Georg Herold (b. 1947)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A GERMAN FOUNDATION
Georg Herold (b. 1947)

Untitled

Details
Georg Herold (b. 1947)
Untitled
signed and dated 'Herold 89' (on the reverse); signed and dated 'Herold 89' (on the stretcher)
caviar and resin on canvas
170 x 149cm.
Executed in 1989
Literature
Geld spielt keine Rolle. Georg Herold, exh. cat., Kölnischer Kunstverein, Cologne, 1990, no. 21 (illustrated).
Passioniert Provokativ. Die Sammlung Stoffel, exh. cat., Pinakothek der Moderne, Munich, 2008, p. 348, no. 99.
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.
Please note that at our discretion some lots may be moved immediately after the sale to our third party storage facility at Crown Fine Arts, Gyroscoopweg 19, 1042 AC Amsterdam, Tel +31(0)20 658 33 80 or Fax +31(0)20 658 33 99.

Brought to you by

Lisa Snijders
Lisa Snijders

Lot Essay

Georg Herold has worked with caviar since the mid-1980s. In works like Untitled (1989), he undercuts the material’s associations of luxury and decadence by presenting inchoate abstract forms, hinting at geographic or galactic formation, reducing the caviar back to its biological essence: these are eggs, the cellular ingredients for new life and growth. Fixed in time with lacquer, this precious but perishable material takes on the sepia sheen of an Old Master painting, the antiqued brown tone of the Turin Shroud. For a number of years Herold intensely studied the work of Renaissance artist Albrecht Dürer, whose influence can be felt in these hints of grandeur, Gothicism and mortality. Elsewhere he has used caviar to fashion portraits of such figures as Barry White, Donald Trump, Yasser Arafat and Charles de Gaulle, numbering each individual egg obsessively in minute script. The result is a cataclysm of Pop image and grotesque decadence, natural product and artificial idolatry, an elemental raw ingredient making an ironic mockery of Arte Povera in its trappings of conspicuous consumption. One of Germany’s most influential artists, Herold studied under Sigmar Polke in the 1970s and rose to prominence alongside Martin Kippenberger and Albert Oehlen, becoming renowned for his unorthodox and provocative use of materials. Bricks, roofing slats and unprimed canvas are all common in his oeuvre, reflecting a wider concern with elements of building: exposing the bones of conceptual art, he toys knowingly with the viewer’s expectations and tests the limits of such art’s power with polyvalent, ambiguous significance.

More from Post-War and Contemporary Art

View All
View All