peter marino

Transcription

peter marino

No. 07
PABLO ATCHUGARRY
Magic Marble
BLACK STAR
Mercedes-Benz 300 S
FROM THE FUTURE
Oliver Irschitz
BUILDING A COLLECTION
Gil Bronner
PETER
M A RI NO
my Dorotheum: Inter view
Palais Dorotheum
stairway
VIEW
E D I T OR I A L
How does art ideally look in relation to the interior?
The responses are as varied as the people who give them.
Peter Marino, celebrated architect and eponymous hero of
t h i s i s s u e o f D o r o t h e u m’s m y A R T M A G A Z I N E , l e a v e s n o t h i n g
to chance. He tauts the virtues of the gesamtkunstwerk –
which would give him full creative reign over everything
(a s h e w o u l d p re f e r) – a n d ra ve s a b o u t t h e W i e n e r We r k s t ä t te
and Josef Hoffmann. Another contribution leads from
H o f f m a n n’s V i e n n a S e c e s s i o n b u i l d i n g t o a w o r k b y K o l o m a n
“ K o l o ” M o s e r, a g i f t f r o m G u s t a v K l i m t t o h i s g i r l f r i e n d
Emilie Flöge. Meanwhile, Düsseldorf collector Gil Bronner
is converting one of his buildings into a museum, thus
creating his own interior to house his contemporary art.
Enjoy the read!
We look forward to seeing you at Dorotheum –
or dorotheum.com!
MARTIN BÖHM
Managing Partner
PA L A I S
DOROTHEUM
No. 07
Dorotheergasse 17, 1010 Vienna, Austria
Tel. +43-1-515 60-570,
[email protected]
CLIENT ADVISORY SERVICES
Constanze Werner
Tel. +43-1-515 60-366
[email protected]
PABLO ATCHUGARRY
Magic Marble
BLACK STAR
CATALOGUE SUBSCRIPTIONS
Tel. +43-1-515 60-200
[email protected]
www.dorotheum.com
Mercedes-Benz 300 S
FROM THE FUTURE
Oliver Irschitz
BUILDING A COLLECTION
Gil Bronner
PETER
M A RI NO
my Dorotheum: Inter view
Cover photo
Peter Marino
© Jason Schmidt , Trunk Archive
IMPRINT
Dorotheum myART MAGAZINE, March 2016. Seventh issue. Palais Dorotheum, Dorotheergasse 17, 1010 Vienna
© Dorotheum GmbH & Co KG, DPR no. 0105104, FN 213974 v / Commercial Register Vienna, VAT ID: ATU 52613505
Published biannually.
Concept, editing: Michaela Strebl-Pühringer, Doris Krumpl, Theresa Pichler, Marie-Sophie Engel
Graphic design: Studio Corsaro, Creative Director Miriam Wanzenböck, Art Direction Bernd Ganser-Lion
Copy-editing: scriptophil. die textagentur
Photography: Jason Schmidt, Manolo Yllera, Tibor Rauch, Ivo Faber, Christian Sarramon, elwoods, Ingrid Sontacchi, Christopher Reumiller
Printing: Gutenberg Druck
Advertising management: Annika Hahn, Tel. +43-664-500 93 10, [email protected]
Errors and omissions excepted. Please refer to our website for the latest information about Dorotheum auctions and events: www.dorotheum.com.
CONTENTS
AUCTION
06 A M A S T E R F U L H A N D
Hans Memling ’s Workshop
10 G I A C O M O M A N Z Ù
The Majesty of Form
CITY
60 N A P L E S
Secret Capital
COLLECTION
12 PA B L O A T C H U G A R R Y
64 F E R N A N D H U T S
Magic Marble
At Play in the Fields of the Lord
14 O S C A R M U R I L L O
68 G I L B R O N N E R
Anomalies from a Candy Factory
Building a Collection
16 B L A C K S T A R
73 J E A N - P I E R R E R I B E R
Mercedes-Benz 300 S Roadster
18
RICHARD POUSETTEDART
Cosmic Force
20 R A R E G E M F R O M
FIN-DE-SIÈCLE
Gustav Klimt and Emilie Flöge
24
IMPERIAL HERITAGE
Dorotheum‘s histor y
28 J A M E S E N S O R
Master of Masks
30 O L I V E R I R S C H I T Z
Design from the Future
The Perfect Flaw
PASSION
76 T I P S
Dorotheum’s cooperations
EVENTS
78 V I E N N A A R T W E E K
In the Name of Art
STORY
80 K A R L H O H E N L O H E
The Notebook
34 C H A N E L
CONTACTS
82 D O R O T H E U M
In the Spirit of Coco Chanel
35 M A R Y V E T S E R A
Yo u t h f u l C o n f e s s i o n s
DOROTHEUM
36 P E T E R M A R I N O
Outside the Box
AUCTION HOUSE
42 D I S C O V E R Y
Experts’ tips
CHOICE
46 M Y C H O I C E
Our experts’ favourite objects
Addresses & Auction Dates
AUCTION
6
M
A
Hans Memling (1430/40–1494)
workshop
Nativity
Oil on panel, 99.2 x 72.5 cm
Estimate € 1,200,000 – 1,800,000
Old Master Paintings auction
19 April 2016
M
AUCTION
7
ASTER
FUL
HAND
Coming up for auction in April, “Nativity”
is nothing short of a serendipitous
discovery of Early Netherlandish panel
painting. Originating from the workshop
of Hans Memling, the painting is distinct
from the collective style of late
medieval painters’ studios and points
the way for future research on the
Memling workshop.
“Nativity” was first publically presented at a 1994
exhibition of Memling’s work held at the Groeningemuseum in Bruges, Belgium, on the occasion
of the 500th anniversary of the artist’s death. It is
one of the most important recent discoveries of
Early Netherlandish panel paintings from the late
15th century.
Preserved in surprisingly good condition, the panel
is a variation on Hans Memling’s pictorial innovations to the nativity scene, in which the divine infant
is placed in the ruins of a Romanesque sacral building. It takes its cue from a vision of Saint Bridget of
Sweden that was highly popular in the late Middle
Ages. Produced around 1500, and most definitely in
Bruges, the present panel is a play on the painting
by Memling, who for his part referenced his Brussels
repeatedly both in the underdrawing and during
teacher Rogier van der Weyden when addressing the
the actual painting process. The numerous pen-
motif of the birth of Christ.
timenti (traces of alterations) make Memling’s
underdrawings appear chaotic and indecipherable.
The earliest surviving nativity scene from Memling’s
Even during the artist’s lifetime, they necessitated
workshop can be seen on the left panel of the “Ado-
clarifying contours that accentuated the basic ele-
ration of the Kings” triptych, which was finished in
ments of a composition.
1470/75 and is now kept at the Museo del Prado in
Madrid. It resembles the present painting both in
One characteristic of “Nativity” is the casualness and
terms of format and subject. They are both signifi-
apparent spontaneity of its underdrawing, which
cantly larger than the nativity scene in Memling’s
the painter clearly based on a preliminary drawing
1479 “Triptych of Jan Floreins”, one of the major
by Memling that he had access to. It was executed
works in the painting collection owned by St. John’s
in a way that comes very close to works attributed
Hospital in Bruges.
to Memling. The fact that the creator of “Nativity”
was familiar with Memling’s motifs and the method
At first glance, the striking similarity between
applied in the master’s workshop strongly suggests
the composition of this panel and that of the two
that he was a close assistant. This makes “Nativity”
famous works by Memling would seem to suggest
a key work for future research on the workshop of
that “Nativity” was painted by one of his disciples,
Hans Memling.
but evidence from recent technological analyses
supports a different conclusion: the underdrawing,
Memling’s numerous surviving paintings – which
which served as a base for transferring the com-
evidence an extensive production of retables, devo-
position onto the ground, resembles the graphic
tional pictures and portraits – are not the only rea-
vocabulary and highly characteristic underdraw-
son we believe the master to have run a success-
ings of Memling’s mature work. The Memling
ful, efficiently structured workshop with several
workshop typically used dry materials such as chalk
assistants working on many commissioned works
to draw the contours, drapery and wide hachures,
at a time. The notion of a flourishing studio is also
which were applied in several phases and altered
supported by the fact that two apprentices trained
AUCTION
9
at his workshop in 1480 and 1483. The hands and
assistants of late medieval painters’ studios had a
collective method and were incredibly skilful in imitating their master’s style in minute detail. Therefore, it is hardly ever possible to verify the hand of
one particular assistant in a number of paintings
from a specific workshop, and Memling’s studio is
no exception to this rule.
The subtle difference between the surface designs
Triptych of the Adoration of the
Magi, Hans Memling, 1470/75
© Museo Nacional del Prado
and painting styles of “Nativity” and Memling’s
works might be attributable to the fact that the master was no longer alive when the painting was produced. It is quite possible that a workshop employee
finished an incomplete commission after the master
had died – or it was the employee who was commissioned and wanted to be recognised for his work.
Information:
A l e x a n d e r S t r a s o l d o a n d D a m i a n B r e n n i n k m e y e r,
experts in Old Master paintings
Triptych of Jan Floreins
Hans Memling, 1479
Musea Brugge
© www.lukasweb.be – Art in Flanders vzw,
photo Dominique Provost
AUCTION
10
An austere volume, motionless and yet of vibrating spirituality – that is how
artist Giacomo Manzù, who also played an influential role at the Summer
Academy of Fine Arts in Salzburg, regarded his archetypal figures of
“ C a r d i n a l s ”, w h i c h h e c r e a t e d i n d i s p a r a t e v a r i a n t s t h r o u g h o u t h i s l i f e . A m o r e
than three-metre-high “Cardinal” will be offered in privat sale at Dorotheum.
BY ALESSANDRO RIZZI AND LUDOVICA LA MONICA
In the entrance hall of the Palais Dorotheum, the
No religious impulse, no spiritual message: only
figure of a Cardinal becomes apparent, dignified
an enormous admiration for those figures by
and secretive, muffled in a simple liturgical vest-
whose volumes the artist was greatly influenced
ment upon which a small face is propped, only just
when, during a trip to Rome in 1934, he saw the
sketched, and surmounted by a rigid mitre con-
then Pope, Pius XI, sitting between two bishops in
tributing to the impression of a conical, severely
St. Peter’s. As he himself emphasised, he was
stylised portrait. There is no flamboyance, no deco-
attracted not by the majesty of the church but by
ration typical of the clothing of clerical dignitaries.
the majesty of the form:
The quest for form is what counts. The cope which
covers the entire figure only allows a timid hand to
“ They impressed me by their rigid masses,
emerge, a hand which holds the robe and draws it
immobile yet nevertheless vibrating from
back somewhat, creating the only slight movement
compressed
that dynamically enriches the composition.
as statues: a series of lined up cubes – and
s p i r i t u a l i t y.
I
regarded
them
the impulse to create a version of this sub“In Manzù’s hands the C ardinals were trans-
lime, elevated reality in my sculptural works
formed into compact , forceful volumes, enliv-
w a s i r r e s i s t i b l e .”
ened by extremely tender modeling and generously draped folds. The massiveness of the
The first of these came into being in 1938 and was
volume is stressed by the economy of lines and
displayed in the Quadriennale in Rome. From that
the simplicity of plastic means. Following the
moment onwards, a sequence of numerous versions
contours of the body, the folds swing sometimes
of the same theme was instituted, never interpret-
as if sharply etched, sometimes sof tly round-
ed in precisely the same way and always with new
ed, their shadows always regulating the parts
iconographic characteristics. Over the course of
exposed to the light . This subtle animation of
years, the magnitude and details of the sculptures
uniform planes and the amazing freedom of con-
became more and more stylized, eventually arriving
ception earned the artist the respect of many
at an essential image which was increasingly less
sculptors whose own paths had led them toward
realistic and more radically simplified.
abstractions. More than they valued the sensitivity of execution, they admired the boldness of
In the interior of the Palais Dorotheum, incorporat-
invention which, within the framework of f idelity
ed into an architectonic scenography that magni-
to nature, rids the form of all that is inessential.”
fies its solemnity, the sculpture – originating from
(J. Rewald, Giacomo Manzù, London 1967)
an important private collection – appears majestic
and elegant, as an awe-inspiring, significant work
The figure is 324 cm tall and is one of approximately
by one of the most important personalities in Italian
300 versions of this subject which Giacomo Manzù
sculptural history.
– one of the leading exponents of Italian sculptural
art of the 20th-century – created between 1938 and
his death in 1991.
Alessandro Rizzi is an expert on contemporary and
modern art at Dorotheum, Ludovica La Monica is
modern and contemporary art department assistant.
AUCTION
THE MAJESTY
OF FORM
11
Giacomo Manzù (1908–1991)
Grande Cardinale in piedi, 1982
Bronze, 324 x 77 x 96 cm
AUCTION
12
MAGIC
MARBLE
Marble is the material in which Pablo Atchugarry instills life.
At o n c e a u s te re a n d s e n s i t i ve , t h e U r u g u aya n s c u l pto r ‘s w o r k s
exude timeless elegance. Dorotheum offers two
of his works at its spring auction.
