René Daniels (B. 1950)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more A PRIVATE COLLECTION, THE NETHERLANDS
René Daniels (B. 1950)

Historia mysteria

Details
René Daniels (B. 1950)
Historia mysteria
signed and dated 'rdaniels 81' (lower right)
pencil, ink and watercolour on paper
23.5 x 31.5 cm.
Provenance
Galerie Helen van der Meij, Amsterdam, where acquired by the present owner in 1983.
Exhibited
Eindhoven, Stedelijk Van Abbemuseum, René Daniëls, The Most Contemporary Picture Show, 25 April-30 August 1998. Traveled to: Wolfsburg, Kunstmuseum; Basel, Kunsthalle; Amsterdam, Stedelijk Museum.
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. Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €20,000, plus 23.8% of the Hammer Price between €20,001 and €800.000, plus 14.28% of any amount in excess of €800.000. Buyer’s premium is calculated on the basis of each lot individually.

Brought to you by

Annemijn van Grimbergen
Annemijn van Grimbergen

Check the condition report or get in touch for additional information about this

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

Lot Essay



The series of paintings and drawings 'Hystoria Mysteria' is composed using several motifs. In this drawing, we see New York's Brooklyn Bridge depicted, crushing with lightning force Paris' Arc de Triomphe on the Place de l'toile. The left half of the paper is of a light tonality and marked with a 'D' (possibly for 'Day'), the right half is dark and marked with 'N' (possibly for 'Night'). New York versus Paris: the difference between night and day. The work refers to the post war changes in the art world where New York, instead of Paris, became the centre. In 1983, Serge Guilbaut argues in his revolutionary study How New York Stole the Idea of Modern Art (Abstract Expressionism, Freedom, and the Cold War) that this artistic showdown between the United States and Europe was not only aesthetically and stylistically but also ideologically loaded.

More from Post-War and Contemporary Art

View All
View All