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Donald JuddHalf Solid Tube Piece

In Evening Sale - Moderne und Zeitgenössische Kun...

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Donald Judd
Half Solid Tube Piece

Sperrholz, rot gefasst, und Aluminium 50 x 115 x 77 cm. - Mit geringfügigen Altersspuren.

Mit beiliegender Bestätigung der Authentizität der vorliegenden Arbeit von Rolf Ricke, Köln, vom 12.04.1997.

Provenienz
Galerie Rolf Ricke, Köln; Privatsammlung, Nordrhein-Westfalen

Ausstellungen
Köln 1991 (Galerie Rolf Ricke), Donald Judd

Die Arbeit mit großen kastenförmigen Objekten aus Sperrholz beginnt Donald Judd Anfang der 1960er Jahre. Durch die Platzierung direkt auf dem Boden besitzen sie einen unmittelbaren Bezug zu dem umgebenden Raum und werden durch einen halbröhrenförmigen Einschnitt an der Oberseite in ihrer Blockhaftigkeit aufgebrochen. Sie sind vollständig in kadmiumroter Farbe gestrichen - ein Farbton, dem der Künstler eine besondere Bedeutung beimisst. Das helle, leuchtende Rot ist nach seiner Ansicht nach die einzige Farbe, die die realen Dimensionen und die scharfkantigen Konturen der kubischen Objekte präzise sichtbar macht.
Für Judd, der seine künstlerische Laufbahn als Maler beginnt, markieren diese hölzernen Kastenobjekte einen entscheidenden Schritt von der Zwei- zur Dreidimensionalität. „Als Judd zu der Überzeugung gelangte, dass acht Ecken eines Werks auf dem Boden bedeutender waren als vier an der Wand und dass rote Farbe auf einem Objekt interessanter sei als ein Kontrast aus drei Tönen, war der Schritt in Richtung des ganzen Raums getan. Die Box eröffnete ihm, wie er fand, eine so große Zahl neuer Möglichkeiten, dass er von nun an keine wöchentliche Krise mehr zu meistern hatte“, beschreibt Thomas Kellein diese völlig neue Ausrichtung. „Das Werk blieb immer forsch und direkt, eine Aufgabe für den Betrachter, an jedem Ding die sprichwörtlichen zwei Seiten zu suchen.“ (Thomas Kellein, in: Ausst.Kat. Donald Judd, Das Frühwerk, Bielefeld/Houston 2002/03, S. 40).
In den 1980er und 1990er Jahren nimmt Judd die Arbeit an den Kastenobjekten wieder auf und kombiniert sie mit Röhren aus Metall, einem seiner bevorzugten Werkstoffe. Die vorhergehende Öffnung des Kubus' wird durch die unlackierten Röhren nun deutlich sichtbar verschlossen oder sogar nach oben in den Raum aufgewölbt, was durch die Gegensätzlichkeit der Materialien ganz neue Bezüge herstellt.





Donald Judd
Half Solid Tube Piece

Plywood, painted red, and aluminium 50 x 115 x 77 cm. - Minor traces of age.

With accompanying confirmation of the authenticity of the present work by Rolf Ricke, Cologne, dated 12.04.1997

Provenance
Galerie Rolf Ricke, Cologne; private collection, North Rhine-Westphalia

Exhibitions
Cologne 1991 (Galerie Rolf Ricke), Donald Judd

Donald Judd began working with large box-shaped objects made of plywood at the beginning of the 1960s. By being placed directly on the ground, they formed a direct connection to the surrounding space, their block-like character broken open by a half pipe-shaped opening on the top. They are painted entirely with cadmium red - a colour tone to which the artist attributed particular importance. According to the artist, the light, bright red is the only colour which makes the real dimensions and the sharp-edged contours of the cubic objects precisely visible.
Having begun his artistic career as a painter, these wooden box-objects mark a deciding step from two to three-dimensionality. “When Judd came to the conclusion that eight corners of a work on the floor were more important than four on the wall, and that red colour on an object is more interesting as a contrast of three tones, the step in the direction of the whole room was taken. He found that the Box opened up many new possibilities, so that he no longer had to master a weekly crisis”, Thomas Kellein described the completely new orientation. “The work always remains brisk and direct, a task for the viewer to look for the proverbial two sides to everything.” (Thomas Kellein, in: Exhib.cat. Donald Judd, Das Frühwerk, Bielefeld/Houston 2002/03, p. 40).
Judd resumed work on the box objects in the 1980s and 1990s, combining them with metal tubes, one of his preferred work materials. The previous opening in the cuboid was now visibly closed or even vaulted upwards in the space by unpainted tubes, creating completely new references through the dichotomy of the materials.





Donald Judd
Half Solid Tube Piece

Sperrholz, rot gefasst, und Aluminium 50 x 115 x 77 cm. - Mit geringfügigen Altersspuren.

Mit beiliegender Bestätigung der Authentizität der vorliegenden Arbeit von Rolf Ricke, Köln, vom 12.04.1997.

