Nolden/H – Fine Art is offering works from the following artists:

Ai Weiwei

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Roh, kraftvoll, expressiv, kühn – seit fünfzig Jahren lässt sich das weltweit einflussreiche Werk von Georg Baselitz (* 23. Januar 1938 in Deutschbaselitz, Sachsen; † 30. April 2026;) mit diesen Begriffen kennzeichnen. Mit sexuellen Themen erzielte er in den 1960er-Jahren die ersten Skandalerfolge. Auch seine späteren Heldenbilder sind Werke des Aufbruchs, Aktualisierungen des klassischen Figurenstücks. Baselitz’ Frakturbilder und schließlich seine weltbekannten »auf dem Kopf stehenden« Gemälde erlaubten ihm die Lösung von der Darstellung von Inhalten. In seiner Serie Remix unterzieht der Künstler wichtige Motive seiner künstlerischen Entwicklung einer gelösten und virtuosen Neuinterpretation.

Georg Baselitz, geb. als Hans-Georg Kern am 23. Januar 1938, in Deutschbaselitz in Sachsen, zählt zu den wichtigsten Künstlern der Gegenwart. Er lebt und arbeitet heute am Ammersee (Bayern) und in Imperia (Ligurien). Baselitz prägte mit seinen Werken, die sich im Spannungsfeld der Rezeption des Deutschen Expressionismus einerseits und der Leichtigkeit amerikanischer Malerei (Jackson Pollock, Willem de Kooning) andererseits entwickelte, die internationale Kunst seit 1960. Seine, die deutsche Vergangenheit thematisierenden Heldenbilder, Fingermalereien, Fraktur-, und Russen-Bilder sind weltweit in so gut wie allen renommierten Museumssammlungen vertreten. Baselitz’ Prämisse der Darstellung des Malerischen vor dem Inhaltlichen demonstrierte der Künstler, indem er seine Werke seit den späten 1960er Jahren ostentativ auf den Kopf stellte. Das Ergebnis ist eine einzigartige Gleichzeitigkeit von Figuration und Abstraktion. Der Drang nach permanenten Wandel und Veränderung ist auch in seinem Spätwerk zu spüren. Seit 2006 entstehen die sogenannten Remix-Bilder, in denen er in einer nie dagewesenen Leichtigkeit die Ikonographie seiner eigenen historischen Werke neu befragt.

Einfluss hatte seine Malerei auf die „Jungen Wilden“ der achtziger Jahre, die sich ausdrücklich auf ihn bezogen. Nicht zuletzt aufgrund der eigenen Biografie befasste sich Baselitz wie kein anderer Künstler seiner Generation mit der Geschichte der Deutschen. Im Sommer ´89 stellt Baselitz die 20-teilige Arbeit »45« fertig. Dieses Hauptwerk zur deutschen Geschichte nimmt ein nicht nur in der Erinnerung des Künstlers prägendes Ereignis auf: die Zerstörung von Dresden und das Ende des Zweiten Weltkrieges.

1977 wurde er an die Staatliche Akademie der Bildenden Künste in Karlsruhe berufen, wo er ein Jahr später die Professur antrat. 1980 gestaltete er den deutschen Pavillon der Biennale in Venedig. In den Jahren 1972, 1977 und 1982 nahm er an der documenta 5, 6 und 7 in Kassel teil. 1983 wechselte er an die Kunstakademie. 1989 folgte die Verleihung der Medaille eines “Chevalier de l’Ordre des Arts et des Lettres” durch den französischen Kulturministers Jack Lang. Er hatte unzählige Ausstellungen in bedeutenden Kunstzentren, unter anderem 1983, 1984 und 1991 im Museum of Modern Art in New York und 1995 wurde eine Retrospektive im Guggenheim Museum in New York gezeigt. Während der 56. Biennale in Venedig 2015 werden im Rahmen der Ausstellung All The World´s Futures werden acht Gemälde seiner Avignon Serie gezeigt.

