https://exhibitionarchive.org/ 2026-09-16 weekly 1.0 https://exhibitionarchive.org/sacred-heart-interview 2026-09-16 monthly 0.8 https://storage.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9165.jpg Damien Hirst https://exhibitionarchive.org/fertility-essay 2026-09-16 monthly 0.8 https://storage.neonsky.app/4cf3e4235c858/images/SbS_ANSE-Frozen.jpg FROZEN SEMEN WITH BLOOD 1990 Andres SERRANO (b.1950)Cibachrome mounted on plexi165 x 114 cm (65 x 45 in.)Signed - Edition of 4 https://exhibitionarchive.org/about-exhibitionarchive.org 2026-09-16 monthly 0.8 https://exhibitionarchive.org/about-akim-monet 2026-09-16 monthly 0.8 https://storage.neonsky.app/4cf3e4235c858/images/IMG_0199_SW.jpg https://exhibitionarchive.org/contact 2026-09-16 monthly 0.8 https://exhibitionarchive.org/impressum 2026-09-16 monthly 0.8 https://exhibitionarchive.org/tamper-evident:-joseph-beuys 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_Tamper-Evident_1600x1200-title-1-WB.jpg AM_Kleos & Nostos_1600x1200-title AM_Kleos & Nostos_1600x1200-title https://cdn.neonsky.app/4cf3e4235c858/images/IMG_2876.jpg Der Tisch 1968 Joseph BEUYS (1921-1986) The Table Original 16 mm reel and BASF magnetic sound tape in film cannister, label with oil paint (Browncross) 7 1/2 × 1 7/10 in (19 × 4.2 cm) Edition of 200 https://cdn.neonsky.app/4cf3e4235c858/images/IMG_0876.jpg Tamper Evident 2023 Akim MONET (b. 1968) Installation with roses, glass beakers 40 × 40 × 40 in (101.6 × 101.6 × 101.6 cm) https://cdn.neonsky.app/4cf3e4235c858/images/IMG_2886.jpg Art Information of Anatol Herzfeld 1971 Joseph BEUYS (1921-1986) Soft cover book, 14 tacked black and white pages 11 4/5 × 8 3/10 in (30 × 21 cm) Edition of 500 https://cdn.neonsky.app/4cf3e4235c858/images/174_76215_1_l.jpg Filzwinkel 1985 Joseph BEUYS (1921-1986) Felt Angle Felt object, Issued in cardboard box with typography 14 1/5 × 4 1/10 × 2/5 in (36 × 10.5 × 1 cm) Edition of 80 https://cdn.neonsky.app/4cf3e4235c858/images/BEUYS-Rose-for-direct-democracy.jpg Rose for Direct Democracy 1973 Joseph BEUYS (1921-1986) Graduated glass cylinder, with inscription 13 1/5 × 2 in (33.5 × 5 cm) Unknown Edition https://cdn.neonsky.app/4cf3e4235c858/images/1a464.jpg Noiseless Blackboard Eraser 1974 Joseph BEUYS (1921-1986) Felt blackboard eraser, stamped, signed and numbered Label yellow, typography black. Signed in felt pen in Sütterlin (prewar German) script; numbered in pencil by another hand 2 × 5 1/10 × 1 in (5 × 13 × 2.5 cm) Edition of 550 https://cdn.neonsky.app/4cf3e4235c858/images/Beuys-1979-Europawahl_WB2.jpg Europawahl: Die GruÌˆnen 1979 Joseph BEUYS (1921-1986) European elections: The Greens Offset print, stamped twice 5 9/10 × 3 9/10 in (15 × 10 cm) Unknown edition https://cdn.neonsky.app/4cf3e4235c858/images/joseph-beuys-kunst-kapital-banknote_FRONT.jpg Kunst=KAPITAL 1979 Joseph BEUYS (1921-1986) Art=CAPITAL 10 Deutschemark banknote from 1980 2 3/5 × 5 1/10 in (6.5 × 13 cm) Edition of 15 https://cdn.neonsky.app/4cf3e4235c858/images/174_76138_1_l.jpg Katalog Museum MÃ¶nchengladbach 1967 Joseph BEUYS (1921-1986) Catalogue-box, felt object stamped in oil paint with “BEUYS” and the “Braunkreuz” (Brown Cross), text-booklet, two illustrated leaflets 7 9/10 × 6 3/10 × 1 1/5 in (20 × 16 × 3 cm) Edition of 330 https://cdn.neonsky.app/4cf3e4235c858/images/174_76205_1_l.jpg Intuition 1968 Joseph BEUYS (1921-1986) Wooden box with pencil drawing 11 4/5 × 8 3/10 × 2 2/5 in (30 × 21 × 6 cm) Edition of 10000 https://cdn.neonsky.app/4cf3e4235c858/images/Beuys-1982-7000-Eichen-letter.jpg Rundbrief F.I.U. (F.I.U. Mailing) 1982-1984 Joseph BEUYS (1921-1986) Printed letter, stamped 11 3/5 × 8 3/10 in (29.53 × 20.96 cm) Unknown edition https://cdn.neonsky.app/4cf3e4235c858/images/IMG_2095_cropped.jpg Edition May 12, 1981 1981 Joseph BEUYS (1921-1986) Book similia similibus, stamped, numbered and signed, and tape cassette, numbered and signed In cardboard box, stamped "Düsseldorf Kunstakademie 12. Mai 1971 Raum 20 18 Uhr" 14 1/5 × 4 1/10 × 2/5 in (36 × 10.5 × 1 cm) Edition of 200 https://cdn.neonsky.app/4cf3e4235c858/images/H0356-L273205140_original.jpg Untitled (signed Reichsbanknote) C. 1980 Joseph BEUYS (1921-1986) 100 Mark Papiermark from 1920, with handwritten addition 4 3/10 × 6 2/5 in (10.8 × 16.2 cm) Unique work https://cdn.neonsky.app/4cf3e4235c858/images/174_76132_1_l.jpg Dillinger 1974 Joseph BEUYS (1921-1986) Videotape (VHS) in cloth-covered box 4 9/10 × 8 2/5 × 1 3/5 in (12.4 × 21.4 × 4 cm) Edition of 40 https://exhibitionarchive.org/kleos-&-nostos:-reflections-on-felix-gonzalez-torres-with-antique-marble-&-bronze,-auguate-rodin-&-e.-l.-kirchner-(spring-2023) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_Kleos---Nostos_1600x1200-title_01.jpg AM Kleos Nostos 1600x1200 title 01 AM Kleos Nostos 1600x1200 title 01 https://cdn.neonsky.app/4cf3e4235c858/images/Rodin_Pierre-de-wissant-nu-sans_1WB.jpg Pierre de Wissant, nu monumental sans tÃªte ni mai 1886 Auguste RODIN (1840-1917) Pierre de Wissant, monumental nude without head or hands Bronze with green patina 74 13/16 x 43 5/16 x 31 1/8 in (190 x 110 x 79 cm) Edition of 8 + 4AP The bronze is inscribed A. Rodin, © by Musée Rodin and numbered, dated, and stamped with the foundry mark https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---faunesse-1_WBWB.jpg La Faunesse Zoubaloff 1885 Auguste RODIN (1840-1917) The Zoubaloff Faunesse Bronze with brown patina 7 x 4 1/8 x 5 7/8 in (17,8 x 10,5 x 15cm) Edition of 7 The present cast was executed before 1914 Signed 'Rodin' on the rock https://cdn.neonsky.app/4cf3e4235c858/images/Rodin_homme-marche-colonne_Page_3_Image_0001WB.jpg Homme qui marche sur colonne 1900 Auguste RODIN (1840-1917) Walking Man on a Column Bronze 11 feet 7 3/8 x 23 5/8 x 15 3/8 in (354 x 60 x 39 cm) Ed. 8 + 4 AP Inscribed A. Rodin, © by Musée Rodin, dated and stamped with foundry mark https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner-1933-5H-D637-e-1-Drei-Akte-im-Wald-scaledWB.jpg Drei Akte im Walde 1933 Ernst Ludwig KIRCHNER (1880–1938) Three Nudes in the Forest : full Color woodcut on ribbed chamois Japanese laid paper. Print in black, red, light and dark green, ochre, orange and yellow One of approx. 27 known prints pulled by the artist Image size: 14 x 19 11/16 in. (35,5 x 50 cm) Paper size: 16 3/4 x 24 in. (42,5 x 61 cm) With the estate stamp and numbering “H Da/Bf9X” on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Mercury-Cahn-57b_TEFNY16WB.jpg Mercury Messenger of the Gods CIRCA 200 A.D. Bronze 6 15/16 in (17.6 cm) The present work has been registered with the Art Loss Register on 10/10/16 under no.: S00111484 https://cdn.neonsky.app/4cf3e4235c858/images/Monet_HANDSHAKEWB.jpg Handshake 2004 Akim MONET (b.1968) Ilfochrome exhibition print, laminated face-in 3 cm polished Plexiglas 30 x 20 x 1 3/16 in (76 x 51 x 3cm) Edition of 5 + 2AP https://cdn.neonsky.app/4cf3e4235c858/images/Monet_heroicWB.jpg Heroic 2009 Akim MONET (b.1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Imagesize : 32 1⁄4 x 22 7/16 in (82 x 57 cm) Papersize : 39 3/8 x 27 9/16 in (100 x 70 cm) Edition of 7 + 2AP https://cdn.neonsky.app/4cf3e4235c858/images/Monet_SHERUBWB.jpg Sherub 2004 Akim MONET (b.1968) Ilfochrome exhibition print, laminated face-in 3 cm polished Plexiglas 30 x 20 x 1 3/16 in (76 x 51 x 3 cm) Edition of 5 + 2AP https://cdn.neonsky.app/4cf3e4235c858/images/Monet_souciWB.jpg Souci 2009 Akim MONET (b.1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Image size : 22 7/16 x 32 1⁄4 in ( 57 x 82 cm) Paper size : 27 9/16 x 39 3/8 in ( 70 x 100cm) Ed. 7 + 2 AP https://cdn.neonsky.app/4cf3e4235c858/images/Monet_SouffranceWB.jpg Souffrance 2009 Akim MONET (b.1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Imagesize : 32 1⁄4 x 22 7/16 in (82 x 57 cm) Papersize : 39 3/8 x 27 9/16 in (100 x 70 cm) Edition of 7 + 2AP https://cdn.neonsky.app/4cf3e4235c858/images/Antiquity_A-Roman-Marble-Torso-of-Dionysos-1WB.jpg A Roman Marble Torso of Dionysos CIRCA 2ND CENTURY A.D. Marble Height 15 15/16 x 8 x 6 1/4 in. (40,5 x 20,32 x 15,88 cm) Standing with the weight on his right leg, his left leg forward, and resting his left elbow on a pillar, his right arm formerly raised, and wearing a himation draped over his left shoulder and around the lower body, his long hair falling over the back, the present sculpture shows no signs of restorations. https://cdn.neonsky.app/4cf3e4235c858/images/Antiquity_Baal-1WB.jpg A Canaanite Bronze Standing Figure of Baal CIRCA 2ND MILLENIUM BCE Bronze 3 9/16 x 1 11/16 in / Height with base: 4 1/16 in. (9,1 x 4,3 cm / Height with base: 10,4 cm) https://cdn.neonsky.app/4cf3e4235c858/images/Antiquity_Satyr_1WB.jpg A Hellenistic Pergamene Marble Torso of Satyr ECOND HALF OF THE FIRST CENTURY BC Marble 11 1/16 x 6 in (28,1 x 15,2 cm) The present work has been registered with the Art Loss Register on 12/22/15 under no.: S00108918. A certificate of authenticity signed by Robin Beningson, Director of Antiquarium Ltd., New York dated October 15, 2016 accompanies the present work. https://cdn.neonsky.app/4cf3e4235c858/images/image004WB.jpg Drei Akte im Walde 1933 Ernst Ludwig KIRCHNER (1880–1938) Three Nudes in the Forest : empty Color woodcut on chamois China laid paper.Trial print in yellow and dark green alone. One of approx. 27 known prints pulled by the artist. 20 ½ x 24 7/16 in (52 x 62 cm) With the estate stamp and numbering “H Da/Bf 9 VI” in ink and "K 5622" in pencil on the verso https://exhibitionarchive.org/george-grosz-&-james-%22yaya%22-hough-in-conversation-(winter-2023) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_Totentanz_Catalogue_Grosz-Hough_COVER_webWB-1200.jpg AM Totentanz Catalogue Grosz Hough COVER webWB 1200 AM Totentanz Catalogue Grosz Hough COVER webWB 1200 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-035_CWB.jpg The odd dollar 1936 George GROSZ (1893-1959) Brush, reed pen, pen and ink over pencil 23 5/16 x 18 3/16 in (59,2 x 46,2 cm) Signed, dated "37" (sic), and inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-103-10 https://cdn.neonsky.app/4cf3e4235c858/images/3803_Hough_Untitled_TetheredWB.jpg Untitled (Tethered) 2008-2016 James “Yaya” HOUGH (b. 1974) Black ball point pen on reverse of Commonwealth of Pennsylvania Department of Corrections “INMATE TELEPHONE AUTHORIZATION FORM.” Application form DC- ADM 818 (“YELLOW” copy) 8 1/2 x 4 13/16 in (21,6 x 12,2 cm) Signed “YAYA” on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Nine_little_weeds_027_4-53-1WB.jpg Nine little weeds 1941 George GROSZ (1893-1959) Pen and ink 22 3/8 x 19 in (56,8 x 48,2 cm) Inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-53-1 https://cdn.neonsky.app/4cf3e4235c858/images/3818_Hough_Untitled_Unhuman_systemWB.jpg Untitled (Unhuman system) 2008-2016 James “Yaya” HOUGH (b. 1974) Black ball-point pen on reverse of Commonwealth of Pennsylvania Department of Corrections “AUTHORIZED VISITORS LIST.” Application form DC-ADM 812 (“YELLOW” copy) 8 1/2 x 5 1/4 in (21,6 x 13,4 cm) Signed “YAYA” on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-070_CWB.jpg Two men on a hatch 1938 George GROSZ (1893-1959) Reed pen and pen and ink over light grey chalk 23 3/8 x 18 3/8 in (59,3 x 46,6 cm) Signed and inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-103-7 https://cdn.neonsky.app/4cf3e4235c858/images/3793_Hough_Untitled_knivesWB.jpg Untitled (Knives) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on reverse of Commonwealth of Pennsylvania Department of Corrections “AUTHORIZED VISITORS LIST” application form DC-ADM 812 (“PINK-INMATE” copy) 7 1/8 x 5 3/16 in. (18,1 x 13,18 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-030_CWB.jpg Hand back those bay leaves 1941 George GROSZ (1893-1959) Reed pen and pen and ink over light grey chalk 22 1/2 x 18 15/16 in (57,1 x 48,1 cm) Inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-28-5 https://cdn.neonsky.app/4cf3e4235c858/images/3823_Hough_Untitled_Blk_boxes_paradigmzWB.jpg Untitled (Blk boxes paradigmz) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on reverse of Commonwealth of Pennsylvania Department of Corrections “INMATE TELEPHONE AUTHORIZATION FORM” application form DC-ADM 818 (“PINK-INMATE” copy) 8 7/16 x 5 9/16 in (21,5 x 14,2 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-055_CWB.jpg Smudge on a Chinese rug 1937 George GROSZ (1893-1959) Brush, reed pen and pen and ink over light grey chalk 23 5/16 x 18 1/4 in (59,2 x 46,3 cm) Signed, dated and inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-21-3 https://cdn.neonsky.app/4cf3e4235c858/images/3853_Hough_Untitled_Dixie_CrystalsWBWB.jpg Untitled (Dixie Crystals)/Untitled (BCP) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on white paper (recto/verso) 5 × 8 1/2 in (12,8 × 21,6 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-025_CWB.jpg Echoes from a rubbish-heap 1941 George GROSZ (1893-1959) Reed pen and pen and ink 23 3/8 x 18 1/4 in (59,3 x 46,4 cm) Inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-28-3 https://cdn.neonsky.app/4cf3e4235c858/images/3814_Hough_Untitled_Baseball_uniformWBWB.jpg Untitled (Baseball uniform) 2008-2016 James “Yaya” HOUGH (b. 1974) Black ball point pen on reverse of religious studies english questionnaire (white) 8 9/6 x 5 1/2 in (21,7 x 13,9 cm) Signed “YAYA” on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-066_CWB.jpg What is a miracle? 1937 George GROSZ (1893-1959) Reed pen 23 5/16 x 18 1/4 in (59,2 x 46,4 cm) Signed and inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-22-7 https://cdn.neonsky.app/4cf3e4235c858/images/3798_Hough_Untitled_Grow_kidz-Untitled_1984_LibreWBWB.jpg Untitled (Grown kidz)/Untitled (1984 Libre) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on white paper (recto/verso) 8 1/2 × 5 1/4 in (21,6 × 13,4 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-018_CWB.jpg How do you do? 1941 George GROSZ (1893-1959) Reed pen and pen and ink over light grey chalk 22 1/4 x 18 7/8 in (56,6 x 47,9 cm) Inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-110-2 https://cdn.neonsky.app/4cf3e4235c858/images/3845_Hough_Untitled_Unhuman_fodderWBWB.jpg Untitled (Unhuman fodder) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on reverse of religious studies spanish questionnaire (white) 5 1/2 x 8 7/16 in (14 x 21,5 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-086_CWB.jpg No more Turkish musik 1937 George GROSZ (1893-1959) Brush, reed pen and pen and ink 23 3/8 x 18 1/8 in (59,3 x 46 cm) Inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-317-2 https://cdn.neonsky.app/4cf3e4235c858/images/3811_Hough_Untitled_Pump_and_dump_gameWB.jpg Untitled (Pump and dump game) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on reverse of Commonwealth of Pennsylvania Department of Corrections “INMATE TELEPHONE AUTHORIZATION FORM” application form DC-ADM 818 (“PINK-INMATE” copy) 8 7/6 x 5 1/2 in (21,5 x 14 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-089_CWB.jpg The hunky penny 1937 George GROSZ (1893-1959) Reed pen and pen and ink over light pencil 23 3/8 x 18 1/8 in (59,3 x 46,1 cm) Signed and inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-72-3 https://cdn.neonsky.app/4cf3e4235c858/images/3843_Hough_Untitled_Unhuman_AssemblageWBWB.jpg Untitled (Unhuman assemblage) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on reverse of religious studies spanish questionnaire (white) 5 1/2 x 8 7/16 in (14 x 21,5 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-092_CWB.jpg Little man say thank you! 1937 George GROSZ (1893-1959) Brush, reed pen, pen and ink and opaque white 18 3/16 x 23 1/8 in (46,2 x 58,7 cm) Inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-317-3 https://cdn.neonsky.app/4cf3e4235c858/images/3855_Hough_Untitled_Unhuman_constructionWB.jpg Untitled (Unhuman construction) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on reverse of Commonwealth of Pennsylvania Department of Corrections “INMATE TELEPHONE AUTHORIZATION FORM” application form DC-ADM 818 (“PINK-INMATE” copy) 5 1/2 × 8 7/16 in (13,9 × 21,5 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Grosz_Illu-040_CWB.jpg The silk doll 1936 George GROSZ (1893 - 1959) Reed pen and pen and ink over light grey chalk 18 3/16 x 23 5/16 in (46,2 x 59,2 cm) Inscribed Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-25-2 https://exhibitionarchive.org/totentanz-(fall-2022) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/Paul-McCarthy_Dead-Viking_totentanz-fin.jpg Dead Viking 1992 Paul McCARTHY ( b. 1945) Acrylic fur, wood, rubber, and found costume 12 x 72 x 24 in. (30,4 x 183 x 61 cm) https://cdn.neonsky.app/4cf3e4235c858/images/Grosspietsch_Der-TodWB.jpg Der Tod N.D. Curt GROSSPIETSCH (1893–1980) Death Der Tod n.d. Ink on paper 11 5/8 x 15 9/16 in. (29,5 x 39,5 cm) Signed lower right, titled on reverse Painter and illustrator Curt Grosspietsch studied at the Dresden Art Academy during which time he developed a friendship with George Grosz and Otto Dix. Loosely following the style of Alfred Kubin, Grosspietsch placed the grotesque, horrible and bizarre at the center of his work. https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1937_SO-SMELLS-DEFEAT_4-19-5_WB.jpg So smells defeat 1937 George GROSZ (1893-1959) Reed pen and pen and ink on paper 23 1/4 x 18 1/8 in. (59,1 x 46,1 cm) Signed titled and dated bottom-right „Grosz/so smells defeat/37” and annotated "34 so smells defeat" bottom center. Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-19-5 Drawing for "Esquire. The Magazine for Men”, November 1936 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1934_WARFARE_2-143-2_WB.jpg Warfare 1934 George GROSZ (1893-1959) Brush, reed pen and pen and ink on paper 19 x 27 1/16 in. (48,3 x 68,8 cm) Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 2-143-2 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/09_09_Esel-und-Tulpen_300WB.jpg Esel, Tod und Tulpen 2009 Mechthild HAGEMANN (b.1960) Donkey, Death and Tulips Acrylic and oil on canvas 53 9/16 x 73 5/8 in. (136 x 187cm) https://cdn.neonsky.app/4cf3e4235c858/images/HECKEL_Sterbender_Pierrot_75279WB.jpg Sterbender Pierrot 1913 Erich HECKEL (1883-1970) Dying Pierrot Etching on firm wove paper 14 1/8 × 9 1/8 in. (35,9 × 23,2 cm) From an unknown edition Signed and dated on the lower right. Titled "Toter Pierrot" on the lower left paper margin and labelled "Rad." https://cdn.neonsky.app/4cf3e4235c858/images/3793_Hough_Untitled_knivesWB.jpg Untitled (Knives) 2008-2016 James “YAYA” HOUGH (b.1974) Black ball point pen on reverse of Commonwealth of Pennsylvania Department of Corrections “AUTHORIZED VISITORS LIST” application form DC-ADM 812 (“PINK-INMATE” copy) 7 1/8 x 5 3/16 in. (18,1 x 13,18 cm) Signed "YAYA" on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Cliff-Joseph_Southern-Comfort_retina.jpg Southern Comfort 1965 Cliff JOSEPH (1922-2020) Oil on board in original artist's frame 16 x 16 in. (40,64 x 40,64 cm) Signed, dated and titled on the verso Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/KIRCHNER_Eldorado-Tanzcafe_80819WB.jpg Eldorado-TanzcafÃ© 1910 Ernst Ludwig KIRCHNER (1880–1938) Eldorado Dance Café Pencil and colored crayons on parchment paper 9 13/16 x 7 1/16 in. (25 x 18 cm) With the estate stamp with the numbering "B Dre/Bi 18" in ink as well as with the numberings "K 4758" and "C 4421" in pencil on the verso https://cdn.neonsky.app/4cf3e4235c858/images/KIRCHNER_Hugo_64110WB.jpg PortrÃ¤t Hugo 1914 Ernst Ludwig KIRCHNER (1880–1938) Portrait of Hugo Oil on canvas 23 5/8 x 19 11/16 in. (60 x 50 cm) With the estate stamp and the numbering 'KN-Be/Ba 5' on the verso https://cdn.neonsky.app/4cf3e4235c858/images/KIRCHNER_Totentanz_der_Mary_Wigman_67682WB.jpg Totentanz der Mary Wigman 1926-1928 Ernst Ludwig KIRCHNER (1880–1938) Mary Wigman's “Death Dance” Oil on canvas, in original artist’s frame designed and hand-painted by the artist 43 5/16 x 58 11/16 in. (110 x 149 cm) With the estate stamp and numbering “KN-Be/Be 3” on the verso https://cdn.neonsky.app/4cf3e4235c858/images/Manfredini-2014-8PL-Stabat-MaterWB.jpg Stabat Mater 2014 Giovanni MANFREDINI (b. 1963) Silver, gold plated (1400 Gr.) Diameter 13 in. (Diameter 33 cm) Signed Unique https://cdn.neonsky.app/4cf3e4235c858/images/Paul-McCarthy_Dead-Viking_retina.jpg Dead Viking 1992 Paul McCARTHY (b. 1945) Acrylic fur, wood, rubber and found costume 12 x 72 x 24 in. (30,4 x 183 x 61 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Nao-I-Think-This-Is-Your-Beer-Kill-the-Man.jpg Nao, I Think This Is Your Beer (Kill the man) 2015 Paul McCARTHY (b. 1945), Benjamin WEISSMAN (b. 1957), Naotaka HIRO (b. 1972) Acrylic, collage, watercolor, graphite on paper Framed size: 26 x 20 in. (66,04 x 50,8 cm) Not signed Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/MONET_IL_VESCOVO_93690027_40x26inches_WB.jpg Le Catacombe dei Cappuccini 2010 Akim MONET (b.1968) The Catacombs of the Capuchins Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 23 78 x 36 in. (60,62 × 91,44 cm) Paper size: 26 × 40 in. (66,04 × 101,6 cm) Ed. 7 + 3AP Signed and numbered in pencil https://cdn.neonsky.app/4cf3e4235c858/images/NOLDE_Der_Tod_als_Tanzerin_76975WB.jpg Der Tod als TÃ¤nzerin 1918 Emil NOLDE (1867–1956) Death as a Dancer Etching (line and tone etching) on wove paper 22 7/16 × 18 in. (57 × 45,8 cm) Unknown edition Signed on the lower right, titled on the lower centre and numbered on the lower left "II.9." https://cdn.neonsky.app/4cf3e4235c858/images/chatiment_1-8_2_8b2007cf-5ed6-412b-922f-abce1b297bfe.jpg ChÃ¢timent 1906 Auguste RODIN (1840-1917) Punishment Bronze 15 3/4 x 11 13/16 x 6 1/8 in. (40 x 30 x 15,5 cm) Ed. 8 + 4AP Cast in 2017 by Fonderie de Coubertin, Paris Inscribed ‘A. Rodin’, © by Musée Rodin and numbered Ed. 1/8 one of the eight examples in Arabic numerals, dated and stamped with foundry mark Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/SPOERRI_Morduntersuchungen_73726WB.jpg Morduntersuchungen. Mehrfache Messerstiche 1988-1990 Daniel SPOERRI (b. 1930) Murder investigations. Multiple stab wounds Assemblage on screenprint on linen 23 5/8 x 63 x 9 13/16 in. - 2 x 31 1/2 in. wide with corner hinges (60 x 160 x 25 cm - 2 x 80 cm wide with corner hinges) Signed, dated and inscribed "München" on the reverse. Cloth signed and dated 1971. A label with the number "12" on the reverse https://cdn.neonsky.app/4cf3e4235c858/images/93690006_40x26inches_WBWB.jpg Il teschio 2010 Akim MONET (b.1968) The skull (Le Catacombe dei Cappuccini) Archival Pigment Print on 100% cotton acid-free watercolor paper 40 x 26 in. (101,6 x 66,04 cm) Signed and numbered in pencil https://exhibitionarchive.org/aktivismus-(summer-2022) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AKTIVISMUS---banner-web-artsy.jpg AKTIVISMUS banner web artsy AKTIVISMUS banner web artsy https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1927_JEDER-SCHUSS-EN-RUSS-Hintergrundbild-fur-Schwejk_retina.jpg Jeder Schuss ein Russ 1927 George GROSZ (1893 - 1959) Everyone shoot a Russ (ian) Jeder Schuss ein Russ Drawing for the background projection for Schwejk Brush, reed pen and pen and ink 20 ¼ x 25 ½ in (51,4 x 64,9 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Beuys-1979-Europawahl_WB.jpg Europawahl: Die GruÌˆnen 1979 Joseph BEUYS (1921 - 1986) European elections: The Greens Offset print, stamped twice inscribed with signature in pencil “Joseph Beuys” 5 15/16 x 3 15/16 in (15 x 10 cm) Postcard after a poster designed by Beuys' former student Johannes Stüttgen, for the party Die Grünen, for which Beuys ran as a candidate in the 1979 European elections. At the center of the is a photo by Ute Klophaus showing a small work by Beuys from the early 1960s Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1927_Rache-fur-Wien_retina.jpg Rache fuÌˆr Wien 1927 George GROSZ (1893 - 1959) Revenge for Vienna Rache für Wien Brush, reed pen and pen and ink on paper 25 9/16 x 20 9/16 in (65 x 52,3 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Manifest_1.jpg Manifesto 1979 Joseph BEUYS (1921 - 1986) Silkscreen on gray cardboard. Printed in Red 33 7/8 x 24 in (86 x 61 cm) Signed by Beuys and Staeck in pencil; numbered by Beuys 21/40 Edition 40, signed by both authors, numbered Publisher: Edition Staeck, Heidelberg Edition produced in connection with the exhibition Stellungnahme (Kunstverein Bonn, 1979), in which numerous artists were asked to submit their suggestions for a planned Bundeskunsthalle (Federal Art Gallery). Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1927_BAUTZE-I-Hintergrundbild-fur-Schwejk_retina.jpg Oberarzt Dr. Bautze 1927 George GROSZ (1893 - 1959) Chief Physician Dr. Bautze Oberarzt Dr. Bautze "Phase 4" drawing for the background projection for Schwejk Brush, reed pen, pen and ink, and chalk 18 1/8 x 23 3/8 in (46 x 59,3 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Beuys_Kassel.jpg Kassel 1982 Joseph BEUYS (1921 - 1986) Black & white photograph (from the series "Photo-Editionen") with gold foil and inscriptions in graphite, studio sticker on the reverse, inscribed with signature in pencil “Joseph Beuys” and signed “Zoa” 20 x 24 in (50.8 x 61 cm) Photograph of Joseph Beuys by Zoa (Brigitte Müller-Fehn), taken in Kassel on June 30, 1982, when, during a live “Aktion” (performance), the artist melted down a golden crown (representative of the old order) and recast the metal into a golden hare and sun sphere. The resultant sculpture was later sold to raise funds for Beuys’ most ambitious public intervention: the 7000 Oaks Project. Edition: 33 inscribed by Beuys in pencil and numbered; 10 inscribed by Beuys in felt and numbered I to X; a small number of unnumbered Artist’s Proofs inscribed by Beuys in pencil; all photographs also signed by Zoa. The present work is one among the small number of artist’s proofs, this from the personal collection of “Zoa” (photographer Brigitte Müller-Fehn), Hannover Publisher: Galerie Edition Holtmann, Cologne Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Holzer_P12-Enhanced-Techniques-3_WB.jpg Water Board 2012 Jenny HOLZER (b. 1950) A rare complete suite of six hand-made, compressed papers, each in its original paper sleeve 35 5/8 x 27 9/16 in. (90,5 x 70 cm) Each verso signed and inscribed “Jenny Holzer,” “Water board,” and “Einmalige Auflage, 2012” The set contains the following titles: - “P7 Water board 0000090” - “P8 Top Secret 23” - “P9 Top Secret 24” - “P10 Top Secret 32” - “P11 These enhanced Techniques” - “P12 Enhanced Techniques” Publisher: Hamburger Griffelkunst-Vereinigung Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1937_ONE-MAN-S-GUESS_4-103-8_WB.jpg One man's guess 1937 George GROSZ (1893-1959) Brush and reed pen over light grey chalk on paper 18 3/16 x 23 9/16 in. (46,2 x 59,9 cm) Hand-signed by artist, stamped by artist's estate, Signed and dated lower-right „Grosz 37” and inscribed "11 one man’s guess" bottom-center and “one man’s guess” bottom-left. Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-103-8 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Theaster-Gates_Asphalt-Paintings-for-Hugenot-House-with-Altar_retina.jpg Asphalt painting for Huguenot House with altar CIRCA 2013 Theaster GATES (b 1973) Asphalt painting for Huguenot House with altar Wood, tar roofing, shoe polish and nails, in 2 parts 43 1/2 x 20 1/2 x 3 1/2 in (110.5 x 52.1 x 8.9 cm) 21 x 24 x 24 in (53.3 x 60.9 x 60.9 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1934_WARFARE_2-143-2_WB.jpg Warfare 1934 George GROSZ (1893-1959) Brush, reed pen and pen and ink on paper 19 x 27 1/16 in. (48,3 x 68,8 cm) Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 2-143-2 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Cliff-Joseph_Southern-Comfort_retina.jpg Southern Comfort 1965 Cliff JOSEPH (1922-2020) Oil on board in original artist's frame 16 x 16 in. (40,64 x 40,64 cm) Signed, dated and titled on the verso Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1937_SO-SMELLS-DEFEAT_4-19-5_WB.jpg So smells defeat 1937 George GROSZ (1893-1959) Reed pen and pen and ink on paper 23 1/4 x 18 1/8 in. (59,1 x 46,1 cm) Signed titled and dated bottom-right „Grosz/so smells defeat/37” and annotated "34 so smells defeat" bottom center. Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-19-5 Drawing for "Esquire. The Magazine for Men”, November 1936 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Beuys-1982-7000-Eichen-letter_WB.jpg Rundbrief F.I.U. 1982-1984 Joseph BEUYS (1921 - 1986) F.I.U. Mailing Printed letter, stamped inscribed with signature in blue ink “Joseph Beuys” and “Franz Dahlem” 11 5/8 x 8 1/4 in (29.53 x 20.96 cm) Announcement and donor solicitation letter in connection to Joseph Beuys’ project for documenta 7 Please click HERE for full fact sheet https://exhibitionarchive.org/assisted-readymade-(winter-2022) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/READYMADE---banner-web-artsy.jpg READYMADE banner web artsy READYMADE banner web artsy https://cdn.neonsky.app/4cf3e4235c858/images/Contrepeterie3.jpg Contrepeterie (Disk with Puns) 1968 (1926) Marcel Duchamp (1887 - 1968) Replica of the disc Esquivons les ecchymoses des esquimaux aux mots exquis, used as a cover for S.M.S (New York), No. 2 (April 1968), attached to paper portfolio, with printed inscription “a guest + a host = a ghost Marcel Duchamp 1953” Disk diameter: 6 7/8 (17.5 cm) Portfolio size: 11 x 7 x 1 in (28 x 17.75 x 2.5 cm) Duchamp contributed a seven-minute recording of himself reading transposed letters, words and syllables. The record can be removed and played. This work was one Duchamp's last pieces. He died shortly after his SMS (Shit Must Stop) contribution. This piece directly related to earlier recordings and record-shaped artworks made by the famous Dadaist, Surrealist and father of conceptual art. Nine discs were made in 1926 to be used in the film Anémic Cinéma (Cat. 289), where they alternate with ten Discs Bearing Spirals (Cat. 286). One disc has been lost. This work is from the edition of approximately 2000 published by Letter Edged in Black Press. Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Rose-for-Direct-Democracy-Rose-fur-Direkte-Demokratie.jpg Rose for Direct Democracy 1973 Joseph BEUYS (1921 - 1986) Graduated glass cylinder, with inscription "Rose für Direkte Demokratie" and "Joseph Beuys" 13 3/16 x 2 in (33,5 x 5 cm) Edition Unlimited Publisher: Edition Staeck, Heidelberg Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Noiseless-Blackboard-Eraser.jpg Noiseless Blackboard Eraser 1974 Joseph BEUYS (1921 - 1986) Felt blackboard eraser, stamped, signed and numbered Label yellow, typography black. Signed in felt pen in Sütterlin (prewar German) script; numbered in pencil by another hand; a very few copies experimentally numbered by stamping. 2 x 5 1/8 x 1 in (5 x 13 x 2,5 cm) Edition of 550 + 6 a.p. ; Ed. 537/550 Publisher: Ronald Feldman Fine Arts, New York Beuys had the idea for the edition at a political lecture he held during his first trip to the United States. When collectors wanted to purchase a blackboard he had drawn and written on, Beuys had it erased with this type of blackboard eraser Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Chessboard2.jpg Mental Chess Board 1991 [Marcel Duchamp (1887 - 1968)] Wood box reproducing Marcel Duchamp's Mental Chess Board from 1937 and containing an exhibition catalogue (64 pp 13 3/8 x 4 1/4 in; 340 x 107 mm, complete with the price list); a portfolio containing reproductions and facsimiles of Marcel Duchamp's works, also including H. Vuibert, Les Anaglyphes Geometriques, Paris Librairie Vuibert, 112 (with 3D glasses); a book of articles on Duchamp by Andre Breton and Arturo Schwarz (inserted, on separate sheet, a reproduction of Le Grand Verre); an audiocassette of Duchamp speaking "Priere d'ecouter" with, on top of it, a miniature reproduction of Enrico Donati's breast from 1947; a single photograph of "Marcel Duchamp at the Age of 85 for View; a colophon. 14 1/2 x 14 1/4 x 2 1/4 in (37 x 36.5 x 6 cm) Numbered 417/850 on the inside cover Edited on the occasion of the exhibition "Marcel Duchamp," Antwerp: Ronny Van de Velde, 1991 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Intuition.jpg Intuition 1968 Joseph BEUYS (1921 - 1986) Wooden box with pencil drawing 11 13/16 x 8 1/4 x 2 3/8 in (30 x 21 x 6 cm) Signed and dated "Joseph Beuys" on the reverse and annotated "Intuition" front center Edition: unlimited, approx. 12,000 made; signed and dated, unnumbered Publisher: Vice-Versand, Remscheid Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/beuys_5499.jpg Cobblestone (Pflasterstein) 1975 Joseph BEUYS (1921 - 1986) Basalt, stamped “Joseph Beuys Eine Strassenaktion” and “Organisation für direkte Demokratie,” inscribed in felt pen “Joseph Beuys” 6 5/16 x 4 3/4 x 5 1/8 in (16 x 12 x 13 cm) Edition: 50, about half of the edition signed and numbered, the other half with signature stamp; plus 12 a.p., signed, unnumbered. The present work is a signed artist’s proof Publisher: Edition Dietmar Schneider, Cologne Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Paul-McCarthy_Dead-Viking_retina.jpg Dead Viking 1992 Paul McCARTHY (b. 1945) Acrylic fur, wood, rubber and found costume 12 x 72 x 24 in. (30,4 x 183 x 61 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/La-rivoluzione-siamo-Noi.jpg La rivoluzione siamo Noi 1972 Joseph BEUYS (1921 - 1986) Phototype on polyester sheet, with hand-written text; stamped Print size: 75 3/16 x 39 3/8 in (191 x 100 cm) Framed size: 82 x 45 3/4 x 2 1/2 in (208.28 x 116.2 x 6.35 cm) Signed "Joseph Beuys" and numbered 45/180, inscribed "La rivoluzione siamo Noi," hand-stamped with the Hauptstrom stamp Edition 180 plus 18 AP Publishers: Modern Art Agency (Lucio Amelio), Naples and Edition Tangente, Heidelberg Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Untitled-signed-Reichmark.jpg Untitled (signed Reichsmark) AFTER 1979 Joseph BEUYS (1921 - 1986) 20 Reichsmark from 1924, with handwritten addition 3 1/8 x 6 ¼ in (8 x 15,9 cm) Signed in red felt "Joseph Beuys" This work is unique Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Cadeau.jpg Cadeau 1974 (1921) MAN RAY (1890 - 1976) Iron and brass nails 6 1/2 x 4 x 3 1/4 in (16.5 x 10.1 x 8.2 cm) Signed, titled and numbered 3272/5000 Accompanied by signed and numbered card, in original packing Publisher: Luciano Anselmino, Turin Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/H21264-L271277381.jpg 1 Wirtschaftswert (Economic Value) 1976-1984 Joseph BEUYS (1921 - 1986) 1 Wirtschaftswert (Arbeit aus dem Werkkomplex "WIRTSCHAFTSWERTE") Paintbrush with inscriptions in graphite, hand-stamped with the Hauptstrom stamp, signed "Joseph Beuys" and inscribed “1 Wirtschaftswert,” in Klaus Staeck custom-designed wood presentation box, under glass. Wood box: 11 13/16 x 10 1/4 x 2 3/4 in (30 x 26 x 7 cm) This work is unique Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Beuys_Kassel.jpg Kassel 1982 Joseph BEUYS (1921 - 1986) Black & white photograph (from the series "Photo-Editionen") with gold foil and inscriptions in graphite, studio sticker on the reverse, inscribed with signature in pencil “Joseph Beuys” and signed “Zoa” 20 x 24 in (50.8 x 61 cm) Photograph of Joseph Beuys by Zoa (Brigitte Müller-Fehn), taken in Kassel on June 30, 1982, when, during a live “Aktion” (performance), the artist melted down a golden crown (representative of the old order) and recast the metal into a golden hare and sun sphere. The resultant sculpture was later sold to raise funds for Beuys’ most ambitious public intervention: the 7000 Oaks Project. Edition: 33 inscribed by Beuys in pencil and numbered; 10 inscribed by Beuys in felt and numbered I to X; a small number of unnumbered Artist’s Proofs inscribed by Beuys in pencil; all photographs also signed by Zoa. The present work is one among the small number of artist’s proofs, this from the personal collection of “Zoa” (photographer Brigitte Müller-Fehn), Hannover Publisher: Galerie Edition Holtmann, Cologne Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Merda-d-artista.jpg Merda d'artista 2013 (1961) Piero MANZONI (1933 – 1963) Tin can, printed paper and excrement* Inscribed on the lid “PRODUCED BY Piero Manzoni No. 39” In unopened clear plastic pouch with facsimile of the fingerprint of Manzoni 1 7/8 x 2 1/2 x 2 1/2 in (4.8 x 6.5 x 6.5 cm) 0.1 kg Released by the Piero Manzoni Foundation, 50 years after the death of the artist. The edition is 9000, the original numbering (1/90) is repeated 100 times. The number offered here is number 39. This is an authorized and approved reproduction of the artist’s seminal work, “Merda d’Artista,” in which Manzoni packaged multiple 30gr tins of his excrement as if it was manufactured for sale. It is descriptive of Manzoni’s ironic and perverse style. Calling into play his specific dialogue with the relationship between art production and human production* Agostino Bonalumi, who worked with Manzoni, recently wrote in Corriere della Sera, that the 90 30-gramme tins that Manzoni filled in 1961 before his untimely death aged 29, contained not faeces but plaster. This might be one of the greatest outrages perpetrated in the history of art. Or not. Quite possibly the contents don't do exactly what they say on the tin. "I can assure everyone the contents were only plaster," writes Bonalumi. "If anyone wants to verify this, let them do so." Please click HERE for full fact sheet https://exhibitionarchive.org/wings-of-desire-(winter-2021) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/Wings-of-desire-logo-2_WB.jpg FROM DECEMBER 14, 2020 TO JANUARY 20, 2021 View it here FROM DECEMBER 14, 2020 TO JANUARY 20, 2021 View it here https://cdn.neonsky.app/4cf3e4235c858/images/THE-CALL-TO-ARMS.jpg La DÃ©fense (The Call to Arms) 1912-1918 Auguste RODIN (1840-1917) Bronze 90 9/16 x 45 11/16 x 33 1/4 in. (230 x 116 x 84,5 cm) Ed. 8 + 4 AP To be cast by the Musée Rodin, 2021. The bronze will be inscribed A. Rodin, © by Musée Rodin and numbered, dated and stamped with the foundry mark Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Judgement_ab.jpg Judgement 2005 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 8 x 12 in. (20,3 x 30,5 cm) Paper size: 10 x 14 in. (25,4 x 35,6 cm) Ed. 7 + 3 AP Signed and numbered in pencil Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Black-Nike.jpg Black Nike 2017 Akim MONET (b. 1968) Black Nike 2017 Slate-based composite with brushed stainless steel plaque and laser cut inscription numbered VDS-xxxx-BC Approx. h. 39 ⅖ in. (100 cm) Edition of 25 Produced in collaboration with Ateliers d’art de la Réunion des musées nationaux - Grand-Palais Each casting bears the round marking “MOULAGE MUSEE DU LOUVRE” inscribed around the logo of the Réunion des musées nationaux Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/18386-012-1.jpg Lykkelige Mennesker (Happy Man) 1934 George GROSZ (1893 - 1959) Reed, pen and ink, and opaque white on paper 23 3/8 x 16 1/8 in (59,3 x 40,9 cm) Inscribed „I Kapitel" bottom right. Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-295-21 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Angelheart_ab.jpg Angelheart 2005 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 8 x 12 in. (20,3 x 30,5 cm) Paper size: 10 x 14 in. (25,4 x 35,6 cm) Ed. 7 + 3 AP Signed and numbered in pencil Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/F1929-7-11v1-pma.jpg Les BÃ©nÃ©dictions sur base ronde, grand modÃ¨le BEFORE 1896 Auguste RODIN (1840-1917) Bronze 31 9/16 x 23 1/5 x 25 in. (80,2 x 59 x 63,5 cm) Ed. 8 + 4 AP To be cast by the Musée Rodin, 2021. The bronze will be inscribed A. Rodin, © by Musée Rodin and numbered, dated and stamped with the foundry mark Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Prayer_ab.jpg Prayer 2005 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 12 x 8 in. (30,5 x 20,3 cm) Paper size: 14 x 10 in. (35,6 x 25,4 cm) Ed. 7 + 3 AP Signed and numbered in pencil Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/INV4431_numPH002-1.jpg GÃ©nÃ©reusement ou Projet de Monument Ã CarriÃ¨re CIRCA 1906 Auguste RODIN (1840-1917) Bronze 20 11/16 x 10 7/16 x 12 13/16 in. (52,6 x 26,5 x 32,5 cm) Ed. 8 + 4 AP Cast in 2017, the bronze is inscribed A. Rodin, © by Musée Rodin and numbered, dated and stamped with the foundry mark Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Hello-Central-Give-Me-Heaven.jpg Hello, Central, Give Me Heaven 1941 George GROSZ (1893 - 1959) Reed, and pen and ink 23 1/4 x 18 1/8 in (59,2 x 46,1 cm) Annotated "Hello Central give me Heaven" bottom right and "to Ben Hecht 1001 Afternoon" bottom left. Inscribed "p. 224" top left and numbered 244 top right and 46 bottom right Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-51-4 Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Photo4_ab.jpg Untitled (Winged Figure) 2005 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 12 x 8 in. (30,5 x 20,3 cm) Paper size: 14 x 10 in. (35,6 x 25,4 cm) Ed. 7 + 3 AP Signed and numbered in pencil Please click HERE for full fact sheet https://exhibitionarchive.org/of-mice-and-men-(fall-2020) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/Of-mice-and-men---digest---banner-web.jpg OF MICE AND MEN George Grosz and the 2020 election FROM OCTOBER 5 TO DECEMBER 5, 2020 The Los Angeles exhibition "Of mice and men: George Grosz and the 2020 election" is the sequel to “Der Kandidat: George Grosz and the 2016 election" held in Berlin exactly four years ago. THEASTER GATES GEORGE GROSZ CLIFF JOSEPH PAUL McCARTHY STERLING RUBY Read about it here https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1927_JEDER-SCHUSS-EN-RUSS-Hintergrundbild-fur-Schwejk_retina.jpg Jeder Schuss ein Russ 1927 George GROSZ (1893 - 1959) Everyone shoot a Russ (ian) Jeder Schuss ein Russ Drawing for the background projection for Schwejk Brush, reed pen and pen and ink 20 ¼ x 25 ½ in (51,4 x 64,9 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Cliff-Joseph_Southern-Comfort_retina.jpg Southern Comfort 1965 Cliff JOSEPH (1922-2020) Oil on board in original artist's frame 16 x 16 in. (40,64 x 40,64 cm) Signed, dated and titled on the verso Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1927_Rache-fur-Wien_retina.jpg Rache fuÌˆr Wien 1927 George GROSZ (1893 - 1959) Revenge for Vienna Rache für Wien Brush, reed pen and pen and ink on paper 25 9/16 x 20 9/16 in (65 x 52,3 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/20200424-Harassed-Nurses-La-farandole-des-trous-du-cul-_retina.jpg 20200424 Harassed Nurses 2020 Akim MONET (b. 1968) 20200424 Harassed Nurses (La farandole des trous du cul) UV cured ink on 1/8-inch brushed aluminum Dibond, 3/4-inch wall bracket 12 x 12 in. (30,48 x 30,48 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1936_Cat-mouse_retina.jpg Cat and mouse 1936 George GROSZ (1893 - 1959) Cat and mouse Reed pen, pen and ink and pencil on paper 13 ¼ x 20 1/8 in (33,7 x 51,1 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Paul-McCarthy_Dead-Viking_retina.jpg Dead Viking 1992 Paul McCARTHY (b. 1945) Acrylic fur, wood, rubber and found costume 12 x 72 x 24 in. (30,4 x 183 x 61 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1927_BAUTZE-I-Hintergrundbild-fur-Schwejk_retina.jpg Oberarzt Dr. Bautze 1927 George GROSZ (1893 - 1959) Chief Physician Dr. Bautze Oberarzt Dr. Bautze "Phase 4" drawing for the background projection for Schwejk Brush, reed pen, pen and ink, and chalk 18 1/8 x 23 3/8 in (46 x 59,3 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/93700008_40x26inches_retina.jpg Le Catacombe dei Cappuccini 2010 Akim MONET (b. 1968) Le Catacombe dei Cappuccini Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 36 x 23 7/8 in (91,44 x 60,62 cm) Paper size: 40 x 26 in (101,6 x 66,04) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1932_Hoover_retina.jpg Hoover 1932 George GROSZ (1893 - 1959) Hoover Brush, reed pen and pen and ink 27 11/16 x 18 ¼ in (70,3 x 46,2 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Nao-I-Think-This-Is-Your-Beer-Kill-the-Man.jpg Nao, I Think This Is Your Beer (Kill the man) 2015 Paul McCARTHY (b. 1945), Benjamin WEISSMAN (b. 1957), Naotaka HIRO (b. 1972) Acrylic, collage, watercolor, graphite on paper Framed size: 26 x 20 in. (66,04 x 50,8 cm) Not signed Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1927_Stehender-weiblicher-Akt_recto_retina.jpg Stehender weiblicher Akt 1927 George GROSZ (1893 - 1959) Recto: Standing female Nude Stehender weiblicher Akt Verso: Bending Nude from the Back Sich beugender Rückenakt Pencil, carpenter’s pen and charcoal on paper 23 5/8 x 18 1/8 in (60 x 46,1 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Theaster-Gates_Asphalt-Paintings-for-Hugenot-House-with-Altar_retina.jpg Asphalt painting for Huguenot House with altar CIRCA 2013 Theaster GATES (b 1973) Asphalt painting for Huguenot House with altar Wood, tar roofing, shoe polish and nails, in 2 parts 43 1/2 x 20 1/2 x 3 1/2 in (110.5 x 52.1 x 8.9 cm) 21 x 24 x 24 in (53.3 x 60.9 x 60.9 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1923_Garantievorschlag-des-Reichsverbandes-der-Deutschen-Industrie_retina.jpg Garantievorschlag des Reichsverbandes... 1923 George GROSZ (1893 - 1959) Offer of Guaranty by the Federal Association of German Industry Garantievorschlag des Reichsverbandes der Deutschen Industrie Reed pen and pen and ink on paper 20 5/8 x 25 5/8 in (52,3 x 65,1 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Nao-I-Think-This-Is-Your-Beer-Head-Jesus-Dead.jpg Nao, I Think This Is Your Beer (Head Jesus Dead) 2015 Paul McCARTHY (b. 1945), Benjamin WEISSMAN (b. 1957), Naotaka HIRO (b. 1972) Acrylic, charcoal, graphite on paper Framed size: 26 x 20 in (66.04 x 50.8 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/George-Grosz-_1941_Bums-rush-for-Allah_retina.jpg The Bumâ€™s Rush for Allah 1941 George GROSZ (1893 - 1959) The Bum’s Rush for Allah Reed pen, pen and ink, and opaque white on paper 22 1/2 x 18 7/8 in (57,1 x 48 cm) Please click HERE for full fact sheet https://cdn.neonsky.app/4cf3e4235c858/images/Sterling-Ruby_Vampire-97.jpg Vampire 97 2013 Sterling RUBY (b. 1972) Fabric and fiber fill 79 1/2 x 34 1/4 x 5 1/2 in (201.9 x 87 x 14 cm) Please click HERE for full fact sheet https://exhibitionarchive.org/disruptive-selection-(fall-2019-&-spring-2020) 2026-09-16 monthly 0.8 https://exhibitionarchive.org/mythology-&-science-(fall-2017-&-spring-2018) 2026-09-16 monthly 0.8 https://exhibitionarchive.org/curses,-blasphemies,-lamentations:-goya-&-rodin-(spring-2017) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_GOYA_1600x1200-02_01.jpg OPENING DURING BERLIN GALLERY WEEK-END FRIDAY APRIL 28, 2017 6 - 9 PM CURSES, BLASPHEMIES, LAMENTATIONS: Francisco de Goya & Auguste Rodin will be inaugurated on Friday April 28, 2017 6 - 9 pm during GALLERY WEEK-END BERLIN 2017. Meanwhile, please click here view our 2017 ANNIVERSARY eCATALOGUE presented in association with the Musée Rodin, Paris. https://cdn.neonsky.app/4cf3e4235c858/images/AM_GOYA_1600x1200-SLIDE_00.jpg Los Caprichos Nr. 1 1797-1798 Francisco DE GOYA Y LUCIENTES (1746-1828) 1. Francisco Goya y Lucientes, pintor 1. Francisco Goya y Lucientes, painter Born in rural Aragón in 1746, Goya was exposed to the artistic world from an early age, as his father was a gilder. This would have allowed the young Goya to experience contact with the artistic and professional world first hand from a young age. After studying and working for a few years under Luzán in Zaragoza and Francisco Bayeu in Madrid, Goya enhanced his position at court and ingratiated himself with the wealthy and the powerful through numerous commissioned works. Aquatint and etching 31 x 41 x 3 cm https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---17340_001812-cropped2_WB.jpg Pygmalion et GalatÃ©e 1900-1905 Auguste RODIN (1840-1917) Pygmalion and Galatea The subject of this bronze is taken from Ovid's Metamorphoses. When Vulcan sculpts the first woman, Pygmalion falls in love with the statue the god is creating and begs Aphrodite to transform it into a living woman. Bronze 42,1 x 27 x 31 cm Cast in 2015 by Fonderie de Coubertin, Paris Inscribed A. Rodin, © by Musée Rodin and numbered, one of the eight examples numbered in Arabic numerals, dated and stamped with foundry mark https://cdn.neonsky.app/4cf3e4235c858/images/AM_GOYA_1600x1200-SLIDE_03.jpg Los Caprichos Nr. 26, 61, 60 and 75 1797-1798 Francisco DE GOYA Y LUCIENTES (1746-1828) 26. Ya tienen asiento 26. Now they are sitting well These nice girls have enough chairs, but they know nothing better to do with them than to wear them on their heads. 61. Volavérunt 61. They have flown The witches who serve as a pedestal to this fashion’s fool are more ornamental than useful. There are heads so swelled with hot air that they need neither broom nor witches to make them fly. 60. Ensayos 60. Trials Gradually he makes progress. Now he can jump a little. In time he will do even as much as his teacher. 75. ¿No hay quién nos desate? 