Henryk Glicenstein (1870 – 1942)

Henryk Glicenstein. Matka z dzieckiem

Bardzo ciekawa rzeźba Henryka Glickensteina w szwedzkim domu aukcyjnym.

Lot 23. ENOCH HENRYK (“ENRICO”) GLICENSTEIN (1870-1942, POLEN), SKULPTUR. Patinerad brons. Mor med barn. Signerad H. Glicenstein, Rome. Höjd 45, bredd 25, djup 40 cm. Repor, märken. Estimate 18,000 SEK. Skanes Auktionsverk. 05/03/22. Sold SEK 24,000 (ca $2,430).

Zdzisław Beksiński (1929 – 2005)

Zdzisław Beksiński. Tower of Babel, 1974

Obok Lebensteina z USA (poprzedni wpis), warto zwrócić uwagę na olej Beksińskiego z Niemiec. Bardzo ciekawa interpretacja tej pracy została przedstawiona przez dom aukcyjny. Mocny początek maja, włączywszy prace monachijczyków.

Lot 124. Zdzislaw Beksinski (1929 Sanok, Poland – 2005 Warsaw). Tower of Babel, oil on hardboard, 92.5 cm x 74 cm, verso signed, 74 dated, 11 numbered, slightly craquelated, partially small white splashes of paint, partially slight scratches on the surface.

The works of the Polish artist Zdzislaw Beksinski are frightening, scary and downright nightmarish. In his gloomy formal language, he not only includes the darker sides of life, but puts them very clearly in focus.
The trained architect began his work as a young artist with black-and-white photographs, which quickly brought him fame and won him prizes in international competitions. Even these early works were driven by his work-typical atmosphere. To process one’s own experienced strokes of fate in art is a method that some artists have adopted, including Beksinski. Morbid and visionary at the same time, the artist openly shows his wounds and those of all humanity.
When he turned to painting in the 1970s, he devoted himself exclusively to figurative painting, including the painting of the Red Tower. It probably shows the “Tower of Babel” – the biblical story in which people wanted to build a tower high up to God. But God caused this very tower to collapse and gave them different languages, so that they could no longer communicate with each other and were linguistically separated from each other. The letter “Ain”, which was placed high up on the tower and is pronounced similarly to the English “Eye” in Hebrew, could allude to the eye of God. Moreover, this letter often symbolises the Bible itself.
This work shows the direction of his profound odyssey through the underworld of dreams and thoughts. True feelings, fear and despair, just like the search for a meaning to life, can mostly actually take place pictorially in dreams and can often only be processed there by one’s own psyche. For here the images flow into one another, without everyday boundaries or restrictions imposed by the regular daily routine. Beksinski has adopted this creative solution over decades of his work in various genres, from photography, drawings and painting to digital media art, in order to break open all the surfaces of everyday life not only for himself but also for the viewer and to look openly at the darker sides of life.

Opening 25,000 euro. WETTMANN. 05/28/22. Sold 94,000 euro.

Jan Lebenstein (1930 – 1999)

Jan Lebenstein. Axial Figure 20

Jedna z pierwszych Figur Osiowych Jana Lebensteina z pierwszorzędną proweniencją kolekcji państwa Lincer z Nowego Yorku (kilka prac Lebensteina z tej kolekcji było już licytowanych w przeszłości w Sotheby’s) oraz kultową wystawą w 1961 roku w MOMA ‘Fifteen Polish Painters’. Myślę, że praca o takiej historii znajdzie wielu licytujących a cena estymacyjna jest niska i niezrozumiana; widzę nonszalancję Sotheby’s, które nawet nie potafi dotrzeć do prawdziwej daty śmierci artysty.

Lot 465. Jan Lebenstein 1930 – 2000. Axial Figure 20, signed Jan Lebenstejn (lower left), oil on canvas, 70½ by 26⅝ in., 179 by 67.6 cm. Executed in 1959. Provenance: Mr. and Mrs. William Lincer, New York (acquired from the artist). Exhibited: New York, Museum of Modern Art, Fifteen Polish Painters, 1961, no. 44. Estimate $20,000 – 30,000. Sotheby’s. 05/18/22. Sold $60,000 (hammer); 75,600 (with premium)