Press Release London For Immediate Release

London | +44 (0)20 7293 6000 | Matthew Weigman | matthew.weigman@sothebys.com

Simon Warren | simon.warren@sothebys.com

Sotheby’s To Present for Sale

‘The Duerckheim Collection’
Collection ’
-- The Most Significant Collection of
Contemporary German Art of the 1960s and 1970s
Ever To Come To Auction --
- This comprehensive collection of German art comes to market after decades away
from
from public view and includes masterful works by Georg Baselitz, Gerhard Richter
and Sigmar Polke, among others. It is estimated in excess of £33
£3 3 million –

Spekulatius by Georg Baselitz (b. 1938), oil on canvas, signed, titled,

numbered 24 and dated
dat ed 65 on the reverse (162.7 by 132cm.)
Estimate: £1.8-
£1.8-2.5 million*
million*

LONDON, TUESDAY 26 APRIL,

APRIL, 2011 --- SOTHEBY’S IS HONOURED to announce that it will offer for sale
The
The Duerckheim Collection,
Collection a collection of the most significant and defining German Art of the 1960s and 1970s
ever to come to market, in the forthcoming Contemporary Art Auction Series in June. This collection represents a
remarkably detailed and complete survey of major advancements in the recent history of European art and features
the most important assemblage of 1960s paintings by Georg Baselitz in private hands; an outstanding history of
Gerhard Richter's early Photo-paintings; and notably rare and early works by Sigmar Polke, Blinky Palermo, Konrad
Lueg, Jörg Immendorff and Eugen Schönebeck, among others. The offering is also particularly remarkable for the
outstanding quality and exceptional condition of the individual pieces. Together, these works provide a very special
anthology to an era of momentous change in Germany and the radical aesthetic and conceptual advancements that
became so seminal in shaping the course of art history in the 20th century. These 59 artworks, which have not appeared
on the market for over 30 years, are expected to realise in excess of £33 million and will be offered in the
Contemporary Art Evening and Contemporary Art Day Auctions on Wednesday, June 29, 2011 and Thursday,
June 30, 2011.
2011

Discussing this extraordinary collection

collection of German Art, Cheyenne Westphal, Sotheby’s Head of
Contemporary Art Europe, commented: “Presenting this definitive collection of German Art of the 1960s and 1970s
for sale at auction is a great privilege for Sotheby’s. Historical perspective, extensive scholarship and renowned
international exhibitions have long proved the enormous contributions to art history made by Georg Baselitz, Gerhard
Richter and Sigmar Polke. To see masterpieces by these artists alongside works by their peers Blinky Palermo, Jörg
Immendorff, Konrad Lueg and Eugen Schönebeck gives an insight into German Art of the 1960s which has not been seen
in London since the 1985 landmark exhibition “German Art of the 20th Century” at the Royal Academy. The exhibition at
Sotheby’s will bring these museum quality works together in public for the first time and the auction will be an exciting
crescendo to the story of the Duerckheim Collection.”

The Collector Count Christian Duerckheim-

Duerckheim-Ketelhodt:
Ketelhodt :
Count Duerckheim started collecting German contemporary art in 1970 after seeing a “Hero” print by Baselitz which
was used to illustrate the first edition of “ZET”, a publication for literature and graphic works. This marked the
collector’s ongoing fascination with the work of Baselitz and initiated an intense period of collecting in the 1970s and
early 1980s during which Count Duerckheim was able to compile a complete survey of the art of his generation. He
recalls feeling that he should have started buying the works at the time of their execution in the 1960s and therefore
made a conscious effort to collect the artist’s earlier work which was fortunately still available. The ensemble is a
resounding testament to his vision and the overall coherence of the collection demonstrates Count Duerckheim’s
expert understanding, curatorial intelligence, judgment, connoisseurship and passion. It features art historically
important pieces, which look back to a period when artists such as Georg Baselitz, Eugen Schönebeck, Gerhard
Richter and Sigmar Polke had moved from East Germany to West Germany and it has since become an in-depth
archive of German Art from the 1960s and early-1970s. Together they represent the new beginnings that so
fundamentally altered the course of the visual arts from the dawn of the 1960s onwards. The inaugural exhibition of
highlights from this collection will be staged at Sotheby’s New York from May 6th until May 9th and represents the first
time an international exhibition of this museum-quality collection will be on view to the public in over 30 years.