75. Will no one set us free? A man and a woman are tied together. They are trying with all their might to free themselves and are calling for help. If I’m not mistaken, they are two people who were forced to marry. Aquatint and etching 31 x 41 x 3 cm https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---INV4430_numPH001_WB.jpg MÃ©dÃ©e CIRCA 1890 Auguste RODIN (1840-1917) Medea The theme of Medea, killing her children in a fit of jealousy and desperation after being abandoned by Jason whom she followed into exile, was popular among many artists in the 19th century. Through its pyramidal composition and the twist of Medea’s body, which seems to turn away from their children, Rodin’s group seems to particularly echo Delacroix’s painting (1838, Museum of Fine Arts in Lille). Médée is one of three works cast for the centenary of Rodin’s death. Bronze 63 x 33 x 32 cm Cast in 2017 by Fonderie Susse, Paris Inscribed ‘A. Rodin’, © by Musée Rodin and numbered Ed. 1/8, one of the eight examples in Arabic numerals, dated and stamped with foundry mark https://cdn.neonsky.app/4cf3e4235c858/images/AM_GOYA_1600x1200-SLIDE_02.jpg Los Caprichos Nr. 46, 56 and 77 1797-1798 Francisco DE GOYA Y LUCIENTES (1746-1828) 46. Correción 46. Correction Without punishment and self-discipline one can’t get on in any science. In witchcraft one needs unusual talent perseverance, maturity, and a rigid obedience to the teachings of the Great Witchmaster who conducts the Seminary of Barahona. 56. Subir y bajar 56. Ups and downs Fortune is unkind to those who court her. Ambition is rewarded with emptiness. Those who have risen she often punishes with downfall. 77. Unos à otros 77. Now one, now another The way of the world. The people laugh and play bullfighting with each other. He who yesterday played the bull plays today the toreador. Chance rules the game and assigns the parts according to her caprices. Aquatint and etching 31 x 41 x 3 cm https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---cre_ateur_Page_2_Image_0001-cropped_WB.jpg Le CrÃ©ateur BEFORE 1890 Auguste RODIN (1840-1917) The Creator This relief, portraying a spirit whispering ideas into the artist's ear, has always been viewed as a symbolic representation of Rodin. Placed within the right-hand jamb of La Porte de l’Enfer, at the very bottom, this relief has been viewed as a kind of signature, like those left by the master-craftsmen of the Middle Ages. Bronze 41 x 36,9 x 13,5 cm Cast in 1984 by Fonderie de Coubertin, Paris Inscribed ‘A. Rodin’, © by Musée Rodin and numbered Ed. 7/8, one of the eight examples in Arabic numerals, dated and stamped with foundry mark https://cdn.neonsky.app/4cf3e4235c858/images/AM_GOYA_1600x1200-SLIDE_01.jpg Los Caprichos Nr. 30, 13, 33 and 40 1797-1798 Francisco DE GOYA Y LUCIENTES (1746-1828) 33. Al Conde Palatino 33. To the Count Palatine In all science there are people who know everything without having learned and have a ready remedy for all ills. One can’t believe what they say. The really intelligent person mistrusts them. The educated person makes moderate promises and keeps much in reserve. The Count Palatine never keeps any promises at all. 40. ¿De que mal morirà? 40. Of what will he die? The doctor is doing his best. What more can we expect? 30. ¿Por qué esconderlos? 30. Why hide them? The answer is easy. He won’t spend it; he doesn’t spend it; he can’t spend it. Although he is over eighty and has barely another month to live, he is afraid that he might have no more left if he lives longer. Such are the mistakes of greed. 13. Están Calientes 13. It’s hot They are so greedy that they gulp down their own soup boiling. In pleasure more than anything else temperance and wisdom are necessary. Aquatint and etching 31 x 41 x 3 cm https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---chatiment-1-8_2_WB.jpg ChÃ¢timent 1906 Auguste RODIN (1840-1917) Punishment The work represents a man bent forward, carrying the body of a woman, surrounded by two female figures, who appear suspended in the air. The title “Punishment” would seem to indicate that they are representations of the Greek Erinyes; the role of these deities, known by the Romans as the Furies, was to persecute criminals. Châtiment is one of three works cast for the centenary of Rodin’s death. Bronze 40 x 30 x 15,5 cm Cast in 2017 by Fonderie de Coubertin, Paris Inscribed ‘A. Rodin’, © by Musée Rodin and numbered Ed. 1/8, one of the eight examples in Arabic numerals, dated and stamped with foundry mark https://cdn.neonsky.app/4cf3e4235c858/images/AM_GOYA_1600x1200-SLIDE_04.jpg Los Caprichos Nr. 59, 62, 71 and 69 1797-1798 Francisco DE GOYA Y LUCIENTES (1746-1828) 59. ¡Y aún no se van! 59. And still they don't go! He who is indifferent to the favors of fortune sleeps calmly through all danger. Nevertheless, danger threatens him and he cannot avoid the misfortunes that will befall him. 62. ¡Quién lo creyera! 62. Who would believe it! See them fight as to which is the bigger witch. Who would have believed that they would tear each other to pieces in such an insane fashion? Friendship is a virtue. Criminals may be accomplices but never friends. 71. Si amanece; nos vamos 71. When day breaks we will be off If you didn't come, you won't have been missed. 69. Sopla 69. She blows Surely, there was a great catch of children yesterday. The banquet being prepared will be a large one. Hearty appetite! Aquatint and etching 31 x 41 x 3 cm https://exhibitionarchive.org/homage-to-auguste-rodin-(winter-2017) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_HOMAGE_A_RODIN_1600x1200-03_01.jpg HOMAGE TO AUGUSTE RODIN UNTIL MARCH 25, 2017 PLEASE CLICK HERE TO VIEW THE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---LA-JOUISSANCE-1000px_WB.jpg La Jouissance 2009 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 82 x 57 cm, paper size: 100 x 70 cm Ed. 7 PROVENANCE Side by Side Gallery Akim Monet GmbH, Berlin EXHIBITED Women, Side by Side Gallery Akim Monet GmbH, Berlin 24 January – 29 March 2014 LITERATURE Rodin. An Engagement, photography by Akim Monet, artist’s e-catalogue, Berlin. NOTES Rodin, who through his sculptor’s eye, transformed the human body into a vessel of expression, thereby recasting anatomy into emotion, was eager to discover how his work could metamorphose through another art form. Thus he often invited photographers into his studio, the most famous of whom was Edward Steichen. Following in this tradition, Akim Monet presented a spontaneous series of photographs to the Musée Rodin, which resulted in an invitation to produce a body of work at the museum. The present work is from a series visible here https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---17340_008311-Cropped_WB.jpg RomÃ©o et Juliette 1902 Auguste RODIN (1840-1917) Bronze 68,8 x 51,4 x 36,6 cm Cast in 2015 by Fonderie de Coubertin, Paris Inscribed A. Rodin, © by Musée Rodin and numbered, one of the eight examples numbered in Arabic numerals, dated and stamped with foundry mark PROVENANCE Musée Rodin, Paris OTHER CASTS IN PUBLIC COLLECTIONS Los Angeles, Iris and B. Gerald Cantor Foundation Aix-les-Bains, Musée Faure AUTHENTICATION A certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste Rodin. This work will be included in the forthcoming Auguste Rodin catalogue critique de l’oeuvre scultpé currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay. NOTES We are indebted to the Musée Rodin for the following: This group, displayed for the first time in 1902 at an exhibition of Rodin's work in Prague, shows a languid Juliet clasping Romeo, who has adopted a pose similar to the ignudi of the Sistine Chapel in order to climb over the balcony. The group occupies a special place in Rodin’s post-1900 production. Subjects drawn from literature were quite unusual for him during that period; moreover, he did not hesitate to give this group a descriptive character by introducing accessory details such as the balcony balustrade. Bearing in mind that in 1900 Rodin had received an order for two replicas of Le Baiser, which were immediately executed for Warren and Jacobsen, should we discern in Roméo et Juliette a veiled reference to Paolo and Francesca, that other famous literary couple? https://cdn.neonsky.app/4cf3e4235c858/images/AMonetAMonet---0-008-b_WB_WB.jpg UNTITLED II (Fugit Amor) 2009 Akim MONET (b. 1968) Chromogenic print mounted face-in 1/8” Plexiglas on composite board in custom artist's frame Print size: 125 x 145 cm Frame size: 145 x 165 cm Ed. 2 + 1 AP NOTES Rodin, who through his sculptor’s eye, transformed the human body into a vessel of expression, thereby recasting anatomy into emotion, was eager to discover how his work could metamorphose through another art form. Thus he often invited photographers into his studio, the most famous of whom was Edward Steichen. Following in this tradition, Akim Monet presented a spontaneous series of photographs to the Musée Rodin, which resulted in an invitation to produce a body of work at the museum. Please click here for more about Rodin and photography. https://cdn.neonsky.app/4cf3e4235c858/images/RODIN-createur_Page_2_Image_0001_crop_WB.jpg Le CrÃ©ateur BEFORE 1890 Auguste RODIN (1840-1917) Bronze 41 x 36,9 x 13,5 cm Cast in 1984 by Fonderie de Coubertin, Paris Inscribed ‘A. Rodin’, © by Musée Rodin and numbered Ed. 7/8, one of the eight examples in Arabic numerals, dated and stamped with foundry mark PROVENANCE Musée Rodin, Paris OTHER BRONZE CASTS Tokyo, National Museum of Western Art Los Angeles, Iris and B. Gerald Cantor Foundation AUTHENTICATION A certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste Rodin. This work will be included in the forthcoming Auguste Rodin catalogue critique de l’oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay. NOTES We are indebted to the Musée Rodin for the following: This relief, portraying a spirit whispering ideas into the artist's ear, has always been viewed as a symbolic representation of Rodin. The resemblance is in fact remarkable. Placed within the right-hand jamb of La Porte de l’Enfer, at the very bottom, this relief has been viewed as a kind of signature, like those left by the master-craftsmen of the Middle Ages. Lorenzo Ghiberti inserted his own self-portrait on the doors of the Baptistery in Florence, the main source of inspiration for La Porte de l’Enfer. Rodin also deeply admired Romanesque and Gothic art and, like his predecessors, was determined to use the available space as fully as possible. In this work, the figure is designed with creativity worthy of the artists of the Middle Ages and Renaissance, to fit it into the rectangular space allotted to it. Although Rodin talked about artistic technique as a form of craftsmanship, the act of creation was always a mystery to him, and this little female figure whispering inspiration into the sculptor's ear is a representation that occurs several times in his work. In 1894-1895, this composition was remodeled in the round and entitled Le Sculpteur et sa Muse. https://cdn.neonsky.app/4cf3e4235c858/images/AMonetAMonet---0-014-B1_WB_WB.jpg UNTITLED V (Les trois graces qui dancent) 2009 Akim MONET (b. 1968) Chromogenic print mounted face-in 1/8” Plexiglas on composite board in custom artist's frame Print size: 145 x 125 cm Frame size: 165 x 145 cm Ed. 2 + 1 AP NOTES Rodin, who through his sculptor’s eye, transformed the human body into a vessel of expression, thereby recasting anatomy into emotion, was eager to discover how his work could metamorphose through another art form. Thus he often invited photographers into his studio, the most famous of whom was Edward Steichen. Following in this tradition, Akim Monet presented a spontaneous series of photographs to the Musée Rodin, which resulted in an invitation to produce a body of work at the museum. Please click here for more about Rodin and photography. https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---17340_001812-cropped_WB.jpg Pygmalion et GalatÃ©e 1900-1905 Auguste RODIN (1840-1917) Bronze 42,1 x 27 x 31 cm Cast in 2015 by Fonderie de Coubertin, Paris Inscribed A. Rodin, © by Musée Rodin and numbered, one of the eight examples numbered in Arabic numerals, dated and stamped with foundry mark PROVENANCE Musée Rodin, Paris AUTHENTICATION A certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste Rodin. This work will be included in the forthcoming Auguste Rodin catalogue critique de l’oeuvre scultpé currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay. NOTES We are indebted to the Musée Rodin for the following: The subject of this bronze is taken from Ovid's Metamorphoses. When Vulcan sculpts the first woman, Pygmalion falls in love with the statue the god is creating and begs Aphrodite to transform it into a living woman. Rodin explained to Paul Gsell that the starting point for this group was Le Minotaure (around 1886). Having decided at some unknown date to assemble a study of a woman and the faun from Le Minotaure, he began by removing the faun's left leg to leave enough space for the female figure. He then removed the faun's horns and altered the position of the arms. The next stage was carried out during the first execution in marble, when the faun's cloven hoof was transformed into a human foot. Finally, in the course of its second execution in marble, the body of Galatea took on the appearance of a partly completed sculpture, with the legs merely roughed out. Rodin represented himself as a creator deity via this symbolic self-portrait whose development history has, unusually, been preserved. https://cdn.neonsky.app/4cf3e4235c858/images/AMonet-0-003_l_Homme-et-sa-pense_e_WB.jpg UNTITLED VII (Lâ€™homme et sa pensÃ©e) 2009 Akim MONET (b. 1968) Chromogenic print mounted face-in 1/8” Plexiglas on composite board in custom artist's frame Print size: 145 x 125 cm Frame size: 165 x 145 cm Ed. 2 + 1 AP NOTES Rodin, who through his sculptor’s eye, transformed the human body into a vessel of expression, thereby recasting anatomy into emotion, was eager to discover how his work could metamorphose through another art form. Thus he often invited photographers into his studio, the most famous of whom was Edward Steichen. Following in this tradition, Akim Monet presented a spontaneous series of photographs to the Musée Rodin, which resulted in an invitation to produce a body of work at the museum. Please click here for more about Rodin and photography. https://cdn.neonsky.app/4cf3e4235c858/images/RODIN2016-09-11133005_WB.jpg Femme qui se peigne BEFORE 1900 Auguste RODIN (1840-1917) Bronze 24 x 14,5 x 13,7 cm Cast in 2002 by Fonte Godard Inscribed A. Rodin, © by Musée Rodin and numbered 5/8, one of the eight examples numbered in Arabic numerals, dated and stamped with foundry mark PROVENANCE Musée Rodin, Paris AUTHENTICATION A certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste Rodin. NOTES This small bronze, cast from a plaster original with very visible seams, probably represents the first phase of a work that was subsequently detached from the tall pedestal it had been placed on. Once removed, the figure was used on its own in many different ways, for example positioned against a plaster panel or attached to the neck of a small alabaster amphora. Combined with two other figures it became the starting point for a larger group, Jeune fille entre deux génies, or Les mauvais Génies, also exhibited in 1900. Its composition bears witness to the research Rodin had been carrying out on the geometrical structure of the human body; it perfectly illustrates the commentaries, published by Camille Mauclair in 1905, in which Rodin observes: "My art arises out of architecture and geometry. A body is a building and a polyhedron." https://cdn.neonsky.app/4cf3e4235c858/images/AMonetAMonet---60-X-70-0-004-c_WB_WB.jpg UNTITLED VI (Pierre de Wissant) 2009 Akim MONET (b. 1968) Chromogenic print mounted face-in 1/8” plexiglas on composite board in custom artist's frame Print size: 70 x 60 cm, frame size: 90 x 80 cm Ed. 5 + 2 AP NOTES Rodin, who through his sculptor’s eye, transformed the human body into a vessel of expression, thereby recasting anatomy into emotion, was eager to discover how his work could metamorphose through another art form. Thus he often invited photographers into his studio, the most famous of whom was Edward Steichen. Following in this tradition, Akim Monet presented a spontaneous series of photographs to the Musée Rodin, which resulted in an invitation to produce a body of work at the museum. Please click here for more about Rodin and photography. https://cdn.neonsky.app/4cf3e4235c858/images/Claudel---Valse-Claudel-n_I_IV-HD_WB.jpg La Valse 1895 Camille CLAUDEL (1864-1943) Bronze with nuanced brown patina Height: 46 cm (18 1/8 in.) Conceived in 1895, the present bronze cast was executed ca. 1996 in an edition of 12, numbered 1/8 to 8/8 and I/IV to IV/IV, from the polychrome plaster acquired directly from Camille Claudel by her doctor Alexandru Slatineau (1873-1939) between 1898 and 1902. Signed and titled “La Valse / C. Claudel” on the front of the base, numbered “E.A. IV/IV” and with foundry mark “Fonderie de la Plaine”. PROVENANCE The artist’s family Private Collection, France (acquired from the above) AUTHENTICATION This work is accompanied by a certificate of authenticity numbered 00220 and dated October 24, 2001, issued and signed by Mme Reine-Marie Paris, the great-niece of the artist. LITERATURE Reine-Marie Paris, Camille Claudel re-trouvée, Catalogue Raisonné, Les Éditions Aittouarès, Paris 2001, nr. 28-4, p. 292 (the original plaster ill.), this cast listed. NOTES We are indebted to Christie’s for the following, referring to another cast: According to Reine-Marie Paris, there are [several] versions of La Valse. In the present sculpture the man is kissing the woman's cheek, and not her neck as is depicted in other […] versions. Additionally, his hand covers the female's hand and the drapery is more accomplished in [the present version]. Claudel began La Valse, première version in 1892 and from her first study she created a life-sized plaster, which she exhibited at the Salon of 1893. During this period Claudel was working closely with Rodin, whom she had met in 1883. She not only worked the hands and feet on some of Rodin's larger pieces but also was model to many of Rodin's most important compositions, such as La Pensée (1886) and L'Adieu (1882). There is even speculation that she may have helped carve some of his marbles. Rodin openly pronounced Claudel his equal as a sculptor and they pursued similar themes in their work. The theme of lovers had been explored by Rodin in some of his most important compositions from this period: (Le Baiser (circa 1886) and L'Éternel Printemps (1884). Whereas Rodin's sculptures were essentially structured on a dominant male figure, Claudel's presented a more feminine sensibility that showed greater parity between the male and female figures in La Valse. The two artists also employed a similar technique that emphasized gesture, created tactile surfaces and built up forms. So intense was their relationship that the two were romantically involved for over a decade. In 1898 Claudel officially broke off their affair and went into seclusion, precipitating her eventual confinement to a sanitarium where she died in 1943. Music was also a central inspiration in Claudel's work and the theme of La Valse is reinterpreted in her later sculptures Joueuse de flute and Aveugle Chantant. Her artistic circle included many contemporary musicians and she was rumored to have had an affair with composer Claude Debussy in 1890. While she destroyed many of the records about her sculptures, her brother Paul Claudel recalled that La Valse called to life "the storm and the whirlwind of the dance of the two lovers, drunken with the moment and the music" (R.-M. Paris, op. cit., 1988, p. xix). The figures are entirely self-absorbed. Their intertwining forms and their precarious balance unites them in an expression of the intensity of life. Moreover, the dynamic movement of their dance is emphasized by the motion of the drapery, which both encircles them and grounds them. https://cdn.neonsky.app/4cf3e4235c858/images/Monet---Monet_Le-couple_WB.jpg Le couple 2009 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid-free watercolor paper Image size: 82 x 57 cm, paper size: 100 x 70 cm Ed. 7 PROVENANCE Side by Side Gallery Akim Monet GmbH, Berlin EXHIBITED The Hand of God, Side by Side Gallery Akim Monet GmbH, Berlin 2 May – 12 July 2014 LITERATURE Rodin. An Engagement, photography by Akim Monet, artist’s e-catalogue, Berlin. NOTES Rodin, who through his sculptor’s eye, transformed the human body into a vessel of expression, thereby recasting anatomy into emotion, was eager to discover how his work could metamorphose through another art form. Thus he often invited photographers into his studio, the most famous of whom was Edward Steichen. Following in this tradition, Akim Monet presented a spontaneous series of photographs to the Musée Rodin, which resulted in an invitation to produce a body of work at the museum. The present work is from a series visible here https://exhibitionarchive.org/der-kandidat-(fall-2016) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_GEORGE_GROSZ___the_2016_US_election1600x1200-02-01.jpg DER KANDIDAT - opening September 9 For its fifth anniversary Akim Monet Side by Side Gallery present its 15th exhibition "Der Kandidat", George Grosz and the 2016 election. The visitor explores the electoral process of this year's American presidential candidacy through a compilation of outstanding works on paper by German-American artist George Grosz, side by side with images pulled from current affairs, newspaper clippings, and books from the German interwar period through to contemporary. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Grosz_Myself-and-New-York_WB.jpg MYSELF AND NEW YORK 1957 George GROSZ (1893-1959) Collage on cardboard 30,5 x 26,3 cm Courtesy: Ralph Jentsch Myself and New York presents a very personal subject – likely Grosz’s reported disappointment with America and his own life arc. Deluded by his American experience, in 1959, Grosz moved back to Berlin, where he died shortly after his return from complications following a fall down the stairs after a night of heavy drinking. https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16318-0007_08_09_WB_CR.jpg SEX APPEAL 1927 George GROSZ (1893-1959) Pencil and carpenter’s pen on paper 59,9 x 46 cm Signed “Grosz” lower left, titled and widely annotated Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 5-200-4 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0009_WB_CR.jpg STEHENDER WEIBLICHER AKT 1927 George GROSZ (1893-1959) Pencil, carpenter’s pen and charcoal on paper 60 x 46,1 cm https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0010-restored_WB_CR.jpg HOOVER 1932 George GROSZ (1893-1959) Brush, reed pen and pen and ink on paper 60,8 x 46,1 cm Signed “Grosz” lower right Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 2-146-3 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0007_WB_CR.jpg BACH 1929 George GROSZ (1893-1959) Pencil on paper 60,7 x 46,1 cm Annotated lower right Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-407-19 Costume designs for “Der Kandidat” by Carl Sternheim, play in four acts after the work of Gustave Flaubert; Performance: Deutsches Theater, Kammerspiele, Berlin, January 27, 1930 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16318-0011_12_13_WB_CR.jpg KRIEGSKRÃœPPEL 1923 George GROSZ (1893-1959) Brush, reed pen and pen and ink on paper 59,4 x 46,1 cm Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 2-129-6 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0013_WB_CR.jpg RACHE FUR WIEN 1927 George GROSZ (1893-1959) Brush, reed pen and pen and ink on paper 65 x 52,3cm Annotated Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 3-205-7 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Grosz---2015-11-13-140728---R_WB.jpg I ESCAPED TO SPEAK FOR THE ENSLAVED CA. 1948 George GROSZ (1893-1959) Brush, reed pen, and pen and ink over charcoal on paper 69,7 x 52,2 cm Illustrated for Marek S. Korowic Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-81-9 PROVENANCE The Estate of George Grosz AUTHENTICATION This work will be included in the forthcoming catalogue raisonné of works on paper by George Grosz in preparation by Ralph Jentsch, managing director of the George Grosz Estate. https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0006_WB_CR.jpg EIN WÃ„HLER. SPIESSERTYP 1929 George GROSZ (1893-1959) Pencil on paper 60,1 x 46,2 cm Annotated lower right Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-407-25 Costume designs for “Der Kandidat” by Carl Sternheim, play in four acts after the work of Gustave Flaubert; Performance: Deutsches Theater, Kammerspiele, Berlin, January 27, 1930 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0004_WB_CR.jpg LOUISE UND EVELYN 1929 George GROSZ (1893-1959) Carpenter's pen on paper 60,1 x 46,2 cm Annotated “Louise” lower left and “Evelyn/Englanderin” lower right Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-407-21 Costume designs for "Der Kandidat" by Carl Sternheim. Play in four acts after the work of Gustave Flaubert. Performance: Deutsches Theater, Kammerspiele, Berlin, January 27, 1930 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0019_WB_CR.jpg LIEGENDER WEIBLICHER AKT 1921 George GROSZ (1893-1959) Chalk on paper, partly wiped 40,1 x 29,2 cm Dated “1/21” lower right Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 5-1-6 https://cdn.neonsky.app/4cf3e4235c858/images/Grosz---16324-0020_WB_CR.jpg AKT MIT EROTISCHEM GEBURTSTAGSKUCHEN 1927 George GROSZ (1893-1959) Pencil and carpenter’s pen on paper 60,7 x 46,2 cm Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 1-297-3 https://exhibitionarchive.org/bridge-over-chaos-(spring-2016) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_14-Bridge-over-Chaos_1600x1200-02.jpg AM 14 Bridge over Chaos 1600x1200 02 AM 14 Bridge over Chaos 1600x1200 02 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Bridge-over-chaos_WB.jpg BRIDGE OVER CHAOS 1824-1826 John MARTIN (1789-1854) Mezzotint on laid paper 19,2 x 26,8 cm The title work of the present exhibition is John Martin’s most renowned subject, a mezzotint also conserved in major museums such as the Victoria & Albert Museum (London), the Art Gallery of New South Wales, and the National Gallery of Canada (Ottawa). https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-George-Grosz_La-Divina-Commedia_WB.jpg LA DIVINA COMMEDIA 1944 Dante ALIGHIERI (1265-1321) Illustrated by George GROSZ https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Rodin---2015-07-14-103425_WB_WB.jpg PIERRE DE WISSANT NU MONUMENTAL SANS TÃŠTE NI MAIN 1886 Auguste RODIN (1840-1917) Bronze with a green patina Ed. 2/8 190 x 110 x 79 cm Cast in 2015 by Susse Fondeur, Paris Inscribed A. Rodin, © by Musée Rodin and numbered 2/8, one of the eight examples numbered in Arabic numerals, dated and stamped with foundry mark PROVENANCE Musée Rodin, Paris EXHIBITION Exposition Universelle. Pavillon de l’Alma, Paris (plaster) April 15 - November 12, 1900 The Laboratory of Creation. Musée Rodin, Paris (bronze - another cast) November 13, 2014 - December 6, 2015 LITERATURE Antoinette Le Normand-Romain (ed.), Rodin en 1900: l'exposition de l'Alma, exhibition catalogue, Paris, Musée du Luxembourg, 12 March – 15 July 2001, p. 270 (another cast) AUTHENTICATION A certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste Rodin. This work will be included in the forthcoming Auguste Rodin catalogue critique de l’oevre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay. NOTES We are indebted to the Musée Rodin for the following: The city of Calais wanted to pay tribute to the heroism of six town leaders who, at the end of a one- year siege in 1347, were willing to sacrifice their lives for the citizens of Calais: King Edward offered to spare the people if six of the most powerful men of the town handed over the keys to the city. This episode of the Hundred Years War is well known and widespread in France and England through the Chroniques de France by Jean Froissart (1360-1365). However, no one had created a project that recognized the history of the old Calais until 1884, when the city joined with the neighboring commune of Saint-Pierre and the existing city walls were extended. On the 26th of September, the mayor Omer Dewavrin suggested that the town council search for a sculptor with the aid of a national appeal fund to create a monument dedicated to Eustache de Saint-Pierre and the other city fathers to be erected on the site of the merger of the two cities. Some days later, the mayor got to know Rodin through Prosper-Adrien Isaac, a painter originally from Calais, who had settled in Paris. This was the first meeting between these two men whose collaboration would last for ten years. During this period, Dewavrin had many doubts: Rodin appeared very rigorous in the beginning, then became apathetic when the achievement of the monument was about to fail, so the commitment of his intermediary was necessary to complete the project successfully. The Burghers of Calais were formed fully nude, then molded and only then dressed; the finalized versions of the first three statues, of which Pierre de Wissant was one, were exhibited in the gallery of Georges Petit, Paris in May 1887. In 1900, Rodin showed in addition to the final model of the monument a fragmentary study of the nude Pierre de Wissant: The tracks of the armature under the left foot and right shoulder prove that the figure is in a preparatory state for the finalized monument, whereas the lack of hands exemplify Rodin’s working process: The sculptor had the possibility to experiment with different montages. However, over time Rodin realized that the figure had the posture of a slender dancer, as it has a subtle twist. Around 1903 – 1904, Haweis and Cole photographed the statue outdoors in Meudon, but Rodin had already decided to exhibit it in a place of honor--in the middle of the rotunda that served as the entry to the Pavillon de l’Alma, the site that had been reserved for his Eve. The decision to introduce the retrospective of his complete oeuvre with this nude had a symbolic value: It was indeed one of the group elements that constituted his first grand realization, The Burghers of Calais. The figure was presented in plaster, a material that was used for studies but which could be seen in 1900 as the result of Rodin’s recent revolutionary exploration of the essence of sculpture. In spite of the importance that Rodin gave to the Pierre de Wissant, nu monumental sans tête ni mains, the figure was in fact never cast in bronze during his lifetime. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-GROSZ_The-grey-man-dances-1949_WB.jpg THE GREY MAN DANCES 1949 George GROSZ (1893-1959) Oil on Masonite 76 x 55,6 cm Courtesy: Ralph Jentsch The Grey Man Dances (1949) is a rare and widely exhibited masterpiece by George Grosz, which was shown at the Whitney Museum of American Art (New York), the Neue Nationalgalerie (Berlin), and Centre Georges Pompidou (Paris). PROVENANCE The artist’s studio, Huntington, Long Island, 1949 Lester G. Rees Collection, Chicago Jack Rutberg Fine Arts, Los Angeles Private collection, Italy, 1994 LITERATURE Manfred Fath, Inge Herold, Thomas Köllhofer, Menschenbilder. Figur in Zeiten der Abstraktion (1945-1955), illustrated p. 48, Berlin 1998 Ralph Jentsch, Alfred Flechtheim – George Grosz: Zwei deutsche Schicksale, p. 138, Bonn 2008 Juerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, cat.-no. 51, illustrated p. 153, Ostfildern 2009 EXHIBITED George Grosz: The Stick Men, Associated American Artists Galleries, New York, 12 April – 1 May 1948 George Grosz, Whitney Museum of American Art, New York, 14 January – 7 March 1954; William Rockhill Nelson Gallery of Art, Kansas City, Missouri, 1 – 31 May 1954; The Pasadena Art Institute, 25 June – 25 July 1954; San Francisco Museum of Art, 17 August – 19 September 1954 George Grosz: Berlin – New York, Neue Nationalgalerie, Staatliche Museen zu Berlin, 21 December 1994 – 17 April 1995; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 6 May – 30 June 1995; Staatsgalerie Stuttgart, 7 September – 3 December 1995 George Grosz: Berlin – New York, Associated American Artists Galleries, New York, 12 December 1995 – 27 January 1996 Face à l’histoire 1933-1936: L’artiste modern face à l’événement historique, Centre Georges Pompidou, Paris, 19 December 1996 – 7 April 1997 George Grosz: Berlin – New York, The Museum of Modern Art, Kamakura, 8 April – 21 May 2000; The Itami City Museum of Art, 10 June – 30 July 2000; Tochigi Prefectural Museum of Fine Arts, 6 August – 24 September 2000 George Grosz: Berlin – New York, Academie de France à Rome, Villa Medici, 9 May – 15 July 2007 George Grosz: Kunst aus zwei Welten: Aufbruch nach Amerika, Schloss Ritzebühl, Cuxhaven, 3 August – 5 October 2008 NOTES Since choosing to go into exile in the United Stated in 1933, Grosz had closely followed developments in Germany under Hitler, and he also captured the horrors of the war in his art. However, the great hope that the death of Hitler and the end of the war would improve the political situation in the world was dashed. Instead, it was too obvious that the Cold War could lead to a global atomic disaster. It was during this period that the “stickmen” – gray, empty, soulless creatures – began appearing in Grosz’s paintings. In the picture The Grey Man Dances, the stickman seems crazy; he dances the dance of the madman in a world totally gone insane. The figure’s stick legs are clad in worn fur and stuck into hobnailed boots, in which the stickman haphazardly runs across an ice-covered earth. The ears are nailed shut, the mouth is sew together, the top of the skull opened up, and the hollow body hastily mended. Inexpressively, the cold glass eyes stare into the distance. Still, this fragment creature – the spawn of a mad, grotesque world – appears to feel endless pain. No wonder: in the exploding factories in the background, the machines are running out of control, sparks shoot out of the chimney, and black smoke darkens the sky. The buildings seem to glow with the heat, the layer of ice cracks. The word is out of joint. Juerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, Ostfildern 2009, p. 77 ADDITIONAL NOTES We are indebted to Newcity Art for the following: George Grosz’s venomous satire is still largely evident as in the 1940s series of “stickmen,” emaciated gray figures of working-class poverty. These tortured souls are mutilated and deformed, as in “Grey Man Dances.” The figure’s ears are boarded up, chest empty and lips sutured shut. Grosz’s grizzly topics are amplified by his murky color choices and encrusted paint applications. Another poignant work that evinces the traumatic dislocation of Grosz is “The Painter of the Hole I” from 1948. Sitting at an easel, the same hollow-brained figure stares desperately at a rotting, blistered canvas. His brush is at the ready but the support is crumbling along with the world and his own body. His task is unenviable and absurd. His brush can’t help the situation, and it can’t drive away the rats from his feet. As a metaphor for Grosz’s own growing skepticism with political activism, this painting reveals his discontent with an activity that increasingly seems as hollow as his “stickmen.” (Dan Gunn) https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-GROSZ_The-grey-man-dances-1949-Detail_WB.jpg THE GREY MAN DANCES (detail) 1949 George GROSZ (1893-1959) Oil on Masonite 76 x 55,6 cm Courtesy: Ralph Jentsch https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-GROSZ_The-grey-man-dances-1949-Detail2_WB.jpg THE GREY MAN DANCES (detail) 1949 George GROSZ (1893-1959) Oil on Masonite 76 x 55,6 cm Courtesy: Ralph Jentsch https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Rodin---Rodin_Torse-de-la-grande-ombre_01-corr_WB_WB.jpg TORSE DE LA GRANDE OMBRE 1902-1904 Auguste RODIN (1840-1917) Bronze 100,5 x 73 x 49 cm Cast in 2015 by Susse Fondeur, Paris Inscribed A. Rodin, © by Musée Rodin and numbered IV/IV, one of four examples numbered in roman numerals, dated and stamped with foundry mark PROVENANCE Musée Rodin, Paris OTHER CASTS IN PUBLIC COLLECTIONS Séoul, Rodin Gallery, 2/8 cast in 1990 Shizuoka, Prefectural Museum of Art, acquired in 1992, II/IV cast in 1991 São Paulo, State Pinacothèque, acquired in 1995, 3/8, cast in 1991 Salvador de Bahia, musée Rodin, acquired in 2002, 6/8 LITERATURE Antoinette Le Normand-Romain, The bronzes of Rodin, catalogue of works in the Musée Rodin, vol. II, Paris, 1997, p. 568 AUTHENTICATION A certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste Rodin This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay NOTES The Shade officially appeared when Rodin chose to place at the top of The Gates of Hell three identical figures that were cast from the same mold and assembled on a system of repetitive juxtaposition. According to Camille Mauclair, these figures represent the recently deceased who stoop in terror as they discover the crowd of damned into which they are about to be thrown. In Dante’s poem (the Divine Comedy is the major source of reference for The Gates of Hell), the Three Shades warn the newly arrived with this terrible sentence: "Lasciate ogni speranza, voi ch'entrate", most frequently translated as "Abandon all hope, ye who enter here." A few days after the opening of the 1900 exhibition at the Pavillon de l’Alma, the group, which was first exhibited at the foot of The Gates of Hell, returned to the top of the composition, of which it constitutes the indispensable crowning. The Shade was enlarged in 1901 by Henri Lebossé who took “exceptional” care in his work, as he perceived the figure to be “perhaps the most important piece of sculpture of [Rodin’s] career” (quoted in Antoinette Le Normand-Romain, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin, Paris, 2007, vol. II, p. 570). By isolating a fragment of the figure, Torse de l’Ombre throws a new light on the striking pose of Les Ombres, recalling the venerated ruins of Greek and Roman antiquity. In its contrived, twisted pose, Torse de l’Ombre specifically resonates with the Torse du Belvedère, hinting at Rodin’s challenging relationship with the great tradition of classical sculpture. The Shades gave birth to autonomous sculptures. Through its movement, the Torso of the Large Shade somehow announces in a metonymical manner the global axis of the sculpture, agitated in a painful contraposto. Even as it references the antique fragment so dear to Rodin, it is clearly the influence of Michelangelo that is materialized in this subject. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-bour-13274-CB_LG_WB.jpg PREGNANT WOMAN 2008 Louise BOURGEOIS (1911-2010) Gouache and colored pencil on etched music paper 29,2 x 38,1 cm https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-TE-LM16843-Lonely-Chair-drawing-I-hr_WB.jpg LONELY CHAIR DRAWING I 2012 Tracey EMIN (b. 1963) Lonely Chair drawing I gouache on paper 101.5 x 137 cm (paper) 110.5 x 150.5 x 5.1 cm (framed) EXHIBITED Tracey Emin - Egon Schiele, “Where I Want to Go", Leopold Museum, Vienna, Austria from April 23 – September 19, 2015. LITERATURE Karol Winiarczyk, Tracy Emin | Egon Schiele. Where I Want To Go, Vienna, 2015, p. 110 Tracey Emin is known for her autobiographical and confessional artwork. She shares with Louise Bourgeois the use of art as therapy, and her work has been analyzed within the context of early adolescent and childhood abuse, as well as sexual assault. At the age of 13 she suffered an unreported rape, and after graduating from the Royal Academy of Art in 1989, she had two traumatic abortions, which led her to destroy all the art she had produced in graduate school. She later described the period as "emotional suicide." Using her own life experiences, Tracey Emin often reveals painful situations with brutal honesty and poetic humor. She uses art to make a story out of her own history and to break out of the prison of her negative experiences. By externalizing her past, she confronts it and thus transforms a personal experience into a shared one that touches the viewer, creating intimacy and universality. Emin works in many media, including painting, sculpture, drawing, embroidery, neon, and performance art. Her latest foray into performance-art-as-therapy might be her recent marriage to a “beautiful, ancient stone” that lives under an olive tree in the garden of her studio in the south of France. As reported in The Art Newspaper, when asked what this union meant, Emin replied: “It just means that at the moment I am not alone; somewhere on a hill facing the sea, there is a very beautiful ancient stone, and it’s not going anywhere. It will be there, waiting for me.” https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Grosz_Myself-and-New-York_WB.jpg MYSELF AND NEW YORK 1957 George GROSZ (1893-1959) Collage on cardboard 30,5 x 26,3 cm Courtesy: Ralph Jentsch Myself and New York presents a very personal subject – likely Grosz’s reported disappointment with America and his own life arc. Deluded by his American experience, in 1959, Grosz moved back to Berlin, where he died shortly after his return from complications following a fall down the stairs after a night of heavy drinking. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Grosz---2015-11-13-140728---R_WB.jpg I ESCAPED TO SPEAK FOR THE ENSLAVED CA. 1948 George GROSZ (1893-1959) Brush, reed pen, and pen and ink over charcoal on paper 69,7 x 52,2 cm Illustrated for Marek S. Korowic Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-81-9 PROVENANCE The Estate of George Grosz AUTHENTICATION This work will be included in the forthcoming catalogue raisonné of works on paper by George Grosz in preparation by Ralph Jentsch, managing director of the George Grosz Estate. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Grosz---2015-11-13-140155---R_WB.jpg UMSONST GELEBT II 1930/1931 George GROSZ (1893-1959) Reed pen and pen and ink on paper 59,2 x 46,1 cm Verso Study of a head for the same subject 1934 Reed pen and pen and ink on paper Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-259-13 PROVENANCE The Estate of George Grosz LITERATURE Juerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, cat-no. 60, illustrated p. 171, Ostfildern 2009 AUTHENTICATION This work will be included in the forthcoming catalogue raisonné of works on paper by George Grosz in preparation by Ralph Jentsch, managing director of the George Grosz Estate. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Grosz---2015-11-13-140227---R_WB.jpg UMSONST GELEBT II (verso) 1934 George GROSZ (1893-1959) Reed pen and pen and ink on paper 59,2 x 46,1 cm Stamped “GEORGE GROSZ NACHLASS” and numbered UC-259-13 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Grosz---2015-11-13-135838---R_WB.jpg OBIT FOR NOBODY 1941 George GROSZ (1893-1959) Reed pen and pen and ink on paper 59,3 x 46 cm Annotated lower left “Obit for nobody/26” lower right and “to Ben Hecht 1001 Afternoons in New York 1941” Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-49-10 PROVENANCE The Estate of George Grosz LITERATURE Ben Hecht, 1001 Afternoons in New York, illustrated p. 57, New York, 1941 Juerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, cat.-no. 51, illustrated p. 153, Ostfildern, 2009 EXHIBITION George Grosz. Berlin-New York, Tra Visioni e Reality, Academie de France a Rome, Villa Medici, Rome, 8 May – 15 July 2007 George Grosz. Die Jahre in Amerika 1933-1958, Nolan Judin, Berlin, 18 February – 25 April 2009, with venue in David Nolan Gallery New York , 16 September – 31 October 2009 AUTHENTICATION This work will be included in the forthcoming catalogue raisonné of works on paper by George Grosz in preparation by Ralph Jentsch, managing director of the George Grosz Estate. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-George-Grosz_Horror-Story_WB.jpg HORROR STORY 1936 George GROSZ (1893-1959) Reed pen on paper 48,1 x 63,6 cm Courtesy: Ralph Jentsch https://cdn.neonsky.app/4cf3e4235c858/images/01-prisoners-still.jpg PRISONERS 1985 Please click here for Prisoners, the 57 minute documentary by Jonathan Borofsky and Gary Glassman https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9131-1_WB.jpg PAÃ‘OS 1994-1996 Various unidentified Chicano inmate-artists Collection of 9 paños* Graphite, colored pencil, pen and ink on cloth handkerchief Each approx. 37 x 37 cm (14,5 x 14,5 inches) Framed size: 191,5 x 146,5 cm *Southwestern United States prisoner folk art made by mainly illiterate Hispanic detainees on a prison-issued paño, diminutive of pañuelo (“handkerchief” in Spanish), using inspirations and motifs from Chicano culture. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9107_WB.jpg â€˜TO ROBERT RODRIGUEZâ€™ 1991 Pedro Hernandez Grouping of 3 Paños Envelopes* Framed size: 54,5 x 74,5 cm Graphite, colored pencil, pen and ink on stamped, franked envelopes 1. Hands and Cross, approx. 24,2 x 10,5 cm (95 x 41 inches) 2. Indian couple, approx. 24,2 x 10,5 cm (95 x 41 inches) 3. “Betor” with rose, approx. 24,2 x 10,5 cm (95 x 41 inches) *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9096_WB.jpg â€˜TO ROSIE JOHNSONâ€™ 1994 Unidentified Chicano inmate-artist Grouping of 3 Paños Envelopes* Graphite, colored pencil, pen and ink on stamped, franked envelopes Framed size: 54,5 x 74,5 cm 1. Woman with sombrero, approx. 24,2 x 10,5 cm (95 x 41 inches) 2. Couple in heart, approx. 18,5 x 12,5 cm (73 x 49 inches 3. “I love you” with handcuffs, approx. 24,2 x 10,5 cm (95 x 41 inches) *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9112_WB.jpg â€˜TO STELLA CASTILLOâ€™ 19?? (DATE ILLEGIBLE) Unidentified Chicano inmate-artist Graphite, colored pencil, pen and ink on stamped, franked paño envelope* Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9114_WB.jpg INSCRIBED â€œMARIO LABELLEâ€ 1992 Unidentified Chicano inmate-artist Graphite, colored pencil, pen and ink on stamped, franked paño envelope* Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9116_WB.jpg â€˜TO GEENA LOVEâ€™ 1995 Unidentified Chicano inmate-artist Graphite, colored pencil, pen and ink on stamped, franked paño envelope* Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9119_WB.jpg â€˜TO JOANN â€œPRETTYâ€ PATLANâ€™ 1993 Unidentified Chicano inmate-artist Graphite, colored pencil, pen and ink on stamped, franked paño envelope* Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9121_WB.jpg â€˜TO TERESA CHARO 1992 Raymond Renteria Graphite, colored pencil, pen and ink on stamped, franked paño envelope* Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9124_WB.jpg â€˜TO VIVIAN ARCOSâ€™ 1989 Unidentified Chicano inmate-artist Graphite, colored pencil, pen and ink on stamped, franked paño envelope* Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9125_WB.jpg â€˜TO MR. DUBERLI S. HERNANDEZâ€™ 1996 Unidentified Chicano inmate-artist Graphite, colored pencil, pen and ink on stamped, franked paño envelope* Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-DSC_9100_WB.jpg â€˜TO PENNY CALDEMEYERâ€™ 1995-1996 Benito Franco Grouping of 8 Paños Envelopes* Framed size: 104,5 x 74,5 cm Graphite, colored pencil, pen and ink on stamped, franked envelopes 1. Lady with hat, approx. 24,2 x 10,5 cm (95 x 41 inches) 2. Inscribed “Dreaming of you”, approx. 24,2 x 10,5 cm (95 x 41 inches) 3. Inscribed “Low Rider”, approx. 24,2 x 10,5 cm (95 x 41 inches) 4. Lady with sombrero and rose, approx. 24,2 x 10,5 cm (95 x 41 inches) 5. Female nude, approx. 24,2 x 10,5 cm (95 x 41 inches) 6. Matchu Pitchu, approx. 24,2 x 10,5 cm (95 x 41 inches) 7. Lady with hat and cross, approx. 24,2 x 10,5 cm (95 x 41 inches) 8. Erotic Indian couple, approx. 18,5 x 12,5 cm (73 x 49 inches) *Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing. Please click here for a comprehensive essay on paños by Martha V. Henry. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Halo-and-Hand_light_WB.jpg HALO AND HAND 1987 Ross BLECKNER (b. 1949) Watercolor on paper 40,5 x 30,5 cm https://exhibitionarchive.org/%221932%22-rare-photographs-by-george-grosz-(winter-2016) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_1932_GEORGE_GROSZ_1600x1200-01.jpg AM 1932 GEORGE GROSZ 1600x1200 01 AM 1932 GEORGE GROSZ 1600x1200 01 https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---01_WB.jpg GROSZ 01 WB GROSZ 01 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---02_WB.jpg GROSZ 02 WB GROSZ 02 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---03_WB.jpg GROSZ 03 WB GROSZ 03 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---04_WB.jpg GROSZ 04 WB GROSZ 04 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---09_WB.jpg GROSZ 09 WB GROSZ 09 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---05_WB.jpg GROSZ 05 WB GROSZ 05 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---06_WB.jpg GROSZ 06 WB GROSZ 06 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---07_WB.jpg GROSZ 07 WB GROSZ 07 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---10_WB.jpg GROSZ 10 WB GROSZ 10 WB https://cdn.neonsky.app/4cf3e4235c858/images/GROSZ---08_WB.jpg GROSZ 08 WB GROSZ 08 WB https://exhibitionarchive.org/musee-rodin-artgeneve-(winter-2016) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM---ARTGENEVE2016---cover.jpg MUSÃ‰E RODIN WITH AKIM MONET AT ARTGENEVE 2016 JANUARY 27 - 31, 2016 Akim Monet is proud to present on behalf of the Musée Rodin several iconic bronze sculptures in correspondence with carefully selected works by Louise Bourgeois, George Grosz, Henri Matisse and a figure from classical antiquity. Referring to the pivotal “Pavillon de l’Alma”, Auguste Rodin’s self-organized exhibition during the 1900 Paris Exposition Universelle, the Musée Rodin and Akim Monet are fulfilling the will of the sculptor to make his work known. The important pieces presented at Artgenève are available for purchase. PLEASE CLICK HERE FOR MORE INFORMATION https://exhibitionarchive.org/rodin-rilke-beuys-(fall-2015) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM_RODIN-RILKE-BEUYS_1600x1200-01.jpg AM RODIN RILKE BEUYS 1600x1200 01 AM RODIN RILKE BEUYS 1600x1200 01 https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---La-rivoluzione-siamo-noi-1_WB.jpg LA RIVOLUZIONE SIAMO NOI 1972 Joseph BEUYS (1921-1986) Blueprint on polyester film 190 x 99 cm Signed, titled and stamped One of 180 numbered prints from a total edition of 198 Modern Art Agency, Naples, and Edition Tangente, Heidelberg Schellmann 49 https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_08.jpg Rainer Maria RILKE 1902 Either happiness or art. And indeed that is all so clear, so clear. The great men have all let their lives become overgrown like an old road and have carried everything into their art. Their lives are stunted like an organ they no longer need. Rainer Maria Rilke, Letter to Clara Rilke, September 5, 1902 https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---balzac-_tude-Gb_WB.jpg BALZAC, Ã‰TUDE DE NU, DITE â€˜TYPE Gâ€™ (detail) C. 1893 Auguste RODIN (1840-1917) Bronze with a dark brown patina 82,5 x 54,5 x 34 cm Signed and numbered ‘A. Rodin No 6/8’ (on the top of the base) Inscribed with foundry mark ‘E. GODARD Fondr’ (on the left side of the base) Inscribed and dated ‘© BY MUSÉE Rodin 1987’ (on the back of the base) https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---balzac-_tude-G2_WB.jpg Rodin balzac tude G2 WB Rodin balzac tude G2 WB https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---balzac-_tude-Ga2_WB.jpg Rodin balzac tude Ga2 WB Rodin balzac tude Ga2 WB https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_03.jpg Rainer Maria RILKE 1902 In this poet's verses there were passages, standing out prominently, that did not seem to have been written but moulded; words and groups of words that had melted under the glowing touch of the poet; lines that were like reliefs and sonnets that carried like columns with interlaced capitals the burden of a cumulating thought. Rainer Maria Rilke, Auguste Rodin, translated by Jessie Lamont and Hans Trausil (New York, Sunwise Turn Inc., 1919) https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Nue-femme-Accroupie_WB.jpg PETITE FIGURE ACCROUPIE 1896Â€“99 Auguste RODIN (1840-1917) Graphite and watercolor on wove paper mounted to original board 25 x 32.5 cm Monogrammed in graphite at the bottom right: ‘A. R.’ and signed over it: ‘Aug. Rodin’ https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Suite-Schwurhand_Wandernde-Kiste-1_1980_334839_m_WB.jpg SUITE SCHWURHAND â€“ WANDERNDE KISTE I 1980 Joseph BEUYS (1921-1986) Lithograph on paper, laid down on gray Rives wove 38,5 x 28,3 cm Signed lower middle, inscribed ‘good to print’ Inscribed on the reverse ‘13’ Print with the artist’s handwritten printing notes prior to the Edition of 75 + XXV + 10 Proofs + 24 APs Schellmann 355 https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Michelangelo_16A-Web_WB.jpg VERSO: CROQUIS Dâ€™APRÃˆS MICHEL-ANGE 1902 Auguste RODIN (1840-1917) Pen and brown ink on wove paper Verso: pencil on paper 37.3 x 24.4 cm https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Michelangelo_16-Web_WB.jpg RECTO: CROQUIS Dâ€™APRÃˆS MICHEL-ANGE 1902 Auguste RODIN (1840-1917) Pen and brown ink on wove paper Verso: pencil on paper 37.3 x 24.4 cm https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_06.jpg Rainer Maria RILKE 1902 One may always explain, accompany and surround Rodin's works with thoughts. For all to whom simple contemplation is too difficult and unaccustomed a road to beauty there are other roads, detours leading to meanings that are noble, great, complete. The infinite correctness of these creations, the perfect balance of all their movements, the wonderful inward justice of their proportions, their penetration into life—all that makes them beautiful—gives them the strength of being unsurpassable materializations of the ideas which the master called into being when he named them. Rainer Maria Rilke, Auguste Rodin, translated by Jessie Lamont and Hans Trausil (New York, Sunwise Turn Inc., 1919) https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Zeichnungen-zu-Codices-Madrid-von-LEONARDO-da-Vinci_WB.jpg SIGNED GRANOLITHOGRAPH FROM "CODEX MADRID" 1975 Book with 81 granolithographs, 156 pages, half-cloth 23 x 17 cm Copies 101-1000 including a granolithograph 23 x 32 cm, folded to book format 9 different motifs Edition size of the book: 398/1000 100 of each motif (9 motifs), signed and numbered Publisher: Manus Presse, Stuttgart (CR: 177-185) https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Book-Insight-0_WB.jpg DRAWINGS FOR "CODEX MADRID" BY LEONARDO DA VINCI 1975 Joseph BEUYS (1921-1986) Book with 81 granolithographs, 156 pages, half-cloth 23 x 17 cm Copies 101-1000 including a granolithograph 23 x 32 cm, folded to book format 9 different motifs Edition size of the book: 398/1000 100 of each motif (9 motifs), signed and numbered Publisher: Manus Presse, Stuttgart (CR: 177-185) https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Museum-Catalogue-M_nchengladbach_WB.jpg MUSEUM CATALOGUE MÃ–NCHENGLADBACH 1967 Joseph BEUYS (1921-1986) Catalogue-box, 20 x 16 x 3 cm Felt piece, 19, 5 x 15, 5 x 1 cm Stamped with oil paint (brown cross) Edition Size: 294/330, numbered, unsigned Publisher: Städtisches Museum Mönchengladbach (CR: 5) https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---20_WB.jpg MAIN N020, PETIT MODÃˆLE 1890-1908 Auguste RODIN (1840-1917) Bronze with black and green patina – sand-cast process Height 5,4 cm Inscribed ‘A. Rodin’ on the inside of the wrist and With the foundry mark ‘G. Rudier / Fond. Paris’ on the outside of the wrist Conceived between 1890-1908, cast in 1966 https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_05.jpg Rainer Maria RILKE 1902 There are among the works of Rodin hands, single, small hands which, without belonging to a body, are alive. Hands that rise, irritated and in wrath; hands whose five bristling fingers seem to bark like the five jaws of a dog of Hell. Hands that walk, sleeping hands, and hands that are awaking; criminal hands, tainted with hereditary disease; and hands that are tired and will do no more, and have lain down in some corner like sick animals that know no one can help them. Rainer Maria Rilke, Auguste Rodin, translated by Jessie Lamont and Hans Trausil (New York, Sunwise Turn Inc., 1919) https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Untitled---Die-Plastische-Hand_WB.jpg UNTITLED (DIE PLASTISCHE HAND) C. 1968 Joseph BEUYS (1921-1986) Pencil on paper 29,8 x 20,9 cm Inscribed along the lower edge 'Die Plastische Hand' https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Rodin---Female-Figure-Squatting_-Seen-from-the-Front_WB.jpg FEMME ACCROUPIE DE FACE C. 1900 Auguste RODIN (1840-1917) Graphite on lined Japan paper 29.5 x. 19.3 cm Signed at the bottom right: ‘A. Ro(din)’ https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Suite-Zirkulationszeit_Kopf-HB_1982_334855_m_WB.jpg SUITE ZIRKULATIONSZEIT â€“ KOPF H.B. 1982 Joseph BEUYS (1921-1986) Etching on gray handmade paper 37,8 x 28 cm Inscribed middle ‘version b. good to print’ Inscribed on the reverse ‘No 28 II’ Print with the artist’s handwritten printing notes prior to the Edition of 75 + XXV + 27 HC + a few APs Schellmann 423 https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Rodin---Nude-with-raised-right-leg_WB.jpg FEMME NUE Ã€ LA JAMBE DROITE SOULEVÃ‰E C. 1890Â€“95 Auguste RODIN (1840-1917) Graphite, stump, watercolor and gouache on watermarked laid paper 17.7 x 11.5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Suite-Zirkulationszeit_Taucherin_1982_334862_m_WB.jpg SUITE ZIRKULATIONSZEIT â€“ TAUCHERIN 1982 Joseph BEUYS (1921-1986) Etching on handmade paper 38,5 x 28,5 cm Inscribed lower middle, ‘version a. good to print’ Inscribed on the reverse ‘No 38’ Print with the artist’s handwritten printing notes prior to the Edition of 75 + XXV + 15 HC + a few APs Schellmann 433 https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Nu-f_minin-agenouill__-pench_-vers-l_avant-06_WB.jpg NU FÃ‰MININ AGENOUILLÃ‰, PENCHÃ‰ VERS Lâ€™AVANT C. 1887 Auguste RODIN (1840-1917) Bronze 16,5 x 11,3 x 19,5 cm Fonte Godard Ed. 8/8, © by Musée Rodin 2004 https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_04.jpg Rainer Maria RILKE 1902 However great the movement of a sculpture may be, though it spring out of infinite distances, even from the depths of the sky, it must return to itself, the great circle must complete itself, the circle of solitude that encloses a work of art. Rainer Maria Rilke, Auguste Rodin, translated by Jessie Lamont and Hans Trausil (New York, Sunwise Turn Inc., 1919) https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Untitled_-from-Hommage-A-Picasso_WB.jpg UNTITLED, FROM HOMAGE TO PICASSO 1973 Joseph BEUYS (1921-1986) Lithograph in colors, on Rag paper, the full sheet 56 x 75.9 cm Signed and numbered 82/90 in pencil (30 impressions in Roman numerals reserved for museums, +15 APs) Published by Propyläen Verlag, Berlin and Pantheon Presse, Rome https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Mother-and-child_WB.jpg MÃˆRE ET ENFANT 1881Â€“1903 Auguste RODIN (1840-1917) Graphite, pen, brown ink, ink wash drawing, heightened with gouache on wove paper 9.8 x 7 cm Dedicated by Rodin on the original support: ‘To my friend, Henley’ https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Suite-Zirkulationszeit_Meerengel-zwei-Robben_1982_334859_m_WB.jpg SUITE ZIRKULATIONSZEIT â€“ MEERENGEL ZWEI ROBBEN 1982 Joseph BEUYS (1921-1986) Etching and aquatint on gray handmade paper 38 x 28,5 cm Inscribed below right, ‘good to print’ Inscribed on the reverse ’32 B’ Print with the artist’s handwritten printing notes prior to the Edition of 75 + XXV + 17 HC + a few APs Schellmann 429 https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_07.jpg Rainer Maria RILKE 1901 It so happens that most people do not realize how beautiful the world is and how much splendor revealed in the smallest things, in some flower, a stone, a tree bark or birch leaf itself. Letter to Helmuth Westhoff, November 12, 1901 https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---RODIN_SapphicCouple-fin_WB.jpg COUPLE SAPHIQUE 1898-1900 Auguste RODIN (1840-1917) Graphite on wove paper mounted to board 24.1 x 31.8 cm Signed in graphite at the bottom left: ‘A. R.’ Inscribed on the verso on the board with stencil, black ink: ‘A. Rodin /Drawing /Frame’ n°153; annotated with brush: a picture framer label 106; ‘Moirinat’ https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Bacchanale_rit_WB.jpg BACCHANALE C. 1880 Auguste RODIN (1840-1917) Bronze 41 x 48,8 x 41,8 cm Fonte E. Godard Ed. 5/8, © by Musée Rodin 1998 Inscribed ‘A. Rodin’, numbered, dated, and stamped with foundry mark https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Suite-Traenen_Hirsch-Fu__1985_334874_m_WB.jpg SUITE TRÃ„NEN â€“ HIRSCH FUSS 1985 Joseph BEUYS (1921-1986) Etching on dun-colored paper, laid over gray handmade paper 30 x 39,7 cm Signed upper left, twice inscribed ‘up,’ inscribed ‘otherwise good to print’ Inscribed on the reverse ‘A’ Print with the artist’s handwritten printing notes prior to the Edition of 75 + XXV + 10 APs + a few APs Square format in the later editions, as here penciled by the artist; present print executed as portrait Schellmann 53r https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_09.jpg Rainer Maria RIKE 1902 There was no haughtiness in him. He pledged himself to a humble and difficult beauty that he could oversee, summon and direct. The other beauty, the great beauty, had to come when everything was prepared, as animals come to a drinking-place in the forest in the late night when nothing foreign is there. Rainer Maria Rilke, Auguste Rodin, translated by Jessie Lamont and Hans Trausil (New York, Sunwise Turn Inc., 1919) https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---faunesse-1_WB.jpg LA FAUNESSE ZOUBALOFF CONCEIVED IN 1885, CAST BEFORE 1914 Auguste RODIN (1840-1917) Bronze with a brown patina 17,8 x 10,5 x 15 cm signed 'Rodin' on the rock conceived in 1885, the present cast was executed before 1914 https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Phosphor-Kreuzschlitten_WB.jpg PHOSPHOR-KREUZSCHLITTEN 1972/77 Joseph BEUYS (1921-1986) Phosphorus between PVC sheets, with metal clamp 45 x 45 x 0.6 cm Signed One of 100 numbered copies Kunstverein Braunschweig Schellmann 64B https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---Rodin---Portrait-of-Cambodian-Female-Dancer-_Princess-Sumphady___WB.jpg PORTRAIT DE DANSEUSE CAMBODGIENNE 1906Â€“07 Auguste RODIN (1840-1917) Graphite, watercolor, gouache, heightened with black pencil on wove paper Watermark: DALON LES-ANNONAY B CRAYON ACNE MANUFRE CANSON 31.8 x 24.4 cm Signed at the bottom right: ‘A. Rodin’ https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Magnetische-Postkart_WB.jpg MAGNETIC POSTCARD 1975 Joseph BEUYS (1921-1986) Original box with embossed iron plate and stamped magnet Box: 12.5 x 16.8 x 2.8 cm Box and iron sheet signed One of about 500 copies Edition Staeck, Heidelberg Schellmann 154 https://cdn.neonsky.app/4cf3e4235c858/images/Rodin---RodinProject_FemaleNudeWithArmsRaised_WB.jpg FEMME NUE AUX BRAS LEVÃ‰S POSANT SUR UN SOCLE C. 1900 Auguste RODIN (1840-1917) Graphite on wove paper 32 x 23.4 cm Dedicated and signed lower right: ‘homage à /madame et Monsieur mon/collègue Walther/amitié/A. Rodin’ https://cdn.neonsky.app/4cf3e4235c858/images/Joseph-Beuys---Noiseless-Blackboard-Eraser_WB.jpg NOISELESS BLACKBOARD ERASER 1974 Joseph BEUYS (1921-1986) Felt blackboard eraser, stamped 5 x 13 x 2,5 cm Ed. 106/550 (550 + 6 H.C.) Signed and numbered on the label https://cdn.neonsky.app/4cf3e4235c858/images/AM_RRB_wall_Text_1600x1200_02.jpg Rainer Maria RILKE 1902 And now? Had not a time come again that was urging toward this expression—this strong and impressive exposition of what was unexpressed, confused, unrevealed? Rainer Maria Rilke, Auguste Rodin, translated by Jessie Lamont and Hans Trausil (New York, Sunwise Turn Inc., 1919) https://exhibitionarchive.org/auguste-rodin:-an-expressionist-eye-(spring-2015) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/RODIN-anexpressionist-eye_title2-1.jpg RODIN anexpressionist eye title2 1 RODIN anexpressionist eye title2 1 https://cdn.neonsky.app/4cf3e4235c858/images/RODIN-anexpressionist-eye_title2-2.jpg RODIN anexpressionist eye title2 2 RODIN anexpressionist eye title2 2 https://cdn.neonsky.app/4cf3e4235c858/images/RODIN-anexpressionist-eye_title2-3.jpg RODIN anexpressionist eye title2 3 RODIN anexpressionist eye title2 3 https://cdn.neonsky.app/4cf3e4235c858/images/giganti-t_te_Pagina_2.jpg GIGANTI, TÃŠTE 1885 Auguste RODIN (1840-1917) Bronze 9 x 8 x 8,3 cm Fonte Susse Ed. III/IV, © by Musée Rodin 1984 https://cdn.neonsky.app/4cf3e4235c858/images/05_291-Emil-Nolde.jpg PROPHET 1912 Emil NOLDE (1867-1956) Woodcut 32,4 x 22 cm Best.-Kat.-Nr. 291 Buchheim Museum der Phantasie Bernried am Starnberger See © Nolde Stiftung Seebüll https://cdn.neonsky.app/4cf3e4235c858/images/ombre-tete-PM_Pagina_3.jpg Lâ€™OMBRE, TÃŠTE, petit modÃ¨le 1902-1904 Auguste RODIN (1840-1917) Bronze 37,6 x 28,4 x 32,5 cm Fonte Godard Ed. 5/8, © by Musée Rodin 1988 https://cdn.neonsky.app/4cf3e4235c858/images/12_Max-PECHSTEIN.jpg THE WOUNDED 1917 Max PECHSTEIN (1881-1955) Woodcut 39,8 x 29,7 cm Inv.-Nr. 1.00484 Buchheim Museum der Phantasie Bernried am Starnberger See © Pechstein, Hamburg/Tökendorf https://cdn.neonsky.app/4cf3e4235c858/images/balzac-berthall03.jpg BALZAC, TÃŠTE, Ã‰TUDE Dâ€™APRÃˆS BERTHALL CA. 1894 Auguste RODIN (1840-1917) Bronze 25,4 x 26 x 25 cm Fonte Godard Ed. IV/IV, © by Musée Rodin 1999 https://cdn.neonsky.app/4cf3e4235c858/images/11_344-Max-Pechstein.jpg HEAD OF A FISHERMAN 1922 Max PECHSTEIN (1881-1955) Woodcut 40,1 x 29,7 cm Best.-Kat.-Nr. 344 Buchheim Museum der Phantasie Bernried am Starnberger See © Pechstein, Hamburg/Tökendorf https://cdn.neonsky.app/4cf3e4235c858/images/10_RODINauguste_rodin_man_with_a_broken_nosew_r.jpg HOMME AU NEZ CASSÃ‰ CONCEIVED 1863-64 Auguste RODIN (1840-1917) Bronze with a rich green and brown patination 27 cm Signed A. Rodin and Georges Rudier Fondeur Paris Ed.12, © by Musée Rodin 1967 https://cdn.neonsky.app/4cf3e4235c858/images/04_110-Erich-Heckel.jpg PORTRAIT OF A MAN 1919 Erich HECKEL (1883-1970) Colored woodcut 46,2 x 32,6 cm Best.-Kat.-Nr. 110 Buchheim Museum der Phantasie Bernried am Starnberger See © Nachlass Erich Heckel, Hemmenhofen https://cdn.neonsky.app/4cf3e4235c858/images/eustache_tudenu_4.jpg EUSTACHE DE SAINT PIERRE, Ã‰TUDE DE NU DATE UNKNOWN Auguste RODIN (1840-1917) Bronze 98 x 34 x 36,5 cm Fonte Georges Rudier Ed. 5/12, © by Musée Rodin 1965 https://cdn.neonsky.app/4cf3e4235c858/images/06_290-Emil-Nolde.jpg DR. L.(EBER) 1912 Emil NOLDE (1867-1956) Woodcut 29,5 x 19,7 cm Best.-Kat.-Nr. 290 Buchheim Museum der Phantasie Bernried am Starnberger See © Nolde Stiftung Seebüll https://cdn.neonsky.app/4cf3e4235c858/images/sphinge-sur-colonne_4.jpg SPHINGE SUR COLONNE 1900 Auguste RODIN (1840-1917) Bronze 93,4 x 16 x 22,3 cm Fonte Godard Ed. III/IV, © by Musée Rodin 1996 https://cdn.neonsky.app/4cf3e4235c858/images/09_538-Otto-DIX.jpg RECLINING NUDE (SITTING WITH CIGARETTE) 1923 Otto DIX (1891-1969) Lithograph 56 x 43,5 cm Best.-Kat.-Nr. 538 Buchheim Museum der Phantasie Bernried am Starnberger See © VG Bild-Kunst, Bonn 2015 https://cdn.neonsky.app/4cf3e4235c858/images/nu-f_minin-agenouill__Pagina_2.jpg NU FÃ‰MININ AGENOUILLÃ‰, PENCHÃ‰ VERS Lâ€™AVANT CA. 1887 Auguste RODIN (1840-1917) Bronze 16,5 x 11,3 x 19,5 cm Fonte Godard Ed. 8/8, © by Musée Rodin 2004 https://cdn.neonsky.app/4cf3e4235c858/images/10_302-Max-Pechstein.jpg THE SLEEPER 1908 Max PECHSTEIN (1881-1955) Lithograph 43,5 x 32,5 cm Best.-Kat.-Nr. 302 Buchheim Museum der Phantasie Bernried am Starnberger See © Pechstein, Hamburg/Tökendorf https://cdn.neonsky.app/4cf3e4235c858/images/femme-qui-se-peigne_Pagina_2.jpg FEMME QUI SE PEIGNE BEFORE 1900 Auguste RODIN (1840-1917) Bronze 24 x 14,5 x 13,7 cm Fonte Godard Ed. 3/8, © by Musée Rodin 2002 https://cdn.neonsky.app/4cf3e4235c858/images/07_Koll-Shmidt.jpg SITTING NUDE 1909 Karl SCHMIDT-ROTTLUFF (1884-1976) Woodcut 39 x 25 cm Best.-Kat.-Nr. 357 Buchheim Museum der Phantasie Bernried am Starnberger See © VG Bild-Kunst, Bonn 2015 https://cdn.neonsky.app/4cf3e4235c858/images/muse-tragique-tete_2.jpg MUSE TRAGIQUE, TÃŠTE 1895 Auguste RODIN (1840-1917) Bronze 31 x 19 x 22 cm Fonte Godard Ed. 8/8, © by Musée Rodin 1987 https://cdn.neonsky.app/4cf3e4235c858/images/01_132-Ernst-Ludwind-Kirkner.jpg TORSO OF A STRETCHING GIRL 1907 Ernst Ludwig KIRCHNER (1880-1938) Wood cut 37,7 x 25,5 cm Best.-Kat.-Nr. 132 Buchheim Museum der Phantasie Bernried am Starnberger See https://cdn.neonsky.app/4cf3e4235c858/images/femme-accroupie-_-martyre_2.jpg FEMME ACCROUPIE ET MARTYRE CA. 1889-1890 Auguste RODIN (1840-1917) Bronze 65 x 40 x 35,5 cm Fonte Godard Ed. 2/8, © by Musée Rodin 1998 https://cdn.neonsky.app/4cf3e4235c858/images/03_136-Ernst-Ludwind-Kirkner.jpg SITTING NUDE GIRL 1907 Ernst Ludwig KIRCHNER (1880-1938) Etching 22,9 x 17,9 cm Best.-Kat.-Nr. 136 Buchheim Museum der Phantasie Bernried am Starnberger See https://cdn.neonsky.app/4cf3e4235c858/images/13_Otto-Muller-1_00314.jpg ADAM AND EVE 1920/22 Otto MUELLER (1874-1930) Lithograph 17,2 x 13,3 cm Inv.-Nr. 1.00314 Buchheim Museum der Phantasie Bernried am Starnberger See https://cdn.neonsky.app/4cf3e4235c858/images/02_134-Ernst-Ludwind-Kirkner.jpg HEAD OF DORIS 1907 Ernst Ludwig KIRCHNER (1880-1938) Colored lithograph 26 x 21 cm Best.-Kat.-Nr. 134 Buchheim Museum der Phantasie Bernried am Starnberger See https://cdn.neonsky.app/4cf3e4235c858/images/08_634-Max-Kaus.jpg SITTING BOY WITH CROSSED ARMS 1920 Max KAUS (1891-1977) Lithograph, colored on stone 48,7 x 38 cm Best.-Kat.-Nr. 634 Buchheim Museum der Phantasie Bernried am Starnberger See © VG Bild-Kunst, Bonn 2015 https://exhibitionarchive.org/the-animals'-conference-(fall-2014-&-winter-2015) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/THE-ANIMALS-CONFERENCE_title4.jpg THE ANIMALS CONFERENCE title4 THE ANIMALS CONFERENCE title4 https://cdn.neonsky.app/4cf3e4235c858/images/THE-ANIMALS-CONFERENCE_title2.jpg THE ANIMALS CONFERENCE title2 THE ANIMALS CONFERENCE title2 https://cdn.neonsky.app/4cf3e4235c858/images/Villanovan.jpg A CHEEK-PIECE IN THE FORM OF A HORSE C. 8TH CENTURY B.C. VILLANOVAN CULTURE Bronze Height 7.9 cm https://cdn.neonsky.app/4cf3e4235c858/images/100637-PC1red.jpg TIGER AND GAVIAL 1836 Antoine-Louis BARYE (1796-1875) Bronze 11 x 27 cm https://cdn.neonsky.app/4cf3e4235c858/images/8532-PJG1red.jpg APE AND GNU C. 1840 Antoine-Louis BARYE (1796-1875) Bronze 23 x 28 cm https://cdn.neonsky.app/4cf3e4235c858/images/JJGrandville462014T17444.jpg A FROG IN AN OVERCOAT, HOLDING A TOP HAT AND CANE C. 1840 J. J. GRANDVILLE (1803 -1847) Work on paper Pen and brown ink and watercolor 22,4 x 17,3 cm https://cdn.neonsky.app/4cf3e4235c858/images/2014-08-24-172439.jpg LÃ‰DA ET LE CYGNE ENLACÃ‰S BEFORE 1852 Attributed to Jean-Jacques FEUCHÈRE (1807-1852) Bronze 23.5 x 25 cm https://cdn.neonsky.app/4cf3e4235c858/images/carnaval-ipad.jpg LE CARNAVAL DES ANIMAUX 1886 Camille SAINT-SAËNS (1835-1921) Musical suite https://cdn.neonsky.app/4cf3e4235c858/images/photo_retuschiert.jpg BACCHANALE (female centaur & bacchante -detail) CA. 1880 Auguste RODIN (1840 -1917) Bronze - Ed. 8 41 x 48,8 x 41,8 cm Inscribed A. Rodin, © by Musée Rodin, numbered, dated, stamped with foundry mark The present composition, graciously loaned by the Musée Rodin for this exhibition, consists of a female centaur whose torso is taken directly from that of his Méditation, and a bacchante, reconstituted from the Torse d'Adèle. The fantastic centaurs - half-human, half-horse - were an essential element of Dionysian processions; for the Greeks they symbolized bestial appetites. They inspired Rodin early on in his career, and he frequently used them in female form in both sculptures and drawings, playing on the contrast between the human and the animal, the rational and the irrational. This Bacchanale perfectly synthesizes Rodin's formal study of the female body. https://cdn.neonsky.app/4cf3e4235c858/images/lion-cub.jpg SEATED LION CUB 1910 Roger GODCHAUX (1878-1958) Bronze 19 x 15 cm Bronze https://cdn.neonsky.app/4cf3e4235c858/images/Prokoviev.jpg PETER AND THE WOLF 1936 Sergei PROKOFIEV (1891-1953) Musical symphony https://cdn.neonsky.app/4cf3e4235c858/images/DisneyWalt54.jpg PINOCCHIO & THE FOX 1940 Walt DISNEY (1901-1966) Original hand-painted movie film cell Image size 28 x 28 cm Stamped and signed “WD” Hand-painted film cell https://cdn.neonsky.app/4cf3e4235c858/images/DisneyWaltes0908d.jpg DisneyWaltes0908d DisneyWaltes0908d https://cdn.neonsky.app/4cf3e4235c858/images/46585_2.jpg MAQUETTE FOR LION 1961 Lynn CHADWICK (1914-2003) Bronze 50 x 101 x 27 cm Edition of 4 https://cdn.neonsky.app/4cf3e4235c858/images/deYougoslaviephoto.jpg LES CIGNES 2013 Michel de YOUGOSLAVIE (b. 1958) Photographic print Image size: 40 x 60 cm Artists proof Signed and inscribed: E.A. I/II E.A. I/II https://cdn.neonsky.app/4cf3e4235c858/images/TE-LM17820-Humiliated-03.jpg HUMILIATED (Swan) 2013 Tracey EMIN (b. 1963) Bronze 21.6 x 31.8 x 19.1 cm Edition of 5 + 2 AP Bronze https://cdn.neonsky.app/4cf3e4235c858/images/TE-LM17820-Humiliated-det03.jpg TE LM17820 Humiliated det03 TE LM17820 Humiliated det03 https://cdn.neonsky.app/4cf3e4235c858/images/_034.jpg KANGAROOS 2014 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid free watercolor paper Image size: 16 x 24 cm Paper size: 40 x 50 cm LINK TO HOMAGE TO REMBRANDT BUGATTI (in progress) https://cdn.neonsky.app/4cf3e4235c858/images/Monet_India_Master-of-elephants.jpg THE MASTER OF ELEPHANTS 2002 Akim MONET (b. 1968) Chromogenic print 45.72 x 60.96 cm Ed. 10 https://cdn.neonsky.app/4cf3e4235c858/images/AL-Shehri_Dhafe_D3S_5102.jpg WATER I 2013 Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 60 x 40 cm Paper size: 80 x 60 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/AL-Shehri_Dhafe_DSC_2625--ee.jpg BIRDS I 2013 Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/AL-Shehri_Dhafe_DSC_8644-copy.jpg BIRDS II Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/IndianFolklore50.jpg GANESH C. 1992 INDIAN FOLKLORE (late 20th Century) Natural pigments on paper 17,7 x 12,7 cm https://cdn.neonsky.app/4cf3e4235c858/images/XC2007031733_1.jpg THE ANIMALSâ€™ CONFERENCE 1949 Erich KÄSTNER (1899-1974) Children’s story https://exhibitionarchive.org/the-hand-of-god-(spring-2014) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/THE-HAND-OF-GOD_title800_4.jpg THE HAND OF GOD title800 4 THE HAND OF GOD title800 4 https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_20.