BY ALESSANDRO RIZZI AND
LUDOVICA LA MONICA
A magical combination of spirit, culture, archetyp-
with great care in the removal and reduction of the
ical symbols and Latin American sensibility: these
material, until that three-dimensional geometric
are the characteristics of the creations of the Uru-
mass, which had imprisoned the soul of his work, is
guayan artist Pablo Atchugarry (born in Montevideo
erased. Through this process, Atchugarry is doing
in 1954), whose father Pedro introduced him to the
nothing other than bestowing life and form to each
world of painting from the time he was a young child.
soul as, step by step, he creates ever clearer, purer
He soon, however, felt the need to express himself in
and more timeless structures. Michelangelo regard-
other forms and with different materials as well, and
ed sculpture as the art of reduction, in order to bring
after 1975 he began to assemble large-format high
to light everything that was already contained with-
reliefs in concrete, iron and marble. His high reliefs
in the material. Yet whereas the great master felt life
are distinguished by simplicity and neo-plastic rig-
pulsating in the blocks of marble and sought out the
our, even though these are muted by a sensibility
concealed figure, the Uruguayan artist follows the
that is clearly Latin American at its core, and which
musical and expressive rhythms of the mass without
is invariably a mark of his work. In 1979 Atchugar-
having any fixed goal: the end result is a surprise,
ry discovered something that would become his
born from the mystical balance between fullness
material par excellence: Carrara marble, a discov-
and void, material and spirit, handcraft and poetry.
ery which initiated a journey through the history of
Images, reduced to their inner essence. A leitmotif in
sculpture, from the Augustan period until today. For
his work is the clearly cubistic focus on the relation-
Atchugarry – who relocated from Uruguay to distant
ships between mass and space. Also a particularity
Lecco in Italy in 1982 – marble represents a return,
of many Cubists was the gradual transition from the
in a way, to the origins of the creative process, to a
straight line, from which the characteristic prismat-
classical sculptural idea which has been updated and
ic decomposition originated, towards a curved line,
filtered through the interpretations of masters such
which became ever more unfettered from geometric
as Bernini, Canova, Rodin, Arp, Moore, Brancusi,
theorisation. In the work of Atchugarry as well, a
Picasso, Hepworth, Bloc and others. Since the early
progressive upward trend towards a formal elegance
1980s the artist has employed marble almost exclu-
and refined sensibility is recognizable, which would
sively: he visits the sites where the quarrying of the
become a stylistic feature of the artist.
stone takes place, he selects the blocks, and proceeds
AUCTION
13
Pablo Atchugarry
Musica interiore, 2013
Carrara marble
148.5 x 45.5 x 42.5 cm
(with base)
Price realised € 125,000
Contemporary Art auction
November 2014
Upward tension and verticality are additional
constant features in the sculpture of Atchugarry;
features that, in their striving for purity and formal levity, translate into flowing forms that hardly
find a counterpart in reality. For Dorotheum it is a
great pleasure to present, at the Contemporary Art
auction in June 2016, two wonderful works by this
great artist, who is finally enjoying the increasing
international recognition due to him: the works are
Pablo Atchugarry
Untitled, 2008
Carrara marble
122 x 36 x 26 cm
(with base)
Estimate € 60,000 – 80,000
1 June 2016
a sculpture of white Carrara marble from the year
2008, and one of black Belgian marble dating to
2006. The mysterious elegance of the black marble,
which is so deeply luminous, and the flawlessness
and translucence of the white marble from Carrara
– along with the vertical élan and seeming levity of
the material, which recalls classical drapery folds –
lend a rarity and a timelessness to both sculptures,
with the result that, according to Paolo Levi, they
become “cathedrals, in front of which our souls can
bow in meditation in order to overcome the delusive
visual echo”.
Alessandro Rizzi is an expert on contemporary and
modern art at Dorotheum, Ludovica La Monica is
modern and contemporary art department assistant.
Pablo Atchugarry
Untitled, 2006
Black marble of Belgium
219.5 x 50.5 x 50.5 cm
(with base)
Estimate € 80,000 – 120,000
1 June 2016
AUCTION
ANOMALIES
FROM A
CANDY
FA C T O RY
14
Yo u n g ,
c o n c e p t u a l a n d c o n t r a d i c t o r y, O s c a r
M u r i l l o’s w o r k d ef i e s c l a s s i f i c a t i o n . W i t h
elements of painting, sculpture, installation
and performance, it confuses and seduces
the observer in equal measure.
BY JONAS SCHMIT T
“Untitled 1 (anomalies from a candy factory)”, a sculpture
created in 2013/2014, consists of a number of stacked fruit
crates similar to those used in markets and grocery stores
around the world, though these are made from polished
stainless steel. One stack of crates is positioned on one
of the wooden podiums Oscar Murillo uses in his studio
when working on his paintings. The sculpture also features concrete spheres that contain fragments from the
artist’s studio, debris from the continuous creative process.
Unglazed ceramic casts, slightly reminiscent of coconuts,
are combined with the fruit crates and wooden pallet to
create associations with everyday commerce and enhance
the installation character of the work. Like in his pictures,
video art and performance art, Murillo often uses symbols
and signs in his sculptures that are commonly understood
around the world. Distance, displacement and migration
are key elements of Murillo’s artistic statement, making
his work more socially relevant and topical than ever.
David Zwirner, probably one of the most important
contemporary galleries in the world, has represented
Oscar Murillo since 2013. At the invitation of Hans
Ulrich Obrist, Murillo has already given a live performance at the Serpentine Gallery in London, and has
had his first two solo exhibitions at the Rubell Family
Collection in Miami and at the South London Gallery.
Jonas Schmitt is junior expert in contemporary art at the
Dorotheum branch in Düsseldorf.
Oscar Murillo
Untitled 1 (anomalies from a candy factory), 2013/2014
122.5 x 146 x 90 cm
Estimate € 80,000 – 120,000
1 June 2016
Information:
Petra Schäpers is an expert in contemporary art
a n d h e a d o f t h e D o r o t h e u m b r a n c h i n D ü s s e l d o r f.
AUCTION
15
AUCTION
16
Cary Grant owned one, so did Bing Crosby and Gary Cooper;
The Mercedes-Benz 300 S is the epitome
of elegance. It was the car for the elite,
f o r s t a r s , m o r e e x p e n s i v e t h a n a n y o t h e r.
What follows is a brief historical review of this
b e a u t y, o n e o f t h e h i g h l i g h t s o f D o r o t h e u m’s
upcoming sale of classic cars.
BY WOLFGANG HUMER
Clark Gable even called it his dearest – the Mercedes-Benz 300 S,
a car designed by its inventors to invoke the glory of their own
past and to show the world one thing: that Stuttgart could still
build the best cars.
It was in October 1951 in Paris, at the “Salon de l’Automobile”, that
Mercedes-Benz presented its new flagship to a stunned audience. It
was designed by Hermann Ahrens over the shortened chassis of the
300 limousine presented half a year earlier in Frankfurt, powered
by 150 horses from a three-litre, six-cylinder engine, and loaded with all the elegance and opulence the world had to offer. The
Mercedes-Benz 300 S was more than a surprise inattendue, it was
an exclamation mark. Yes, they could!
Some might have been bigger, others stronger, but the 300 S outshined each and every one of them, even in the fully motorized new
world. No other car had this class – or in fact its price, which was
AUCTION
17
BLACK
S TA R
1953 Mercedes-Benz 300 S Roadster
Estimate € 520,000 – 680,000
Classic Cars and Automobilia auction
18 June 2016
Volkswagens above the famous gull-winged stable mate
that Mercedes had meanwhile released from the race
tracks into road traffic. This further reduced the already
homeopathic sales numbers, and another three years
later, in 1958, production of the 300 S ceased.
This 300 S Roadster, which will go on sale in Dorotheum’s upcoming classic car auction in June, was built
in 1953 for a steel tycoon from North Rhine-Westphalia.
Its current owner acquired the car in the 1970s and has
almost twice as high as that of the fanciest Cadillac. Whether as
since enjoyed many summers at its French residence.
a Coupé, a Cabriolet A with a fully lined convertible top, or as
After a mere 20 years together he had the car restored,
a sleek Roadster with a fully disappearing roof – the price was
and today, another 20 years later, the time has come to
always the same: 34,500 German Marks. The press called it a car
pass it on to a new loving caretaker.
for the “the world’s elite”, a euphemism for “out of this world”.
In the 65 years since the presentation of the 300 S, the
In the old world resurrecting from the ashes, where most people
world has become a different one, but one thing has not
could only dream of a Volkswagen (which had a similar price tag,
changed: it still amazes passersby and makes them turn
except for the additional “0”), the 300 S must have appeared like a
their heads no matter where it goes. The 300 S is quint
starship from outer space. But a stiffening breeze of Wirtschafts-
essential elegance; it always has and always will be. The
wunder made it also find some homes on this side of the pond,
American “Road & Track Magazine” put it beautifully
though more often industrial tycoons’ than movie stars’ homes.
in 1953: “Wherever the Mercedes-Benz 300 S has been
seen, since its first appearance at the Paris Salon in the
560 cars left the factory in three years, the fewest as chic road-
autumn of 1951, it has caused a quiet riot of enthusiasm,
sters, with only 141 specimens built. In 1955 the 300 S was
with its low, sleek lines and its attitude of ‘going’ even
upgraded with fuel injection, dry-sump lubrication, even more
when standing still.”
chrome, and a new low-pivot independent rear suspension. The
price was increased by half a Volkswagen, which put it two full
Wolfgang Humer heads the classic car department
at Dorotheum.
AUCTION
18
AUCTION
19
COSMIC FORCE
Richard Pousette-Dart co-founded Abstract Expressionism
i n N e w Yo r k i n t h e 1 9 4 0 s a n d c o n t i n u e d t o d e f i n e t h e
movement, which ended the dominance of European painting,
i n t h e d e c a d e s a f t e r. “ S u s p e n d e d L i g h t ”, o n o f f e r a t D o r o t h e u m ,
a t te s t s to t h e a r t i s t ‘s l i fe l o n g q u e s t fo r t ra n s c e n d e n c e .
B Y PA T R I C I A P Á L F F Y A N D A L E S S A N D R O R I Z Z I
Pointillistic application of paint, multiple thick layers ...
His far-reaching creative output from 1930–1990, the ear-
these factors all create vibrant, complex surfaces and –
liest influences of which include Cubism, Pointillism, Sur-
particularly in black and white – the impression of sources
realism, aboriginal art and art of other ancient cultures,
of light. These hallmarks of the American artist Richard
also contains sculpture and graphic art. He exhibited at the
Pousette-Dart’s paintings imbue them with a kind of musi-
Venice Biennale in 1948 as well as in 1982. Pousette-Dart
cality. The large-scale work “Suspended light”, which will be
also participated in the documenta II in 1959.
auctioned off at Dorotheum in June, is no exception.
The convoluted, surreal shapes of his earlier years give way to
The spiritual approach of the Minnesota-born Pousette-Dart,
seemingly shimmering, luminous paintings from the 1960s
who was a co-founder of the American Abstract Expression-
onward in a kind of transcendental Op Art. These paintings have
ism movement, is apparent not the least in his love of geomet-
such titles as “Stellar Light”, “Space Continuum”, and “Radiance”.
ric shapes. For him, circles and squares were universal sym-
Also, the texture of the 1978/80 painting “Suspended Light”
bols of cosmic forces. Pousette-Dart, like Mark Rothko, Ad
gives it a lifelike quality. The central figure, a glowing sphere
Reinhard, and Clifford Still, believed that abstract painting
reminiscent of the sun, has remarkable visual magnetism.
has an innate power to elicit transcendence.
Richard Pousette-Dart
Suspended light, 1978–80
Acrylic on linen, 183 x 137 cm
Estimate € 200,000 – 300,000
Contemporary Art auction, 1 June 2016
Patricia Pálffy and Alessandro Rizzi are experts on modern
and contemporary art at Dorotheum.
AUCTION
20
RARE GEM FROM
FIN-DE-SIÈCLE
TREASURE TROVE
Gustav Klimt and Emilie Flöge, the shining couple from
V i e n n a’s F i n - d e - S i è c l e m ove m e n t . I n J u l y of 1 9 0 5 , t h e a r t i s t
bestowed upon his companion a beautiful muff necklace
d e s i g n e d b y K o l o m a n M o s e r, w h i c h w i l l f i n d a n e w o w n e r a t
D o rot h e u m‘s A r t N o u ve a u a u c t i o n i n J u n e .
BY THERESA PICHLER
Vienna at the turn of the century: the city is a hotbed for lus-
trademark in the early years is pure, geometrical shapes. The
trous artistic and scientific achievements. New theories and fresh
jewellery workshop is among the first to start up production
insights are conceived, new institutions established. Key protago-
in 1903, and remains one of the most successful up until the
nists of the era, such as Sigmund Freud, Ludwig Wittgenstein, Ernst
closure of Wiener Werkstätte in the 1930s. In the beginning,
Mach, Otto Wagner, Arnold Schönberg and Arthur Schnitzler,
Koloman Moser and Josef Hoffmann are solely responsible for
revolutionise the predominant thinking of their time – and of
conception and design, but from 1905 other artists contribute
decades to come. In the area of fine arts, Gustav Klimt leads a
too. Koloman Moser’s jewellery collections made of chased,
group of young artists to rebel against the rigorous conservatism
embossed and patinated silver are well known from photo-
of the old establishment. In 1897, it founds the Union of Austrian
graphs in which they are worn by Emilie Flöge. As fashion
Artists, better known as the Vienna Secession, and one year
designer, businesswoman and lifelong companion of Gustav
later construction starts on a new exhibition hall, the Secession.
Klimt, Emilie Flöge entertains close relations with Wiener
Designed by Joseph Maria Olbrich, the Art Nouveau building
Werkstätte, and her personal biography indeed embodies the
sports a magnificent cupola of interwoven golden leaves and
very dawn of Modernity – both in terms of artistic and aes-
carries on its front the Vienna Secessionists’ motto: “To every age
thetic preferences and the emancipatory lifestyle choices she
its art. To every art its freedom.”
makes. Emilie Flöge is born in Vienna in 1874, the daughter
of meerschaum pipe manufacturer Hermann Flöge, and takes
It was in this atmosphere that Josef Hoffmann and Koloman Moser
up the tailoring trade from an early age; in 1904, she estab-
founded Wiener Werkstätte, the Viennese Workshops, with the
lishes fashion salon “Schwestern Flöge” with her two sisters.
support of the banker Fritz Waerndorfer in 1903. Distinguishing
The salon, situated in one of Vienna’s main shopping streets,
marks: top quality, sky-high design aspirations and individual-
Mariahilfer Strasse, soon becomes a favoured fashion venue to
ly handcrafted items. Wiener Werkstätte’s predominant style
the city’s upper class; at the height of its popularity, the salon
Photo: © ÖNB
AUCTION
21
Emilie Flöge wearing muff necklace
Photo Atelier d’Ora, 1909
AUCTION
22
employs no less than 80 seamstresses and three cutters. The intePhoto: © Wien Museum
rior design is done by Josef Hoffmann and Koloman Moser, while
Gustav Klimt is responsible for the logo. The entire salon is kept
strictly in the style of Wiener Werkstätte, and is, as such, considered to be one of the earliest examples of the commercial interior as a complete work of art. The revolutionary winds of change
are also mirrored by the products sold. Flöge strives to stay at the
forefront of international trends, and that is reflected in the offer –
twice a year she travels to Europe’s fashion hotspots, London and
Paris, to study the latest developments in international fashion.
