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PER KIRKEBY (1938-2018)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE DANISH COLLECTION
PER KIRKEBY (1938-2018)

Ohne Titel (Untitled)

Details
PER KIRKEBY (1938-2018)
Ohne Titel (Untitled)
signed and dated 'PER KIRKEBY 1968' (on the reverse)
oil, enamel and graphite on masonite
48 x 48in. (122 x 122cm.)
Executed in 1968
Provenance
Jysk Kunstgalerie, Copenhagen.
Acquired from the above by the present owner in 1968.
Literature
Per Kirkeby, exh. cat., Munich, Kunstraum Münich, 1978 (installation view of Fyns Stiftsmuseum illustrated, p. 21).
A. Hejlskov Larsen, 'Per Kirkebys landskaber', in Louisiana Revy, June 1990, no. 3, fig 4 (illustrated in colour, p. 11).
A. Hejlskov Larden, Per Kirkeby Paintings 1957-1977, Cologne 2004, pp. 71, 334, 414 and 422, no. M 186 (illustrated in colour, pp. 70 and 278; installation view of Fyns Stiftsmuseum illustrated, p. 391).
Exhibited
Denmark, Fyns Stiftsmuseum, Per Kirkeby, 1968, no. 14.
Cologne, Museum Ludwig, Per Kirkeby: Retrospektive, 1987, p. 157, no. 14 (illustrated, p. 66).
New York, Michael Werner, Per Kirkeby: Works from the Sixties, 1994-1995.
Cologne, Michael Werner, Per Kirkeby: Early Works, 1995, no. 7.
London, Tate Modern, Per Kirkeby, 2009-2010, p. 160 (illustrated in colour, p. 67).
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 of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Post Lot Text
We thank Ane Hejlskov Larsen for the information she has kindly provided on this work.

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Anna Touzin
Anna Touzin Specialist, Head of Day Sale

Lot essay

A chorus of colour flickers against a diaphanous white in Per Kirkeby’s Ohne Titel (Untitled), a rare early painting by the Danish artist. Central to the semi-abstracted composition is a singular vertical form, a gesture to Tibetan stupas—or the structures in which the ashes of the Lama are housed—as depicted by the Belgian cartoonist Hergé; his cover for Tintin au Tibet directly inspired the present work. As in Herge’s image, Kirkeby’s stupa too stands within an ovoid background, inset within the larger painting; in Untitled, the sky has been rendered in a vivid green. Against a multicoloured ground, Untitled contains two skies, and thus two worlds, a means of reinforcing a multivalent and at times deceptive sense of reality. Kirkeby has used the geological term ‘sedimentation’ to describe his practice of laying paint, which here seems to speak as much to his chromatic accretions as it does to the mutable nature of temporality (P. Kirkeby and A. Schnack (eds.), Writings on Art, Putnam 2012, p.76).

image
Installation view of Per Kirkeby’s exhibition at the Fyns Stiftsmuseum, Odense, 1978. Present lot illustrated. Artwork: © Per Kirkeby. Photo: Fyns Stifsmuseum 1968.

Created in 1968, and held in the same private collection since that year, Ohne Titel has featured in major retrospectives of Kirkeby’s work at the Museum Ludwig, Cologne (1987) and the Tate Modern, London (2009-2010), among others. The work is part of the series that Kirkeby began in 1967 in which he painted on board, a material he began using while still a student at Copenhagen’s avant-garde art school Eks-Skolen. As opposed to canvas, board offered Kirkeby a means of critiquing art history by collapsing the divide between high and low cultural materials. This choice would come to influence his celebrated blackboard paintings, and he would return to the format throughout his career.

Lot Essay Header Image: Present lot illustrated (detail).

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