Schon früh entdeckte er die Druckgraphik, die ersten Radierungen entstanden im Jahr 1964. Fortan experimentierte er mit den verschiedensten Techniken wie der Kaltnadelradierung, der Aquatinta, später mit Holz- und Linolschnitt, lotete die spezifischen Bedingungen dieser künstlerischen Ausdrucksformen aus und entwickelte ein ganz eigenständiges Werk auf Papier, den für Baselitz so wesentlichen Schaffensbereich.

Georg Baselitz: Hirte, 2006-2007, Farbholzschnitt, signiert, nummeriert, lim. Auflage 25 Exemplare. Format: 97,5 x 65,5 cm. Preis hier anfragen!

Georg Baselitz: Mantel, 2006-2007, Farbholzschnitt, signiert, nummeriert, lim. Auflage 25 Exemplare. Format: 97,5 x 65,5 cm. Preis hier anfragen!

Georg Baselitz: Der Hirte (Remix), 2006, Aquatinta und Kaltnadel, signiert, nummeriert, lim. Auflage 20 Exemplare, hier: e.a., Format: 85 x 65 cm. Preis hier anfragen!

Georg Baselitz: Ich höre Stimmen, 2015, Aquatinta und Kaltnadel auf schwarz gefärbten Somerset 300 , signiert, nummeriert, lim. Auflage 10 Exemplare, hier: e.a., Format: 85 x 65 cm. Preis hier anfragen!

Georg Baselitz: Vier Spitzen, 2002, Aquatinta und Kaltnadel, signiert, nummeriert, Format: 75,5 x 57 cm, lim. Auflage 18 Exemplare. Preis hier anfragen!

About Nobuyoshi Araki

Nobuyoshi Araki (Tokyo, 1940) is Japan’s most famous photographer, and one of photography’s most prolific bookmakers, Nobuyoshi Araki is notorious for his erotic photographs of women in bondage. Japanese bondage, ‘Kinbaku-bi’ means the beauty of tight binding, and is the Japanese art of erotic bondage which differs from western bondage in its orchestration of knots and binding to arouse specific points upon the body, offers visual as well as erotic rewards that Araki has scrutinized with great zeal. Araki is able to bestow eroticism upon all manner of natural imagery, but is also celebrated for series such as Sentimental Journey and Winter Journey, which record his marriage and the death of his wife. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project “Satchin” earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage, flowers, food, his cat, faces and Tokyo street scenes. His solo exhibitions include “Araki”,  Musée National des Arts Asiatiques Guimet, Paris (2016); “Ōjō Shashū: Photography for the Afterlife – Faces, Skyscapes, Roards”, Toyota Municipal Museum of Art (2014); “Nobuyoshi Araki Photobook Exhibition: Arākī”, IZU PHOTO MUSEUM, Shizuoka (2012); “NOBUYOSHI ARAKI: Self, Life, Death”, The Barbican Art Gallery, London (2005); “Hana- Jinsei”, Tokyo Metropolitan Museum of Photography (2003); “Tokyo Still Life”, Ikon Gallery, Birmingham (2001); “Nobuyoshi Araki”, Stedelijk Museum voor Actuele Kunst, Gent (2000); “ARAKI Nobuyoshi Sentimental Photography, Sentimental Life”, Museum of Contemporary Art, Tokyo (1999); “Tokyo Comedy”, Wiener Secession, Vienna (1997); “Journal intime”, Fondation Cartier pour l’art contemporain, Paris (1995); “Akt-Tokyo: Nobuyoshi Araki 1971-1991″, Forum Stadtpark, Graz (1992). Araki was a recipient of the Austrian Decoration of Honor for Science and Arts (2008) and the 54th Mainichi Art Award (2012).