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_le-couple.jpg AKIM MONET AKIM MONET https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_hand_in_glove_2.jpg MAHA MALLUH MAHA MALLUH https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_Nelson-Mandela-Impressions-of-Africa-Left-Hand-_colour_.jpg NELSON MANDELA NELSON MANDELA https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_0101-hand_in_hand_I.jpg MAHA MALLUH MAHA MALLUH https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOOD_Eustache.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_Matisse_Etude-de-Mains.jpg HENRI MATISSE HENRI MATISSE https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_Clark_Larry_3bn.jpg LARRY CLARK LARRY CLARK https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_806033.jpg TRISTRAM HILLIER TRISTRAM HILLIER https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9510-KA1red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9510-KA4red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9510-KA3red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9510-KA2red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9510-KA5red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_la-tendresse.jpg AKIM MONET AKIM MONET https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9468-KA5red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9468-KA4red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9468-KA2red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9468-KA1red.jpg AUGUSTE RODIN AUGUSTE RODIN https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_0102-hand_in_hand_II.jpg MAHA MALLUH MAHA MALLUH https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_Mandela-Nelson-Rolihlahla_0191_Hand-of-Africa-828x1024.jpg NELSON MANDELA NELSON MANDELA https://cdn.neonsky.app/4cf3e4235c858/images/AM_HANDOFGOD_9468-KA6red.jpg AUGUSTE RODIN AUGUSTE RODIN https://exhibitionarchive.org/women-(winter-2014) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/winteraccrochagewomen_title2.jpg winteraccrochagewomen title2 winteraccrochagewomen title2 https://cdn.neonsky.app/4cf3e4235c858/images/sbs_women_Rodin_Zoubaloff_Bather_web_image_048PF1216_6MJ8F_3.jpg BAIGNEUSE ZOUBALOFF CONCEIVED IN 1885, CAST IN 1944 Auguste RODIN (1840-1917) Bronze with brown patina 36 x 17,6 x 23,5 cm Inscribed and numbered «A. Rodin / 6/12» at the back of the rock, on the right, With the foundry «Alexis Rudier / Fondeur Paris» at the back of the rock, on the right, and with the inside signature «A. Rodin» PROVENANCE Musée Rodin, Paris Mr. André Schoeller, Paris (acquired from the above, August 1944) Private Collection, France Public auction, Paris Drouot, 12 December 1956, Lot 103 Private Collection, France Private Collection, USA NOTES This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2012-4009B. https://cdn.neonsky.app/4cf3e4235c858/images/sbs_women_967_1000.jpg UNTITLED 10 (from the Series "King's Harem") 2008 Halim AL KARIM (b. 1963) Photographic print 220 x 120 cm - Edition 3 + 2 AP ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/ZOULIKHA_MG_1957_1000px.jpg ZOULIKHA BOUABDELLAH Sueraya SHAHEEN (b. 1965) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm https://cdn.neonsky.app/4cf3e4235c858/images/SARA-R_4733_1000px.jpg SARA RAHBAR Sueraya SHAHEEN (b. 1965) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm https://cdn.neonsky.app/4cf3e4235c858/images/BITA_3090_1000px.jpg BITA FAYYAZI 2011 Sueraya SHAHEEN (b. 1965) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm https://cdn.neonsky.app/4cf3e4235c858/images/SHUROOQ_4434_1000px.jpg SHUROOQ AMIN Sueraya SHAHEEN (b. 1965) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm https://cdn.neonsky.app/4cf3e4235c858/images/sbs_women_I_can_t_find_the_truth__mixed_media_and_stencil_graffiti_on_paper__Hussein_al_mohasen_2013_copy.jpg I CAN'T FIND THE TRUTH 2013 Hussein AL MOHASEN (b. 1971) Mixed media and stencil graffiti on paper 120 x 120 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_women_no_fly_zone__mixed_media_and_stencil_graffiti_on_paper__Hussein_al_mohasen_2013_copy.jpg NO FLY ZONE 2013 Hussein AL MOHASEN (b. 1971) Mixed media and stencil graffiti on paper 120 x 85 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Monzavi_Tahmineh_f24.jpg UNTITLED I 2013 Tahmineh MONZAVI (b. 1988) Pigment print on 100% cotton acid-free watercolor paper Image size: 60 x 90 cm Paper size: 70 x 100 cm https://cdn.neonsky.app/4cf3e4235c858/images/LA-JOUISSANCE-1000px.jpg LA JOUISSANCE 2009 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid free watercolor paper Image: 82 x 57 cm Paper: 100 x 70 cm Ed.7 Image Copyright © Musée Rodin, Paris ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/am2_piercings_out.jpg PIERCING 2001 Akim MONET (b. 1968) Archival Pigment Print on 100% cotton acid free watercolor paper Image: 41.5 x 27.75 cm Paper: 52 x 37 cm Ed. 5 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_AM-Lourdes.jpg LOURDES 2006 Akim MONET (b.1968) Chromogenic print - Ed. 3 + 2AP Mounted face-in 1/4" Plexiglas 183 x 122 cm (72 x 48") To view the complete series please click here https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_MajidaKhattari.jpg CASQUE Dâ€™OR 2013 Majida KHATTARI (b. 1966) Chromogenic print on 3 mm D-bond Face-in 3 mm plexiglass Floating in custom artist’s frame Image size: 180 x 120 cm https://cdn.neonsky.app/4cf3e4235c858/images/Dalou_MG_9318-Web100px.jpg RECLINING FIGURE Aimé-Jules DALOU (1838-1902) Bronze with brown patina 11.5 x 18 x 11 cm Inscribed « DALOU » on the base Inscribed « Femme » on the inside Foundry Susse, Paris Private collection, Switzerland https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Behbehani_Amira_IMG_9582.jpg IN THE MOSQUE 2013 BEIRUT Amira BEHBEHANI (b. 1964) Ink on paper Image size: 20.9 x 29.7 cm Framed: 40 x 50 cm https://cdn.neonsky.app/4cf3e4235c858/images/Carpeaux-Sleeping-female-figure_MG_9340-WEB100px.jpg SLEEPING FEMALE FIGURE Jean-Baptiste CARPEAUX (1827-1875) Bronze with dark brown patina – sand cast 6 x 14 x 8 cm Inscribed « B. CARPEAUX » on the back and « SUSSE FONDEUR, PARIS cire perdue » Private collection, Switzerland https://cdn.neonsky.app/4cf3e4235c858/images/Rodin-Femme-nue-assise_MG_9364-Web100px.jpg SEATED FEMALE NUDE, HER HAND ON HER SEX CIRCA 1900 Auguste RODIN (1840-1917) Graphite on paper 32.6 x 25.1 cm Signed and dedicated lower left « A mon ami Conte / A. Rodin » Drawn circa 1900 and dedicated to Edouard Conte, art critic at « la Bataille » and « au Voltaire » NOTES The present work is accompanied by a photo-certificate by Christina Buley-Uribe dated February 2, 2010 and numbered 100201. This work will be included in the forthcoming Catalogue raisonné dessins et peintures d’Auguste Rodin (1840-1917) currently being prepared by Christina Buley-Uribe. https://cdn.neonsky.app/4cf3e4235c858/images/sbs_women_Rodin_Zoubaloff_Bather_web_images_050PF1216_6MJ8F_5.jpg BAIGNEUSE ZOUBALOFF CONCEIVED IN 1885, CAST IN 1944 Auguste RODIN (1840-1917) Bronze with brown patina 36 x 17,6 x 23,5 cm Inscribed and numbered «A. Rodin / 6/12» at the back of the rock, on the right, With the foundry «Alexis Rudier / Fondeur Paris» at the back of the rock, on the right, and with the inside signature «A. Rodin» PROVENANCE Musée Rodin, Paris Mr. André Schoeller, Paris (acquired from the above, August 1944) Private Collection, France Public auction, Paris Drouot, 12 December 1956, Lot 103 Private Collection, France Private Collection, USA NOTES This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2012-4009B. https://exhibitionarchive.org/dance-of-the-seven-veils-(fall-2013) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/danceofthesevenveils_title.jpg danceofthesevenveils title danceofthesevenveils title https://cdn.neonsky.app/4cf3e4235c858/images/danceofthesevenveils_title2.jpg danceofthesevenveils title2 danceofthesevenveils title2 https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_HalimAlKarim_UNTITLED_1_WEB.jpg UNTITLED 1 (from the Series "King's Harem") 2008 Halim AL KARIM (b. 1963) Photographic print Mounted on board 225 x 100 cm - Edition 3 + 2 AP ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_HalimAlKarim_HiddenGoddess_web.jpg HIDDEN GODDESS 9 2009 Halim AL KARIM (b. 1963) Photograph covered with black silk 80 x 60 cm - Edition 5 + 2 AP ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_women_967_1000.jpg UNTITLED 10 (from the Series "King's Harem") 2008 Halim AL KARIM (b. 1963) Photographic print 220 x 120 cm - Edition 3 + 2 AP ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Behbehani_Amira_IMG_9593.jpg BENEATH THE ABBAYYA (veil) 2012 Amira BEHBEHANI (b. 1964) Charcoal & ink pen Image size: 29.7 x 20.9 cm Framed: 50 x 40 cm Signed and dated, bottom right https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Behbehani_Amira_IMG_9588.jpg A BRIDE 2012 Amira BEHBEHANI (b. 1964) Ink and watercolor on paper with collage Image size: 29.7 x 20.9 cm Framed: 50 x 40 cm Signed and dated, bottom right https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Behbehani_Amira_IMG_9589.jpg UNTITLED 2012 Amira BEHBEHANI (b. 1964) Ink and watercolor on paper Image size: 29.7 x 20.9 cm Framed: 50 x 40 cm Signed and dated, bottom right https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Behbehani_Amira_IMG_9584.jpg DINNER TONIGHTâ€¦ABSOLUTELY 2013 DUBAI Amira BEHBEHANI (b. 1964) Ink and watercolor on paper Image size: 29.7 x 20.9 cm Framed: 50 x 40 cm Inscribed by hand, top left: “dinner tonight…Absolutely 11.2.13” https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Behbehani_Amira_IMG_9585.jpg COCO HEARTâ€¦PASSING THROUGH 2013 Amira BEHBEHANI (b. 1964) Ink and watercolor on paper Image size: 29.7 x 20.9 cm Framed: 50 x 40 cm Inscribed by hand, bottom left: “Coco Heart Passing through” https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Behbehani_Amira_IMG_9582.jpg IN THE MOSQUE 2013 BEIRUT Amira BEHBEHANI (b. 1964) Ink on paper Image size: 20.9 x 29.7 cm Framed: 40 x 50 cm https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_ShadiGhadirian.jpg UNTITLED 19 FROM QAJAR SERIES 1998 Shadi GHADIRIAN (b. 1974) Chromogenic print on photographic paper Image size: 60 x 90 cm - Paper size: 70 x 100 cm Edition of 10 https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_AbdulnasserGharem.jpg THE BLUE LINE 2013 Abdulnasser GHAREM (b. 1973) INSTAGRAM PICTURE Pigment print on 100% cotton acid-free watercolor paper Image size: 20 x 15.4 cm Paper size: 60 x 50 cm https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_AL-Shehri_Dhafer_WINDOW-DRESSING_DSC_7585-crop.jpg WINDOW DRESSING 2013 Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_AL-Shehri_Dhafer_YELLOW-MEN_DSC_2968.jpg YELLOW MEN 2013 Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_AL-Shehri_Dhafer_The-other-half.jpg THE OTHER HALF I 2013 Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_AL-Shehri_Dhafer_LOCKED6DSC_1426-copy.jpg WAITING 2013 Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_AL_Shehri_Dhafe_DSC_8323.jpg PINK BAG 2013 Dhafer AL SHEHRI (b. 1979) Pigment print on 100% cotton acid-free watercolor paper Image size: 40 x 60 cm Paper size: 60 x 80 cm ONLINE CATALOGUE https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Monzavi_Tahmineh_f24.jpg UNTITLED I 2013 Tahmineh MONZAVI (b. 1988) Pigment print on 100% cotton acid-free watercolor paper Image size: 60 x 90 cm Paper size: 70 x 100 cm https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_Monzavi_Tahmineh_missIran.jpg UNTITLED II 2013 Tahmineh MONZAVI (b. 1988) Pigment print on 100% cotton acid-free watercolor paper Image size: 60 x 90 cm Paper size: 70 x 100 cm https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_MajidaKhattari.jpg CASQUE Dâ€™OR 2013 Majida KHATTARI (b. 1966) Chromogenic print on 3 mm D-bond Face-in 3 mm plexiglass Floating in custom artist’s frame Image size: 180 x 120 cm https://cdn.neonsky.app/4cf3e4235c858/images/sbs_danceofsevenve_ShirinNeshat.jpg UNTITLED FROM THE â€œRAPTUREâ€ SERIES 1999 Shirin NESHAT (b. 1957) Gelatin silver print 88.9 x 174 cm - Edition 5 Please click for video: Excepts from the film Rapture by Shirin Neshat Director of photography Ghasem Ebrahimian (duration: 04:19) https://exhibitionarchive.org/abdulnasser-gharem-(spring-2013) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/Amen_title_25april_2.jpg Amen title 25april 2 Amen title 25april 2 https://cdn.neonsky.app/4cf3e4235c858/images/Amen_print_The_Path.jpg AL-SIRAAT (the path) 2011 Abdulnasser GHAREM (b. 1973) Silk-screen print signed and numbered by the artist Printed with 16 colors on 400GSM Somerset Tub paper 180 x 129.6 cm "In 1982, in a village near Khamis Mushait in southern Saudi, one day word spread following heavy rain that a flash-flood was about to sweep down the valley. So the villagers near this bridge decided to shelter on the concrete bridge hoping it would be the safest place to protect them. They put their faith in concrete. They gathered there with their vehicles and livestock and waited. The flood came, yet it washed away both the bridge and the people on it. Many years later I have covered the remains of this bridge with one word: Al Siraat." https://cdn.neonsky.app/4cf3e4235c858/images/Amen_text_01.jpg Amen text 01 Amen text 01 https://cdn.neonsky.app/4cf3e4235c858/images/Amen_-painting_No-More-Tears.jpg NO MORE TEARS II (Springtime) 2012 Abdulnasser GHAREM (b. 1973) Rubber stamps and industrial lacquer paint on 9mm Indonesian Plywood board 160 x 200 cm https://cdn.neonsky.app/4cf3e4235c858/images/Amen_text_02.jpg Amen text 02 Amen text 02 https://cdn.neonsky.app/4cf3e4235c858/images/Amen_sculpture_Concrete.jpg CONCRETE BLOCK V 2013 Abdulnasser GHAREM (b. 1973) Rubber stamps and industrial lacquer paint on wooden sculpture 120 cm x 100 cm x 80 cm The work of Abdulnasser Gharem reflects his career as a lieutenant colonel in the Saudi army, and includes ‘Concrete Blocks’. "They were put around embassies after 9/11. I thought, come on, do you think this is going to protect you against an ideology?" ANG https://cdn.neonsky.app/4cf3e4235c858/images/Amen_text_03.jpg Amen text 03 Amen text 03 https://cdn.neonsky.app/4cf3e4235c858/images/Amen_sculpture_The_Stamp-Amen_venice.jpg THE STAMP (AMEN) -at the Biennale di Venezia 2011 Abdulnasser GHAREM (b. 1973) Wood and rubber Approx. 120 cm x 130 cm x 120 cm Abdulnasser Gharem’s best works impact with a striking clarity and minimalism, and while originating from an intensely local context, catch on to universal realities. One of these is a work called Stamp, a metaphor for bureaucratic stalemate, one of the many roadblocks blocking the way towards change in Saudi Arabia. It consists of a giant wooden sculpture of a stamp reclining on the floor, and a seal with a text on a plastic disc on the floor. The seal reads ‘Have a bit of commitment, please’ and of course, ‘Amen’. This irony between the size of seal and the size of the ‘commitment’ required and the note of vague and indefinite deferral is common in diplomatic procedures in Saudi Arabia, and short of pulling one hair’s out, dealing with it using a tongue-in-cheek attitude is pretty much the only option that remains open to a thinking man. “In Saudi Arabia as in most developing countries, infrastructure-wise, a lot of things are completely state-of-the-art in the cosmetic manner of Dubai glossies, but the procedural complication of systems is still several decades behind. People should understand that their progress as nations is directly proportionate to the perfection and simplification of systems. The effectiveness of systems determines the fate of nations.” Naima Rashid https://cdn.neonsky.app/4cf3e4235c858/images/Amen_text_04.jpg Amen text 04 Amen text 04 https://cdn.neonsky.app/4cf3e4235c858/images/Amen_print_The_Stamp-Amen.jpg THE STAMP (amen) 2011 Abdulnasser GHAREM (b. 1973) Silk-screen print signed and numbered by the artist Printed with 16 colors on 400GSM Somerset Tub paper 127 x 101,6 cm The Stamp series began in 2008 when the work The Path was ‘censored’ and removed from the first Edge of Arabia show in London. With only two weeks to produce a new work, Gharem created The Stamp. An oversized wooden stamp with the declaration ‘Have a bit of Commitment: Amen’. "With The Stamp I declare Have a Bit of Commitment: have a bit more intellectual rigor, more bravery, more faith in your convictions. In committing to this action, I become my own authority, and the controller of my own destiny." ANG https://cdn.neonsky.app/4cf3e4235c858/images/Amen_text_05.jpg Amen text 05 Amen text 05 https://cdn.neonsky.app/4cf3e4235c858/images/Amen_print_The-Stamp_Inshallah.jpg THE STAMP (inshallah) 2011 Abdulnasser GHAREM (b. 1973) Silk-screen print signed and numbered by the artist Printed with 16 colors on 400GSM Somerset Tub paper 127 x 101,6 cm https://cdn.neonsky.app/4cf3e4235c858/images/Amen_sculpture_Concrete_Install.jpg Amen sculpture Concrete Install Amen sculpture Concrete Install https://cdn.neonsky.app/4cf3e4235c858/images/Amen_2_Cover_of_ANG_BOOK.jpg Abdulnasser Gharem Abdulnasser Gharem https://exhibitionarchive.org/kirchner---de-kooning-(winter-2013) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_THEAGGRESSIVELINE_title_web00.jpg SbS THEAGGRESSIVELINE title web00 SbS THEAGGRESSIVELINE title web00 https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner_Sich_Anziehende.jpg WOMAN DRESSING 1915 Ernst Ludwig KIRCHNER (1880 – 1938) Pen and India ink on paper 47,5 x 39,3 cm (18 3/4 x 15 1/2 in.) Stamped on the verso with the estate stamp and numbered ‘K Be/Bg 71’ and inscribed ‘K 666’ and ‘4298’. Verso: Mother and child at the hearth, 1920 Black chalk Provenance Estate of the artist https://cdn.neonsky.app/4cf3e4235c858/images/Kooning_Study_for_seated_woman.jpg STUDY FOR SEATED WOMAN 1946-1948 Willem DE KOONING (1904 – 1997) Pencil on cardboard 28 x 24 cm (11 x 9 1/2 in.) With a letter by Mr. Michael Luyckx, the nephew of Elaine de Kooning who was the executor of the Estate of Elaine de Kooning, confirming that the work was sold directly by the Estate. Provenance Elaine De Kooning Private collection (Acquired from the estate of the above) This work was created in preparation for de Kooning’s first solo exhibition at the Charles Egan Gallery in New York in 1948, which established his reputation in the New York art scene virtually overnight. Clement Greenberg discovered him there, describing him in ‘The Nation’ as “one of the four or five most important painters in the country”. The paintings de Kooning showed at the exhibition verged on abstraction, consisting of black and white biomorphic forms. If those works are compared to “Study for Seated Woman”, it becomes clear that the idea of ‘woman’, although depicted in an almost unrecognizably fragmented form, was already the subject of those early de Kooning paintings. https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner_Sich_waschende.jpg WOMAN WASHING 1930 Ernst Ludwig KIRCHNER (1880 – 1938) Charcoal on paper 45 x 37,8 cm (17 3/4 x 14 7/8 in.) Stamped on the verso with the estate stamp and numbered ‘K Da/Bg 1 90’. Provenance Estate of the artist https://cdn.neonsky.app/4cf3e4235c858/images/Kooning_Seated_Woman.jpg SEATED WOMAN 1955 Willem DE KOONING (1904 – 1997) Charcoal on tracing paper 61 x 47 cm (24 x 18 1/2 in.) With a letter by Mr. Michael Luyckx, the nephew of Elaine de Kooning who was the executor of the Estate of Elaine de Kooning, confirming that the work was sold directly by the Estate. Provenance Elaine De Kooning Private collection (Acquired from the estate of the above) https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner_Rueckenakt_mit_Katze.jpg NUDE WITH CAT 1929 Ernst Ludwig KIRCHNER (1880 – 1938) pen an Indian ink, washed, on paper 49 x 36 cm (19 1/4 x 14 1/8 in.) Stamped on the verso with the estate stamp and numbered ‘F Da/Bg 67’ and ‘K 4175’ and ‘C 2268’. Provenance Estate of the artist https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner_Interieur_mit_weiblichen_Akten.jpg INTERIOR WITH FEMALE NUDES 1925 Ernst Ludwig KIRCHNER (1880 – 1938) Reed pen on paper 52,5 x 36 cm (20 5/8 x 14 1/8 in.) Stamped on the verso with the estate stamp and numbered ‘Fda/Bg 24’ and numbered ‘K 4227’ and ‘C 2644’ in ink and pencil and numbered ‘3859’ in pencil. Provenance Estate of the artist https://cdn.neonsky.app/4cf3e4235c858/images/Kooning_Untitled.jpg UNTITLED EARLY 60Â€™S Willem DE KOONING (1904 – 1997) Charcoal on paper 22,5 x 30 cm (8 7/8 x 11 3/4 in.) With a letter by Mr. Michael Luyckx, the nephew of Elaine de Kooning who was the executor of the Estate of Elaine de Kooning, confirming that the work was sold directly by the Estate. Provenance Elaine De Kooning Private collection (Acquired from the estate of the above) https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner_Bauer_und_M__dchen_auf_Waldweg.jpg PEASANT GIRL ON A FOREST PATH 1920 Ernst Ludwig KIRCHNER (1880 – 1938) India ink and charcoal on copperplate printing paper 49,7 x 34,8 cm (19 1/2 x 13 3/4 in) Stamped on the verso with the estate stamp and numbered ‘P Da/Bc 16’. Provenance Estate of the artist https://cdn.neonsky.app/4cf3e4235c858/images/Kooning_Mans_Head.jpg MAN'S HEAD C. 1964 Willem DE KOONING (1904 – 1997) India ink on paper 61 x 47 cm (24 x 18 1/2 in.) With a letter by Mr. Michael Luyckx, the nephew of Elaine de Kooning who was the executor of the Estate of Elaine de Kooning, confirming that the work was sold directly by the Estate. Provenance Elaine De Kooning Private collection (Acquired from the estate of the above) https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner_Kniender_weiblicher_Akt_im_Badetub.jpg KNEELING FEMALE NUDE IN BATHTUB 1911 Ernst Ludwig KIRCHNER (1880 – 1938) Pencil on brown paper 42,5 x 33,1 cm (16 3/4 x 13 in.) Stamped on the verso with the estate stamp and numbered ‘B Dre/Bg 45’ and ‘K 2648’, ‘C 5482’ and ‘2273’. Provenance Estate of the artist https://exhibitionarchive.org/sex-is-kicking-death-(fall-2012) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_sexiskickingdeath_title_12sept.jpg SbS sexiskickingdeath title 12sept SbS sexiskickingdeath title 12sept https://cdn.neonsky.app/4cf3e4235c858/images/Sex_title-1.jpg Upon discovering German Expressionist graphics from the beginning of the 20th century, it is quite striking to see how often the same artists addressed both the seemingly contradictory themes of sex and death. Of course, the insouciance and enthusiasm of the first decade of the 20th century soon gave way to the horror of the first world war, and to the carnage and destruction that spread through Europe like wild-fire. Nevertheless, as one examines their multilayered meaning, both these notions of death and sex are in fact often interchangeable. In Elizabethan times "dying" was used as a metaphor for experiencing an orgasm. Conversely, death is seen in certain cultures as the ultimate bliss. It is in the spirit of Charles Bukowskiʼs words "SEX IS KICKING DEATH IN THE ASS WHILE SINGING” that Side by Side Gallery Akim Monet explores these themes through the work of a selection of early 20th century German expressionist artists. Concurrently, in order to create a bridge to the early 21st century, the gallery has invited Berlin-based contemporary artist Satch Hoyt to respond to the German Expressionist prints. Upon discovering German Expressionist graphics from the beginning of the 20th century, it is quite striking to see how often the same artists addressed both the seemingly contradictory themes of sex and death. Of course, the insouciance and enthusiasm of the first decade of the 20th century soon gave way to the horror of the first world war, and to the carnage and destruction that spread through Europe like wild-fire. Nevertheless, as one examines their multilayered meaning, both these notions of death and sex are in fact often interchangeable. In Elizabethan times "dying" was used as a metaphor for experiencing an orgasm. Conversely, death is seen in certain cultures as the ultimate bliss. It is in the spirit of Charles Bukowskiʼs words "SEX IS KICKING DEATH IN THE ASS WHILE SINGING” that Side by Side Gallery Akim Monet explores these themes through the work of a selection of early 20th century German expressionist artists. Concurrently, in order to create a bridge to the early 21st century, the gallery has invited Berlin-based contemporary artist Satch Hoyt to respond to the German Expressionist prints. https://cdn.neonsky.app/4cf3e4235c858/images/SbS_sexiskickingdeath_TXT_03.jpg SbS sexiskickingdeath TXT 03 SbS sexiskickingdeath TXT 03 https://cdn.neonsky.app/4cf3e4235c858/images/Nolde_1918_6R_SM196_II_Junger_F__rst_und_T__nzerinnen.jpg JUNGER FÃœRST UND TÃ„NZERINNEN 1918 Emil Nolde (1867-1956) Etching (Line etching with tonal etching) On structured Van Gelder Zonen vellum TitIed twice at bottom edge of the sheet. Signed bottom right. 