Lot 9. Tomek Kawiak (1943)
Blouson de Tomek, aluminium nickel, numéroté EA no 1, signé, H 63 cm, L 50 cm
Estimate 8,000-12,000 CHF. Genève Enchères. 07/16/16
Egzemparz ósmy z dziesięciu stworzonych.
10x $550,000=$5,500,000. Dobry pomysł na życie od warunkiem, że znajdą się chętni do kupna. Niejedna z prac Andy Warhola jest tańsza.
Lot 39. Piotr Uklański. B. 1969. THE NAZIS; each: numbered 8/10 and variously annotated A-D, 1-41, and 1-164 on a label affixed to the reverse, chromogenic black and white and color photographs, in 164 parts, each: 14 by 10 in. 35.6 by 25.4 cm.
Executed in 1998. This work is number 8 from an edition of 10. Estimate $500,000-700,000. Sothebys. 05/11/16. Sold $550,000
Gavin Brown’s Enterprise, New York
Phillips de Pury & Company, London, October 14, 2006, Lot 26
Acquired from the above by the present owner
London, The Photographers’ Gallery, The Nazis: Piotr Uklański, August – September 1998 (edition no. unknown)
Warsaw, Zachęta Narodowa Galeria Sztuki, Piotr Uklański: The Nazis, October – December 2000 (another example)
Tirana, Albania, National Gallery & Chinese Pavilion, Tirana Biennale 1: Escape, September – October 2001, p. 437, illustrated in color (detail) (edition no. unknown)
London, Tate Modern; Hamburg, Hamburger Kunsthalle; and Ottawa, National Gallery of Canada, Pop Life: Art in a Material World, October 2009 – September 2010, pp. 164-65, illustrated in color (detail) (edition no. unknown) and p. 165, illustrated in color (in installation at The Photographers’ Gallery, London, 1998) (edition no. unknown)
New York, Metropolitan Museum of Art, Fatal Attraction: Piotr Uklański Photographs, March – August 2015 (edition no. unknown)
Peter Lyle, “The Reich Stuff,” The Face, London, July 1998, pp. 60-61, no. 118
Rob Epstein, “Janner’s Fears of Nazi Exhibition,” London Jewish News, July 17, 1998, p. 8
Robin Stringer, “Outrage as London Gallery Highlights ‘Glamour of Nazism,'” Evening Standard, London, July 29, 1998, p. 21
Stuart Shave, “Nice Nazi, Nasty Nazi,” I-D Magazine, London, August 1998, p. 50, no. 178
Amanda Hopkins, “Spiel Mit Dem Nazi-Chic,” Der Spiegel, Hamburg, August 3, 1998, p. 87, no. 32
“Peter Uklański: The Nazis,” The Guide, London, August 3-9, 1998, p. 39
Jonathan Jones, “Faces of Evil,” The Guardian, London, August 18, 1998, p. 12
Neal Ascheron, “It’s Only David Niven Dressed Up: Why Do We Feel a Chill?,” The Observer, London, August 23, 1998, p. 9
John Russel Taylor, “Nazi Movie Shoots are Defended as Art,” Amateur Photographer, London, August 29, 1998
Wojciech Orlínski, “Ci Przystojni Nazisci,” Gazetta Wyborcza, Warsaw, August 31, 1998, p. 2
Malcolm Quinn, “Reopening old wounds,” Blueprint, London, September 1998, p. 74, illustrated (detail)
“Espectros Nazis,” Expresso, Lisbon, September 19, 1998, n.p.