More Artwork by Nobuyoshi Araki

Nobuyoshi Araki: ‘Kinbaku [Bondage]’, 1993, Gelatin silver print, printed later size: 39,5 x 31,6 cm, en verso signed in pencil © Nobuyoshi Araki. Price upon request

Nobuyoshi Araki: ‘Megumi Kagurazaka (Japanese actress )’, 2014, Silver gelatin print, signed, numbered en verso, edition of 10, size: 110 x 140 cm and other sizes. Price upon request

Nobuyoshi Araki: ‘Megumi Kagurazaka (Japanese actress ) I’, 2014, Silver gelatin print, signed, numbered en verso, edition of 10, size: 110 x 140 cm and other sizes. Price upon request

Nobuyoshi Araki: ‘Megumi Kagurazaka (Japanese actress )V’, 2014, Silver gelatin print, signed, numbered en verso, edition of 10, size: 110 x 140 cm and other sizes. Price upon request

Nobuyoshi Araki: ‘Painting’, 2010, Acrylic on black / white photography, unique, size: 35.6 x 43.2 cm / 14 x 17 inches. Price upon request

Nobuyoshi Araki: ‘From the Series Bondage’, 1997, Color metallic print, signed numbered, edition of 10, size: 61 x 50.8 cm / 24 x 20 in. Price upon request

Nobuyoshi Araki: ‘Ohne Titel’, 1991, C-Print, signed numbered, edition 0f 10, size: 41 x 34 cm. Price upon request

Nobuyoshi Araki: ‘Bodyscapes’, 1997, Gelatin silver print, signed numbered, edition 0f 10, size: 46 x 57 cm / 18 1/8 x 22 1/2 inch. Price upon request

Robert Capa: “Picasso und Françoise Gilot”, France, French Riviera, 1951, Magnum Estate stamped and numbered Editions Poster, lim. edition of 100, Offset print 150gsm premium paper, 18 x 24 in / 45,7 x 61 cm. Price € 385.- incl. and shipping within Europe.  Order here! 

This photo shows Françoise Gilot – who married Picasso in 1943 and lived with him for 10 years – Pablo Picasso and Javier Vilato (a nephew of Picasso). The photo was taken by Robert Capa on the beach of Golfe-Juan, France, Cote d’Azur, in 1951.

Literatur: Robert Capa, The Collection, by Richard Whelan, Berlin, 2001, pic. No. 798 – Robert Capa, Retrospektive, published by Laure Beaumont-Maillet, Berlin 2005, page 237.

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also available size: 50 x 70 cm, price € 285.-.

Prices incl. taxes plus shipping. Order here! 

About the Artist

Nyssa Sharp, an emerging artist living in Sydney, Australia. Nyssa creates stunningly powerful portraits that focus on the expression of the inner female attitude and dialogue.

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Georg Baselitz: Der Hirte (Shepherd) (Remix), 2006, aquatint and drypoint, signed, numbered, limited edition 20 copies, here: e.a., size: 85 x 65 cm. Ask for price !

About Georg Baselitz

Painter, sculptor, printmaker and draughtsman, Georg Baselitz (* 23. Januar 1938  † 30. April 2026) was one of Germany’s most celebrated living artists, with a distinguished career spanning over fifty years. Born Hans-Georg Kern in 1938, he grew up in Saxony, an area that later became East Germany. Whilst studying painting at the Academy of Art in East Berlin (1956) he was sent down after one year for ‚political immaturity‘.He then applied at the Academy in West Berlin and moved there in 1958, completing his studies in 1962. During this period he adopted the surname Baselitz, reflecting his place of birth Deutschbaselitz. In searching for alternatives to the strongly narrative art of Social Realism and abstract painting, he became interested in art considered to be outside of the mainstream of Modernism. He began to look to Ferdinand v. Rayski, Michail Wrubel amomgst others and imagery that was rooted in the Art Brut. He was also inspired by Existentialist art and literature (Fautrier, Beckett, Ionesco, Artaud), by Dada (Schwitters, Picabia) and the works of the German authors Nietzsche and Gottfried Benn.