She becomes a staunch champion of the so-called “reform dress”,
a more casual and comfortable adaption of the prevailing feminine ideals, which allows women to move and work more freely –
dress designs are delivered, among others, by Gustav Klimt and
members of Wiener Werkstätte. The majority of customers, however, remain safely conservative in their fashion choices – most of
the salon’s turnover is generated by traditional haute couture. Not
surprisingly, Emilie Flöge, who campaigns actively for the liberation of the female body from corset and restraining fashion norms,
never let herself be chained in holy matrimony. She spites social
conventions, also in her famous relationship with Gustav Klimt.
Reputedly, they met in 1891 at the wedding of two of their siblings. From this day onwards, they entertained a life-long relationship, the precise nature of which isn’t entirely clear. Was it merely
friendship? Love? A spiritual kinship? We don’t know. What we do
know is that Klimt painted a portrait of Flöge shortly after, that she
Emilie Flöge (wearing muff necklace) and Gustav Klimt
in a rowing boat on Attersee, 1909
disliked. It was eventually acquired by the State Museum of Lower
Austria. Numerous photos document their legendary summer sea-
as an important marketing pillar for, Wiener Werkstätte’s
son-stays at the Attersee. In an Attersee photo shoot – the pictures
jewellery. Gustav Klimt bestowed upon Emilie Flöge at least
were printed in the “German Art and Decoration” magazine in
ten pieces of Wiener Werkstätte jewellery between 1903 and
1907 – Flöge is seen posing outdoors with dresses from her salon’s
1906. One of the pieces will now be sold by Dorotheum at
collection and brooches and necklaces from Wiener Werkstätte.
the upcoming jewellery auction. The piece is a muff necklace
She often wears jewellery from Wiener Werkstätte, but also does
designed by Koloman Moser: the double-row silver necklace
more than just promote it in photos – she also offered it for sale in
measures 70 centimeters and is jointed by way of geomet-
her salon. As described by Elisabeth Schmuttermeier, Emilie Flöge
ric elements that are subdivided into small rectangles. It
can be characterized as both donee, collector and seller of, as well
not only serves as documentation of a historic and unusual
relationship, but also as part of the legacy of one of the
most important artistic and social movements in the early
20th-century Vienna.
Theresa Pichler has a degree in literature from the University
of Vienna and works as graphic designer at Dorotheum.
Information:
Julia Blaha, Art Nouveau and Art Déco expert
Photo: © MAK
AUCTION
23
“ Where required we will try to decorate,
b u t w e d o n o t c o n s i d e r d e c o r a t i o n c o m p u l s o r y.
We o f t e n u s e s e m i - p r e c i o u s s t o n e s , e s p e c i a l l y
i n o u r j e w e l l e r y; w i t h t h e i r r i c h b e a u t y o f c o l o u r
and endless variation, they to us more than
c o m p e n s a t e t h e v a l u e o f d i a m o n d s . We l o v e s i l v e r
for its silvery sheen, gold for its golden glow;
f r o m a n a r t i s t i c p o i n t o f v i e w, c o p p e r i s a s v a l u a b l e t o u s a s p r e c i o u s m e t a l s . We c o n f e s s t h a t i n
our view a piece of silver jewellery can be just
as precious as a piece made of gold and jewels.
The value of true craftsmanship and ideas must
be recognised and cherished once again. ”
( W i e n e r We r k s t ä t t e‘s w o r k p r o g r a m m e , p u b l i s h e d
i n “ H o h e Wa r t e”, 1 s t e d . , 1 9 0 4 /1 9 0 5 , p . 2 6 8 )
Kolo Moser (1868–1918)
Muff necklace, gift to Emilie Flöge from Gustav Klimt
Design 1905, manufactured by Wiener Werkstätte
Silver, length: 70 cm
Estimate € 60,000 – 80,000
Art Nouveau, 20th Century Arts and Crafts auction
13 June 2016
AUCTION
24
IMPERIAL
Dorotheum’s histor y is intimately inter twined with that
o f t h e p o w e r f u l H a b s b u r g d y n a s t y. E m p e ro r J o s e p h I .
founded the institution, Emperor Joseph II. expanded its
business operations, and Emperor Franz Joseph ordered
the construction of the magnificent Palais Dorotheum.
Emperor Franz Joseph, the last great emperor of the Donau
m o n a rc h y, p a s s e d a wa y e x a c t l y 1 0 0 y e a r s a g o , s o i t i s a
f i t t i n g t i m e t o r e c a l l D o r o t h e u m ’s d i s t i n g u i s h e d f o u n d e r.
BY MICHAELA STREBL-PÜHRINGER
HERITAGE
Emperor Franz Joseph opens the newly
erected Palais Dorotheum
on 12 November 1901 in the presence
of Austria’s higher nobility.
AUCTION
26
HE BUILT US
A PA L A C E
Imperial grand stairway with
Robert Clark Indiana’s NUMBERS
ONE through ZERO, 1978–2003
Emperor Franz Joseph I was the longest-serving regent in the history of the
Habsburg dynasty. He led the Austro-Hungarian Empire for more than 60 years
(1848 to 1916): from revolution in Austria, in the early years, to the start of World
War I, which would eventually mark the demise of the dynasty. During these six decades, the so-called Ringstrasse period, the face of Vienna underwent a major transformation. The old city wall was torn down and the glacis removed to make way for
a broad avenue that encircled the city centre. A number of magnificent buildings in
historistic architectural styles were erected along the avenue whose decorative qualities and volumes made them key features of the city’s visual identity. The premises
of Dorotheum were also subject to a complete refurbishment. The old monastery
walls were torn down and on the Emperor’s orders Erich Graf Kielmansegg, governor of Lower Austria and state secretary, initiated the construction of an internationally inspired palais, an auction palace, on the site. Emil Ritter von Förster,
the architect chosen for the project, eventually created a monumental building in
classic baroque tradition. The new palais contained a stately entrance hall, a total
of 13 auction rooms, reception and exhibition halls, and an impressive ceremonial hall with a gallery and the imperial insignia, the Franz Josef Hall. Even at the
time, the interior design and the optimally temperature-controlled storage rooms
met modern-day standards. On 12th November 1901 the emperor himself officially
opened the new Palais Dorotheum, in the presence of the bulk of Austria’s aristocracy.
To this day, the palais still attracts visitors and customers to its international auctions
with an unparalleled ambiance of imperial tradition, history, and exclusivity. The world’s
oldest auction house might quite possibly also be the most beautiful.
Michaela Strebl-Pühringer is Director of Marketing and Public Relations
at Dorotheum. She holds degrees in art history and German literature and
is a certified marketing consultant.
View of the Dorotheergasse
Photograph, circa 1920
Dorotheum auction scenes, then and now
Modern and Contemporary Art in the Franz Joseph Hall
Palais Dorotheum, Vienna
AUCTION
28
J a m e s E n s o r ’s w o r k i s a b o u t p l a y i n g w i t h
motifs of existence and illusion. One of his
favourite subjects is the mask, both a symbolic
hiding place and a deceptive object.
V O N PA T R I C I A P Á L F F Y
Visionary, enigmatic, sometimes belligerent and
Rousseau family. Based on a photograph of a scene
often humorous, James Ensor (1860–1949) had a
rather than invention, it shows masked friends
massive influence on 20th-century painting. His
of the artist. Ensor himself is at the centre of
work often highlights the mischievous and ridicu-
the painting, wearing a hussar’s cap and surround-
lous aspects of human nature.
ed by Ernest Rousseau junior and members of the
Nahrath family.
His original and idiosyncratic subject matter,
where masks, skulls, skeletons and various “mon-
The motif was obviously important to Ensor
sters” meet, demonstrates the absurdity of human
because he created a second version in 1891 enti-
existence. It inspired numerous artists such as
tled “Réunion de masques (Mascarade)”. There are
Alfred Kubin, Paul Klee, Emil Nolde and Ernst
two later versions of “Baptême des masques” – only
Ludwig Kirchner as well as the surrealists who saw
one of which is recorded and dated “around 1937” –
themselves as Ensor’s children. Ensor converted
while the painting
autobiographical motifs into depictions of mas-
around 1925 to 1930 is a new discovery.
offered at Dorotheum from
querades, and he liked to show society beyond its
moral constraints, sometimes culminating in gro-
In 2009 the New York Museum of Modern Art ded-
tesque persiflage.
icated a major retrospective to James Ensor, subsequently shown at the Musée d’Orsay in Paris. These
The work offered at Dorotheum’s Modern Art auc-
exhibitions brought international fame to James
tion in May is a good case in point. It is one of two
Ensor and his work.
versions of a composition from 1891, “Baptême des
masques”, inspired by a costume party held by the
Patricia Pálffy is an expert on contemporary and
modern art at Dorotheum.
MASTER
James Ensor, Baptême des masques, c. 1925–1930
Oil on canvas, 60 x 70 cm
Estimate € 300,000 – 500,000
Modern Art auction, 31 May 2016
OF
M A S K S FROM
©peyote
T HE
F U T U
VON ASTRID FIALKA-HERICS
AUCTION
31
Hallucinogenic impact – symbolically speaking,
a n d a b s o l u te l y l e g a l – t h a t ’s t h e p ro p o s i t i o n
offered by Peyote, the creative firm founded by
media designer and architect Oliver Irschitz. With
i Tu b e , i F r a m e a n d i P o i n t – a l l o f w h i c h a r e s o l d a t
D o rot h e u m’s u p c o m i n g d e s i g n a u c t i o n – I r s c h i t z
took the interface to new levels long before Apple
launched its first touch screen. A portrait.
BY GERTI DRAXLER
Nothing is straightforward and one-dimensional about him,
neither when it comes to his line of work, nor his products. “I’m
a hybrid”, says Oliver Irschitz, a merger of architect and media
designer. He applies a multi-disciplinary approach to his work,
from conception to completion, implementing sound and moving
©Astrid Bartl
images alike, uniting seemingly unrelated crafts such as programming, carpentry and plastics processing along the way.
The 43-year-old Tyrolean’s professional focus is on the point of
contact between man and machine, the user interface. He has been
at the forefront in this particular area since the pioneering days.
The name of his firm, too, is indicative of the in-between space he
explores and the parallel universes he seeks to inhabit: Peyote is a
cactus with powerful hallucinogenic properties.
Science Fiction
Oliver Irschitz invented the iTube, the iFrame and the iPoint
interfaces long before Apple’s first iPad saw the light of day.
The iFrame’s built-in infrared sensors allow users to control the
screen without actually touching it – when an invisible barrier is
breached, every movement is transmitted to the screen. It’s ideal
R E
for presentations, but is also used in complex, interactive physical
therapy games. The round and transparent iPoint table can best
be compared to a massive iPad. Irschitz’ most spectacular invention, however, is the iTube, which takes the shape of a large, portable walk-in tube. When a person steps into the tube, he enters a
virtual, interactive world that can be navigated and manipulated
through body movement. The first iTube was created around the
turn of the century, and in 2003 the conception was nominated
by Time Magazine as “best invention of the year” (Apple’s iTunes
music store eventually claimed the prize that year). Irschitz, who
received part of his formal education at the renowned Massachusetts Institute of Technology (MIT), has put the iTube to use, for
©momo
©peyote
example, at Swarovski’s World of Crystals in Wattens, and the
2010 Shanghai World Exposition in China, where he converted
the Austrian pavilion into a “river of electrons”.
The Shanghai project motto “Austria be touched” was to be taken
literally. Infrared light-emitting and receiving modules were
installed to create a light-sensitive barrier, which, when breached
by a hand, conveyed commands to a computer that had been programmed to play specific video clips according to the hand movements applied. This project earned Irschitz the Austrian 2011
Multimedia State Prize.
Start-Ups & -Downs
into commercial success, but to him being his own master has
always been important. “I have been an independent entrepreneur
since the day I graduated. From the very first hour since 1998. I
have done everything on my own terms. A Silicon Valley start-up
attempt never got off the ground. There have been many ups and
©Swarovski Kristallwelten
Big corporations have converted inventions similar to Irschitz’
downs along the way.”
The man behind Peyote intends to stay a hybrid, if you will: he’s
contemplating a possible venture into more earthy matters as a way
of balancing out the years spent submerged in the virtual world.
More specifically, he’s considering a new career in organic farming.
©peyote
Gerti Draxler is design expert at Dorotheum.
Think
it
art: is a
© Sabine Klimpt
PASSION
that we share.
Fine Art Insurance
For additional information, please contact us at:
Mag. Ulrike Seppele
Tel.: +43 1 21175-3932
E-Mail: [email protected]

Mag. Alexandra Mauritz
Tel.: +43 1 21175-3597
E-Mail: [email protected]
www.artuniqa.at
Photo from privateAdvertising
ownership

AUCTION
34
IN THE
SPIRIT OF
COCO
CHANEL
Born Gabrielle Chanel in 1883 and raised in poverty, Coco
Chanel was initially trained as a seamstress. After a short
detour into the world of vaudeville, she opened a hatmaking studio in 1906 and “Chanel Modes”, her first fashion
boutique, at the French seaside resort of Deauville in 1913,
which is also considered the official founding date for
the Chanel fashion empire. Coco Chanel’s clothing line
quickly grew into an internationally established brand,
with perfume, jewellery and accessories rounding out the
collections. The little black dress from the 1920s was her
Suit from the
Autumn Collection
2006, Chanel
Opening price
€ 500
Chanel auction
14 June 2016
invention, as was the classic Chanel suit from the 1950s.
Countless stars from the worlds of film, television and politics were seen in Coco Chanel’s designs, including the likes
of Marlene Dietrich, Brigitte Bardot, Grace Kelly, Romy
Schneider, Elizabeth Taylor and Lady Diana. Coco Chanel
died in 1971 in her studio in Paris, aged 87. Her fashion
house continued with some difficulty after her death, until
Karl Lagerfeld took over as chief designer for the House of
Chanel in 1983. Lagerfeld’s many creations at Chanel over
the past 30 years attest to more than just a tremendous
creative diversity. He continually succeeds in keeping the
spirit of Coco Chanel alive without being old-fashioned or
backward. Technically perfect manufacturing, the finest
materials and outstanding, timeless design have contributed to the House of Chanel’s lasting legacy. Dorotheum is
delighted to offer a glimpse into Karl Lagerfeld’s designs
for Chanel. Items at auction include suits, dresses, pantsuits, blouses, twinsets, accessories, handbags, necklaces, belts, brooches and shoes from 1989 to 2009, from a
diverse array of collections.