Patrick Frey and Piotr Uklański, Piotr Uklański: The Nazis, Zurich and London, 1999, illustrated in color (edition no. unknown)
Piotr Rypson, “Disco, Nazisci, I Szklankla Herbaty,” Machina, Warsaw, October 1999, pp. 78-81
Thomas Wolff, “Sie Tun’s Alle: The Nazis’ Holywood-Klischees,” Frankfurter Rundschau, October 20, 1999 (text)
Stephan Ramming, “Film-Nazis In Der Pop-Hölle,” Dei Wochenzeitung, Berlin, October 21, 1999, p. 21
Michel Masserey, ‘Sous leur uniforme luster, les Nazis de Hollywood vendent des pailettes,’ Le Temps, Geneva, December 29, 1999, p. 37
‘The Nazis by Piotr Uklański,’ New York Arts Magazine, Vol. 5, No. 1, January 2000, p. 79 (text)
Dirk Kurbuweit, “Wei Sexy Dürfen Nazis Sein?,” Speigel Reporter, Hamburg, February 2000, pp. 119-125, no. 2
“Austellung Zeigt Filmstars in Nazi Uniformen,” Die Welt, Berlin, February 29, 2000
Javier Leo Fuentes, “Hollywood Y El Nazimo: Vision Critica De Piotr Uklański,” Arts-Zin.Com, Madrid, March – April 2000, n.p.
Susanne Leinemann, “Der Filmische Albtraum Vom Nazi,” Die Welt, Berlin, March 3, 2000
“Eine Wand Voller Film-Nazis,” Berliner Zeitung, Berlin, March 6, 2000 (text)
“Film Nazis,” Neues Deutschland, Berlin, March 10, 2000 (text)
“Heute In Berlin: ‘Die Nazis,'” Süddeutsche Zeitung, Munich, March 10, 2000
Steven Heller, ‘Snazi Nazis,’ The New York Times Book Review, March 12, 2000, p. 22
“Die Nazis,” Tagesspeigel, Berlin, March 22, 2000
“The Nazis,” Tageszeitung, Berlin, March 22, 2000
“The Nazis,” Taz, Berlin, March 22, 2000
“Piotr Uklański: ‘Die Nazis,'” Art On, Berlin, April 2000
Peter Herstreuth, “‘Die Nazis’ Von Piotr Uklański In Den Kunst-Werken,” Kunst-Bulletin, Zurich, May 2000, pp. 43-44
C. Schneider, “Nazi’s,” Metropolis M, Amsterdam, June – July 2000, pp. 64-65, no. 3
Martina Jungfleisch, “Monster Und Hollywoodstars,” Filmforum, Berlin, July – August 2000, pp. 28-29
M. Margielewski, “Nazi Fiction,” Ckm, Warsaw, September 2000, pp. 66-68, no. 9
A. Markiewicz, “Nazisci Z Kinowych Ekranów,” Machina, Warsaw, September 2000, p. 25
Marcin Fedisz, “Ci Przystojni Nazisci W Swych Przepieknych Mundarach,” Przzekrój, Warsaw, September 3, 2000, pp. 9-10
Wojciech Orlinski, “Ci Przystojni Nazisci!,” Gazeta Wyborcza, Warsaw, October 27 – November 2, 2000, p. 22
“Druga Strona: Nazisci,” Zycie, Warsaw, October 31 – November 1, 2000, p. 2
Dorota Jarecka, “Wystawa ‘Nazisci’ W Warszawie,” Gazeta Wyborcza, October 31 – November 1, 2000, p. 17
Agnieszka Maria Wasieczko, “The Nazis,” The Warsaw Voice, Warsaw, November 12, 2000 (text)
“Nazi Movie Exhibition Enrages Actor,” The Guardian, London, November 23, 2000 (text)
Jan Raszeja, “Nazista W. Kadre,” Gazeta Pomorska, Warsaw, November 24, 2000
“Exhibit on Nazis Riles Poles: Officials Halt Display of War-Movie Images,” The Dallas Morning News, Dallas, November 25, 2000 (text)
“Poland Closes Show of Stars in Nazi Uniforms,” The Holland Sentinel, Amsterdam, November 26, 2000
“Actor Attacks Exhibition in Poland,” Artnet.com, New York, November 30, 2000 (text)
P. Baler, “Censure Nazis,” Artealdia.com, San Francisco, December 2000
“Galeria ‘Nazisci,'” Przekrój, Warsaw, December 3, 2000, pp. 17-21
The Warsaw Voice, December 3, 2000, illustrated in color on the cover (detail) (edition no. unknown)
“Shortcuts: Taking Up Arms Against the Nazis,” The Warsaw Voice, December 3, 2000, no. 49, illustrated in color (detail)
Iwona A. Czerwinska, “Art Scandal: The Final Cut,” The Warsaw Voice, Warsaw, December 3, 2000, p. 5, no. 49, illustrated in color (detail)
Wojtek Kosc, “Slashing Out: A Leading Polish Actor and the Minister of Culture Fail to Understand ‘The Nazis,'” Central Europe Review, Warsaw, December 4, 2000, n.p., no. 4 (text)
M. Trenkler, “Säbelhiebe Auf Film-Nazis,” Morgen Welt, Berlin, December 8, 2000
“Naziata,” Nie, Warsaw, December 14, 2000, n.p.