Baselitz’s first solo exhibition in 1963 at Galerie Werner & Katz, Berlin, caused a public scandal and several paintings were confiscated by the German authorities claiming that they were publicly indecent. Among them Die grosse Nacht im Eimer (‘The Big Night Down the Drain’), which depicted a masturbating dwarf-like figure. By the mid-1960s, Baselitz embarked on a series of paintings depicting monumental male figures, which he described as Rebels, Shepherds or New Types (‘Ein neuer Typ’). Viewed within the Romantic tradition, the rebel (or hero/partisan) is often regarded as an outsider associated with the figure of the artist. These paintings are often termed as the ‘Hero’ (‘Helden’) series and were prompted after Baselitz’s scholarship in Florence in 1965, where he became interested in Italian Mannerist prints. Baselitz depicted his figures located within mythical, ruined landscapes, each with symbolic attributes to identify their individual characters, such as army boots, knapsacks or uniform jackets, often with exaggerated and exposed sexual organs. The lone figure as a prophet or saint also alludes to home coming soldiers stumbling, dazed, through battle-scarred post-war Germany.

The ‘Fracture’ paintings of the late 1960s revealed Baselitz’s keen interest in forests and trees (and the motifs that have historically been associated with them, with rural landscapes peopled with woodsmen and hunters). They were divided into segments so that the imagery could be reorganised pictorially. In 1969, he decided to create and display work upside down in order to re-focus the viewer on the pure pictorial merits of the painting. By attempting to overcome the representational, content-driven character of his earlier work, this also enabled him to emphasise the qualities of the composition independently from the motif.

By the late 1970s, he was making monumental sculptures of figures and heads with rudimentary and deliberately irregular forms. He used wood, he said, because “it enables avoidance of any attractiveness of form, any craft or elegance … objects in wood are unique, simple, unpretentious”. Having spent most of the early 1970s apparently working outside the mainstream, dominated at the time by Conceptual Art practice, by the 1980s he had established his international reputation (cemented by exhibitions such as the Venice Biennale in 1980 and ‘A New Spirit in Painting’ in 1981). During the 1980s and early 1990s, the canvases became denser and more heavily worked, and subject matter returned to play a greater role. He began introducing motifs from Slavic folk art, sometimes combining motifs with figures of family members taken from old photographs. The styles of German Romanticism inspired his more recent work and he even addressed works created in the Socialist Realism of Stalin’s era (which he rejected so forcefully at the beginning of his career). In 2005 Baselitz introduced the ‘Remix’ in his work, in which he has returned to key phases of his own art history (including ‘ The Big Night Down the Drain’ and ‘The Great Friends’) and made new versions of his work. They are painted intuitively, with quick and spontaneous flashes of bright, transparent colour. References to the Nazi leader Hitler, which in the earlier works had been more ambiguous, are more directly emphasised. These works have allowed Baselitz to revisit and excavate the past, pushing his own painterly vocabulary to create works that are fresh and liberated. Georg Baselitz lives and works in Basel, Switzerland, at lake Ammersee, Germany and in Imperia, Italy.

Georg Baselitz: Rebell, Offset print, 2016, based on the oil painting of the same name in 1965, size: 70 x 100 cm © Georg Baselitz 2016. Tate London 2015. Photo Fredrich Rosentiel. Price 795.-EUR. Order here!  

Georg Baselitz: Vier Spitzen 2002, Etching and Aquatint, edition of 18, size: 75,5 x 57 cm, signed and numbered. Ask for price !

Georg Baselitz: Ich höre Stimmen (I hear voices), 2015, aquatint and drypoint on black coloured Somerset 300 g/m² , signed, numbered, lim. edition 10 copies, here: e.a., size: 85 x 65 cm. Ask for price !

Georg Baselitz: Hirte, 2006-2007, Colour woodcut, signed, numbered, limited edition of 25 copies. Size: 97,5 x 65,5 cm. Ask for price !