Sonja Höpp and Regina Herbst are experts on
vintage and antique textiles at Dorotheum.
Chanel 2009, A Faux Pearl Necklace
Opening price € 400
Chanel auction, 14 June 2016
Chanel 2005/2006, Black Jumbo Caviar Kelly Classic Bag
Serial no. 10934471
Opening price € 1,000
Pair of Chanel ballerinas
Opening price € 140
AUCTION
35
L OVE AND DEATH: THE
YOUTHFUL CONFESSIONS
OF MARY VETSERA
*Your favourite
qualities in man.
Vienna, 1884: When she was 17, Countess Marie Mittrowsky asked her friends
to write in a very special book. Entitled
“Confessions” and printed in London, it
Ta p f e r ( B r a v e r y )
contained a catalogue of 24 questions.
military leader in the Hundred Years’ War;
The answers to these questions yielded
Maria Stuart, who was beheaded in 1587;
a meaningful personality profile not dis-
Charlotte Corday, who murdered Jean-
similar to a Facebook profile today.
Paul Marat and was guillotined in 1793;
Siegfried, the hero of the Nibelungen
*Your favourite virtue.
saga who was treacherously murdered;
and Medea, the passionate and bleak sorceress and killer from the Argonaut saga.
Grosmuth (Generosity)
Vetsera’s most hated historical figure was
Among her aristocratic friends was Mary
Queen Elisabeth I. of England, who had
Vetsera. Aged just 13, the baroness’s
her rival Maria Stuart executed.
MARY VETSERA
answers reveal an educated, independent,
Baroness Mary von Vetsera (1871–1889)
Portraiture, O. Türk, Vienna, c. 1888
22 x 13.5 cm
Price realised € 3,000
imaginative girl with an underlying taste
for the morbid, which is expressed particularly in her favourite historical figures.
Mary ended her entry on a conciliatory
note, with a quote from Blanche of Castile, Queen of France in the High Middle
Ages. It is an entry that is still found in
Asked to describe her concept of happi-
ite painter and composer: Hans Makart,
countless French Facebook profiles today:
ness, Mary Vetsera put six question marks.
superstar of the Ringstrasse era, and
“J’aime qu’on m’aime comme j’aime
When asked “If not yourself, who would
Ludwig van Beethoven. Other favourites
quand j’aime.” In Mary Vetsera’s youth-
you be?”, Mary answered: “A spirit or a
included Bertrand du Guesclin, a French
ful confessions, love and death lie close
stag.” Her favourite drinks: Sherry and
liqueur. Tolerable fault: Indolence. Present state of mind: Impatience. Favourite
writer: Sándor Petőfi, hero of the Hungarian Revolution, killed in 1849. Favour-
*Your favourite
occupation.
Lesen (Reading )
together – as they did when, five years later, she chose to die a liebestod (love death)
with Rudolf, Crown Prince of Austria.
Andreas Löbbecke is expert on
autographs at Dorotheum.
Baroness Mary von Vetsera (1871–1889)
“Confessions”
Individual sheet with autobiographical inscriptions
and signature from the album “Confession”
London, 30 March 1884
From the estate of the Countess Marie Mittrowsky
(married as Countess Bombelles) (1867–1917)
Opening price € 2,000
Autographs auction, 22 June 2016
The album will additionally be auctioned as a
separate lot, with an opening price of 800 euros.
Photo: Manolo Yllera
DOROTHEUM
36
P E T E R
MARINO
OUTSIDE
T H E BOX
DOROTHEUM
38
Peter Marino makes people love
t h e p ro d u c t . H e’s t h e d a r l i n g of t h e
l u x u r y f a s h i o n i n d u s t r y, d e s i g n i n g
over 40 retail outlets for top labels
worldwide. Whether Chanel handbags
o n a s h e l f, t h e i n te r i o r s of p r i va te
homes, or public buildings and
hotels, art is an integral part of
both his professional and private life.
T h e N e w Yo r k a r c h i t e c t t a l k s a b o u t
the fascination of all-embracing art
forms, anti-cyclical collecting, the
magical 1970s, and what he learned
from Andy Warhol.
Dior Boutique, Seoul
Photo: Kyungsub Shin
BY DORIS KRUMPL
One of Paris’s top hotels. Peter Marino emerges
through the crowd of elegantly dressed women and
smartly suited men in his signature look: head-totoe black leather, with heavy rings and dark sunglasses. He drinks tea from bone china and speaks
with a typical New York lilt which is slightly reminiscent of his famous first patron, Andy Warhol.
„I like things
that make
me smile …
and happy!“
Chanel Boutique, Vienna Boon The Shop, Seoul
Photo: Olivier Saillant
Photo: Yunsuk Shim
“ Yo u a l w a y s h a v e t o l o o k w i t h
your own eyes. That‘s another
Warhol trait: Don‘t like what
everybody likes!”
Dorotheu m myART MAGA ZIN E:
O n e o f yo u r f avo u r i te b u i l d i n g s i s t h e P a l a i s
S to c l e t i n B r u s s e l s , t h e wo r k o f a r c h i t e c t
Joseph Hoffmann. What is the appeal of the
W i e n e r We r k s t ä t te ? I s i t t h e c o n c e p t o f a
sy n t h e s i s o f t h e a r t s , a n i d e a l t h a t c o r r e s p o n d s w i t h yo u r o w n wo r k ?
limited fields; we tend to find business men collect
Peter Marino: Totally. When architecture and design
contemporary art, at least in America. Sometimes I
are one. And I hate it when people discuss “pure
find it embarrassing that their collections look the
architecture” or “pure interior design” – I like the
same. Maybe that’s a reason why I collect porcelain
whole package. For me Josef Hoffmann is the icon,
and renaissance bronze sculptures as well as con-
because he designed the house, the interior, the
temporary art. You wouldn’t expect that by looking
chairs, the silver, the lamps. That’s what I’ve always
at me! (laughing)
wanted to do.
Yo u go t yo u r f i r s t r e a l p u b l i c i t y w o r k i n g
D i d Wa r h o l g i ve yo u a f r e e h a n d w h e n
f o r A n d y Wa r h o l a n d h i s “ F a c to r y ” –
rebuilding his Factory loft?
a n a l l - e m b ra c i n g a r t wo r k o f i t s o w n .
I was very young at the time, about 25, it was one of
I met him in 1970, and he was really breaking new
my first jobs. It was very basic. His directions were
ground. Abstract expressionism was dominant at the
that it should be utilitarian. But the press picked
time, and what Andy and the pop artists were doing
it up just because I was doing it for him. Vogue wrote
was said to be garbage. He collected American and
about the kid who did Andy’s loft, and that helped
French furniture from the 18th-century as well as Art
my career. And then there were all the pop artists
Deco furniture, and in a way this gave me the courage
I met through him, Claes Oldenburg, Robert
to do what I believe in. I don’t care for people with
Rauschenberg – it was really cool! Andy introduced
me into European society: I met Yves Saint Laurent,
the Rothschilds ...
Boon The Shop, Seoul
Photo: Judith Turner
Dior Boutique, Seoul
Photo: Kyungsub Shin
I t s e e m s yo u p r e f e r t h i n g s w h i c h a r e
currently out of fashion.
You always have to look with your own eyes. That’s
another Warhol trait: don’t like what everybody likes!
I t a p p e a r s t h e r e wa s n’ t s u c h a b a r r i e r
b e t we e n t h e r i c h a n d f a m o u s , a n d e ve r yo n e
else in the 1970s?
It was a magical time. There had always been barri-
I’m a little like that. I don’t wear what everybody else
wears. I’m always a little on the outside. It’s better to
be outside looking in, for a more artistic vision of life,
than to be in the middle and looking out.
ers, but from about 1972 to 1980 they disappeared.
What is the source of inspiration for the
And then the 1980s came and everything reverted to
a r t w o r k s i n yo u r p r o j e c t s o r c o l l e c t i o n s ?
the way it was before. This period has never returned.
Since I was 20 years old I’ve been visiting art galleries
Now everybody sticks with their own kind. Even the
every single Saturday. I like to go alone and look at art
poor don’t mix amongst themselves.
in at least at five to ten galleries a week.
Yo u d e s i g n s h o p s a s i f t h e y we r e m u s e u m s .
W h i c h a r t w o r k s d o yo u p u r c h a s e f o r yo u r s e l f,
Wo u l d yo u e n j oy d e s i g n i n g m u s e u m s ?
a n d w h i c h g o i n t o yo u r p r o j e c t s ?
I’ve won several design competitions around the
Sometimes I’ll ask an artist to help me with a pro-
world, but the museums in question have never been
ject. They’re great, they always think outside the box.
built. But we had a wonderful moment in Dresden,
Otherwise I see an artwork, and that inspires me to
with the interior of the famous porcelain collection
do something. Everything I do involves art, and the
at the Zwinger. The director said: “We’ve asked por-
placement of art. I’m constantly adding to my col-
celain dealers around the world which architect they
lection, sometimes selling pieces in order to acquire
thought would be perfect for the re-design, and nine
something better. The best way of perceiving the
out of ten said your name!” They asked me to make
quality of a painting, a piece of furniture, or a sculp-
porcelain as desirable as a Chanel handbag on a shelf.
ture, is to live with it for two or three years, and then
So I did. Porcelain is a wonderful thing. I collect
decide if it’s still inspirational.
19th-century French works by ceramicists including
Auguste Delaherche and Pierre-Adrien Dalpayrat. It’s
real art!
W h a t ’s c u r r e n t l y yo u r f a vo u r i t e
furniture style?
18th-century French! Furniture from the 20th cen-
Yo u a l s o h ave a h u ge c o l l e c t i o n o f r e n a i s s a n c e
tury is now becoming fashionable: Royère, French
and high baroque bronzes.
1940s and 1950s, mid-century design ... but it’s so à
I am proud of that collection. It’s really sad when the
la mode! A decade ago it was all Art Deco. Nobody
sculptures are being shown in exhibitions abroad. I
collects Dix-huitième French now, except for me.
have a large music room in which all 36 pieces are on
You can get wonderful pieces. It’s not cheap – you
show. When they left, I felt that I’d died! Like I was in
have to spend around two or three million euros. But
a coffin. I thought: That’s what it’ll be like when I’m
if it’s a Rothko painting, then we’re talking around
dead, they’ll take all the things out. (laughs out loud)
40 million. There’s such a difference between a mod-
It was very depressing.
ern painting and a piece of furniture.
DOROTHEUM
41
Peter Marino
a n “a r c h i t e c t / a r t i s t ” b y h i s o w n
d e f i n i t i o n , i s o n e o f t h e w o r l d ’s
most sought-after interior designers.
T h e N e w Yo r k e r h a s d e s i g n e d s o m e
300 stores worldwide for over 40 top
fashion labels. Art has played a vital
ro l e i n P e te r M a r i n o’s w o r k s i n c e h e
r e v a m p e d t h e N e w Yo r k d e p a r t m e n t
store Barneys in the 1970s – but also
in his designs for private homes,
hotels, and public buildings. Besides
porcelain, French furniture, and
design objects, the opera and motorbike enthusiast also collects Baroque
and Renaissance bronzes that
frequently appear in international
museum exhibitions, in addition to
contemporary art.
A n d y Wa r h o l p a i d yo u w i t h h i s p a i n t i n g s .
It’s incredible to think he predic ted his works
w o u l d b e w o r t h m o r e t h a n m o n e y. O n t h a t
b a s i s , t h a n k s to yo u r c o l l e c t i o n o f Wa r h o l
p a i n t i n g s , t h e o r e t i c a l l y yo u n e ve r n e e d to
work again.
I work really hard to secure the commissions that I
do. The House of Chanel and the House of Dior have
awarded me with unbelievable commissions, something I never dreamt of when I was young. So I’m
where I want to be, and happy working. I just feel at
the top of my game, and I think I’m doing better work
now than I’ve ever done before – and that’s fun!
Photo: Manolo Yllera
Doris Krumpl, former arts journalist,
is Dorotheum’s spokeswoman.
D I S
C O V E R Y
AUCTION HOUSE
42
Photo: Tibor Rauch
AUCTION HOUSE
PETRA SCHÄPERS
MARIA CRISTINA CORSINI
PATRICIA PÁLFFY
Expert on contemporary and modern art,
representative of Dorotheum Düsseldorf
Expert on contemporary and modern art
at Dorotheum Rome
at Dorotheum Vienna
The Mirror Handbag by CuteCircuit © photo courtesy
of CuteCircuit, photographer Theodoros Chliapas
Long Bar at the Waldorf Astoria Shanghai © Waldorf
Astoria Shanghai on the Bund
* Artist/Artistic Hotspot/Art Project
Futurism – perhaps not a “discovery” but,
in my opinion, one of the most interesting
and innovative Italian art projects of the
last century
MD cologne © Lars Heller
MD in Cologne – David Ostrowski and
Michail Pirgelis have opened a bar in
Cologne: a hip haunt for artists by artists.
*Museum/Exhibition
“Sturm-Frauen” in the Schirn Kunsthalle,
Frankfurt – an exhibition dedicated to
female painters of the 1920s. This was full
of material to discover and it is terrible
that female artists have been given such
a subordinate role in art for so long.
In K21 in Düsseldorf Agnes Martin was
exhibited and Joan Mitchell in Cologne –
female artists are currently being well
represented, and it’s about time too!
*Fashion
Frauke Gembalies – this designer’s style
is so distinct and unique. My favourite!
*Restaurant /Bar
The new Phoenix restaurant in the
Dreischeibenhaus, the place to be in
Düsseldorf … What else: Monkey Bar
in Bikini House, Berlin
* To p o f t h e t r a v e l l i s t
If not Italy, then South Africa: for the light,
vast landscapes, and beaches
*Museum/Exhibition
Paul Gauguin at Beyeler Fondation
in Basilea (2015)
*Design
Bruno Munari – one of the best and eclectic
Italian artists/designers of the 20th century
*Fashion
CuteCircuit – the young company, founded
in London by Ryan Genz and Francesca
Rosella, focuses on smart textiles and
wearable technology.