26 x 22 cm on 58,5 x 44,5 cm Schiefler-Mosel R 196 II Radierung (Strich- und Tonätzung) Auf kräftigem strukturiertem van Gelder Zonen-Velin Im Papierunterrand zwei Mal betitelt. Unten rechts signiert. 26 x 22 cm auf 58,5 x 44,5 cm WVZ-Nr. Schiefler-Mosel R 196 II https://cdn.neonsky.app/4cf3e4235c858/images/SbS_sexiskickingdeath_TXT_04.jpg SbS sexiskickingdeath TXT 04 SbS sexiskickingdeath TXT 04 https://cdn.neonsky.app/4cf3e4235c858/images/Nolde_1918_6R_SM200_II_Der_Tod_als_T__nzerin_76975.jpg DER TOD ALS TÃ„NZERIN 1918 Emil Nolde (1867-1956) Etching (Line etching with tonal etching) On vellum Titled bottom center and numbered "II.9" bottom left. Signed bottom right. 21 x 26 cm on 57 x 45,8 cm Schiefler-Mosel R 200 II Radierung (Strich- und Tonätzung) Auf Velin Unten in der Mitte betitelt und unten links nummeriert "II.9". Unten rechts signiert. 21 x 26 cm auf 57 x 45,8 cm WVZ-Nr. Schiefler-Mosel R 200 II https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-07_P1B3111.jpg MELANCHOLIC SERENADE 2011 Satch Hoyt (b.1957) Girl with one arm Mixed-media, ceramic and porcelain 9 x 6 x 5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Heckel19107LD153SzeneimWaldweb.jpg SZENE IM WALD - AKTE IN DER WALDLICHTUNG 1910 Erich Heckel (1883-1970) Lithograph On chamois etching-board Signed and dated bottom-right 27,6 x 34 cm on 40 x 53,7 cm Dube L 153 Lithographie Auf chamois Kupferdruckkarton Unten rechts signiert und datiert 27,6 x 34 cm auf 40 x 53,7 cm WVZ-Nr. Dube L 153 https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-01_P1B3122.jpg INSCRUTABLE 2012 Satch Hoyt (b.1957) Baby & Girl and Elf giving head Mixed-media, ceramic and porcelain 13 x 9 x 5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Mueller19217LK146IIaM__dchenaufdemKanapee_75241web.jpg MÃ„DCHEN AUF DEM KANAPEE 1921-1922 Otto Mueller (1874-1930) Lithograph On smooth vellum One of 20 impressions aside from the numbered edition of 30. Verlag Graphisches Kabinett J.B. Neumann, Berlin. Signed bottom right. 29,5 x 39,2 cm on 43,8 x 56,3 cm Karsch 146 II a Lithographie Auf glattem Velin Einer von etwa 20 Abzügen ausserhalb der numerierten Auflage von 30 Drucken. Verlag Graphisches Kabinett J.B. Neumann, Berlin. Unten rechts signiert. 29,5 x 39,2 cm auf 43,8 x 56,3 cm WVZ-Nr. Karsch 146 II a https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-05_P1B3100.jpg SUCH AN IMPOSITION 2012 Satch Hoyt (b.1957) Girl with Pigs Mixed-media, ceramic and porcelain 11,5 x 6 x 9 cm https://cdn.neonsky.app/4cf3e4235c858/images/Sex---Presentation04.jpg Sex Presentation04 Sex Presentation04 https://cdn.neonsky.app/4cf3e4235c858/images/Heckel19096RD063R__mischeT__nzerinweb.jpg RÃ–MISCHE TÃ„NZERIN 1909 Erich Heckel (1883-1970) Drypoint On laid paper, "FL Antique" Watermark Edition number 5/15 Signed, dated and subsequently titled 13,7 x 10 cm on 26,4 x 20,7 cm Dube R 063 Kaltnadelradierung Auf Bütten mit Wasserzeichen "FL Antique" Exemplar 5/15 Signiert, datiert und später betitelt 13,7 x 10 cm auf 26,4 x 20,7 cm WVZ-Nr. Dube R 063 https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-10_P1B3096.jpg MAYHEM 2011 Satch Hoyt (b.1957) Elf, Leg, Woman with vase Mixed-media, ceramic and porcelain 9,5 x 8 x 4,5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Nolde_1922_T__nzerin_2.jpg TÃ„NZERIN 1922 Emil Nolde (1867-1956) Etching (Line etching with tonal etching) On chamois vellum One of 8 impressions in this condition. Marked as «II.8» bottom left as well as titled. Marked «zum Christfest 1922» bottom right. Signed bottom right. 1,7 x 24,4 cm on 65,4 x 48,9 cm Schiefler-Mosel R 211 II Radierung (Strich- und Tonätzung) Auf chamois Velin Eines von 8 Exemplaren dieses Zustandes. In der linken unteren Ecke mit «II.8» bezeichnet und betitelt, in der rechten unteren Ecke mit «zum Christfest 1922» bezeichnet. Unten rechts signiert. 31,7 x 24,4 cm auf 65,4 x 48,9 cm WVZ-Nr. Schiefler-Mosel R 211 II https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-03_P1B3154.jpg THE PAYBACK 2012 Satch Hoyt (b.1957) Three Women Mixed-media, ceramic and porcelain 13 x 7 x 8 cm https://cdn.neonsky.app/4cf3e4235c858/images/Sex---Presentation03.jpg Sex Presentation03 Sex Presentation03 https://cdn.neonsky.app/4cf3e4235c858/images/Heckel_1915_5H_D301_Bildnis_PR-1.jpg BILDNIS PR 1915 Erich Heckel (1883-1970) woodcut, handcolored in watercolor on firm, slightly brownish vellum one of a few impressions by the artist signed bottom right, marked "Ostende 15 Probe" on bottom left, titled "Pfleger PR" bottom left 35,4 x 26,8 on 59,2 x 49,4 cm Dube H 301 Holzschnitt aquarelliert Auf festem, leicht bräunlichem Velin Einer von wenigen Abzügen des Künstlers Unten rechts signiert. Unten links mit "Ostende 15 Probe" bezeichnet sowie im Papierunterrand links mit "Pfleger PR" betitelt 35,4 x 26,8 auf 59,2 x 49,4 cm Dube H 301 https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-09_P1B3117.jpg THE VICTOR 2012 Satch Hoyt (b.1957) Girl with Soldier’s head Mixed-media, ceramic and porcelain 11 x 7 x 5,5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Pechstein19235HK295T__nzerinimSpiegelweb.jpg TÃ„NZERIN IM SPIEGEL 1923 Hermann Max Pechstein (1881–1955) Colour woodcut, additionally hand-colored by the artist On solid vellum Numbered "23/51" bottom left. Signed bottom right. 49,6 x 40 cm on 73,0 x 52,5 cm Krüger H 295 Farbholzschnitt, vom Künstler überarbeitet Auf festem Velin Eines von 51 nummerierten Exemplaren. Unten links mit "23/51" nummeriert. Unten rechts signiert. 49,6 x 40 cm auf 73,0 x 52,5 cm WVZ-Nr. Krüger H 295 https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-08_P1B3140.jpg TWISTED TROUBADOUR 2012 Satch Hoyt (b.1957) Clown & Pig Mixed-media, ceramic and porcelain 12 x 7 x 6,5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Heckel_1917_5H_D311_Ein_Matrose-4.jpg EIN MATROSE 1917 Erich Heckel (1883-1970) woodcut on laid paper with watermark "SLG" signed, dated and marked "Ostende" 36,5 x 26,7 cm on 57 x 43 cm. Dube H 311 Erich Heckel (1883-1970) Holzschnitt Auf Bütten mit Wz. "SLG" Signiert, datiert und mit "Ostende" bezeichnet 36,5 x 26,7 cm auf 57 x 43 cm. Dube H 311 https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-02__P1B3114.jpg THE TROPHY 2012 Satch Hoyt (b.1957) Leg, Torso, Arm with Fruit Basket Mixed-media, ceramic and porcelain 4,5 x 13 x 5,5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Heckel_1916_7L_D236_IV_Kr__ppel_am_Meer-3.jpg KRÃœPPEL AM MEER 1916 Erich Heckel (1883-1970) lithograph on ribbed chamois laid paper part of the edition signed and dated bottom right 26,2 x 21,5 on 51 x 35,2 cm Dube L 236 IV Lithographie Auf geripptem chamois Bütten Exemplar der Auflage Unten rechts signiert und datiert 26,2 x 21,5 auf 51 x 35,2 cm Dube L 236 IV https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-04_P1B3145.jpg DOGMA 2012 Satch Hoyt (b.1957) Dog & Legs Mixed-media, ceramic and porcelain 6 x 7 x 4,5 cm https://cdn.neonsky.app/4cf3e4235c858/images/Heckel_1916_7L_D232_II_Irrer_Soldat-2.jpg IRRER SOLDAT 1916 Erich Heckel (1883-1970) lithograph on ribbed Van Gelder Zonen laid paper part of the edition signed bottom right, dated and marked "Ostend" bottom left 30,1 x 24,1 on 50,5 x 35,4 cm Dube L 232 II Lithographie Auf geripptem Van Gelder Zonen-Bütten Exemplar der Auflage Unten rechts signiert, unten links datiert und mit "Ostend" bezeichnet 30,1 x 24,1 auf 50,5 x 35,4 cm Dube L 232 II https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-11_P1B3144.jpg DEWINGED 2012 Satch Hoyt (b.1957) Cherub and Dog Mixed-media, ceramic and porcelain 8 x 4 x 7 cm https://cdn.neonsky.app/4cf3e4235c858/images/Mueller_SbSG_MG_3565web.jpg MUTTER UND KIND 2 (KLEINE FASSUNG) 1920 Otto Mueller (1874-1930) Lithograph On lighly hammered yellowish vellum Number 18 of an planned edition of 30 for the magazine «Die Gäste», which is believed not to have been printed in its entirety. Embossed-stamp «Verlag der Galerie Ferdinand Möller». Signed bottom right. 26 x 18,5 cm on 33,3 x 26,8 cm Karsch 107 II (MASCHKA UND EUGEN, KLEIN; ZWEI MENSCHEN) Lithographie Auf leicht gehämmertem gelblichem Velin Exemplar 18 einer auf 30 Exemplaren angelegten, jedoch wohl nicht ausgedruckten Auflage in der Zeitschrift «Die Gäste». Mit dem Trockenstempel «Verlag der Galerie Ferdinand Möller». Unten rechts signiert. 26 x 18,5 cm auf 33,3 x 26,8 cm WVZ-Nr. Karsch 107 II https://cdn.neonsky.app/4cf3e4235c858/images/SatchHoyt-06_P1B3120.jpg RED WHISPER 2011 Satch Hoyt (b.1957) Tortured Torso, Dead Baby Mixed-media, ceramic and porcelain 2,5 x 6 x 2,5 cm https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityOtto_Mueller_Polnische_Fami.jpg POLNISCHE FAMILIE (JUDENFAMILIE; POLEN) 1920-1921 Otto Mueller (1874-1930) Lithograph On very thin publishing paper One of 60 unnumbered impressions printed prior to the edition «Die Schaffenden», III. Volume, Folder 1. Stamp by the estate of the artist on the reverse (Lugt 1829 d), stamp «Eigentum J.M. unverk.» and red monogram by Joseph Müller. Signed bottom right. 26 x 19 cm on 41 x 31 cm Karsch 114 II a Lithographie Auf sehr dünnem Werkdruckpapier Eins von 60 ungezählten Exemplaren vor der Auflage in «Die Schaffenden», III. Jahrg., Mappe 1. Rückseitig mit dem Nachlass-Stempel (Lugt 1829 d), dem Stempel «Eigentum J.M. unverk.» und dem roten Monogramm von Josef Müller. Unten rechts signiert. 26 x 19 cm auf 41 x 31 cm WVZ-Nr. Karsch 114 II a https://cdn.neonsky.app/4cf3e4235c858/images/Kirchner_NackteFrauenweb.jpg NACKTE FRAUEN MIT KINDERN IM FREIEN I. 1925 Ernst Ludwig Kirchner (1880-1938) Etching One of only three impressions known so far. Dated and titled by the artist «Nackte Menschen im Freien 24». Inscribed by the artist on the reverse: «Clichéebreite ist die Breite des Satzspiegels des Kataloges», and marked with the estate stamp. 25 x 31,2 cm on 33,5 x 41,5 cm Dube R 518 https://exhibitionarchive.org/the-sacred-heart-(spring-2012) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_the_sacred_heart_Title_2.jpg SbS the sacred heart Title 2 SbS the sacred heart Title 2 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_the_sacred_heart_artists-ulith.jpg SbS the sacred heart artists ulith SbS the sacred heart artists ulith https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_AS-1990-Moses-Immersions-WEB.jpg IMMERSIONS (MOSES) 1990 Andres SERRANO (b.1950) Cibachrome print on diasec with plexiglass 152.4 x 101.6 cm / 60 x 40 in Edition 3/4 101.6 x 69.85 cm / 40 x 27.5 in Edition 4/10 https://cdn.neonsky.app/4cf3e4235c858/images/1_Brigitte-NaHoN-Holiness_1-2011-WEB.jpg HOLINESS #1 2011 Brigitte NaHoN Glue, glass, plexiglass 30,4 x 62,8 x 15,4 cm (12 x 24 5/8 x 6 1/8 Inches) https://cdn.neonsky.app/4cf3e4235c858/images/2_Brigitte-NaHoN-Holiness_1-2011-WEB.jpg HOLINESS #1 2011 Brigitte NaHoN Glue, glass, plexiglass 30,4 x 62,8 x 15,4 cm (12 x 24 5/8 x 6 1/8 Inches) https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_AS-1991-Monseigneur-WEB.jpg THE CHURCHâ€“MONSEIGNEUR JACQUES, BISHOP OF CHARTR 1991 Andres SERRANO (b.1950) Cibachrome print, Plexiglass face-mounted, original artist’s frame 127 x 152.4 cm / 50 x 60 in (unframed) Edition of 4 https://cdn.neonsky.app/4cf3e4235c858/images/nerisl3.jpg OIL LAMP ISLAMIC Â€“ 7TH CENTURY A.D A very early Islamic oil lamp illuminated with two birds; in later Islamic objects there are no pictures, only ornaments. nerisl3 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_THURIBLE.jpg THURIBLE CIRCA 1880 A rare ornate brass church incense burner possibly French, or from Flanders In very good condition evidence of “vert-de-gris” patina incense burner: 20 x 11 cm original chain: 90 cm https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_serrano_andres_black_baby_jesus-WEB.jpg IMMERSIONS (BLACK BABY JESUS) 1990 Andres SERRANO (b.1950) Cibachrome print on diasec with plexiglass 152.4 x 101.6 cm / 60 x 40 in Edition 3/4 101.6 x 69.85 cm / 40 x 27.5 in Edition 5/10 https://cdn.neonsky.app/4cf3e4235c858/images/Bugatti01-WEB.jpg CHRIST 1915 Rembrandt BUGATTI (1884 – 1916) Bronze with dark brown patina with lighter brown highlights and black undertones. Signed and stamped 'Bugatti, C. Valsuani Cire Perdue'. Lost wax process. Height 28 in / 71 cm Length 22 in / 55 cm Provenance Roland Bugatti Thence by descent to Madame Jacqueline Pouquet Galerie Cazeau-Beraudiere, France The Sladmore Gallery, London Exhibited Galerie Beaubourg, Paris, July-September 1995, 'Bugatti Les Meubles, Bugatti Les Sculptures, Bugatti Les Autos'. Public collection Musée d'Orsay, Paris, France (donated by L'Ebe Bugatti, in 1979) Literature - Rembrandt Bugatti - Life in Sculpture, by Edward Horswell, page 162, this actual cast. - 'Rembrandt Bugatti Repertoire Monographique' by Veronique Fromanger, 2009, page 338, catalogue number 362. - R.Bugatti by J-C des Cordes and V.F. des Cordes, page 312. - Bronzes of Rembrandt Bugatti by Mary Harvey, page 94. - Bugatti, Carlo, Rembrandt, Ettore, Jean. By Philippe Dejean, page 222-223 - Galerie Beaubourg, Paris, July-September 1995, 'Bugatti Les Meubles, Bugatti Les Sculptures, Bugatti Les Autos', by Marianne and Peter Nahon, illustrated page 65. https://cdn.neonsky.app/4cf3e4235c858/images/_SacredHeart_Maestro_Madonna_del_Parto_web_.jpg PIETÃ€ THIRD QUARTER 14TH CENTURY MAESTRO DELLA MADONNA DEL PARTO (1371-1380) Venice, active Fourteenth Century Pietà Panel 90.5 x 54 cm Inscribed below: QVISTE LE DIT ITA *** HIS DVLCISIM VITA X (…) / PRO MVNDI VITA SUM CRVCIFIXVS ITA X (…) PROVENANCE Florence, Villa Le Fontanelle, Marchese Filippo Serlupi Crescenzi collection The first recorded owner of this work, the Marchese Filippo Serlupi Crescenzi, was a wealthy lawyer and art collector who sheltered the great critic Bernard Berenson during the Nazi occupation of Florence in the final years of the Second World War . This relatively large and impressive gold ground depicts the Pietà, a scene that is not described in the Gospels. It is, however, a further dramatization of the connection that the Virgin Mary has with her Son and the despair that she suffered at his Crucifixion. Here, we see the Madonna seated on a ledge as the dead Christ is draped over her lap. She looks at Him with calm sadness and supports his neck with her own shawl, as she would a newborn child. His skin is a darker colour than His living mother, he is covered with drops of blood and his Stigmata wounds have a specific emphasis, all underlining the violence of His sacrifice. Andrea De Marchi, who is responsible for reconstructing this artist’s catalogue of works, has identified the artist of this picture as the Master of the Madonna del Parto, an artist in the circle of Niccolo di Pietrò and subsequently active in Venice at the end of the 14th Century. He specifically compares the present work to others by the Master of the Madonna del Parto including St. Francis and St. Ludovic in the Musée du Petit Palais, Avignon; St. Egidius and St. Claire, formerly in the Ciardiello collection; and the Madonna of Humility and the Pietà in the Pushkin Museum, Moscow. It is likely, based on stylistic comparisons, that this panel was executed around 1370. See. E. Samuels, Bernard Berenson: The Making of a Legend, Cambridge, MA. and London 1987, p. 474 See A. De Marchi, “Per un riesame della pittura tardogotica a Venezia: Niccolo di Pietrò e il suo contesto adriatico”, in Bollettino d’arte, LXXII, 1987, pp. 25-66 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityOttoMueller_MutterKindII.jpg MUTTER UND KIND II 1920 Otto MUELLER (1874-1930) Lithographie 26 x 18,5 auf 33,3 x 26,8 cm Auf leicht gehämmertem gelblichem Velin. Unten rechts signiert. Exemplar 18 einer auf 30 Exx. angelegten, jedoch wohl nicht ausgedruckten Auflage in der Zeitschrift «Die Gäste». Mit dem Trockenstempel «Verlag der Galerie Ferdinand Möller» https://cdn.neonsky.app/4cf3e4235c858/images/Hirst-Sacred-Heart-WEB.jpg THE SACRED HEART 2005 Damien HIRST (b. 1965) Silver 30,9 x 43,9 cm (12.2" x 17.3 inches) Height with base 36.8 cm (14.5 inches) Edition of 25 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_AS-1991-St_-Clotilde_-Paris-WEB.jpg THE CHURCH (ST. CLOTILDE), PARIS 1991 Andres SERRANO (b.1950) Cibachrome print, plexiglass face-mounted, original artist’s frame 152.4 x 127 cm / 60 x 50 in Edition 4/4 https://cdn.neonsky.app/4cf3e4235c858/images/Heartlight01-web.jpg THE HEARTLIGHT (working model) CIRCA 1990 Jonathan BOROFSKY (b. 1942) Working model for a large Heartlight sculpture (12m to 18m tall). Aluminum, cast resin, diode light, audio-electronics including digitally reproduced heartbeat of the artist. Overall size 62.5 x 27 x 27 cm Red resin lamp 19 cm 4 black figurines 6.5 cm each https://cdn.neonsky.app/4cf3e4235c858/images/_SacredHeart_faunesse1.jpg LA FAUNESSE ZOUBALOFF 1885 Auguste RODIN (1840-1917) bronze with dark brown patina Height: 19.1 cm (7½ in.) Conceived in 1885, cast by the Alexis Rudier Foundry, Paris circa 1928. signed 'Rodin' (on the back of the base) and inscribed 'Alexis Rudier Fondeur, Paris' https://cdn.neonsky.app/4cf3e4235c858/images/_SacredHeart_faunesse2.jpg LA FAUNESSE ZOUBALOFF 1885 Auguste RODIN (1840-1917) bronze with dark brown patina Height: 19.1 cm (7½ in.) Conceived in 1885, cast by the Alexis Rudier Foundry, Paris circa 1928. signed 'Rodin' (on the back of the base) and inscribed 'Alexis Rudier Fondeur, Paris' https://cdn.neonsky.app/4cf3e4235c858/images/Schmidt-Rottluff_Moses.jpg MOSES 1919 Karl SCHMIDT-ROTTLUFF (1884 – 1976) Woodcut on wove paper Signed in pencil, inscribed with the artist's work number 1916 Impression 433 x 274 mm Sheet 695 x 557 mm One of only a small number of impressions (there was no edition), with wide margins https://exhibitionarchive.org/the-concrete-&-the-mystical-(winter-2012) 2026-09-16 monthly 0.8 https://exhibitionarchive.org/fertility-(fall-2011) 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_Title.jpg SbS Fertility Title SbS Fertility Title https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_artists-ulith.jpg SbS Fertility artists ulith SbS Fertility artists ulith https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_WomeninRain_2.jpg BALKAN EROTIC EPIC: WOMEN IN RAIN #2 2005 Marina ABRAMOVIC (b. 1946) framed chromogenic print (No. 1/7) framed: 176.2 x 176.2 cm (69 3/8 x 69 3/8 inches) Edition of 7 with 2 APs https://cdn.neonsky.app/4cf3e4235c858/images/SbS_ANSE-Frozen.jpg FROZEN SEMEN WITH BLOOD 1990 Andres SERRANO (b.1950) Cibachrome mounted on plexi 165 x 114 cm (65 x 45 in.) Signed - Edition of 4 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_Bourgeois_Gouaches-PregnatWoman4.jpg PREGNANT WOMAN 2009 Louise BOURGEOIS (1911-2010) Gouache and colored pencil on paper 59.7 x 45.7 centimeters 23 1/2 x 18 inches https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_Bourgeois_Gouaches-PregnantWoman3.jpg PREGNANT WOMAN 2009 Louise BOURGEOIS (1911-2010) Gouache and colored pencil on gray paper 64.8 x 49.5 centimeters 25 1/2 x 19 1/2 inches https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_Bourgeois_Woman_Baby.jpg PREGNANT WOMAN 2008 Louise BOURGEOIS (1911 - 2010) Gouache and colored pencil on gray paper 31.1 x 25.4 centimeters (12 1/4 x 10 inches) https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityOttoMueller_MutterKindII.jpg MUTTER UND KIND II 1920 Otto MUELLER (1874-1930) Lithographie 26 x 18,5 auf 33,3 x 26,8 cm Auf leicht gehämmertem gelblichem Velin. Unten rechts signiert. Exemplar 18 einer auf 30 Exx. angelegten, jedoch wohl nicht ausgedruckten Auflage in der Zeitschrift «Die Gäste». Mit dem Trockenstempel «Verlag der Galerie Ferdinand Möller» https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityOtto_Mueller_Polnische_Fami.jpg POLNISCHE FAMILIE (JUDENFAMILIE; POLEN) 1920-1921 Otto Mueller (1874-1930) Lithograph On very thin publishing paper One of 60 unnumbered impressions printed prior to the edition «Die Schaffenden», III. Volume, Folder 1. Stamp by the estate of the artist on the reverse (Lugt 1829 d), stamp «Eigentum J.M. unverk.» and red monogram by Joseph Müller. Signed bottom right. 26 x 19 cm on 41 x 31 cm Karsch 114 II a Lithographie Auf sehr dünnem Werkdruckpapier Eins von 60 ungezählten Exemplaren vor der Auflage in «Die Schaffenden», III. Jahrg., Mappe 1. Rückseitig mit dem Nachlass-Stempel (Lugt 1829 d), dem Stempel «Eigentum J.M. unverk.» und dem roten Monogramm von Josef Müller. Unten rechts signiert. 