Georg Baselitz: Mantel (coat), 2006-2007, Colour woodcut, signed, numbered, limited edition of 25 copies. Size: 97,5 x 65,5 cm. Ask for price !

About the Artist

George Hoyningen-Huene (1900 – 1968). Born in a Russian aristocratic family, George Hoyningen-Huene fled the Revolution and settled in Paris where he would soon become a prominent photographer for French Vogue, from 1925. In the mid 1930s, he moved to New York where he collaborated with Harper’s Bazaar before establishing himself in Hollywood in the early 1940s. With his flawless poses and settings alongside a mastering of light and shadows, the Russian photographer marked the interwar years with his elegant portraits influenced by those of Edward Steichen and Greek sculptures. Nonetheless, he introduced a sense of surrealism to his images with the use of incongruous objects, artistic blow-up backgrounds, giant hands or horse heads mingled with classical columns while he became the first to capture his models from above to resemble Greek friezes. After World War II, George Hoyningen-Huene gave up fashion photography concluding that elegance had ended with the destruction of much of Europe and thus adapted his sophisticated touch to cinema stars.

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See more famous photo artists of this time: Man Ray

Andreas Gursky: „F1 Pitstop “, Offsetprint, Official Exhibition Poster, condition as delivered from the printer, size: 40 x 120 cm, (15 ¾ x 47 ¼ inches), produced exclusively for the Exhibition “Andreas Gursky” in New York, 2007. Literature: Thomas Weski, Don deLilo: Andreas Gursky, 2007. Price upon request.

About this Artwork

F1 Pitstop, 2007, features four monumental images. Brilliant colors and compositional arrangement codify the flurry of organized but frantic activity of a Formula One pit row. The pit crews, placed underneath a long row of spectators, give the photographs a serene, tranquil balance despite the intense, frenzied event. The result is a typical Gursky effect, a detached aesthetic view of a spectacle that manages to retain its visual stability.

About Andreas Gursky

The big, bold, seductive and surprising color photographs of German photographer Andreas Gursky (* 1955) set forth a stunning image of our contemporary world of high-tech industry, international markets, big-time sports, fast-paced tourism and slick commerce. Tracking the zeitgeist from his native Germany to such far-flung places as Hong Kong, Brasilia, Cairo, New York, Shanghai, Stockholm, Tokyo, Paris, Singapore and Los Angeles, Gursky has earned acclaim at the leading edge of contemporary art with a polished signature style that draws upon a great diversity of ideas, precedents and techniques.

Details from Andreas Gursky: „F1 Pistop“, Offsetprint:

Bernd and Hilla Becher: Water tower, Toledo, Ohio (1978), 1989, offset lithograph. printed on high quality “Satimatt” paper (250g/sqm) at Arjomari, Paris, overall size 38 x 28,5 cm, image size: 32 x 22 cm, from the series Schirmer Mosel, 15 years, jubilee folder, unsigned, certified in print upper right and lower centre (recto). Best condition. Price € 195.- Order here!

About Bernd and Hilla Becher

Bernd Becher (* 1931 – † 2007) und Hilla Becher (* 1934 – 2015)  lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work at once conceptual art, typological study, and topological documentation has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. Their work can be linked to the Neue Sachlichkeit movement of the 1920s and to such masters of German photography as Karl Blossfeldt, August Sander, and Albert Renger-Patzsch. Their photographs of industrial structures, taken over the course of forty years, are the most important body of work in independent objective photography. The functionalist and aesthetic dimensions of the Bechers’ subject matter, their typologizing which she is reminiscent of nineteenth-century naturalists’ classificatory schemes, and the anonymous industrial building style favored by German architects, have influence a whole generation. The Becher’s show that industrial building types impose themselves on our consciousness as the cathedral did on that of the Middle Ages, and that the Bechers’ photographs which seem at first glance only to record a vanishing landscape serve to examine this shaping of our perceptions. Their work provides us with a rare opportunity to see how we see.