* R e s t a u r a n t / B a r Churrasqueira Povoense in Mafra, Portugal
* M u s i c / D r i n k “La Bohéme” by Giacomo Puccini
* To p o f t h e t r a v e l l i s t Ushuaia, Argentina, where the Andes
meet the Southern Ocean
Peter Doig in the Fondazione Bevilacqua La
Masa in Venice; Ai Weiwei’s Memorial to 5.000
children who died in an earthquake in Sichuan
in 2008, at the Royal Academy in London;
Alexander Calder at the Tate Modern and
Wifredo Lam at the Centre Pompidou in Paris
*Museum/Exhibition
Centro de Arte Contemporânea Inhotim in
Brazil – around 500 works of contemporary
art exhibited in a park of 1,200 hectares in
the middle of the jungle; Dia: Beacon – the
extraordinary collection in the Dia museum,
founded in 2003 on the banks of the Hudson
River, including works by Donald Judd, Bruce
Nauman, Richard Serra and others …
*Design
Jean-Michel Frank – his minimalist
interiors characterised by clear lines and
luxurious materials
*Fashion
Dries van Noten’s sense for colours and traditional materials (jacquard, brocade, silk)
*Restaurant /Bar
The Long Bar in the Waldorf Astoria Shanghai
on the Bund – a 33-metre-long mahogany bar
dating from 1910
*Music/Drink
The musician and composer Anouar Brahem;
Corton Charlemagne – my favourite white
wine from Burgundy
Kyoto
The Dorotheum experts
on contemporary art
let us in on their
favourite finds.
F. l. t. r.:
Petra Schäpers, Maria Cristina Corsini, Patricia Pálffy
ELKE KÖNIGSEDER
ELISABETH
AUCTION HOUSE
HIRSCHMANN-HUEMER
at Dorotheum Vienna
Expert on contemporary
44and modern prints at
Dorotheum Vienna
EVA KÖNIGSEDER
Expert on photography at Dorotheum Vienna
© Dolce & Gabbana
Rosemarie Trockel – well-known for her
“Strickbilder” (knitted paintings) and for
her feminist inspiration, she works with
various art forms including sculpture,
installations, works on paper or wool,
collages and digital prints.
*Museum/Exhibition
Berggruen Museum, Berlin,
also the Kunstkammer at the
Kunsthistorisches Museum, Vienna
*Museum/Exhibition
A classic that never fails to be an experience:
the Kunsthistorisches Museum in Vienna –
the imposing staircase, the lofty rooms,
the enormous paintings of the Italian and
Dutch schools …
Diane Arbus – “A photograph is a secret
about a secret. The more it tells you the
less you know.” (D.A.)
*Restaurant /Bar
For fans of offal: Gasthaus Stern at
6 Braunhubergasse in the 11th District
of Vienna then, afterwards
to the “Kleinod” bar in the 1st district,
Singerstrasse 7
*Design
I discovered my partiality to Scandinavian
design on a trip to Copenhagen. Denoted
by simple shapes in well-coordinated
colours, the style is timelessly elegant
and very practical.
*Museum/Exhibition
Centre Guillaume le Conquérant in
Normandy, the home of the Bayeux
Tapestry – the famous cloth embroidery
that depicts the conquest of England
by William the Conqueror
*Fashion
This year’s summer line from Dolce &
Gabbana: bright, wonderful materials with
ornamental patterns which spur a craving
for the lightness of the summer.
*Restaurant /Bar
Café Jelinek in Vienna’s 6th district
KLEINOD die bar © Raphael Skrepek
*Restaurant /Bar
The restaurant “Zum Finsteren Stern” in
Vienna with its cosy vaulted dining room –
very good and richly varied food
Bayeux Tapestry © Bayeux Museum
*Music/Drink
Mojito
I’ve never been to Lisbon.
*Music/Drink
I love coffee. An absolute necessity for the
start of my day! The restaurant “Procacci”
has one of the best Espressi here in Vienna.
A road trip along the Pacific Coast Highway in
California from San Francisco to Los Angeles
F. l. t. r.:
Elke Königseder, Elisabeth Hirschmann-Huemer, Eva Königseder
AUCTION HOUSE
45
CHOICE
46
CHOICE
MY
CHOICE
D o rot h e u m’s ex p e r t s o n
their favourite lots
in upcoming auctions.
THE MAGIC
OF LIGHT
„Light is the primary condition for all visibility. Light is the sphere
of color. Light is the life-substance both of men and of painting.
Every color derives its quality from its allotment of light. Light
creates the power and magic of a painting, its richness, eloquence,
sensuality, and beauty.” (Otto Piene, “On the Purity of Light”, 1973)
Works by the ZERO group of artists are informed by a marked
enthusiasm for technology in general and for technical materials in
particular. Otto Piene regarded light and colour as a unity. “Weisser Lichtgeist” (1966) from his group of electrified glass sculptures
makes light the centre of attention. The opaque glass shape of
“Weisser Lichtgeist” consists of four individual, superimposed
glass bodies which swell and decrease and shrink towards the top.
Its cylindrical base contains a bulb that emits light impulses into
the glass sculpture at intervals predefined by Piene, causing the
individual mouth-blown glass bodies to radiate different shades of
white light. The glass sculpture thus develops a life of its own –
a phantasmal life, as it were; hence its eponymous German title.
Petra Schäpers, expert in contemporary and modern art
CHOICE
47
Otto Piene
Weisser Lichtgeist, 1966/2012
One of a six-piece series
Height 220 cm, Ø 60 cm
Estimate € 230,000 – 280,000
Agostino Bonalumi
Grigio, 1987
130 x 162 cm
Estimate € 150,000 – 200,000
1 June 2016
LINE OF
SIGHT
Markus Lüpertz
David, 1/6
138 x 31 x 33 cm
Estimate € 40,000 – 60,000
1 June 2016
Max Bill
Doppelfarben (im Kreuz 1:2:3:4), 1968
120 x 120 cm
Estimate € 50,000 – 80,000
CHOICE
49
Tom Wesselmann
Nancy Scribble, 1983
Oil on canvas, 152.4 x 101.6 cm
Estimate € 260,000 – 360,000
Contemporary Art auction,
1 June 2016
CHOICE
50
T R A N S PA R E N C I E S
Adolf Luther, Spherical concave mirror object
Stamp on back reading “energetic plastic” and “seeing is beautiful”
93 x 159 x 9 cm
Estimate € 60,000 – 80,000
Giulio Paolini, Più vero del vero, 1995, pencil, plexiglass theca, white canvas, graphite and
collage of 9 papers on wall, plexiglass, 100 x 130 cm; canvas, 50 x 65 cm
graphite rectangle on wall, 150 x 200 cm + 9 papers (variables comprehensive measures)
Estimate € 180,000 – 220,000, Contemporary Art auction, 1 June 2016
“In the centre of a plexiglass display case containing a prepared cloth, a black pencil approaches the canvas without,
h o w e v e r, t o u c h i n g i t s s u r f a c e , a s i f i t w a n t e d t o p a u s e b e f o r e
the moment of contact. The display case is surrounded by a
larger frame drawn on the wall with a pencil. Depending on the
available space, the work contains a few drawing sheets, some
of them with traces in pencil of other putative squares, which
are scattered and progressively spaced out from the interior of
t h e d i s p l a y c a s e t o w a r d s t h e e x t e r i o r.
‘ Tr u e r t h a n t r u t h ’ – t h a t i s , t h e m o m e n t o f t r u t h c o n s t r u c t e d
not so much by the traces that the pencil will still leave behind
on the upper surface of the canvas, as by the circumstance that
the pencil is directly aimed towards the target, in order to capt u r e t h e s i m p l e p o s s i b i l i t y o f t h i s f u t u r e o c c u r r e n c e .”
Giulio Paolini in conversation with Maddalena Disch,
December 2005
CHOICE
52
Heinz Mack
Untitled, 1962–1964
Double-sided aluminium relief, 50 x 50 x 1.5 cm
Estimate € 70,000 – 90,000
Robert Rauschenberg Untitled (Egyptian series), 1974
170 x 102.8 cm
Estimate € 100,000 – 120,000
1 June 2016
M A N Y- S I D E D
Franz West, 6 “Kodu” chairs, 1999
Estimate € 60,000 – 80,000
Design auction, 15 June 2016
Peter Behrens
Rare 118-piece silverware set no 4800
Designed around 1900/01 for the Behrens
company, produced by M. J. Rückert, silver
Estimate € 30,000 – 50,000
Art Nouveau, 20th Century Arts
and Crafts auction, 13 June 2016
Cartier diamond ring 3.01 ct
Brilliants c. 0.40 ct
Estimate € 80,000 – 150,000
Jewellery auction, 21 April 2016
Tea caddy from Russia, formerly in
the collection of Tsarina Elizabeth
St. Petersburg, c. 1750
Height 14.5 cm
Estimate € 50,000 – 90,000
Works of Art auction, 20 April 2016
CHOICE
54
Josef Manes
Portrait of Franziska and Seraphine Countesses
Kolowrat-Krakowsky, 1841
44.5 x 35.5 cm
Estimate € 45,000 – 55,000
19th Century Paintings auction, 21 April 2016
Johann Baptist Drechsler
Large still life of flowers with butterflies,
glass bowl and grapes
70 x 92 cm
Estimate € 40,000 – 60,000
CHOICE
55
VENICE
FOREVER
Ippolito Caffi
Venice, Nocturnal feast in Via Eugenia, 52 x 66 cm
Estimate € 40,000 – 60,000
The popularity of Venice views in the 19th century was root-
other versions of the work in public collections including
ed in the Grand Tour phenomenon, which had begun over a
the Ca’ Pesaro Museum of Modern Art, the Civic Museum of
century earlier. Wealthy young men from North European
Belluno and the Revoltella Museum in Trieste.
countries would set out for Italy as a culmination of their
classical education.
Another important figure in Venice was Guglielmo Ciardi
(1842–1917). Throughout his career, Ciardi depicted the city
During the 18th century the demand for views of Venice
of Venice many times. The present lot confirms Ciardi’s talent
had been satisfied by such famous artists as Canaletto and
for capturing light with perfection. His brushstrokes depict-
Guardi. The tradition of view painting was carried on in the
ing the water are downright modernist. The lagoon attracts
early and mid-19th century by Ippolito Caffi (1809–1866).
our first gaze as the light is reflected by the water. The masts
His moonlit view, for instance, captures the mysterious-
with their colored sails seem to be moving to the rhythm of
ness of Venice at night. Considering the popular nature of
the water. On the right-hand side a mother is standing with
the painting’s subject matter, it is not surprising that Caffi
her two children against the backdrop of the city of Venice.
addressed the theme on several occasions. There are three
Guglielmo Ciardi
Laguna, 35 x 64 cm
Estimate € 50,000 – 70,000
Gautier Gendebien, expert in 19th-century paintings
Hendrik van Balen I
and Jan Brueghel I
Minerva visiting the nine muses
50 x 66 cm
Estimate € 300,000 – 500,000
19 April 2016
Jacopo del Sellaio
The Holy Family with the Infant Saint John
Ø 68 cm
Estimate € 180,000 – 220,000
Old Master Paintings auction, 19 April 2016
SEEING
THE
WORLD
Pieter Brueghel II
The Bird Trap
45.5 x 58.3 cm
Estimate € 700,000 – 900,000
19 April 2016
One of the highlights in the forthcoming Old Master sale in April is
“The Bird Trap”, a serene winter landscape by Pieter Brueghel the
Younger. 127 versions of this composition are known, of which only
46 (including the present work) are believed to be by the artist. The
rest were painted by his assistants or by followers. The sheer number
of versions is testament to the popularity of this composition, which is
today one of the most familiar works in the Brueghel family’s oeuvre.
The prototype for the painting is by Pieter Brueghel the Elder, Pieter
Brueghel the Younger’s father; it is entitled “Hunters in the Snow” and
kept at the Kunsthistorisches Museum, Vienna.
At first glance, this winter landscape evokes a harmonious winter
scene with skaters and other figures enjoying themselves on the ice.
However, the title of the picture suggests a hidden meaning. Just like
a bird trap closing on its prey (in the lower right-hand corner) the
ice could break and this peaceful scene could turn into a catastrophic
series of events. The fragility of life becomes the central theme of this
most serene of landscapes.
Damian Brenninkmeyer and Alexander Strasoldo,
Luca Giordano
St Peter Healing St Agatha in Prison
181 x 129 cm
Estimate € 120,000 – 150,000
19 April 2016
The present, hitherto unknown painting represents an important new addition to the oeuvre
of the celebrated Neapolitan painter Luca
Giordano (1634–1705).
The composition corresponds to the description of a painting in the inventory of the collection of Giovan Donato Correggio (1608–1674)
held in the Palace of San Cassiano on the Grand
Canal in Venice. Giovan Donato, descendant
of a family of merchants in Bergamo, dedicated his life to collecting art. Among the works
included in his quadreria – his personal picture
gallery – were paintings by Tintoretto, Salvator
Rosa, Carlo Dolci, Mattia Preti, and Bernardo
Strozzi’s “Portrait of Donato as Perseus”, which
is now held by the Musée Magnin in Dijon.
The painting was bought in 1670 from Giovan
Donato’s brother Agostino, along with two other works by Giordano representing “Paradise”
and “Saint John Chrysostom”, for all of which
ENLIGHTENED
he paid 120 ducats.
The painting is signed and the signature has
been compared to autograph documents (see
image of the signature). The work bears similarities with other early paintings by Giordano
produced during his stay in Venice such as the
“Assumption of the Virgin” from 1667 for the
church of Santa Maria della Salute.
Luca Giordano‘s signature for comparison
Photo: © Archivio Storico del Banco di Napoli
Mark MacDonnell and Maria Cristina Paoluzzi,
CHOICE
59
Giuseppe Bernardino Bison
Regatta on the Canal Grande
Venice
58.5 x 78 cm
Estimate € 100,000 – 150,000
19 April 2016
Giuseppe Bernardino Bison
The Basin of Saint Mark´s
Venice on Ascension Day
58.5 x 78 cm
Estimate € 100,000 – 150,000
19 April 2016
Giovanni Francesco Barbieri, il Guercino
Saint Jerome
118 x 102 cm
Estimate € 100,000 – 150,000
19 April 2016
CITY
VIVA
A brief stopover in Naples? Join the Dorotheum
representative Giuseppe Imparato in a mini tour of the irresistibly
c h a r m i n g c i t y. Yo u s h a l l p a y a v i s i t t o p l a c e s o f a n c i e n t a n d
c o n t e m p o r a r y a r t a l o n g t h e “ s t r e e t o f m u s e u m s ”, b u t G i u s e p p e
will also show you his favourite pizzerias and ice cream parlours
and tell you why it’s wor thwhile to go underground.
