Panamarenko (b. 1940)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM THE ESTATE OF MARTIN VISSER, BERGEIJK
Panamarenko (b. 1940)

The Aero-Modeller

Details
Panamarenko (b. 1940)
The Aero-Modeller
signed, dated and dedicated 'voor Mia Panamarenko 72' (upper right)
colour pencils, graphite, pen, felt-pen ink, paper collage, plastic foil collage on graph paper laid down on card
99 x 83 cm.
Executed in 1972
Provenance
A gift from the artist to Mia Visser in 1972.
Literature
H. Theys, Panamarenko, Ghent 1992, no. 101.
P. van den Bosch, Martin Visser. Verzamelaar Ontwerper Vrije Geest, Bonnefantenmuseum, Maastricht 2012 (illustrated in the installation image of the house of Martin Visser, Bergeijk, p. 51; illustrated in colour, p. 139).
Exhibited
Otterlo, Rijksmuseum Kröller-Müller, Funkties van Tekenen - Functions of Drawing, 1975, no. 110 (illustrated, unpaged).
Berlin, Nationalgalerie Berlin, Panamarenko, 1978, no. 77 (illustrated, no. 115, p. 146). This exhibition later travelled to Otterlo, Rijksmuseum Kröller-Müller, 1978; Brussels, Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten, 1978.
Otterlo, Rijksmuseum Kröller-Müller, Little Arena: Drawings and Sculptures from the Collection Adri, Martin and Geertjan Visser, 1984, no. 1 (illustrated, p. 113).
Otterlo, Kröller-Müller Museum (on permanent loan until 2015).
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.

Lot Essay

Panamarenko spent the summers of 1973 and 1974 at Martin Visser's place in Bergeijk to work on the development of his U-Control project.
The present lot is the original drawing for the edition (lithograph, handcolouring and collage) of seventy-five from 1972, published by Galerie Seriaal, Amsterdam. The present lot is dedicated to Mia, who was one of the driving forces behind Galerie Seriaal. (see: Jamar, Panamarenko. Multiples 1966-1994, Antwerp 1995, p. 16)

More from Post-War and Contemporary Art

View All
View All