“Nasi Czy Nazi?,” Viva, Warsaw, December 18, 2000, p. 14
“Nazis Invade Poland,” Britart.com, London, January 10, 2001
Massimiliano Gioni, ‘Touch Me I’m Sick: Portraits of Power,’ Flash Art, Milan, May – June 2001, pp. 110-11, illustrated in color (detail) and p. 113 (text)
Exh. Cat., New York, The Jewish Museum, Mirroring Evil: Nazi Imagery/Recent Art, 2002, pl. 5, illustrated in color (detail) (another example) and p. 108, illustrated (in installation at The Photographers’ Gallery, London, 1998) (edition no. unknown)
Michael Kimmelman, ‘Jewish Museum Show Looks Nazis in the Face and Creates a Fuss,’ The New York Times, January 29, 2002, pp. E1-2
Sarah Boxer, ‘Man Behind a Museum Tempest; A Curator Defends His Show Explaining Nazi Imagery’, The New York Times, February 24, 2002
Robert Atkins, ‘Bringing Nazi Symbols to the Jewish Museum’, ARTnews, New York, March 2002, p. 48, illustrated in color (detail) (edition no. unknown)
Kim Levin, “Spring Time For Hitler,” The Village Voice, New York, March 5, 2002, illustrated in color
Michael Kimmelman, ‘Evil, the Nazis and Shock Value’, The New York Times, March 15, 2002, pp. E33-35
E. Reverter, “Art Provocador Sobre L’holocaust,” Avui, Lisbon, March 17, 2002, p. 48
Leslie Cahmi, ‘Peering Under the Skin of Monsters’, The New York Times, March 17, 2002, pp. 36-39
Ron Rosenbaum, “Mirroring Evil? No, Mirroring Art Theory,” The New Observer, March 18, 2002, p. 11
Catherine Fox, “Jewish Museum Casts Nazi Evil In New Light,” The Atlanta Journal and Constitution, Atlanta, March 24, 2002 (text)
“Art Review: Mirroring Evil: Nazi Imagery/Recent Art,” The Village Voice, New York, March 26, 2002
Howard Halle, “Empty Mirror: The Jewish Museum’s Show of Nazi Imagery in Art Today is No Thing to See,” Time Out, New York, March 28 – April 4, 2002, pp. 8-9
Jay Michaelson, “Mystical Nazi Sex Gods,” Zeek, New York, April 2002, n.p. (text)
Peter Schjeldahl, “The Hitler Show,” The New Yorker, April 1, 2002, p. 87
‘The Banality of Evil’, Flash Art, Milan, May – June 2002, p. 70, illustrated (detail)
Linda Nochlin, ‘Mirroring Evil: Nazi Imagery/ Recent Art’, ArtForum, New York, Summer 2002, pp. 167-68, illustrated in color (detail) and p. 168 (text)
Charles Labelle, ‘Mirroring Evil’, Frieze, London, June – August 2002, p. 108 (text)
Maurizio Cattelan, Massimiliano Gioni, et al., ‘Piotr Uklanski, The Nazis’, Charley 02, Dijon, Autumn 2002, n.p.