B Y G I U S E P P E I M PA R A T O
CITY
61
N AP OL I
Above: Tommaso Ruiz, View
of The Bay of Naples from the
Bay of Chiaia, ca. 1730, Museo
Gaetano Filangieri
Photo: Pina Della Rossa
Below: Università underground station
(design: Karim Rashid)
Photo: Peppe Avallone
CITY
62
150 years have passed since this city was a
number of small but exceptional muse
committee, are the modern-day proprie
capital, but for its dimensions, its strate
ums and to the art stations of the Naples
tors of the Saint’s miraculous blood and
gic position on the bay and, above all, its
Metro in an ideal route of three to four
of all the jewels that were donated over
beauty, it is still considered a “real” capi
hours across the city centre, between the
time. Expert gemmologists unanimously
tal, overlooking its wonderful gulf at the
port and Via del Duomo.
appraise the value of these jewels to be
centre of the Mediterranean Sea.
much greater than that of the Crown Jew
The latter is also called “the street
As such, the Gulf of Naples, with its islands
of museums”, as it hosts the Duomo
– Capri and Ischia – and its coastline,
cathedral, THE MUSEO DEL TESORO DI
which within a few kilometres will take
SAN GENNARO, the Museo Gaetano
you to places like Pompeii, Sorrento, Posi
Filangieri, the MADRE museum, and
tano and Ravello, is an important desti
the Pinacoteca dei Girolamini, and is not
nation for international summer tourism.
far from the Pio Monte della Misericor
The Neapolitans are also an established
dia Museum. Two particularly special
force in a variety of art forms, ranging
places along the aforementioned route
from music to theatre, and from cine
are the Tesoro di San Gennaro and the
ma to painting. The artistic sights in the
Filangieri museums.
1
els of the United Kingdom.
2
3
city – including the Teatro di San Carlo,
The Museo del Tesoro di San Gennaro (to
THE MUSEO GAETANO FILANGIERI (288,
the Museo Archeologico, the palazzo Reg
the right of the cathedral along Via del
Via del Duomo) is a shrine of art, contain
gia di Capodimonte and the Museo d’Arte
Duomo) exhibits, together with several
ing the precious and choice collection of the
Contemporanea (MADRE) – are all must-
incredible full-scale silver busts created
Satriano Prince, who wanted to display a
see cultural sites.
by the masters of the Neapolitan Baroque,
paramount example of his love for art in his
the famous jewels that kings and queens
Palazzo Como. The museum was recently
Even with just a few hours to spend in
from all of Europe offered in devotion to
reopened along with its magnificent Agata
Naples before proceeding to the afore
the Saint across the centuries. This treas
Room (Sala Agata), named after the prince’s
mentioned “pearls” of the Gulf, it’s pos
ure, which, until a few years ago, was kept
wife. Visitors will find themselves in awe of
sible to enjoy a mini tour that touches
in the vaults of the Bank of Naples, has
a refined collection of ancient majolica and
upon the most important ancient or con
been saved from pillage and plunder time
porcelain objects, masterfully organised by
temporary pieces of art in the city. It is
after time by the efforts of aristocratic
the expert hands of Angela Carola Perrotti.
certainly worthwhile to pay a visit to a
Neapolitan families that, appointed by a
They may then proceed towards a collection
CITY
63
Sala Agata
Museo Gaetano Filangieri
1
of rare edged weapons and a gallery with
paintings by Bernardino Luini, José de
2
Necklace of San Gennaro
Museo del Tesoro
di San Gennaro
Ribera, Guido Reni and others.
Photo: M3 Studio Matteo
The Art Stations of the Naples Metro are
José de Ribera
Saint Mary of Egypt
Museo Gaetano Filangieri
3
all located in the city centre. These were
designed by some of the most renowned
Garibaldi underground station
(design: Michelangelo Pistoletto)
4
living architects in the world, including
Gae Aulenti, Alessandro Mendini, Karim
Toledo underground station
(design: Oscar Tusquets Blanca)
5
Rashid and Dominique Perrault. Not only
do they represent some of the most fasci
nating and daring architectural undertak
ings, they also incorporate contemporary
art works of extraordinary quality. This
underground museum includes contri
butions by William Kentridge, Joseph
Kosuth, Michelangelo Pistoletto, Jannis
4
Kounellis, Oliviero Toscani, Mimmo Iodice,
Sol Lewitt, Mimmo Paladino, and others.
You will find the Art Stations at the follow
Secret
Capital
ing stops: TOLEDO, UNIVERSITÀ, PIAZZA
GARIBALDI, PIAZZA DANTE, PIAZZA MUNICIPIO, SALVATOR ROSA, AND MATERDEI.
Rating agencies and the media “Daily Tele
graph” have unanimously declared the Tole
do Underground Station to be the most
beautiful underground station in Europe.
After such a high-quality mini tour of con
centrated art, where shall we stop for a
nibble or light meal?
* S PA G H E T T I O R P I Z Z A?
D A S T E L L A – P I Z Z A R E S TA U R A N T
5
2, Via Partenope
*COFFEE AND DESSERT?
BAR CIMMINO
These are a few tips for a few hours’ stay.
On a more comprehensive visit of seven to
Via Filangieri – Piazza Rodinò
fourteen days, beware the effect of Naples’
*ICE CREAM?
irresistible charm – you may find it so
G E L AT E R I A M E N N E L L A
45, Via Carducci
beautiful that you’ll want to spend the rest
of your life there!
Giuseppe Imparato represents the
Dorotheum in Naples.
COLLECTION
64
FERNAND HUTS OF
K ATO E N N AT I E O R
AT PLAY
IN THE
FIELDS OF
THE LORD
1
1+2:
Workshop of Frans Pourbus
the Younger (1569–1622)
A pair: portrait of Philip lll
of Spain (bust-length),
and a portrait of Margaret
of Austria (bust-length)
Oil on panel
each 67 x 51 cm
Old Masters auction
October 2015
2
Jan Brueghel I (1568–1625)
Rest by a Windmill
Oil on panel, 36.2 x 48.9 cm
Old Masters auction, April 2015
Photo: Henk van Cauwenbergh
COLLECTION
65
COLLECTION
Fernand Huts is one of the most successful men
in Belgium and certainly a darling of the press.
He is charismatic, congenial, intelligent,
utterly fascinating and never ever shy of a juicy
b i t o f c o n t r o v e r s y. H e a l s o h a p p e n s t o b e o n e o f
Flanders’ greatest art-lovers and -patrons, who
recently made public his decision to annually
match the entire museum budget of the Flemish
government in his own cultural projects.
We a s k e d t h i s s e l f - m a d e m a n h o w i t a l l s t a r t e d a n d
he didn’t need much prodding to tell us the stor y of
his amazing life:
Very early on, in the ’70s, I risked all my wife’s and my own
savings to start a distribution company of biological vegetables and foodstuffs. After years of intense exploration of this
growth market I was able to sell off a then prosperous company and buy myself into the harbor logistics company of Katoen
Natie, then a middling cooperative society employing 60 staff.
Through modernization, innovation and niche finding it was
B Y W I L F R I E D VA N G A V E R A N D
HONORINE D´URSEL
transformed into a world-wide concern employing 13,000 staff.
Meanwhile art had always been a passion, since I consider it the
soul of a nation, the nutrition ground of a person’s or a company’s creativity and the playground of the truly playful.
COLLECTION
66
As any reasonably well-off middle-class entrepreneur I had at
not beat around the bush – rather glorious Flemish past and
one point started collecting lovely landscapes of the sort pro-
the corresponding art forms. So I got interested in collecting
duced by the Flemish Latem Movement without effort or pain
Old Masters. A bonus to collecting this period is the fact that
and in unbelievably large numbers. A decision to take up Art
there is hardly any serious competition amongst the buyers and
History classes brought me into contact with an authority on
that wonderful paintings by great masters can still be had for a
Coptic and antique textiles, and the growing success of Katoen
song. So, since I have always been a niche player, I went for it.
Natie allowed my wife and me to get serious (while still playing) and to build one of the worlds’ leading collections in that
domain (now permanently on show in the Antwerp city headquarters and open to visits).
In 2014 we bought a glorious painting at Dorotheum which
will star in our upcoming “Golden Times” exhibition and
which I thought was a good psychological map of my brain. It
is “The Jester’s Trade”, also known as “The Mocking of Human
Meanwhile, as the company extended to other parts of the
Follies”, by Frans Verbeeck. What it shows is inventive, com-
world, we had to spend parts of the year abroad, and more spe-
plex, rich, unabashed and full of surprising details. No true
cifically in Latin America, where the local art world flowed into
art lover could ever pass it by and not be overwhelmed by it.
our own environment. That was the start of another collection.
For years, we collected 20th-century Latin American art, we
met great Latin American artists and even became friends with
some of them. It allowed us to acquire exceptional work, to really
understand it and to learn from the mutual influence of our two
cultures. Thanks to this successful meeting between North and
South (and vice-versa), our office grounds in the port of Antwerp
now prominently feature some imposing work by artists like the
sculptor Pablo Atchugarry, who is a great friend.
However, collecting art was never about possessing stuff. It is
rather that it allowed us to play in a marvelous playground and
that this play added value to our projects. Everything is always
about play. Play is the mother of creativity and creativity the
mother of innovation. On the business side we observed that
people responded really well to working in an art-filled environment. So our buildings are built with special care and their
grounds, passages and offices are overflowing with art. This
seems to attract creative people and stimulate their inventive-
We also developped an interest in 20th-century Latin American
ness. The cost of building and decorating this way may be 30%
art, in postwar Belgian and West European art, originating in a
higher than for building in the standard way, but everybody in
large collection of COBRA and some really fascinating contem-
the company agrees that it is worth it.
porary sculptures, amongst which I like to specially mention a
monumental revised Brabo fountain by Wim Delvoye.
Recently I made two really important decisions: the first was
to place the collections into a foundation, aptly named Phoe-
Meanwhile I had started realizing that there was a fundamen-
bus, where they would continue to exist and function for all
tal underappreciation (in Belgium and abroad) of our – let’s
time, independently of the lives and fortunes of either myself,
Photo: Marc Gysens
Cover: Katharina Van Cauteren,
Politics as Painting, Lannoo 2016
Frans Verbeeck
The Mocking of Human Follies
Old Masters auction, October 2014
my wife, my children or Katoen Natie. The second was to do
something about the constant underfunding of the cultural
world and of the people who work in it. Never one for only
moaning and denouncing wrongs, I decided to annually
invest around eight million euros in cultural projects that
touch my heart.
You see, the art world is full of creative people brimming with
ideas, but stifled, crushed by the institutions they work for
and deprived of the necessary means to do something significant. Let them come to me with their ideas. Bring them on!
However, the projects we have in mind need to meet five fundamental criteria: they need to be scientifically sound, make
use of the newest technology, be creative and add value, be
directed by good entrepreneurship (which of course we provide ourselves), and – last but not least – they need to show a
GOLDEN AGE – DRIVEN BY
ENTREPRENEURSHIP
17 June 2016 – 22 January 2017
Provincial Cultural Centre, Ghent, Belgium
Caermersklooster
w w w. c a e r m e r s k l o o s t e r. b e
clear link to the roots of Flanders and its identity. Indeed, all
too often I would be in bookshops abroad, roaming through
shelves of History and Art History that overflowed with books
this publication, the M - Museum of Leuven organizes an
about our territorial neighbors but displayed just three or four
exhibition with the same theme. The court painter, Hen-
dismal volumes about Flanders. Given our rich historical and
drick De Clerck, has disappeared from the art scene. With
cultural past, this should change. Nevertheless, new projects
the book and the exhibition, he is back.
should be innovative and add value to all existing knowledge.
Another project is the aforementioned exhibition “Golden
One of our projects is a majestic, witty, very refreshing book
Times” about how 15th- to 16th-century Flanders and Ant-
by Katharina Van Cauteren. It tells the story of the failed
werp rose to be the economic and financial power hub of the
attempt of two virtuous Habsburg regents of the Southern
world, how they flourished in a spectacular, cosmopolitan
Netherlands (a Spanish princess married to an Austrian
way, and finally how those golden times went out with a bang.
prince) pushing their court painter into manipulating deci-
Its very apt focal point will be Verbeeck’s “The Mocking of
sion makers in high ranks into electing them to the imperial
Human Follies”, bought at Dorotheum. We expect the exhibi-
crown, and all this by means of high camp. Accompanying
tion to open in Ghent in June 2016.
Thus speaks a man who, through sheer determination, playful creativity and insistence on innovation
plus niche finding, has built a vast business empire
from scratch. Through art and culture he finds inspiration and stimulation, not only in his professional
“Play is the mother
of creativity and
creativity the mother
o f i n n o v a t i o n .”
activities but also in his concern about his culture
and nation. For this he is prepared to go to great
lengths and grand gestures. May this be a shining
example in these darkening times.
Wilfried Van Gaver is Sales Officer for Old Master paintings
at Dorotheum Brussels;
Honorine d’Ursel manages the Dorotheum o∞ce
in Brussels.
COLLECTION
68
COLLECT
Photo: Ivo Faber, Düsseldorf
A S A C U LT I V A T E D
GENETIC DEFECT
COLLECTION
69
Gil Bronner grew up with
D o r o t h e u m m y A R T M AG A Z I N E : G i l , yo u w e r e
b o r n i n t o a f a m i l y o f c o l l e c t o r s . Yo u r p a r e n t s
G e o r g e G ro s z a n d Lyo n e l
a r e s t i l l a c t i ve i n t h e a r t w o r l d . Yo u m u s t h ave
F e i n i n g e r. H e i s a r e a l e s t a t e
t a ke n i n s p i r a t i o n f r o m yo u r p a r e n t s , b u t h o w
d i d yo u s t a r t c o l l e c t i n g ?
agent by profession and a
Basically – and I’m not joking – collecting is a kind
collector of contemporary art
of genetic defect that is more pronounced in some
people than in others. My passion for collecting is
by inclination. In June he is
not a battery-driven motor but developed slowly. It
opening the 1,700 square metre
was probably more difficult in those days to start
collecting as a young person than it is today. The
Philara Museum Collection
focus was more on Classic Modernism than on the
i n D ü s s e l d o r f. H e t a l k s a b o u t
contemporary art that dominates the market today.
his love of freedom, about
I t ’s t h e s a m e o n t h e a u c t i o n m a r ke t . H o w d o
intuition, and about how to
yo u b u y a r t ? W h a t d o e s a w o r k h a ve t o h a ve t o
a t t r a c t yo u r a t t e n t i o n ? D o yo u b u y o n i m p u l s e
e n j o y a r t s l o w l y.
or with forethought?
