Beck & Eggeling has made a diverse contribution to cultural life for over 25 years with a consistent programme of impressionist, expressionist, classic modern and postwar art. This has allowed Beck & Eggeling to establish itself as one of the leading international galleries. Furthermore, the gallery is committed to international contemporary art, staging exhibitions at three locations in Düsseldorf and is represented at prestigious art fairs worldwide with its sophisticated broad art spectrum.


    Over 140 publications, edited by the gallery’s in house publishing house, Beck & Eggeling Kunstverlag, enrich the varied exhibitions with scholarly texts by prominent authors. Driven by curiosity and passion for the spectacular, Ute Eggeling and Michael Beck also realized several large scale international projects outside their gallery space, e.g. ’Heinz Mack - The Sky over Nine Columns' - Venice, Istanbul, Valencia, St. Moritz, 'Magdalena Abakanowicz' - Fondazione Cini, Isola Di San Giorgio Maggiore, Venice).


    Ute Eggeling and Michael Beck combine their love for art with their idea of shaping the social discourse of our time.


    For further details on the artworks offered for sale by Beck & Eggeling in the Eye Viewing Room please make an enquiry below.


  • Anselm Kiefer (b.1945),Himmelspaläste, 1987-1991. Beck & Eggeling


    Anselm Kiefer (b.1945), Himmelspaläste, 1987-1991

    Emulsion, oil and straw on canvas
    282 x 190 x 20 cm
    Titled upper left 'die Himmels-Paläste'

    Price: USD 2,200,000 (plus any applicable taxes)


    Anselm Kiefer began his series Himmelspaläste at the end of the 1980s. It was a time of personal, but above all artistic upheaval in Kiefer's life. At the beginning of the 1990s he left Germany and moved to his studio in the South of France, where he also began to reorientate himself artistically. The group of works entitled Himmelspaläste (as often before, Kiefer uses this title for a whole series of works in various media) represents a departure from Kiefer's examination of German identity, which had previously determined his work and on which his world fame was based. Now Kiefer was confronted with the expectations of both the public and the art world, which he increasingly found restrictive, and he began to open his work to other thematic focuses.


    One subject area to which Kiefer is now increasingly devoted is Jewish mysticism and the Kabbalah, whose central aspect is the search for the vision of the Divine. Kiefer took the term “celestial palaces” from the Kabbalah, and it refers to the heavenly paradise that serves as a stopover for the seeker on his way to the highest divine vision. In this version of the Himmelspaläste, a tower-like building dominates the picture surface, which on the one hand appears archaic, but on the other hand also reminds one of modern residential towers or skyscrapers. An important detail is the small, leaden plane, on whose wings the word “Merkaba” can be read. On the one hand, the artist refers to the vision of Ezekiel, in which the Merkaba denotes the throne chariot of God, on the other hand the Merkaba-mysticism forms a pre-cabbalistic current of Jewish mysticism, which was less concerned with immersion into the actual Divine being but rather into the mysteries of the divine throne world and in which the way to the contemplation of divine glory, on which various thresholds must be crossed and dangers must be insisted upon, is of special importance.


    As always in Kiefer’s work, this work lives from the complex interweaving of different references, time levels and intellectual imaginations, paired with a remarkable tactile quality and complex visuality by dint of the pasty colour application and the use of straw and the leaden plane, by which Kiefer creates a compelling third space that leaves the leaves the work oscillating between painting and sculpture. The work derives its suspense from the monumental grandeur of the “Heavenly Palace”, which, in the choice and handling of the material, allows Kiefer to sink into a sublimity of doom, through which blows a wind of grief, memory and decay. The ruinous state of the material world has long since gripped the spiritual world. But the seeker is still on the path, not all dangers have been mastered, not all thresholds crossed. What remains is the hope for the mystery of a cosmic meaning.


    Private collection, Germany (1991-2013) Volker Diehl, Berlin
    Private collection, USA



    Very good condition


    1991 – 2013 on loan at Hamburger Bahnhof, Berlin



  • René Magritte (1898 - 1967), Le domaine enchanté, 1953. Beck & Eggeling


    René Magritte (1898 - 1967), Le domaine enchanté, 1953

    Gouache on paper

    12.5 x 24.5 cm
    Signed bottom left 'Magritte'

    Catalogue raisonné: Sylvester Vol. IV: 1363

    Price: EUR 1,320,000 (plus any applicable taxes)


    This small gouache is one of eight gouaches René Magritte submitted as sketches to the directors of the Grand Casino in Knokke-Heist, where, in 1953, he would eventually create a room-spanning, 360° wall mural, in what is today known as "Salle René Magritte". The panoramic reprise of motifs he had referred to again and again throughout his career which he titled Le domaine enchanté — the enchanted domain. In a sort of seascape- or beach-like setting, most likely a reference to the casino’s location by the sea, Magritte unfolds this review of the imagery, which made him (along with Salvador Dalí) possibly the best-known Surrealist painter in the world.