More Artwork by Bernd and Hilla Becher

Bernd and Hilla Becher: ‘Wassertürme (Water Towers)’, 2007, offset print 250 g/m², from the series Typologies, size: 70 x 70 cm (27 ½ x 27 1/2″). Publisher: Kunstsammlung Nordrhein-Westfalen Düsseldorf / Kunstverlag Achenbach + Costa, Düsseldorf. Price € 380,- Order here !

Bernd and Hilla Becher: ‘Zwei Fördertürme 1967 / 2004’, 2 pigment prints on photo rag paper, 75 x 60,5 cm (29½ x 23¾ in.) ea., signed, numbered, edition of 60. SOLD

Bernd and Hilla Becher: ‘Wassertürme (Water Towers)’, 2007, Image IV from Typologies, Digital pigment print (Ditone) on photo paper, size: 90 x 112 cm (35½ x 44″). Edition of 40, signed “B. + H. Becher” by Hilla Becher and numbered on verso. Price upon request

Bernd und Hilla Becher: ‘Walls and Conduits’, 1991, Lithograph, signed, numbered, edition of 100, size: 63 x 50 cm. SOLD.

Bernd und Hilla Becher: ‘Wasserturm Trier-Ehrang’, 1982 / 2009, silver gelatine print, signed. numbered, edition of 100, size: 18.5 x 24 cm, plus free book Bernd & Hilla Becher: Grundformen/Formes élémentaires / Basc Forms. Price upon request

Bernd and Hilla Becher: Four Silos, Offset print on Chromolux, handsigned, lim. edition of 100, 80 x 65 cm / Vier Silos, Farboffset auf Chromolux, limitiert, handsigniert by Bernd Becher, lim. Auflage 100 Ex. Size: 80 x 65 cm.  Price upon request

Bernd and Hilla Becher: ‘Coal Mine, Pipe, Detail’, 1990-1991, Lithograph, signed, numbered en verso, edition of 75, size:  77.2 × 58.1 cm – 30 3/8 × 22 7/8 in. Price upon request

Bernd and Hilla Becher: ‘Gasbehälter (Gas Tanks)’, 2009, Image VII from Typologies, Digital pigment print (Ditone) on photo paper, size: 90 x 112 cm (35½ x 44″). Edition of 40, signed “B. + H. Becher” on label verso by H. Becher, numbered. Price upon request

Bernd und Hilla Becher: ‘Aufbereitungsanlagen (Preparation Plants)’, 2009, Image VI from Typologies, Digital pigment print (Ditone) on photo paper, size: 90 x 110 cm (35½ x 43¼”). Edition of 40, signed “B. + H. Becher” on verso by H. Becher, numbered.  Price upon request

Bernd and Hilla Becher: ‘Kies- und Schotterwerke (Gravel Plants)’, 2006, Image III from Typologies Digital pigment print (Ditone) on photo paper, size: 90 x 112 cm (35½ x 44″). Edition of 40, signed and numbered on verso. Price upon request

Bernd and Hilla Becher, Coal Storage Tower, (Grube Eschweiler Reserve), Four views on one sheet. Offset lithograph on light cardboard, handsigned,  55 x 41cm (60 x 45cm). Signed and numbered. Lim. edition of 100 copies. SOLD

Bernd and Hilla Becher: Silo Kühltürme (Silo, Cooling Towers), 1971, Offsetprint, size: 54,5 x 60 cm, handsigned with pencil and dated, Edition Griffelkunst, Hamburg (185 C1), elaborately framed for museum use (white wooden strip, passepartout, UV protection glass). SOLD.

Bernd and Hilla Becher: Anonyme Skulpturen (Anonymous sculptures), 1973, Limited edition of 80, size: 86 x 61,5 cm, Letterpress printing on art cardboard, signed and numbered.

Bernd and Hilla Becher Hochöfen (Blast Furnace), 1971, lithograph, edition of 300, handsigned, numbered, elaborately framed for museum use (white wooden strip, passepartout, UV protection glass). SOLD.