First, I look at auction magazines and read the tips by
BY PETRA SCHÄPERS
the American – what’s his name? – Stefan Simchowitz.
Then I consider what is likely to gain most in value
on the market, and that’s what I buy, regardless of
whether I like it or not. Just kidding. (laughs)
Seriously, I’ve always bought completely on impulse.
ING
But I see a lot of works. That means that it’s quite
possible for me to see something and come across a
name for the first time in an auction catalogue. I also
look at what other collectors have, but mostly I go to
galleries and fairs and buy art there. For example, I
was recently at a fair in Turin and bought a work in a
gallery that I hadn’t heard of before by an artist that I
hadn’t heard of, Oscar Santillan, quite simply because
I liked it. I also have lists of artists in my head who I
would like to have in the collection.
Is there a common thread running through
yo u r c o l l e c t i o n ?
The common thread is simply contemporary art.
Photo: Achim Kukulies, Düsseldorf
At first I bought mostly paintings, but now I buy
works that stimulate me intellectually, although I
find it a bit stupid if a work has first to be explained.
My hair stands on end when gallery owners ascribe
a hidden meaning to a work, which they then
explain, while in fact it has little depth and content.
I find that meaning is something intuitive. You can
COLLECTION
70
recognise good art; it speaks for itself. And with
erly, take the whole building. And that’s how the
time, of course, you develop a sense of quality.
idea came about. At first I was unsure whether our
collection would be sufficient for the demands of
F a i r s , g a l l e r i e s , a u c t i o n s , s t u d i o s , to u r s .
a building that large. I’m now relatively confident
W h e r e d o yo u b u y m o s t a n d w h a t d o yo u
that we’ll be able to show interesting exhibitions
l i ke b e s t ?
from the collection.
I prefer to purchase at fairs, galleries, and auctions.
In the latter case, unfortunately, one frequently
Will there be temporary exhibitions and
does not get to see the works of art in person, but
a permanent one?
only via the auction catalogues. That is why I prefer
Yes. The first temporary exhibition will be devoted
purchasing from galleries.
to Friedrich Kunath.
Yo u h a ve a l o t o f w o m e n a r t i s t s i n yo u r
Wo w, s u p e r ! A n d t h e n ?
c o l l e c t i o n . D o yo u h ave a p a r t i c u l a r a f f i n i t y
Should I tell you? Gregor Schneider, Absalon and
for them or is it just coincidence?
Bruce Nauman. For these shows the permanent
I like women more than men.
exhibition and the temporary ones will overlap.
We’re dynamic! That’s the nice thing about this
I k n e w yo u ’d s a y t h a t .
museum: if you do it yourself, you’re free of all
Seriously, I’ve never made a distinction. In my
restrictions and norms. There are no limitations
opinion, that’s a bit of an old-fashioned way of
except for the fire department and their regulations.
seeing things, because women now have an equal
position in the art world. The subject is no longer
A n d yo u c a n s p e n d a s m u c h o f yo u r o w n
relevant. I don’t care at all whether a work is by a
m o n e y a s yo u w a n t .
man or a woman – it’s about the work itself. And
As long as it lasts … We are thinking of doing artist
just because I’ve done three exhibitions with men,
readings, not about art, but about what the artists
it doesn’t mean the next one needs to be with a
are interested in: their favourite singer or football
woman. The only important thing is the content.
team, their dog, or whatever. Another idea is a spoton: everyone sits in the dark at a table around or
L e t ’s t a l k a b o u t yo u r n e w P h i l a ra M u s e u m
next to a work of art and the light is focused on it.
C o l l e c t i o n : 1 , 7 0 0 s q u a r e m e t r e s o f ex h i b i t i o n
For two hours, 15 people concentrate on this single
s p a c e i n B i r ke n s t r a s s e , D ü s s e l d o r f. W h a t
work and what they feel about it. After all, who ever
m a d e yo u b u i l d yo u r o w n m u s e u m ?
devotes such attention to a single work?
It’s a long story. I designed a studio building on
Walzwerkstrasse in Reisholz, quite a long way from
Yo u w a n t t o s l o w d o w n p e o p l e’s p e r c e p t i o n
the city centre. Two years after I started putting on
of art?
exhibitions in Walzwerkstrasse, I bought this site
Precisely. We are used to high-speed consumption,
on Birkenstrasse. The original plan was to use the
and the enjoyment of art suffers as a result. It’s
rear of the hall as an exhibition space and to build
important to me that what we do is not fixed and
residences in the front. And then I had second
that we can change every programme whenever
thoughts. If you’re going to do it, then do it prop-
we want.
Ye s , yo u d o n’ t h ave to wa i t f o r f u n d i n g a n d
much less apply for it.
It would be nice if I could wait for funding, because
then I’d have support from the outside. Man! What
would I give to be able to wait for funding!
B u t t h e n yo u wo u l d n’ t h ave t h i s f r e e d o m !
The fact that we are free of limitations is the core
idea. The government is passing an increasing
number of restrictive laws. I am referring in particular to the abstruse Culture Protection Law in
Germany, by which the federal states can forbid
the export of a work of art more than 70 years old
“The fact that
we are free of
limitations is
t h e c o r e i d e a .”
only affect a few works, said Minister of Culture
Monika Grütters. But how am I meant to know
what works are affected? So I wrote to Ms Grütters
and suggested that she put in place a laissez-passer so that it could be verified. It might result in a
Photo: Ivo Faber, Düsseldorf
and worth more than 300,000 euros. It would
lot of high-quality works remaining in Germany.
But if collectors can no longer decide freely about
their works, most would make sure that the state
couldn’t get hold of them. The result would be the
opposite of the desired effect. Works would be sold
and culture in Germany bled dry.
I’m looking forward to seeing the museum! It
w i l l b e i n a u g u r a t e d i n M a y o n y o u r f a t h e r ’s
8 5 t h b i r t h d a y, w i t h t h e o f f i c i a l o p e n i n g a t
the end of June. Thank you for talking to me.
Photo: Achim Kukulies, Düsseldorf
Petra Schäpers is an expert in contemporary art and
head of the Dorotheum branch in Düsseldorf.
COLLECTION
72
THE EXCLUSIVE
CLUB HAS A NEW
MEMBER …
The world-famous Vienna Philharmonic bullion coin is now available in platinum. Making its debut in 1989, the
Vienna Philharmonic in gold comes in a size to suit every budget, while the one ounce Vienna Philharmonic in
silver was launched in 2008. Some 100 million gold and silver Vienna Philharmonics have been sold to date. The
Austrian Mint is expecting its new one ounce Vienna Philharmonic in platinum to perform just as impressively.
AUSTRIAN MINT − INVEST. COLLECT. GIVE.
www.austrian-mint.at
www.dorotheum-juwelier.com
THE PERFECT
F L AW
J e a n - P i e r r e R i b e r, w r i t e r, t o p c h e f , a n d
quiche Lorraine expert, welcomes us to the
charming Alsace village of Meyenheim.
At his ancient family farm, built in 1556,
he tells us about his rather surprising
passion for coins with mint errors.
M o n s i e u r R i b e r, w h a t i s a c o i n w i t h a
mint error?
Quite simply, it is a coin with a faulty
inscription.
H o w d i d yo u s t a r t yo u r c o l l e c t i o n ?
I a s s u m e yo u w e r e n o t a l w a y s e n t h u siastic about numismatics and its
flaws?
I started when I was six. In the kitchen
of our family farm there was a metal box
Photos: Christian Sarramon
BY JOËLLE THOMAS
COLLECTION
74
that, to me, made a magical sound. This
years, and that will be my life’s work: a
in 1876; it was a rare example from the
box contained coins that my grandfather
directory of coins with mint errors from
Rencker collection, and of course I bought
had brought home from various countries
1515 (King Francis I of France) to the
it straightaway. I have also been lucky
during the First World War. In particular,
present day.
enough to add a special book to my possessions that was left over at an auction
it contained old 10-centesimi coins from
the 19th century, that is from the reigns of
Collectors rarely swap their pieces. I buy
in Lyon. It is called “Traité de la cour des
Italian kings Emmanuel II and Umberto
my treasures from special dealerships, pri-
Monnoyes et de l’estendue de sa jurisdic-
I. When my grandfather gave the box to
vate persons, antiquarian bookshops spe-
tion” and was written by a certain Maître
me, I was fascinated by the thought of the
cialising in numismatics, and from auc-
Germain Constant, advocate at the Parle
long history behind these coins. I still own
tioneers’ catalogues. I bought two coins at
ment of Toulouse, who published it in
them, they are the centrepiece of my col-
Dorotheum at the end of May 2015: one
1658. It weighs six kilograms and numbers
lection and I will never part with them.
undated “Ferdinand II. thaler, no year, Kla-
more than 1,000 pages. A real encyclopae-
genfurt, with title of Emperor and King”
dia for numismatists!
My enthusiasm for numismatics definite-
that bears the inscription Avstriae with
ly became firmly established at the age of
an additional A and V; and one “Saxony,
ten. I would accompany my father when
Albertine line, August 1553–1586, thaler
he delivered grains, and we would regular-
1557, Dresden”, embossed with ROIMA
ly encounter a fine gentleman who enjoyed
instead of ROMA.
asking me, the boy, about my knowledge
of French history. Surprised at how much
At the famous auction of André Breton’s
I knew, he showed me a small silver Louis
estate in April 2003 I bought an antique
coin minted in 1720 in Strasbourg and
gold coin that dates from the time of the
gave it to me as a gift. I was fascinated, felt
Ambiani and the Atrebates, Celtic tribes
a calling and put aside my other collec-
from Belgic Gaul. This coin, over 2,000
tions of stamps, old postcards and fossils,
years old, has a really contemporary
in order to dedicate myself exclusively to
design; the surrealists would have liked it.
numismatics.
Jean-Pierre Riber admits that an
interest in coins with mint errors
i s a r a t h e r e l i t i s t h o b b y. H e n e v e r theless hopes to find collectors to
whom he can pass on his expertise,
and with whom he can share the
“hunt for knowledge” that was so
popular with Michel de Montaigne
and that provides time and space
i n w h i c h t o d i s a p p e a r.
The interview was conducted by
Joëlle Thomas, representative of
Dorotheum in Paris.
I also own a very rare coin with a mint
H o w h a s yo u r c o l l e c t i o n d e ve l o p e d ?
error that was made for Louis XVI and is
After 40 years of passionate collecting, it
missing the V, so it appears to be dedicated
now consists of more than 1,000 pieces!
to Louis XI. There are only seven speci
You start by combing flea markets, read-
mens of this coin in the world, and I own
ing magazines about the topic, study-
one of them!
ing catalogues from auction houses and
meeting other collectors, and then you
H ave yo u m a d e a n y s p e c i a l
begin to specialise over time. I am curious
d i s c ove r i e s ?
by nature, and it would take several lives
I am a real coin hunter, sometimes I track
before I could claim to have fully mastered
things down that others cannot see. I once
the science of numismatics – after all, it
met a collector who showed me a piece
extends to history, geography, mathemat-
that he knew nothing about. I recognised
ics and many other aspects of life.
immediately that it was a “thaler klippe”
[square or polygonal coins whose flans,
H o w d o yo u e x p a n d yo u r c o l l e c t i o n ?
i.e. the as yet unminted coin blanks, were
I buy only for pleasure and to finish a book
made with clipping shears, ed.] that was
I have been working on for more than 20
mentioned in a work by Arthur Engel
1
Saxony, thaler 1833
error: SACHSFN instead of SACHSEN
2
Louis XV, Ecu au bandeau fauté 1765
Montpellier, error: LUD VX instead of LUD XV
3
Northern Celtic, Ambiani / Atrebates
gold stater 2nd / 1st century BC, from the
collection of surrealist André Breton
4
Louis XIV, Ecu aux insignes,
overstruck on an Ecu aux palmes
5
Louis XVI, mis-struck and double-struck
on a 12-denier-piece from the Orléans mint
COLLECTION
75
1 2
3
4
5
PASSION
76
PASSION
DOROTHEUM AS A
PA T R O N O F A R T
Max Kurzweil, Mira Bauer, 1907
Oil on canvas, 66.3 x 52.5 cm
© Belvedere, Vienna
Mumok’s exhibition devoted to the work of
Viktor Matejka and Werner Hofmann puts the
spotlight on two important figures in Viennese art and cultural life after 1945. Werner
Hofmann, founding director of the former
Museum of the 20th Century, was one of
modernism’s fiercest proponents. The exhibition features Hofmann’s basic stock for the
mumok with the leading avant-garde artists
of the early 20th century, along with Peter
Matejka’s media archive dedicated to visual
art and works by some of the most significant
groups of artists after 1945. These include,
among others, Herbert Boeckl, Albert Paris
Gütersloh and Fritz Wotruba, the abstract
artists associated with Galerie (nächst)
St. Stephan, the Fantastic Realists, Maria
Lassnig, Kiki Kogelnik, the Wiener Gruppe
(Vienna Group), and Viennese Actionists.
www.mumok.at
BELVEDERE
MASTERPIECES
IN FOCUS:
MAX KURZWEIL
11 May–4 September 2016
From 1 May to 4 September 2016, as part
of the “Masterpieces in Focus” series sponsored by Dorotheum, the Belvedere will be
focussing on the Vienna Secession artist
Max Kurzweil.
