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Cancellation under the EU Consumer Rights Directiv… Read more PROPERTY FROM THE DEUTSCHE BANK COLLECTION


lithograph printed in colours, 1923, on white wove paper
signed in pencil, presumably one of ten proofs aside from the numbered edition of fifty impressions
(the present numbering added later)
printed at the Staatliches Bauhaus, Weimar
Image: 405 x 382 mm.
Sheet: 480 x 443 mm.
Galerie Berggruen & Cie, Paris, by 1971.
Anonymous sale, Dr Ernst Hauswedell, Hamburg, 4 June 1971, lot 984.
Wolfgang Wittrock, Dusseldorf, by whom acquired at the above sale.
Acquired from the above in 1971.
H.K. Roethel, Kandinsky, Das Graphische Werk, Cologne, 1970, no. 180 (another impression illustrated).
K. Weber, Punkt Linie Fläche - Druckgraphik am Bauhaus, Berlin, 1999, no. 16, pp. 89 & 129 (another impression illustrated).
H. Friedel & A. Hoberg, eds., Kandinsky - Das druckgrafische Werk - Complete Prints, exh. cat., Städtische Galerie im Lenbachhaus und Kunstbau, 2008, no. 138.1 (another impression illustrated).
Special notice

Cancellation under the EU Consumer Rights Directive may apply to this lot. Please see here for further information.
This lot has 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.
Sale room notice
Please note that this is a proof impression aside from the numbered edition of fifty.
The edition number on this print is not authentic and has been added later.

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Micol Flocchini
Micol Flocchini Head of Works on Paper Sale

Lot Essay

Created at the Bauhaus in Weimar in 1923, one year after the publication of the portfolio Kleine Welten (see lot 242), the colour lithograph Orange is Kandinsky's largest print.

In his tract Punkt und Linie zu Fläche ('Point and line to plane'), published in the series Bauhausbücher in 1926, Kandinsky reflected on the characteristics of the various printmaking techniques and attributed different social values to them. Lithography he saw as the most democratic technique, as it allows the production of an unlimited number of identical impressions, and as the most painterly of all methods, supremely suited for colour printing. In this sense it was also the printing technique that represented the ideals of the Bauhaus most perfectly: the creation of beautiful and rational objects of art and design that could be mechanically produced and thus made available to the masses. The goal was an aesthetic as well as practical reformation of everybody's everyday life.

A large print like Orange, approaching the size of a small canvas, could thus serve as an affordable substitute for a painting. This meant that living with art no longer needed to be the privilege of those who could afford paintings.

Although it would have been possible to print an unlimited number of impressions, in the event Orange was printed in a relatively small, 'aristocratic' edition of sixty (see Weber, p. 89). Perhaps the calculation was that a larger edition would have been difficult to distribute and that the demand for such an avant-garde image would have been rather limited in any case.

Stylistically, Orange represents a next step in Kandinsky's development following on from Kleine Welten, less playful and chaotic, yet with greater clarity and serenity and an unsurpassed subtlety of colouration. It was to be Kandinsky's last – and arguably finest – colour lithograph.

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