance now on the market creates a historic and almost unique opportunity for collectors to acquire a great work from the artist's most important period." When Kandinsky painted Zwei Reiter und liegende Gestalt in 1909-10 he was integrating this new metaphysical aesthetic with his existing predilection for depicting symbolic motifs and Russian-inspired iconography. The mounted rider, for example, is understood to be the symbol of the Christian dragon slayer, St. George. One can decipher his lance-like arms, outstretched in opposite directions, as he leaps over the hills with his horse. The sleeping figure along the bottom left edge is understood to be symbolic of introspection and imagination, which were both characteristics that Kandinsky valued very highly in his art. The present work also codifies the stylistic and thematic concerns that Kandinsky would extol one year later in his treatise, Concerning the Spiritual in Art, in which he wrote passionately about his color theories and the recent advances of his art. This treatise set the stage for the direction of all of his future work in that it gave resounding praise for color as a means of complete and spiritually-penetrating expression. The fact that Jawlensky acquired this important painting, and its attached companion, directly from Kandinsky is not surprising, given that the two artists frequently exchanged pictures over the course of their lifetimes. Jawlensky received the double-sided millboard from Kandinsky before 1914. The two compositions were subsequently separated whilst the painting was in Jawlensky's possession and the present work was signed by an unidentified hand, which may have been that of the artist himself, Jawlensky or his assistant Lisa Kümmel. Mr. Norman continued, "Jawlensky had separated some of his own double-sided millboard compositions, and in letters maintained in the archives, he instructs his son to do so to many of his own compositions. Sotheby's recent sale of Jawlensky's 1910 masterpiece Schokko (Schokko mit Tellerhut) for a record $8.3 million is one such example. As with the aforementioned painting and the present pairs of Zwei Reiter und liegende Gestalt and Studie zu Improvisation 5, each picture set off on its own separate journey through history."

More Information: http://artdaily.com/news/12933/Sotheby-s-to-Sell-Work-by-Wassily-Kandinsky#.VM5rAydJVcw[/url]
Copyright © artdaily.org





Sotheby's evening sale of Impressionist and Modern Art on May 3, 2005 will include a rediscovered masterpiece by Wassily Kandinsky entitled Zwei Reiter und liegende Gestalt (Two Riders and Reclining Figure). Painted in 1909-10, this brilliantly-colored and fantastical composition had, until recently, been unseen for nearly a century and largely unknown to scholars. It is one of two compositions that the artist originally painted on the front and back of a single piece of millboard. The other composition, which has since been separated from the reverse of the present work, is currently in the collection of the Minneapolis Institute of Arts. Kandinsky gave the double-sided painting to his friend and fellow Expressionist painter Alexej von Jawlensky, and the present work, Zwei Reiter und liegende Gestalt, is estimated to sell for $15/25 million. Prior to its exhibition and sale in New York, Zwei Reiter und liegende Gestalt will be on view at Sotheby's Bond Street Galleries in London on March 17, 18 and 20. David Norman, Executive Vice President and Co-Chairman of Sotheby's Impressionist and Modern Art Department Worldwide, said, "The recent exhibition at the Minneapolis Institute of Arts, in which the museum's Studie zu Improvisation 5 (Study for Improvisation 5) was re-united with its long-lost companion Zwei Reiter und liegende Gestalt (Two Riders and Reclining Figure) was a moment of historic importance to scholars and enthusiasts of Kandinsky's art. Both works represent the very moment when one of the 20th Century's leading artists would forever change the course of Western Art through the creation of Abstraction. Zwei Reiter und liegende Gestalt is a symphony of heightened color, abstracted form and dynamically charged space. This work issues from a key moment in Kandinsky's career and demonstrates why he was one of the most important contributors to the birth of Modern Art. Acquired by his fellow artist, Alexej von Jawlensky, the work has been unseen for nearly a century. Its discovery, and the subsequent research that led to scholars' identification of the work as the lost companion to the great painting belonging to the Minneapolis museum, is a thrilling occurrence. Its appearance now on the market creates a historic and almost unique opportunity for collectors to acquire a great work from the artist's most important period." When Kandinsky painted Zwei Reiter und liegende Gestalt in 1909-10 he was integrating this new metaphysical aesthetic with his existing predilection for depicting symbolic motifs and Russian-inspired iconography. The mounted rider, for example, is understood to be the symbol of the Christian dragon slayer, St. George. One can decipher his lance-like arms, outstretched in opposite directions, as he leaps over the hills with his horse. The sleeping figure along the bottom left edge is understood to be symbolic of introspection and imagination, which were both characteristics that Kandinsky valued very highly in his art. The present work also codifies the stylistic and thematic concerns that Kandinsky would extol one year later in his treatise, Concerning the Spiritual in Art, in which he wrote passionately about his color theories and the recent advances of his art. This treatise set the stage for the direction of all of his future work in that it gave resounding praise for color as a means of complete and spiritually-penetrating expression. The fact that Jawlensky acquired this important painting, and its attached companion, directly from Kandinsky is not surprising, given that the two artists frequently exchanged pictures over the course of their lifetimes. Jawlensky received the double-sided millboard from Kandinsky before 1914. The two compositions were subsequently separated whilst the painting was in Jawlensky's possession and the present work was signed by an unidentified hand, which may have been that of the artist himself, Jawlensky or his assistant Lisa Kümmel. Mr. Norman continued, "Jawlensky had separated some of his own double-sided millboard compositions, and in letters maintained in the archives, he instructs his son to do so to many of his own compositions. Sotheby's recent sale of Jawlensky's 1910 masterpiece Schokko (Schokko mit Tellerhut) for a record $8.3 million is one such example. As with the aforementioned painting and the present pairs of Zwei Reiter und liegende Gestalt and Studie zu Improvisation 5, each picture set off on its own separate journey through history."

More Information: http://artdaily.com/news/12933/Sotheby-s-to-Sell-Work-by-Wassily-Kandinsky#.VM5rAydJVcw[/url]
Copyright © artdaily.org




LOT SOLD. 1,777,500 EUR






LOT SOLD. 125,000 USD






Estimate 600,000800,000 USD










LOT SOLD. 5,570,500 GBP
Sotheby's 2013






LOT SOLD. 1,650,500 GBP






LOT SOLD. 1,676,700 EUR






Estimate 400,000600,000 GBP
 


Sotheby's 2012






LOT SOLD. 1,273,250 GBP 





Estimate 700,0001,000,000 GBP



CHRISTIE’S 2015








CHRISTIE’S 2014














CHRISTIE’S 2013























Pr.£145,875($228,149)


 


CHRISTIE’S 2012












 





 










Pr.£1,105,250($1,737,453)













PR.€2,137,000($2,757,309)






Wassily Kandinsky (1866-1944)
Vibrierend
Pr.$782,500




 

CHRISTIE’S 2011





Pr.£690,850($1,120,559)

 





PR.$782,500

CHRISTIE’S 2011







 



CHRISTIE’S  2010






 










Pr.£1,049,250($1,557,087)







 
 
CHRISTIE’S 2009






CHRISTIE’S 2008







Pr.£646,050($1,270,134)













 
CHRISTIE’S 2007 








 






 







  


CHRISTIE’S 2006


 

CHRISTIE’S 2004