2
Highlights in the Collection:
One of the major highlights of the auction will be Georg Baselitz’s oil
on canvas Die Grosse Nacht im Eimer (The Big Night Down the Drain),
executed in 1962-63., which is the most important German work of art
of the post war period to come to the market. It is the sister painting to
a work of the same title housed in the Museum Ludwig in Cologne
(Ludwig donation), and when that painting was unveiled in 1963 at the
artist's first solo exhibition and the inaugural show of Michael Werner
and Benjamin Katz's gallery in West Berlin, the Ludwig painting was
confiscated by the Director of Public Prosecutions on the grounds of
"infringement of public morality", and the artist and gallerists were
fined. It is widely recognised as the genesis of the artist's entire
illustrious canon, directly anticipating later series such as the 'Hero'
paintings, and related works are held in the world's most prestigious
collections, such as a 1963 watercolour of the same title that was included in the Royal Academy exhibition (cat no. 37)
and is now in MoMA (gift of R. L. B. Tobin, 1987). Executed when Baselitz was around 24 years old, Die Grosse Nacht
im Eimer (illustrated above) was inspired by a newspaper article about an Irish poet, Brendan Behan, who gave a
reading of his poetry drunk on stage with his trouser flies open. For the artist Die Grosse Nacht im Eimer represents the
ultimate provocation, which he of course considers the ultimate and inevitable purpose of his painting. At the press
conference for the Baselitz Remix exhibition at the Albertina in Vienna in 2007 the artist declared that "My first
painting, my first attempt at painting, was 'The Big Night Down the Drain'", and in the 2007 Royal Academy
retrospective catalogue Norman Rosenthal observed that "The artist recently stated in public that perhaps he never has
and never will make a finer painting than The Big Night Down the Drain.". The work is estimated at £2-3 million.

From this most important private archive of 1960s paintings by Georg Baselitz in existence, another principal highlight
is his oil on canvas Spekulatius (illustrated on page one), executed in 1965 and measuring 162.7 by 132cm, which is
emblematic of the artist’s celebrated ‘Hero’ series**. The painting, which is estimated at £1,800,000–2,500,000, stands
as one the most significant masterworks both of the series and of the revered artist’s entire illustrious career. It belongs
squarely at the centre of the seminal series of 'Hero Paintings' or ‘New Types’ that were executed between 1965 and
1966. As is exemplified in this painting, the vanquished, depleted protagonists in this cycle are survivors in a devastated
post-war Germany, whose tragic isolation invokes the specific heritage of German Romanticism from Goethe to
Caspar David Friedrich. Created by the artist in his mid-twenties and living in the German capital newly segregated by
the Berlin Wall, Spekulatius is directly comparable to examples of the cycle that are now housed in the Tate Gallery in
London and the Louisiana Museum of Modern Art in Humlebaek. Furthermore, the ‘Hero’ paintings have achieved
three of the top four prices for the artist at auction, including the record price of $4,633,000 at Sotheby’s New York on
14th May 2008.

3
Another important work by Baselitz in the collection is his oil on canvas
Das Idol (illustrated right), measuring 100.3 by 81.7cm, which carries an
estimate of £600,000–800,000. Executed in the year following the
erection of the Berlin Wall and the remarkable creation of a 26 year old,
Das Idol of 1964 confronts the viewer as a searing existential vision of
imagery that is without precedent.

Headlining the works in the collection by Sigmar Polke is his Dschungel, of

1967 and measuring 160 by 245.5cm, which is estimated at £3,000,000-
4,000,000. By far the largest of the artist’s legendary Rasterbilder (dot
paintings) from the 1960s ever to appear for public sale, this painting has
been virtually unknown since its execution and only reproduced in black and white. This monumental tableau is a
masterful paragon of Polke’s attempt to deconstruct the illusions and paradoxes of painting, and is one of his most
important works. In the context of Pop Art and Kapitalistischer Realismus, this masterpiece questions the mechanics of
the art of painting and shares the rebellious attitude inherent to Pop Art.