Kate Bush, ‘Once Upon A Time in the East: The Art of Piotr Uklański’, ArtForum, November 2002, p. 174, illustrated in color (detail) (edition no. unknown) and pp. 173- 175 (text)
Exh. Cat., Basel, Kunsthalle Basel, Piotr Uklański: Earth Wind and Fire, 2004, pp. 122-23, illustrated in color (detail of another example, in installation at Zachęta Gallery, Warsaw, 2000) and p. 124 illustrated in color (detail, on the cover of The Warsaw Voice, December 3, 2000)
Exh. Cat., Bremen, Neues Museum Weserburg, After Images: Kunst als soziales Gedächtnis, 2004 (another example)
Stephen C. Feinstein, Ed., Absence/Presence: Critical Essays on the Artistic Memory of the Holocaust, Syracuse, 2005, p. 11 (text)
Gene Ray, Terror and the Sublime in Art and Critical Theory From Auschwitz to Hiroshima to September 11, New York, 2005, p. 68 (text)
Adam Lindemann, Collecting Contemporary, Cologne, 2006, p. 132, illustrated in color (another example)
Dagmar Herzog, Ed., Lessons and Legacies VII: The Holocaust in International Perspective, Evanston, Illinois, 2006, p. 409 (text)
Petra Rau, Our Nazis: Representations of Fascism in Contemporary Literature and Film, Edinburgh, 2013, p. 125 (text)
Donna Wingate and Marc Joseph Berg, Eds., Second Languages: Reading Piotr Uklański, Ostfildern, 2014, p. 14, illustrated (detail) (edition no. unknown), p. 15, illustrated in color (detail, on the cover of The Warsaw Voice, December 3, 2000) (edition no. unknown) and p. 105, illustrated in color (detail, in installation at Zachęta National Gallery of Art, Warsaw, 2000) (another example)
Exh. Cat., Monaco, Grimaldi Forum, ArtLovers: Stories of Art in the Pinault Collection, 2014, p. 123, illustrated in color (another example)
Gisele Regatao, “An Ironic Ode to Photography,” WNYC News (online resource), March 21, 2015, illustrated in color (in installation at the Metropolitan Museum of Art, New York, March 2015) (edition no. unknown)
Lot 59. Cyprian Godebski 1835-1909. POLISH
LE RÉVEIL (THE AWAKENING)
signed and dated: Cip. Godebski 1866
white marble; 194.5cm., 76 1/2 in.
Provenance. Private collection, Spain
Exhibited. Paris, Salon, 1866 (probably)
Born in France as the son of a Polish writer, Cyprien Godebski made his debut at the Salon of 1857, followed by mentions honorables in 1880, 1884 and 1886. Godebski’s prolific career brought his work to an international audience. He executed monuments for Sebastopol, Warsaw and Cracow, as well as several commissions for public sculpture in Paris, and busts of illustrious personages of his time.
This impressive marble is perhaps the most important work by Godebski to come to the international market. Its dating to 1866 suggests that it can probably be identified with the marble statue of Le Réveil (The Awakening) which he exhibited at the Salon in that year (Lami, op. cit.). The iconography of a partially draped female nude holding up a torch certainly accords with symbolist allegories, and the figure appears to be waking from a slumber (note the half opened eyes). It consequently seems likely that the present marble is the Salon sculpture from 1866. However the flower in the girl’s left hand, combined with the imagery of the torch, could possibly also invite an alternative interpretation of the figure as Persephone, the mythological Queen of the Underworld. Godebski softens the strict classicism of the girl’s pose by adding a sensual voluptuousness to her figure, which is complemented by her seductive, open-mouthed expression.
Estimate 30,000-50,000 GBP. Sothebys. 05/25/16
Lot 1135. Cyprien Godebski (Polish 1835-1909) a 19th Century bronze figure group ‘La Force brutale étouffant le Génie’ A bronze figure group after the original, modelled as a muscular scantily clad Zeus hold aloft a winged male nymph, standing on a rocky plinth base, inscribed C. Godebski, 93cm high.
Estimate 3,000-5,000 GBP. Wright Marshall. 07/21/16
Lot 197. MAZUROWSKI Victor (1859-1944).