Financially well-off, Kurzweil was able to
live the life of a carefree artist. His studies
in Vienna and Paris brought him into contact with all kinds of art movements, and
some of his works represent all avantgarde movements of the age – from natu
ralism and impressionism to symbolist
works and a remarkably early engagement
with expressionism. This special openness
towards new artistic impulses is complemented by a thorough examination of the
depths of the human psyche. His portraits
of nudes and women in particular demonstrate Kurzweil’s personality, which alternated between depression and passion.
www.belvedere.at
MUMOK
WE TRAILBLAZERS
Pioneers of postwar modernism
12 May 2016–5 March 2017
Wolfgang Herzig, Große Gesellschaft, 1970–1971, oil on canvas, 249 x 312 cm
Museum moderner Kunst Stiftung Ludwig Wien, on loan from private
collection since 1981 © Wolfgang Herzig; Photo: mumok
KUNSTHISTORISCHES MUSEUM WIEN
TA L K I N G A B O U T
OLD MASTERS
11 April & 6 June 2016
In 2016, the Kunsthistorisches Museum and
Dorotheum will again be hosting their “Talking about Old Masters” lecture series. On
11 April, Maureen Cassidy-Geiger will talk
about “the arts of the table”. The American
art historian, curator and researcher specialises in European decorative art and patterns,
history of travel, and culture and food of the
17th and 18th centuries. The festive mood
continues on 6 June when Barbara Vinken,
who writes for newspapers, will deal with
the topic of “festive culture”. In a word: this
anniversary year will be all about festivities.
11 April 2016, 7 pm,
Maureen Cassidy-Geiger,
“The Arts of the Table: Edible and Inedible
Aspects of Court Dining”, lecture in English
6 June 2016, 7 pm,
Prof. Barbara Vinken
Registration: [email protected]
KHM, meeting point: Cupola Hall
www.khm.at
Francisco de Goya (1746–1828), The blind chicken (La gallina ciega), 1788
© Photographic Archive, Museo Nacional del Prado, Madrid
THE AUSTRIAN NATIONAL LIBRARY
THE ETERNAL EMPEROR
FR ANZ JOSEPH I. 1830 –1916
11 March–27 November 2016
2016 marks the 100th anniversary of the death of Emperor
Franz Joseph I. On the occasion of this anniversary, the Austrian national Library will exhibit previously unpublished
material, pictures and photographs to show the Emperor as a
“private” person. Dorotheum invites you to visit the museums
of the Austrian National Library free of charge on 12 May.
Thur, 12 May 2016, 6 – 9 pm
www.onb.ac.at
Picture of Archduke Franz Joseph as a child, collotype (1908)
of a painting by Friedrich von Amerling, 1838 © ÖNB
MONOGRAPH
A N D C ATA LO G U E
RAISONNÉ
MARC
ADRIAN
Sprungperspektive,
1953, acrylic on wood,
owned privately in Lower Austria
© Cornelia Cabuk / Belvedere Vienna /
for Adrian: copyright Vienna 2016
In spring 2016, with the support from Dorotheum, Belvedere is
publishing the fifth volume in the series “Belvedere Catalogues
Raisonnés”, this time dedicated to the Austrian artist Marc
Adrian (1930–2008).
Marc Adrian was among the outstanding artists of a protestminded, international neo-avantgarde after the Second World
War. The multi-talent was an inventor of new pictorial worlds
Marc Adrian. Film / Kunst / Medien
Monograph and Catalogue Raisonné
Hardcover edition
Belvedere Catalogues Raisonnés, Vol. 5
Ca. 480 pages, 23.5 × 31 cm
1,300 illustrations
(894 catalogue numbers)
German and English edition
ISBN 978-3-902805-98-0
Ritter Verlag
and worked as a sculptor, painter, graphic artist, filmmaker,
photographer and writer in Austria and around the world.
In sounding out the boundaries of the representable, he
contributed to the international movements ZERO, Nouvelle
Tendance (New Tendency) and arte programmata, which led
to his participation as the only Austrian in the major op-art
exhibition “The Responsive Eye” at MoMA in New York in
1965. Adrian realised his kineticist worldview across various
media in new categories, genres and technologies, and also
worked in the field of experimental film. This documentation
of his work includes 894 positions across all media and in all
genres, many of which are being published for the first time.
The group exhibition “Abstract Loop Austria” at 21er Haus
also sheds valuable light on the constructive, concrete art of
the postwar period with its radical ideas for the dawn of the
modern era.
O4, 1962, montage behind glass
© Belvedere Vienna
ABSTRACT LOOP AUSTRIA
Marc Adrian, Richard Kriesche,
Helga Philipp,
Gerwald Rockenschaub
28 January – 29 May 2016
21er Haus
w w w. b e l v e d e r e . a t / 2 1 h _ d e
EVENTS
© eSeL.at – Joanna Pianka
78
Opening at the Palais
Dorotheum
© eSeL.at – Lorenz Seidler
A festival for art
Creating Common
Good exhibition at
KUNST HAUS WIEN
Family Art
Day at
Architekturzentrum
Wien
EVENTS
79
F.l.t.r.: Alexander Horwath
Elisabeth Noever-Ginthör
Christoph Thun-Hohenstein
Agnes Husslein-Arco
Andreas Mailath-Pokorny
Eva Blimlinger, Peter Bogner
Rainer Nowak
Robert Punkenhofer
Bettina Leidl, Martin Böhm
After a brilliant festival opening at Palais Dorotheum,
the eleventh edition of the VIENNA ART WEEK in
November 2015 once again drew an international
crowd of art lovers and culture enthusiasts to Vienna.
35,000 guests attended some 200 festival-related
events. Held under the motto “Creating Common
Good”, participating institutions considered the question of art’s contribution to public welfare. Highlights
of the week included the exhibition “Creating Common
Good”, curated by Robert Punkenhofer and Ursula
Maria Probst at KUNST HAUS WIEN, a lecture by
VIENNA IN
THE NAME
OF ART
Francesca Habsburg-Lothringen,
Agnes Husslein-Arco and Carola Kraus
internationally-renowned urban researcher Saskia
Sassen and exhibition openings for Vija Celmins at the
Secession and Olafur Eliasson at TBA21–Augarten and
the Winterpalais. Other popular events included Open
Studio Day with 72 open artists’ studios and Family Art
Day, which was held for the first time in 2015.
EVENTS
Panel discussion at Dorotheum
with Rose-Maria Gropp, Christiane Meixner,
Sabine B. Vogel, Susanne Schreiber,
Olga Kronsteiner
STORY
80
Photo: ORF
The Notebook
BY KARL HOHENLOHE
Hans Prenner had a square face, a bulky nose and an
winter day to ask if he could rent a room for a couple
unwavering disposition of gratitude. He was grateful
of days. Hans Prenner said no, adding, however, that he
for the small farm left to him by his father, grateful for
was most welcome to stay as a guest. The stranger soon
his four children, and grateful for the eleven years he
proved a pleasant distraction. He told stories during the
got to spend with his wife, before she died giving birth
day, at night he scribbled away in his small notebooks.
to their youngest child. Hans Prenner’s farm occupied a
When time came for him to head for the valley and from
few green acres midway between the valley floor and the
there for his home far away, he was no longer a stranger.
rugged mountain side, and he couldn’t, even in old age,
As a small token of gratitude, he gave Hans Prenner a
remember a single day spent with idle hands. When his
filled notebook, which, some 60 years later, still rested
children had all left the house, they bought him a televi-
in the bottom drawer of a sideboard in the farm house.
sion set – a modest unit that, nevertheless, became his
Hans Prenner brought the notebook to an auction house
window to the outside world. The life lived in Russia’s
in the capital and shook his head in quiet disbelief when
Mir communes filled him with wonder; the South Sea
he heard the estimated value. And then he headed straight
fishermen brought a smile to his face. He shivered from
back home, determined not to spend a single night in the
the icy cold endured by the Laplanders in the high
city. Some years later, when Hans Prenner died, the note-
north, suffered along with the poor Africans pining for
book was passed on to the local parish. Today, a small
fresh water. The only live images he couldn’t stomach
plaque in the village church informs churchgoers that the
were those from the capital – footage of congested roads,
restoration of the altar and bell tower as well as the acqui-
qualming chimneys, heavy fog and masses of people,
sition of a new church organ were financed solely by Hans
always in a hurry to get somewhere. He turned it off.
Prenner. The local people don’t know, only we know, that
One time, he watched a documentary about a famous
it wasn’t Hans Prenner alone who made the contribution.
American author who had ended his own life. The
It was Hans Prenner and a small notebook.
bearded man seemed oddly familiar, and when a youth
photo flickered across the screen, suspicion turned into
certainty. It must have been in the year 1925. The bearded man had turned up at the farm on a freezing cold
STORY
Karl Hohenlohe is an Austrian television presenter,
producer, newspaper columnist and publisher of the
restaurant guide “Gault Millau”. Among other
programmes, Hohenlohe hosts the art and antiquities show
“Was schätzen Sie?” on Austria’s national channel ORF III.
STORY
# grandelegance
81
B E GN A DE T
FÜR DA S SCHÖN E
BLESSED WITH BEAUTY
Im Grand Ferdinand, Hotel am
Ring, feiert die Wiener Eleganz ein
fulminantes Comeback.
At the Grand Ferdinand hotel,
Viennese elegance makes its
triumphant return to the worldfamous Ringstraße boulevard.
Schubertring 10 -12, 1010 Vienna
www.grandferdinand.com
1
DOROTHEUM
AUCTION
DATES
2
SELECTED AUCTIONS
Master Drawings, Prints before 1900,
Watercolours, Miniatures
Antiques – Clocks, Metalwork, Vintage, Fan
Collection, Faience, Sculptures, Folk Art
Antique Scientific Instruments and Globes;
Cameras
Old Master Paintings
Works of Art – Furniture, Sculptures,
Glass and Porcelain
Jewellery
Wed, 30 March 2016
Thur, 31 March 2016
Thur, 31 March 2016
Tue, 19 April 2016
Stamps
Wed/Thur, 8/9 June 2016
Tribal Art
Thur, 9 June 2016
Photography
Mon, 13 June 2016
Art Nouveau, 20th Century Arts and Crafts
Mon, 13 June 2016
Chanel
Tue, 14 June 2016
Modern and Contemporary Prints
Tue, 14 June 2016
Design
Wed, 15 June 2016
Wed, 20 April 2016
Classic Cars and Automobilia
Sat, 18 June 2016
Thur, 21 April 2016
Imperial Court Memorabilia
19th Century Paintings
Thur, 21 April 2016
Stamps
Tue, 3 May 2016
Hunting, Sporting and Collectors‘ Weapons
Sat, 14 May 2016
Coins and Medals
Wed/Thur, 18/19 May 2016
Orders and Decorations
Fri, 20 May 2016
Silver and Russian Silver
Tue, 31 May 2016
Modern Art
Tue, 31 May 2016
Contemporary Art I
Wed, 1 June 2016
Contemporary Art II
Thur, 2 June 2016
Jewellery
Thur, 2 June 2016
Wrist and Pocket Watches
Fri, 3 June 2016
CLIENT ADVISORY SERVICE
AT ALL DOROTHEUM LOCATIONS
BY APPOINTMENT
U P C O M I N G DAT E S
and Historical Objects
Mon, 20 June 2016
Glass and Porcelain
Tue, 21 June 2016
Autographs
Wed, 22 June 2016
19th Century Paintings and Watercolours
Wed, 22 June 2016
Antique Arms, Uniforms and Militaria
Tue, 28 June 2016
Toys
Wed, 29 June 2016
Modern and Contemporary Art
Thur, 30 June 2016
3
BRUSSELS, 9 & 10, 13 & 14 June 2016
By appointment only: Raffaela Fontana
Tel. +32-2-514 00 34, [email protected]
D Ü S S E L D O R F, 2 0 & 2 1 J u n e 2 0 1 6
BERLIN, 23 June 2016
HAMBURG, 24 June 2016
By appointment only: Cordula Lichtenberg
Tel. +49-211-210 77 47, [email protected]
M U N I C H , ST U T TG A R T, F R A N K F U R T, N Ü R N B E R G
27 June – 1 July 2016
By appointment only: Michaela Motz
Tel. +49-89-244 434 73 0, [email protected]
Tano Festa, Specchio, 1961, Contemporary Art auction, 1 June 2016
Turi Simeti, Nero, 1984, Contemporary Art auction, 1 June 2016
chmara.rosinke, daybed for Hermès, Design auction, 15 June 2016
4
Gino Severini, Danseuse, 1960, Modern Art auction, 31 May 2016
1
2
3
CONTACTS
PALAIS
DOROTHEUM
Dorotheergasse 17, 1010 Vienna, Austria
Tel. +43-1-515 60-570, [email protected]
CLIENT ADVISORY SERVICES
P R I VA T E S A L E S
Constanze Werner
Alexandra von Arnim
Tel. +49-89-244 434 73-0, [email protected]
4
ART FINANCING
Andreas Wedenig
CATAL OGUE SUBSCRIP TIONS
www.dorotheum.com
DOROTHEUM
INTERNATIONAL
DÜSSELDORF
LONDON
Petra Schäpers
Südstrasse 5, 40213 Düsseldorf, Germany
Tel. +49-211-210 77-47,
[email protected]
Martina Batovic
11 St. James’s Place, London SW1A 1NP, Great Britain
Tel. +44-0-20 7009 1049
[email protected]
MUNICH
BRUSSELS
Franz von Rassler
Galeriestrasse 2, 80539 Munich, Germany
Tel. +49-89-244 434 73-0,
[email protected]
Honorine d’Ursel
13, rue aux Laines, 1000 Brussels, Belgium
Tel. +32-2-514 00 34
[email protected]
MILAN
BUDAPEST
Angelica Cicogna Mozzoni
Palazzo Amman, via Boito, 8, 20121 Milan, Italy
Tel. +39-02-303 52 41,
[email protected]
Réka Kovács
OREX Palais, Andrássy ùt 64, 1062 Budapest, Hungary
Tel. +36-1-413 3742
mobile +36-20-545 9856
[email protected]
ROME
Maria Cristina Paoluzzi
Palazzo Colonna, Piazza SS. Apostoli, 66, 00187 Rome, Italy
Tel. +39-06-699 23 671
[email protected]
NAPLES
Giuseppe Imparato
Mobile +39-335-592 52 33
[email protected]
PA R I S
Joëlle Thomas
Mobile (France) +33-665-17 69 37
Mobile (Austria) +43-699-10 38 86 40
[email protected]
PRAGUE
Mária Gálová
Ovocný trh 580/2, 11000 Prague 1, Czech Republic
Tel. +420-2-24 22 20-01
[email protected]
T E L AV I V
Rafael Schwarz
Mobile (Israel) +972-54-448 39 78
Tel. (Austria) +43-1-515 60-405
[email protected]
ZURICH
Tel. +43-1-515 60-405
[email protected]
Otto Piene (1928–2014)
Weisser Lichtgeist
1966/2012
Estimate € 230,000 – 280,000
1 June 2016

peter marino

Transcription

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