Provenienz
Galerie Rolf Ricke, Köln; Privatsammlung, Nordrhein-Westfalen

Ausstellungen
Köln 1991 (Galerie Rolf Ricke), Donald Judd

Die Arbeit mit großen kastenförmigen Objekten aus Sperrholz beginnt Donald Judd Anfang der 1960er Jahre. Durch die Platzierung direkt auf dem Boden besitzen sie einen unmittelbaren Bezug zu dem umgebenden Raum und werden durch einen halbröhrenförmigen Einschnitt an der Oberseite in ihrer Blockhaftigkeit aufgebrochen. Sie sind vollständig in kadmiumroter Farbe gestrichen - ein Farbton, dem der Künstler eine besondere Bedeutung beimisst. Das helle, leuchtende Rot ist nach seiner Ansicht nach die einzige Farbe, die die realen Dimensionen und die scharfkantigen Konturen der kubischen Objekte präzise sichtbar macht.
Für Judd, der seine künstlerische Laufbahn als Maler beginnt, markieren diese hölzernen Kastenobjekte einen entscheidenden Schritt von der Zwei- zur Dreidimensionalität. „Als Judd zu der Überzeugung gelangte, dass acht Ecken eines Werks auf dem Boden bedeutender waren als vier an der Wand und dass rote Farbe auf einem Objekt interessanter sei als ein Kontrast aus drei Tönen, war der Schritt in Richtung des ganzen Raums getan. Die Box eröffnete ihm, wie er fand, eine so große Zahl neuer Möglichkeiten, dass er von nun an keine wöchentliche Krise mehr zu meistern hatte“, beschreibt Thomas Kellein diese völlig neue Ausrichtung. „Das Werk blieb immer forsch und direkt, eine Aufgabe für den Betrachter, an jedem Ding die sprichwörtlichen zwei Seiten zu suchen.“ (Thomas Kellein, in: Ausst.Kat. Donald Judd, Das Frühwerk, Bielefeld/Houston 2002/03, S. 40).
In den 1980er und 1990er Jahren nimmt Judd die Arbeit an den Kastenobjekten wieder auf und kombiniert sie mit Röhren aus Metall, einem seiner bevorzugten Werkstoffe. Die vorhergehende Öffnung des Kubus' wird durch die unlackierten Röhren nun deutlich sichtbar verschlossen oder sogar nach oben in den Raum aufgewölbt, was durch die Gegensätzlichkeit der Materialien ganz neue Bezüge herstellt.





Donald Judd
Half Solid Tube Piece

Plywood, painted red, and aluminium 50 x 115 x 77 cm. - Minor traces of age.

With accompanying confirmation of the authenticity of the present work by Rolf Ricke, Cologne, dated 12.04.1997

Provenance
Galerie Rolf Ricke, Cologne; private collection, North Rhine-Westphalia

Exhibitions
Cologne 1991 (Galerie Rolf Ricke), Donald Judd

Donald Judd began working with large box-shaped objects made of plywood at the beginning of the 1960s. By being placed directly on the ground, they formed a direct connection to the surrounding space, their block-like character broken open by a half pipe-shaped opening on the top. They are painted entirely with cadmium red - a colour tone to which the artist attributed particular importance. According to the artist, the light, bright red is the only colour which makes the real dimensions and the sharp-edged contours of the cubic objects precisely visible.
Having begun his artistic career as a painter, these wooden box-objects mark a deciding step from two to three-dimensionality. “When Judd came to the conclusion that eight corners of a work on the floor were more important than four on the wall, and that red colour on an object is more interesting as a contrast of three tones, the step in the direction of the whole room was taken. He found that the Box opened up many new possibilities, so that he no longer had to master a weekly crisis”, Thomas Kellein described the completely new orientation. “The work always remains brisk and direct, a task for the viewer to look for the proverbial two sides to everything.” (Thomas Kellein, in: Exhib.cat. Donald Judd, Das Frühwerk, Bielefeld/Houston 2002/03, p. 40).
Judd resumed work on the box objects in the 1980s and 1990s, combining them with metal tubes, one of his preferred work materials. The previous opening in the cuboid was now visibly closed or even vaulted upwards in the space by unpainted tubes, creating completely new references through the dichotomy of the materials.




Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Conditions of sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Commercial Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.
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7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid, especially when the bidder cannot be successfully identified in terms of § 1 para. 3 GWG. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence. Further information can be found in our privacy policy at www.lempertz.com/ datenschutzerklärung.html
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400,000 a premium of 25 % calculated on the hammer price plus 16 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an R, the buyer shall pay the statutory VAT of 16 % on the hammer price and the buyer’s premium (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or deceased for less than 70 years (§ 64 UrhG), a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. For payments which amount to EUR 10,000.00 or more, Lempertz is obliged to make a copy of the photo ID of the buyer according to §3 of the German Money Laundry Act (GWG). This applies also to cases in which payments of EUR 10,000.00 or more are being made for more than one invoice. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate. The transfer is subject to successful identification (§ 1 para. 3 GWG) of the bidder and of the person to whom the invoice is transferred. Invoices will only be issued to those persons actually responsible for settling the invoices.
11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages instead of performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
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Henrik Hanstein, sworn public auctioneer

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