Ensemble d’officiers de différents régiments des Cuirassiers de la Garde, à l’époque de l’empereur Nicolas Ier de Russie.
Huile sur toile, signée en bas à droite de son monogramme, datée 1880.
Bon état général.
H. : 65 cm – L. : 96 cm.
Estimate 30-50 euro (!?). Hôtel des Ventes de Monte-Carlo, 98000 Monaco. 07/20/16
Żebyście Panie Polkami były to miałybyście większe wzięcie.
Lot 293. BRZEZINSKI Léon (1809-1865).
Portrait d’Amanda Le François,
épouse d’Alexandre-Marie du Crest de Villeneuve (1829-1883).
Miniature sur ivoire de forme ovale, signée en bas à droite, conservée sous verre bombé dans un encadrement en tissu d’origine. Bon état.
A vue : H. : 8 cm – L. : 7 cm.
Cadre : H. : 13 cm – L. : 11, 5 cm.
Estimate 1,200-1,500 euro. Hôtel des Ventes de Monte-Carlo, 98000 Monaco. 07/20/16
Lot 294. BRZEZINSKI Léon (1809-1865).
Portrait de Joséphine-Elisabeth Gaugain (1807-1884),
épouse de Nestor Le François.
Miniature sur ivoirede forme ovale, signée en bas à droite, conservée sous verre bombé dans un encadrement en tissu (rapporté), avec pied chevalet au dos. Bon état.
A vue : H. : 9 cm – L. : 7, 5 cm.
Cadre : H. : 20 cm – L. : 17, 5 cm.
Estimate 1,200-1,500 euro. Hôtel des Ventes de Monte-Carlo, 98000 Monaco. 07/20/16
Lot 154. 18TH CENTURY ITALIAN SCHOOL “Maria Clementina Sobieska” portrait study, half length, oil on canvas, unsigned,80 cm x 65 cm (Princess Maria Sobieska,1702-1735, was the grand-daughter of the King of Poland, John III Sobieski, and the wife of James Francis Edward Stewart, the Jacobean Pretender to the British throne, and mother of Charles Edward Stewart (Bonnie Prince Charlie) and Henry Benedict Stewart, before dying aged 32 on 18th January 1735, and buried in St Peter’s Basilica, Rome)
Canvas has been relined. Painting has various repairs and some areas of repainting, including horizontal and vertical splits in central section of picture. Paintwork has quite extensive craquelure. Various areas of scuffing and flaking / missing paint including to her face. A large darker painted area to the left of her hair and neck. There is a grid-like / ridged effect to her face where the paint is worn away – possible the weave of the canvas showing through. Under UV light the repairs and repainting are apparent to the large vertical and horizontal splits to the centre which form two sides of a square, overpainting to the repaired area. There are also various other areas of touch-up paint to bottom centre, to folds to left of dress, and several small specks and small areas throughout, and an area of repair to the centre of her neck. A few small dots of touch up paint to her face, but the worn area to the right on her face where the canvas weave shows through, appears pale under UV light which would suggest that that area is worn rather than repainted. The larger darker area to the background to the left of her hair and neck shows up pale under UV light and appears of a similar pale milky colour to the rest of the background. There are some slightly darker areas throughout possibly where crazing and cracquelure have been stabilized and painting appears to have been revarnished. The frame has various chips, losses, regilding, cracks and some drilled holes.
Estimate 3,000 GBP – 5,000 GBP. Moore Allen & Innocent. 07/08/16
Lot 231. Wroblewski, Andrzej (1927 Vilnius – 1957 Polen),
“Mutterglück”, Aquarell auf Papier, 36 x 50 cm, rechts unten signiert, hinter Glas, gerahmt, 546/145/04
Reserve 1,900 euro. Auktionshaus J. Weiner. 07/09/16
Lot 232. Wroblewski, Andrzej (1927 Vilnius – 1957 Polen),
“In der Stube”, Aquarell, 30 x 35 cm, rechts unten signiert, hinter Glas, gerahmt, 546/145/05
Reserve 1,900 euro. Auktionshaus J. Weiner. 07/09/16