    It is almost impossible to faultlessly decrypt Magritte’s imagery. Motifs and objects recur in paintings again and again throughout his career in different settings, different contexts, remaining as enigmatic and mysterious as they ever were and creating more questions rather than answering them. However, looking at the series of eight, in this gouache in particular, Magritte returns to two of the fundamental themes in his works: the combination of day and night and inside and outside. Of course, neither of these two pairs of antipodes could exist simultaneously in reality, which is why the beholder is immediately baffled by the impression of the work. Space and time, the two fundamental parameters of existence, are shaken all of a sudden and our perception of reality is questioned.


    In the process from sketching to finalising the mural, Magritte made some alterations, especially in the arrangement of the birds on the leaf, making this picture a very unique masterpiece. It has been held in private collections from early on and has thus rarely been shown to the public.


    Laurent Fierens, Belgium (inscription verso) Hegewisch collection, Hamburg (DE) Galerie Levy, Hamburg (DE), 1977
    private collection, Germany



    Very good condition


    René Magritte: gouaches et dessins, La Sirène, Brussels (BE), 9 – 20 May 1953 (one of nos. 12 – 19). René Magritte, Kestnergesellschaft, Hannover (DE, 1969; Kunsthaus Zürich, Zurich (CH), 1969 (no. 57). Galerie Levy, Hamburg, 1977


    René Magritte, Kunsthaus Zürich und Kestnergesellschaft Hannover (eds.), Hannover 1969, ill. p. 125. René Magritte. Catalogue Raisonné, David Sylvester (eds.), Sarah Whitfield & Michael Raeburn, Antwerp 1994, Vol. IV, p. 159 (ill.), no. 1363

  • Gerhard Richter (b.1932), Fuji, 1996. Beck & Eggeling


    Gerhard Richter (b.1932), Fuji, 1996

    Oil on Alucobond, 1996
    29 x 37 cm
    No. 42 in a series of 110 unique pieces
    Signed verso 'Richter'; labelled verso with details of the work and numbering '42' (handwritten)




    Fuji is a series of a total of 110 small-format unique prints that Richter created in 1996 for the Städtische Galerie im Lenbachhaus in Munich to support the purchase of his monumental Atlas. The present work is number 42 in this series. Although Fuji is commonly referred to as an edition, the unique character of the pieces results from Richter’s squeegee technique, with which he actively uses chance in the artistic process and constructs images.


    However, and this is where the edition character comes into play, the starting point for all 110 works was the same: an assistant first coated the picture surfaces with three equally sized colour strips of red, yellow- orange and green oil paint. Richter then drew a squeegee coated with white oil paint, first vertically over the middle and lower colour stripes, then placed the squeegee again at the upper edge of the picture and drew it over the entire surface. It is a very slow, highly concentrated procedure, the result of which is unique colour overlays and complex, extremely fine structures in all 110 repetitions. Admittedly, this purely technical approach does not open up a deeper psychological dimension, such as in surrealistic automatism. Richter himself comments on this in his own dry manner: “I would like to receive something more interesting than what I can think of.”


    There is another special feature of the Fuji-series: these are the earliest works in which Richter works with the material alucobond (on which photos are otherwise cascaded) instead of canvas as a picture ground. Alucobond has an extraordinarily smooth surface on which oil paint forms much finer structures than on the open, rough surface of the canvas. However, these small-scale structures limit the format to a certain size. The charm of the alucobond pictures certainly lies in this form of a cabinet piece.


    Galerie Fred Jahn, Munich (Germany)
    Galerie 20.21, Essen (Germany)
    Private collection, North Rhine-Westphalia (Germany)



    Very good condition


    Catalogue raisonné: catalogue of painting (Elger): 839-24; catalogue of editions (Butin): 89


    Gerhard Richter: Fuji, Städtische Galerie im Lenbachhaus, Munich (Germany), 4 – 9 March 1997





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