26 x 19 cm auf 41 x 31 cm WVZ-Nr. Karsch 114 II a https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertilitykirchner_Kinder.jpg SPIELENDE KINDER IM GRAS MIT EISENBAHN 1924 Ernst Ludwig KIRCHNER (1880 –1938) Farbige Kreiden auf satiniertem Halbkarton 42 x 52 cm Rückseitig “Spielende Kinder im Raum” farbige Kreiden, unvollendet, 1924 sowie mit Nachlass-Stempel https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityKirchner_NackteFrauen.jpg NACKTE FRAUEN MIT KINDERN IM FREIEN I 1925 Ernst Ludwig KIRCHNER (1880 –1938) Radierung 25 x 31,2 auf 33,5 x 41,5 cm. Einer von drei bisher bekannt gewordenen Abzüge des Künstlers. Unten vom Künstler mit “Nackte Menschen imFreien 24” betitelt und datiert. Rückseitig vom Künstler “Clichéebreite ist die Breite des Satzspiegels des Kataloges” vermerkt sowie mit dem Nachlass-Stempel. Dube R 518 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityKirchner_LiegendesPaar.jpg LIEGENDES PAAR 1908 Ernst Ludwig KIRCHNER (1880 –1938) Bleistift Auf imitiertem chamois Japan 34 x 44 cm Rückseitig mit dem Nachlass-Stempel und den Nummerierungen “K 2630” und “2255” in Bleistift 2010, Mit Kopf und Hand – Variationen zur Zeichnung, Düsseldorf, Galerie Kunstakademie, Abb. S. 25 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_Grosz-LeMeill.jpg LE MEILLEUR DES MONDES C.1946 / 1947 George GROSZ (1893-1959) Colored Ink on Paper 50 x 39.2 cm https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilitySpoerri_LaCoppia.jpg LA COPPIA â€“ Hr. StÃ¶ssel und Fr. Muscheli 1995 Daniel SPOERRI (b. 1930) Bronze 26 x 46 x 19 cm 1 von 8 + 1 Exemplaren. Am sockel hinten signiert und nummeriert. https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilitySpoerri_Encyclopedie.jpg ENCYCLOPÃ‰DIE DE DIDEROT ET Dâ€™ALEMBERT 1990-95 Daniel SPOERRI (b. 1930) Assemblage auf Originaldruck 41 x 31 x 8 cm Rückseitig signiert, datiert und mit „Seggiano“ bezeichnet. https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilitySpoerri_LaMedecine.jpg LA MÃ‰DECINE OPÃ‰RATOIRE DESSINÃ‰E Dâ€™APRÃˆS NATU 1994 Daniel SPOERRI (b. 1930) Rahmen 55 x 58,5 cm Gruppe von vier Assemblagen mit den Originaldrucken. In der unteren rechten Assemblage signiert. https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_Borofsky_HumanStructures.jpg HUMAN STRUCTURES (32 FIGURES) 2002 / 2009 Jonathan BOROFSKY (b. 1942) Injection molded polycarbonate 96.5cm tall x 33cm x 33cm https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility_IMG_2166.jpg Detail: HUMAN STRUCTURES (32 FIGURES) 2002 / 2009 Jonathan BOROFSKY (b. 1942) Injection molded polycarbonate 96.5cm tall x 33cm x 33cm https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityTracey-Emin-Suffer-Love-XI-.jpg SUFFER LOVE XI 2009 Tracey EMIN (b. 1963) Monoprint on paper 21 x 29.6 cm https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityTracey-Emin_XSuffer-Love-XVII.jpg SUFFER LOVE XVII 2009 Tracey EMIN (b. 1963) Monoprint on paper 21 x 29.6 cm https://cdn.neonsky.app/4cf3e4235c858/images/SbS_FertilityTracey-Emin-Suffer-Love-XIX.jpg SUFFER LOVE XIX 2009 Tracey EMIN (b. 1963) Monoprint on paper 21 x 29.6 cm (8 1/4 x 11 5/8 in.) https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility-Rodin_Torse_d_Adele_2.jpg TORSE Dâ€™ADÃˆLE 1878 Auguste RODIN (1840-1917) Bronze with brown patina 16.2 x 48 x 20 cm Signed 'A. Rodin'; inscribed with foundry mark 'A. Rudier / Fondeur Paris.' https://cdn.neonsky.app/4cf3e4235c858/images/SBS-Picasso-Majaconvestidoc.jpg MAJA Ã€ LA ROBE COURTE 1968 Pablo PICASSO (1881-1973) Aquatint on wove 32.7 X 25.6 cm From: La Série "347" https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Fertility-Picasso-Forna.jpg RAPHAÃ‹L ET LA FORNARINA. II: AVEC UN VOYEUR CACHÃ 1968 Pablo PICASSO (1881-1973) Etching 27.9 X 38.6 cm From: La Série "347" https://exhibitionarchive.org/mythology-&-science 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/170925_monet_gallery_views-WEB_01.jpg 170925 monet gallery views WEB 01 170925 monet gallery views WEB 01 https://cdn.neonsky.app/4cf3e4235c858/images/170925_monet_gallery_views-WEB_02.jpg 170925 monet gallery views WEB 02 170925 monet gallery views WEB 02 https://cdn.neonsky.app/4cf3e4235c858/images/170925_monet_gallery_views-WEB_07.jpg 170925 monet gallery views WEB 07 170925 monet gallery views WEB 07 https://cdn.neonsky.app/4cf3e4235c858/images/170925_monet_gallery_views-WEB_09.jpg 170925 monet gallery views WEB 09 170925 monet gallery views WEB 09 https://cdn.neonsky.app/4cf3e4235c858/images/170925_monet_gallery_views-WEB_08.jpg 170925 monet gallery views WEB 08 170925 monet gallery views WEB 08 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https://exhibitionarchive.org/the-sacred-heart 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9089.jpg THE SACRED HEART PRING 2012 Rembrandt Bugatti, Auguste Rodin, Maestro della Madonna del Parto (14th century), Andres Serrano, Islamic oil lamp from the 7th century https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_installsacredheart_install_MG_9153.jpg Auguste Rodin, Maestro della Madonna del Parto (14th century), Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff, Damien Hirst, Jonathan Borofsky Auguste Rodin, Maestro della Madonna del Parto (14th century), Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff, Damien Hirst, Jonathan Borofsky https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9158.jpg Maestro della Madonna del Parto (14th century), Andres Serrano, Islamic oil lamp from the 7th century Maestro della Madonna del Parto (14th century), Andres Serrano, Islamic oil lamp from the 7th century https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9106.jpg Maestro della Madonna del Parto (14th century), Andres Serrano Maestro della Madonna del Parto (14th century), Andres Serrano https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9163.jpg Maestro della Madonna del Parto (14th century), Auguste Rodin, Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff Maestro della Madonna del Parto (14th century), Auguste Rodin, Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9101.jpg Auguste Rodin, Maestro della Madonna del Parto (14th century), Andres Serrano, Islamic oil lamp from the 7th century Auguste Rodin, Maestro della Madonna del Parto (14th century), Andres Serrano, Islamic oil lamp from the 7th century https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9159.jpg Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9167.jpg Islamic oil lamp from the 7th century Islamic oil lamp from the 7th century https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9155.jpg Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff, Damien Hirst Andres Serrano, Islamic oil lamp from the 7th century, Karl Schmidt-Rottluff, Damien Hirst https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9165.jpg Damien Hirst Damien Hirst https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9160.jpg Incense burner from the 19th century, Andres Serrano, Brigitte Nahon, Rembrandt Bugatti Incense burner from the 19th century, Andres Serrano, Brigitte Nahon, Rembrandt Bugatti https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9093.jpg Incense burner from the 19th century, Andres Serrano Incense burner from the 19th century, Andres Serrano https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9152.jpg Andres Serrano, Brigitte Nahon, Rembrandt Bugatti Andres Serrano, Brigitte Nahon, Rembrandt Bugatti https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9171.jpg Rembrandt Bugatti Rembrandt Bugatti https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9157.jpg Andres Serrano, Brigitte Nahon, Rembrandt Bugatti, Auguste Rodin, Maestro della Madonna del Parto (14th century), Andres Serrano Andres Serrano, Brigitte Nahon, Rembrandt Bugatti, Auguste Rodin, Maestro della Madonna del Parto (14th century), Andres Serrano https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9174.jpg Karl Schmidt-Rottluff, Andres Serrano Karl Schmidt-Rottluff, Andres Serrano https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9172.jpg Karl Schmidt-Rottluff Karl Schmidt-Rottluff https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9175.jpg Andres Serrano, Karl Schmidt-Rottluff Andres Serrano, Karl Schmidt-Rottluff https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_install_MG_9117.jpg Andres Serrano Andres Serrano https://cdn.neonsky.app/4cf3e4235c858/images/SbS_the_sacred_heart_Title_until.jpg SbS the sacred heart Title until SbS the sacred heart Title until https://exhibitionarchive.org/the-concrete-&-the-mystical 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Concrete_InstallationShot-01_0293.jpg THE CONCRETE AND THE MYSTICAL WINTER 2012 Andres Serrano, Wolfgang Tillmans, Yevgeny Khaldei, Susanne Neunhoeffer, John Martin, Sebastiao Salgado, Otto Mueller https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Concrete_InstallationShot-02_0285.jpg THE CONCRETE AND THE MYSTICAL WINTER 2012 Wolfgang Tillmans,Yevgeny Khaldei, Susanne Neunhoeffer https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Concrete_InstallationShot-03_0273.jpg THE CONCRETE AND THE MYSTICAL WINTER 2012 Wolfgang Tillmans, Yevgeny Khaldei, Susanne Neunhoeffer, John Martin, Sebastiao Salgado, Otto Mueller https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Concrete_InstallationShot-04_0281.jpg THE CONCRETE AND THE MYSTICAL WINTER 2012 Jonathan Borofsky, Ross Bleckner, Akim Monet https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Concrete_InstallationShot-05_0284.jpg THE CONCRETE AND THE MYSTICAL WINTER 2012 Jonathan Borofsky, Ross Bleckner https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Concrete_InstallationShot-06_0283.jpg THE CONCRETE AND THE MYSTICAL WINTER 2012 19th Century Incense Burner, Ross Bleckner, Akim Monet https://cdn.neonsky.app/4cf3e4235c858/images/SbS_Concrete_InstallationShot-07_0280.jpg THE CONCRETE AND THE MYSTICAL WINTER 2012 Andres Serrano, Wolfgang Tillmans, Yevgeny Khaldei, Susanne Neunhoeffer, John Martin, Sebastiao Salgado, Otto Mueller, Neal Tait, Jonathan Borofsky https://exhibitionarchive.org/fertility 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Fertility-01.jpg FERTILITY FALL 2011 Daniel Spoerri, George Grosz, Otto Mueller, Louise Bourgeois, Marina Abramovic https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Fertility-02.jpg FERTILITY FALL 2011 Louise Bourgeois, Jonathan Borofsky, Marina Abramovic https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Fertility-03.jpg FERTILITY FALL 2011 Louise Bourgeois, Andres Serrano, Jonathan Borofsky, Auguste Rodin, Daniel Spoerri https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Fertility-04.jpg FERTILITY FALL 2011 Andres Serrano, Tracey Emin, Auguste Rodin https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Fertility-05.jpg FERTILITY â€“ Fall 2011 Auguste Rodin, Louise Bourgeois, Ernst Ludwig Kirchner, Jonathan Borofsky, Daniel Spoerri, Otto Mueller, Louise Bourgeois https://cdn.neonsky.app/4cf3e4235c858/images/SbSG-Fertility-06.jpg FERTILITY FALL 2011 Auguste Rodin, Louise Bourgeois https://exhibitionarchive.org/berlin-exhibition-program 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_all-exhibions-11-17-01.jpg SbSG all exhibions 11 17 01 SbSG all exhibions 11 17 01 https://cdn.neonsky.app/4cf3e4235c858/images/SbSG_all-exhibions-11-17-02.jpg SbSG all exhibions 11 17 02 SbSG all exhibions 11 17 02 https://cdn.neonsky.app/4cf3e4235c858/images/AM_SbSG_listofartists.jpg AM SbSG listofartists AM SbSG listofartists https://exhibitionarchive.org/press 2026-09-16 monthly 0.8 https://cdn.neonsky.app/4cf3e4235c858/images/AM---kunst-01.jpg TAGESSPIEGEL KUNST 2015-2016 Please click here for the preview section of TAGESSPIEGEL KUNST 2015-2016 (German edition). https://cdn.neonsky.app/4cf3e4235c858/images/ARTNETnews10092015.jpg ARTNETnews10092015 ARTNETnews10092015 https://cdn.neonsky.app/4cf3e4235c858/images/kultur24berlin-2092015-2.jpg kultur24berlin 2092015 2 kultur24berlin 2092015 2 https://cdn.neonsky.app/4cf3e4235c858/images/Press_TRAFFIC_33_09_10_13.jpg Traffic - News to-go NO. 33 - SEPTEMBER / OKTOBER 2013 READ IT IN ENGLISH https://cdn.neonsky.app/4cf3e4235c858/images/Amen_BAZARARART_0708_2013.jpg Harper's Bazaar Art JULY - AUGUST 2013 https://cdn.neonsky.app/4cf3e4235c858/images/AMEN_GHAREM_2013-06-07_TAZ-LARGE-WITH-LOGO.jpg TAZ die tageszeitung JUNE 7, 2013 A Saudi Arabian Trickster Please click here for the English translation. Please click here for the original German text. ART Abdulnasser Gharem is a leading figure in the nascent Saudi art scene. He is preoccupied with the idea of commitment -he introduces his newest project at the Side by Side Gallery Akim Monet. BY BRIGITTE WERNEBURG https://cdn.neonsky.app/4cf3e4235c858/images/AMEN_GHAREMaa_june_5.jpg 50 UNDER 50: THE NEXT MOST COLLECTIBLE ARTISTS JUNE 2013 Continued innovation, devotion to craft, and a growing market are a few of the factors that helped ART+AUCTION identify this crop of artists coming into their own. Abdulnasser Gharem Gharem is not only a central figure in the isolated, rapidly changing, contemporary Saudi art community but also the highest-selling living Persian Gulf artist. He has held this position since 2011, when his copper-and-wood Message/ Messenger, 2010, sold for more than $800,000 at Christie’s Dubai. His day job as a lieutenant colonel in the Saudi army might provide fodder for the bureaucratic nature of his performances, site-specific installations, and paintings, which are largely done as calligraphic rubber stamps. As a cultural activist, Gharem is helping grow the Gulf’s art world infrastructure through his contributions to the nonprofit Edge of Arabia exhibitions. His work is held by the Victoria and Albert Museum, the British Museum, the François Pinault Collection, and the Los Angeles County Museum of Art, and in October he will have his first outing at Edge of Arabia in London, in cooperation with Ayyam Gallery, and Side by Side Gallery Akim Monet—Sehba Mohammad https://cdn.neonsky.app/4cf3e4235c858/images/AMEN_GHAREM_FRANCE24.jpg France 24 MAY 8, 2013 Saudi Arabia's Soldier Artist Please click here to see the program https://cdn.neonsky.app/4cf3e4235c858/images/AMEN_GHAREM_20130429_ARTNEWSPAPER.jpg The Art Newspaper APRIL 29, 2013 Please click here for the article https://cdn.neonsky.app/4cf3e4235c858/images/Press_theaggressiveline_diewelt_critica.jpg Die Welt MARCH 9, 2013 “Kirchner Meets de Kooning - Summit Meeting at Akim Monet’s, Berlin” By Tim Ackermann One of the big annoyances of an art critic is that you are constantly missing exhibitions, or seeing them only at the very last moment. This is nearly the case with Akim Monet’s exhibition "The Aggressive Line" at his Side by Side Gallery – but fortunately, not quite. Anyone who is in Berlin this Saturday should take the opportunity to see the show on Potsdamer Straße on its last day. In this exhibition, small works of art have a big effect. With just six drawings by Ernst Ludwig Kirchner and four drawings by Willem de Kooning, an arc of almost 50 years is spanned from 1915 to 1964. The omnipresent theme of portraying women is merely a pretext for both artists to work with variations of form. Through this juxtaposition, one might sense how Kirchner's art could have influenced that of the younger de Kooning, the Dutch-born New Yorker. A “Woman washing” (1930) by Kirchner displays the same mix of lines to delineate emotional intimacy than those used by de Kooning 15 years later in his arresting “Study for Seated Woman.” There is a lot of German Expressionism in Abstract Expressionism, New York style. You realize this watching Kirchner's line become more and more aggressive until, in “Bauer und Mädchen auf einem Waldpfad,” the forest is nothing more than a plane of black ink strokes – something radical that instantly seems to be mirrored in De Kooning's “Man's head” hanging beside it. https://cdn.neonsky.app/4cf3e4235c858/images/Press_TRAFFIC_page.jpg Traffic - News to-go NO. 26 - SEPTEMBER / OKTOBER 2012 https://cdn.neonsky.app/4cf3e4235c858/images/PRESS_CLAM-happiness-800.jpg CLAM MAGAZINE 26 FALL + WINTER 2012 + 2013 p. 70 - HAPPINESS BY AKIM MONET - Germany Whats your name? Akim Monet Where do you live? Berlin What do you do? I run an art gallery in Berlin and an high level international art advisory business Does your work make you happy? Installing a new exhibition fills me with joy; in the short moment in between the time I unpack the works and the moment right before the exhibition opens to the public, the works are mine to play with. Because my exhibitions are quite challenging juxtapositions between past and present -between the modern and the contemporary, when all the works are laid-out on the floor, I always think: how on earth am I going to manage installing them (creating a cohesive and balanced hanging). Then, as if by magic, an underlying rhythm makes itself heard, and the works "place themselves". Then they are hung and lit: wow... But one must learn how to listen to the underlying music in art, Kandinsky in reverse... If not what would your dream job be? Perhaps that my dream job would be doing exactly what I do, but without the financial constraint. Nevertheless, coming-up with the money to finance my exhibitions and in fact managing to support my family through hard work does give me a non-negligible sense of pride. If you are in the creative world, how does happiness affect you, do you create better when happy? It is know that laughter provokes the creation of endorphins, which in turn fosters creativity. So yes, happiness is important. But the reverse is also true: concentrated hard work can bring results which then translate into happiness. It's like with luck: if one sits on the wayside hoping luck will come, maybe that it will never come -however, if one positions oneself, through hard work, to be in the right place at the right moment, then when luck comes, one is ready to recognize it -or be taken by luck, as the case may be! What is hapiness? Happiness is fulfillment, a sense that the result is bigger that the sum of all parts -a state of grace "lo stato di grazia" where all parts are in equilibrium . Is there a physical expression for happiness? The physical manifestation for happiness is the result of a positive surprise: an overwhelming sense of surprise which comes without warning and engulfs us - an overflow of goodness that defies logic. What is the différence between happiness & sadness? Happiness is sadness resolved. When was the last time you said ‘i am happy’ & why? I am happy every morning when I see my children, and every night when I put them to bed! They greet the day without any apprehension, and say good night with a sense of having milked the day for all it has to give. They are great teachers! Someone said ‘sadness is the key to happiness’ whats your take? Sadness is the key to happiness? Sure, for the obvious reasons having to do with the comparison of states. But there can be great happiness in sadness -this is more related to getting to the bottom of ones emotions, feeling alive, but also letting go. It's the whole meaning of "bitter-sweet"... When people say ‘ i want to be happy ‘ do you know what they mean? People who say 'I want to be happy' really mean 'I want to be fulfilled'. Why are sad songs so popular? A sad song allows us to tap feelings that are deeply buried, unresolved sentiments that we may otherwise not allow ourselves to address. In this way sad songs can give us a sense of catharsis, that's why they are so popular. Is there any question you would have liked me to ask you? I don't like written interviews because I like people too much, and I therefore cherish the moment of the exchange. Nevertheless, I have to admit that this moment spent with myself on this Sunday morning flight from Berlin to Nice, answering your questions on my iPad, has forced me to think, "think from me to me" about your questions... So there probably is a merit to a written interview. But no, I won't grace you with the good question you should have asked, that I will answer for you! Why did you Watch the olympics? I didn't really watch the Olympics -but the little I watched made me realize again how much I appreciate excellence in any discipline... Bullfights at not my thing! But I did attend a bullfight -only once, and even though I basically hated the whole exercise, I couldn't help being seduced by the beauty of the movements and the costumes and ceremony (it was the absolute high point of the yearly international Corrida season at Ronda -the city of Goya). Did you know half of the countries & their flags at the opening ceremony? I knew most of the countries at the opening ceremony, but not their flag. But what was important to me was not the individual flags but their diversity: unity in diversity! https://cdn.neonsky.app/4cf3e4235c858/images/sacredheart_review_Morgenpost-27052012.jpg Berliner Morgenpost MAY 27, 2012 ARTMATTERS Those who would like to see works by well-known artists such as Auguste Rodin or Damien Hirst must definitely visit the Side by Side Gallery. Art Dealer Akim Monet has made a niche for himself with meticulously curated thematic exhibitions. His current show -“The Sacred Heart“ - asks the Faustian question: *How do you feel about religion? Andres Serrano's photographs of a bishop's crook and of an uncomfortable church chair expose the undercurrents of power within the hierarchy, as perpetuated by the Church. In contrast, a Venetian gold ground Pietà from the 14th century evokes thoughtful meditation, whilst a sculpture of a heart by Damien Hirst, pricked with razors and needles, underlines the baroque side of the Church. And then there is Auguste Rodin's small bronze of a female faun, who laughs in the face of all this folly. It would not be possible to put more tales into one exhibition. *“How do you feel about religion? Tell me, pray. You are a dear, good-hearted man, But I believe you've little good of it to say.” „Nun sag, wie hast du’s mit der Religion? Du bist ein herzlich guter Mann, allein ich glaub, du hältst nicht viel davon.“ GRETCHEN to FAUST Goethe, Johann Wolfgang von, Faust, IV.19 Marthens Garten (Martha’s garden) https://cdn.neonsky.app/4cf3e4235c858/images/Morgenpost-22_01-Web.jpg Berliner Morgenpost JANUARY 22, 2012 ARTMATTERS This week I focused on a single gallery site, the former "Tagesspiegel" complex. Three excellent exhibitions just opened there. After Thomas Fischer, I visited Side by Side Gallery. In his second group show "The Concrete and The Mystical", art dealer Akim Monet put together a thunderstorm of cross-references, similar to his inaugural exhibition in the autumn. On the "concrete" side, Yevgeny Khaldei’s photograph of Red Army soldiers hoisting their flag on the Reichstag in 1945 communicates with a black and white shot by Sebastiao Salgado, which shows Afghanistan in 1996, left completely destroyed by Russian soldiers. Painters mostly carry the “mystical”, and far more colorful part of the exhibition. I was especially taken by the gouache by Brit artist Neal Tait, which depicts a surgeon wearing pink underwear underneath his smock. (Until 31 March, Tagesspiegel, complex Potsdamer Strasse 81b, Tiergarten) https://cdn.neonsky.app/4cf3e4235c858/images/WAS-Komplett-Web.jpg Welt am Sonntag No. 44 OCTOBER 30, 2011 PLEASE CLICK TO READ ON WELT ONLINE: Bringing together what belongs together (EN) Zusammenbringen was zusammengehört (DE) https://cdn.neonsky.app/4cf3e4235c858/images/Saatchi_Honigman.jpg Saatchi Online Magazine OCT Â€“ NOV 2011 Ana Finel Honigman’s Top 10 Berlin Shows https://cdn.neonsky.app/4cf3e4235c858/images/ArtNewspaperArticle.jpg The Art Newspaper No. 228 OCTOBER 2011 https://cdn.neonsky.app/4cf3e4235c858/images/SbS-Fertility-BerlinUnlike.jpg berlin.unlike EPTEMBER 2011 https://cdn.neonsky.app/4cf3e4235c858/images/SbS-Fertility-Morgenpost.jpg Berliner Morgenpost EPTEMBER 4, 2011 CULTURE Read Hear See Akim Monet also knows the extent to which one can derive strength from time taken away from business. The Swiss gallery owner lived in Italy for a few years, where he dedicated himself exclusively to his own art: photography. Since then, he moved to Berlin where he is returning to his career as an art dealer. His new “Side by Side Gallery” is situated in a period building on the former site of the “Tagesspiegel”. His first exhibition “Fertility” proves that his old networks are still perfectly operational. The opening is set for next Friday, although the gallery will be open unofficially from Wednesday. Not only is the choice of works of great quality, but also quite surprising: who actually knew what an excellent draughtsman Tracey Emin was. Here the Brit is represented by three tender monotypes -in fact quite “hard-core” self-portraits of the artist masturbating. They correspond to an exquisite drawing by Ernst Ludwig Kirchner representing a couple laying in bed in post-coital harmony, even though Emin’s feminist self-portraits rub against Kirchner’s macho and kitsch vision. There are other powerful artists in this exhibition, such as Louise Bourgeois who at the age of 97 still painted pregnant women. (Until October 29, Postdamerstrasse 81b, Schöneberg) https://cdn.neonsky.app/4cf3e4235c858/images/WeltKompaktArtikel.jpg Die Welt Online EPTEMBER 3, 2011 More galleries opening on the Potsdamer Straße Two galleries open up new spaces in the coming week on the old "Tagesspiegel" site on the Potsdamer Strasse in Berlin. Beginning on Friday, Nolan Judin will present paintings by British artist Dexter Dalwood in the former paper warehouse. And across the yard, starting on Wednesday, Side by Side Gallery will show artists such as Auguste Rodin, Louise Bourgeois and Ernst Ludwig Kirchner under the theme "Fertility". https://cdn.neonsky.app/4cf3e4235c858/images/SbS-Fertility-BerlinUndIch.jpg Berlin&I No.5 FALL 2011 Where art thou? Some gallery owners are unperturbed by the disbandment of the Art Forum. « Things come and go » says Akim Monet. The international art dealer has just opened up the Side by Side Gallery in Potsdamer Strasse – a loud thoroughfare which is beginning to compete with Auguststrasse as Berlin’s most important art gallery area. Monet makes a comparison which has been made fairly often of late – that of Berlin with the New York of the 80’s. A cosmopolitan city where rent was low. « It was a time when New York was a magnet for artists. Now Berlin has become the same. » Now, one of China’s most important artists is about to come to Berlin in the form of Ai Wei Wei. In July, he announced his intention to accept the post of visiting professor at Berlin’s University of the Arts – on the proviso that he is able to leave his homeland.