Günther Förg (1952-2013)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Günther Förg (1952-2013)


Günther Förg (1952-2013)
signed, dated and inscribed 'Forg 93 9/93' (on the reverse)
acrylic and lead on wood
43 ¼ x 35 ½in. (109.9 x 90.2cm.)
Executed in 1993
Galerie Fahnemann, Berlin.
Private Collection.
Anon. sale, Phillips New York, 10 November 2015, lot 124.
Acquired at the above sale by the present owner.
Berlin, Galerie Fahnemann, Günther Förg, 1994.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Post lot text
The work is recorded in the Günther Förg archive with the number WVF.93.B.0131.
We are most grateful to Mr. Michael Neff from the Estate of Günther Förg for the information he has kindly provided.
Sale room notice
Please note this work is recorded in the Günther Förg archive with the number WVF.93.B.0131.

Brought to you by

Paola Saracino Fendi
Paola Saracino Fendi

Lot Essay

Divided into unequal sections of teal and burnt orange, Untitled, 1993, is a magnificent example of Günther Förg’s celebrated alchemy. Characteristically manipulating the caustic reaction of acrylic on a lead ground, Förg experimented with patinas to create veils of transcendent colour. ‘I like very much the qualities of lead’, Förg professed, ‘the surface, the heaviness. Some of the paintings were completely painted, and you only experience the lead at the edges; this gives the painting a very heavy feeling - it gives the colour a different density and weight…I like to react on things, with the normal canvas you often have to kill the ground, give it something to react against. With the metals, you already have something - its scratches, scrapes’ (G. Förg, quoted in D. Ryan, Talking Painting, Karlsruhe, 1997, http://www.david-ryan.co.uk/Gunther%20Forg.html). Rife with surface variations and contradictions that emerge as a result of the application of acrylic, Förg’s painting is a direct challenge to the conception of a flat pictorial plane. Indeed, tactility was of upmost importance to the artist, who believed in the ‘sensual’ quality of painting (G. Förg, quoted in D. Ryan, Talking Painting, Karlsruhe 1997). Untitled is undeniably physical, and Förg has created an incandescent surface of visceral colour.

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