The work of an exceptional 26 year old

who had moved to West Germany from
the East in 1953, where he was to win the
Young German Art Prize and have his
first solo shows in Berlin and Düsseldorf
immediately prior to this work in 1966.
However, his student career, spanning
1961 to 1967 at the Kunstakademie
Düsseldorf, was paramount in shaping
his immensely dynamic approach to art.
In 1963 with his friends Gerhard Richter
and Konrad Lueg, Polke initiated the quasi movement Kapitalistischer Realismus that, in its title alone, was a pithy
riposte to the state-sponsored 'Socialist Realism' of the GDR. Their first exhibition was entitled Life with Pop - A
Demonstration for Capitalist Realism: clearly these young men saw art as a means to effect political and social ends.
Initiated during this formative period, the Rasterbilder works not only critique issues of perception and reality in a
media-obsessed world but also challenge global methods of communication as agents of social change. Having been
born in the abysmally dark shadow of Nazism, Polke had lived on both sides of a divided Germany that was the
crucible of the Cold War. Hence he knew extremely well the manipulative power of the media and the potential of
propaganda.

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A further highlight by Polke is his oil and dispersion on canvas
Stadtbild II (illustrated right), signed and dated 68 on the reverse, 151
by 125.5cm, which is estimated at £2,000,000–3,000,000. The work
showing the New York skyline is a brilliant crescendo of Polke’s late-
1960s output, revealing fascinating parallels and developments in his
use of media and treatment of subject matter.

A triumph of Gerhard Richter’s ground breaking 1960s Photo-

painting, Telefonierender stands as the epitome of both cerebral and
painterly innovation that characterised the artist’s output of this
period. The work exemplifies his inimitable technique and
historically significant approach to source material. Executed in 1965
on an impressive scale (70 by 130cm.) and via exquisite technical accomplishment, this is an historic work that will
remain central to the genesis of Richter’s remarkable contribution to visual culture. Telefonierender represents a
moment when Richter’s ambition had advanced
beyond simply a European riposte to the advent of
American Pop, and had developed into an
independent, highly-sophisticated philosophy.
Although Richter’s original source image for
Telefonierender, illustrated left, is a newspaper
clipping of an anonymous man engaged in the
quotidian action of speaking into a telephone, his
painterly manipulation of the man’s features transforms his specific anonymity into a more encompassing, general
facelessness.

A readily feasible identification of Richter’s unknowable

protagonist is Elvis Presley, with whom the Man on the Phone
bears a striking resemblance. The tonal topography and
composition of Telefonierender has been dramatically blurred
by the artist’s feathering of the wet paint surface with a fine dry
brush to inscribe thousands of horizontal furrows in a
consummate exhibition of sfumato brushwork. With the present
work Richter exposes the false autonomy and supposed
objectivity ascribed to photography and challenges his audience
to question and re-evaluate their perception of contemporary
media. The work is estimated at £2-3 million.

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 Further works by Richter in the collection comprise the artist’s
provocative oil on canvas Schwestern (illustrated on previous page), dated
1967, measuring 65.3 by 65cm., which is an exemplary model of his
appropriation of found imagery (est. £1,200,000–1,800,000); and his oil
on canvas 1024 Farben (illustrated left), dated 1974, numbered 356/3,
measuring 96.3 by 96.2cm (est. £1,000,000–1,500,000). Finally the sale
will offer the second work recorded in Richter’s legendary catalogue
raisonné, his oil on canvas Eisläuferin, which was previously believed to be
destroyed (est. £2,000,000–3,000,000).

Additional major works in the collection include:

Eugen Schönebeck B.1936

Bildnis
signed, titled, and dated 1964 on the reverse
oil on canvas, 162 by 129.8cm.
Estimate: £300,000 – 400,000

A. R. Penck (b1939)
Systembild
signed with the artist's Initial
oil on canvas, 129.5 by 99cm.
Estimate: £150,000 – 200,000

Blinky Palermo (1943 – 1977)

Untitled, 1968-70
cotton, 200 by 200cm.
Estimate: £500,000 – 700,000

Konrad Lueg (1939– 1996)

Mann am Tisch
casein on canvas,
110 by 180cm,
Estimate: £200,000 – 300,000

Notes to Editor:
Editor:
*Estimates do not include buyer’s premium
**Georg Baselitz: six paintings on this subject that have achieved six successive record auction results for the artist during a period
of over twenty years.

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