Chun Kwang Young (b. 1944), Aggregation 16-AU068, 2016
Mixed media with Korean mulberry paper
151 x 151 cm (59 1⁄2 x 59 1⁄2 in.)
Price: EUR 115,000 (plus any applicable taxes)
The development of Chun’s signature Aggregation technique was sparked by childhood memories of seeing medicinal herbs wrapped in mulberry paper, known as hanji, tied into small packages and hung from the ceiling of the local doctor’s office. He became intrigued with the idea of merging the techniques, materials and sentiment of his Korean heritage with the conceptual freedom he experienced during his Western education.
Each Aggregation is composed of thousands of individual mulberry paper parcels, carefully toned with tea or coloured pigments. Over the years, the pieces have become more colourful and evolved in complexity and scale, but the use of mulberry paper remains at the core of Chun’s practice. Although imbued with the spirit of Korean tradition and history, Chun’s work, with its intricate, abstract compositions, is grounded in a purely contemporary context.
Private collection, Korea
In good condition
Wassily Kandinsky (1866-1944), Montée des Grilles, May 1939
Gouache on black paper
50 x 35.5 cm (191⁄2 x 133⁄4 in.)
Signed with the artist’s monogram and dated ‘39’ (lower left)
Price: EUR 245,000 (plus any applicable taxes)
While his development was strongly influenced in the 1920s by his Bauhaus colleague Paul Klee, whose watercolours and oil paintings of these years demonstrate similar artistic predilections, Kandinsky’s production in Paris took a different direction. The stimulation of Surrealist Paris inspired a shift from primary colours to pastels. Although Kandinsky was well aware of Surrealism - he had exhibited with the proto-surrealist Dada group in Zürich in 1916 and the Surrealists in Paris in 1933 - he never identified as one. Their emphasis on automatic writing and the unconscious was far from his concept of “inner necessity" which drew him instead toward ideas of nature and natural growth.
“The Paris imagery typically reflects an accommodation between the geometry of preceding years,” writes Vivian Endicott Barnett, “and a new vocabulary of organic forms. The triangles, circles and squares that were the basis of Kandinsky’s Bauhaus grammar do not completely disappear but are still alluded to in irregular, fantastic biomorphic shapes. They ultimately assume an independent pictorial life and endow the paintings and gouaches of Kandinsky’s late years with their unique character" (V. E. Barnett, Kandinsky at the Guggenheim, New York, 1983, pp. 16-17).
Former collection of General Amourel (1848- 1908), Captain of the 15th Armed Corps based in Marseille, France, thence by descent.
French art market
Paris, Galerie l'Esquisse, Peintures abstraites, compositions de matières: Domela, Kandinsky, Magnelli, de Staël, 1944 Zürich, Kunsthaus Zürich, Georges Braque, Wassily Kandinsky 1866-1944, Pablo Picasso, 1946, no. 118
New York, Sidney Janis Gallery, Kandinsky, 1949
The artist's handlist, no. 632
"Kandinsky's Exhibition at Janis," in Art News, vol. XLVIII, no. 8, December 1949, p. 45 (illustrated)
Art News Annual, vol. XX, New York, 1951, p. 139 (illustrated)
W. Grohmann, Wassily Kandinsky, Life and Work, New York, 1958, p. 411, no. 747 (also titled Ascent of Grids, Rising Nets, Aufstieg der Gitter & Salita de grate, illustrated)
V. E. Barnett, Kandinsky Watercolours, Catalogue Raisonné, 1922-1944, vol. II, London, 1994, p. 465, no. 1267 (illustrated)
In good condition
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