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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 7, 2025 | Ketterer Kunst | Munich | Day Sale | 213 | $****** - ****** | Ohne Titel (Die Handlung spielt in Theben) |
Works on Paper
16.3 x 20 cm (6.42 x 7.87 in)
Collage. Paper and red chalks on backing cardboard
Signed in the lower left
Charlotte Weidler, New York (no later than 1962-1978. With a collection label on the reverse, dated 1918). Chalette Gallery, New York (1966, probably on consignment from the above). Solomon, New York (acquired by Charlotte Weidler around 1978, with a label on the reverse) From a Swiss collection.
• In 1985/86 part of the comprehensive solo exhibition at the Museum of Modern Art, New York, and the Tate Gallery, London . Kurt Schwitters, Marion Koogler McNay Art Museum, San Antonio (Texas) / Pasadena Art Museum, Pasadena/California, cat. no. 7 ( illustrated) / The Currier Gallery of Art, Manchester (New Hempshire) / The Phillips Collection, Washington / University of Minnesota, Minneapolis (Minnesota) / J. B. Speed Art Museum, Louisville (Kentucky), 1962/63. Kurt Schwitters, Chalette Gallery, New York, October/November 1963, cat. No. 6 ( illustrated). Art in the Mirror, The Museum of Modern Art, New York, Nov. 22, 1966 - Feb. 6, 1967, cat. no. 34. Kurt Schwitters, Galerie Vömel, Düsseldorf, March 1971, cat. no. 2 ( illustrated). Kurt Schwitters, The Museum of Modern Art, New York, June 10 - October 1, 1985, illu. 84 / Tate Gallery, London, November 6, 1985-January 5, 1986, cat. no. 89 / Sprengel Museum, Hanover, February 4 - April 20, 1986, cat. no. 126 (illustrated).
Karin Orchard, Isabel Schulz, Kurt Schwitters. Catalogue raisonné, published by Sprengel Museum Hanover, vol. 1: 1905-1922, Ostfildern 2000, no. 1038 (illustrated). -- Simone Frigerio, Importance de Schwitters (1887-1948), in: Aujourd"hui, vol. 47, Paris 1964, pp. 14-17 (illustrated). John Elderfield, The Early Work of Kurt Schwitters, in: Artforum, vol. X, issue 3, 1971, pp. 54-67 ( illustrated). Micheal Erlhoff (ed.), Kurt Schwitters Almanach 3, Kulturamt der Stadt Hannover 1982-1991. Udo Liebelt, Kurt Schwitters. Werke und Themen, Hanover 1986 ( illustrated). John Elderfield, Kurt Schwitters, Düsseldorf 1987 (illustrated). Dorothea Dietrich, The Collection of Kurt Schwitters. Tradition and Innovation, Cambridge (Massachusetts) 1993/1995 ( illustrated). Dorothea Dietrich, Les Habits neufs de la tradition. Schwitters les femmes et les collages, in: Les Cahiers du Musée national d"art moderne, vol. 51, Paris 1995, pp. 81-105 ( illustrated). Kim Behm, Die frühen Nachkriegszeichnungen von Kurt Schwitters (1918-1923), unpublished typescript; master"s thesis, University of Marburg 1997. Isabelle Ewig, Kurt Schwitters Oxymore ou l"art de la contradiction, unpublished typescript, PhD thesis, Sorbonne University, Paris 2000 (illustarted). "I felt abssolutely free and I had to scream my elation out into the world. Out of thrift, I took what I could find, because we were an impoverished country. You can also shout with garbage, and that"s what I did by gluing and nailing things together." Kurt Schwitters on his "Merz" art. Friedrich Lach (ed.), Kurt Schwitters. Das Literarische Werk, vol. 5, Cologne 1973-1981, p. 335. Called up: June 7, 2025 - ca. 16.30 h +/- 20 min.
Kurt Schwitters
Ohne Titel (Die Handlung spielt in Theben)
1922.
Collage. Paper and red chalks on backing cardboard.
Signed in the lower left. 16.3 x 20 cm (6.4 x 7.8 in). Backing board: 22 x 25,7 cm (8,26 x 9,84 in).
[MH].
• A characteristic "Merz drawing" by the important Dada protagonist, particularly notable for its rare landscape format.
• After initial attempts at Impressionism and Constructivism, Schwitters developed his signature pictorial language in his "Merzzeichnungen".
• Shortly after the birth of abstract painting, Schwitters took a crucial step by banishing any style as an artistic signature from his creations.