Bernd and Hilla Becher: ‚Wasserturm Kirkhamgate, Leeds – England‘, 1976, Pigment print on Chomalux Photopaper, title on front, signed, dated numbered en verso. Size picture: 40 x 30 cm, size paper: 52 x 40 cm. SOLD.

Bernd and Hilla Becher: ‘Monceau Fontaine Nr. 18, Charleroi, Belgium’, 1975, original black and white gelatin silver print (7 1/8 x 9 3/4), (print 2002), numbered and signed in pencil on verso by Bernd Becher and Hilla Becher, print edition 100, including the photo book ‘Industrielandschaften’ by Schirmer and Mosel, Munich, first edition, first printing, print and slipcase mint, new, unread. Limited slipcased edition of 100 hand-numbered copies, book in hardcover with dust jacket. 272 pages, size: 315 x 255 mm (9 3/4 x 12 inches) with 180 duotone plates. Photographs by Bernd and Hilla Becher. German Text. SOLD

Bernd and Hilla Becher: “Wasserturm Mannheim“, 1976, Lithograph, signed, dated, numbered en verso, titled on front, picture size: 42,6 x 31,5 cm, total size: 51,8 x 39,9 cm, Publisher: Griffelkunst-Vereinigung, Hamburg 1976.  SOLD.

Bernd und Hilla Becher: “Wasserturm Viviers, Belgien“ 1976, original photo on chromolux photocarton, signed and dated en verso, titled on front : Wasserturm Verviers Belgien, picture size: 43 x 32,2 cm, total size: 51,8 x 40 cm.  SOLD.

Bernd und Hilla Becher: ‘Sechs Wassertürme’, 1976, Set of 6 offset lithographs, each print size: 52 x 40 cm / (20½ x 15¾”), each signed en verso. Artist´s proof in addition to an edition of 385. SOLD.

Bernd and Hilla Becher: ‘Framework Houses’, 1993, duotone offset print, Siegener Industriegebiet, (Industrial Area, Siegen), signed, numbered en verso, edition of 100, size: 194 x 208 cm. SOLD.

Bernd & Hilla Becher: “Fachwerkhäuser (Framework Houses)“, 1993/2003, offset print, industrial zone Siegen, Germany, 1993, Blattformat: 70 x 70 cm.  (27 ½ x 27 1/2″). SOLD.

Bernd und Hilla Becher: ‘Fachwerkhäuser (Framework Houses)’, 1993,  Siegener Industriegebiet, (Industrial Area, Siegen), Portfolio of 12 duotone offset prints, each print size: 63 x 50 cm, (24¾ x 19¾ in.), each signed and numbered. Edition of 50. SOLD.

Gerhard Richter: “Lesende (Reader)”, offset print after the oil painting of  the same title from 1994, Catalog Raisonné: 804, unsigned, picture size: 50.8 x 35.8 cm, sheet size: 71 x 55.9 cm. SOLD.

“Reader” is one of Richter’s paintings which was created based on one of his own photographs and therefore is categorized as ‘Fotobild’, photo image. The portrait of the reader shows one of Richter’s portraits in profile, Sabine Moritz, who Richter married in 1995. We look at a female figure facing to the left, whose face is easily recognizable as she wears her blonde hair tied in a braid. She holds a newspaper or rather a magazine in both hands. The reader conveys a certain calmness, which is produced by her lowered gaze and by the closed form of their posture. Remarkable is also the unusual lighting in this painting. As the background in a darkened red appears relatively calm, nothing does distract from the main character of the reader.

The brightest spot in the painting is the illuminated neck of the blonde woman.

Thus the reader is clearly moved into the centre of attention. Our viewing direction is predetermined by this spotlight-like illumination. This puts the viewer into a kind of circular motion: First you take the brightest spot in the picture – the neck of the reader – then you look further to her face, then we come to her eyes before going further to the magazine and back to the concentrated facial expression of the “Reader”.

See all our Gerhhard Richter offers here!