图片文件像素：5491 x 4804 px

安迪·沃霍尔，当代艺术I-

Andy Warhol - Zeitgenössische Kunst I-

(Pittsburgh 1928–1987 New York)
Jack Nicklaus, 1977, acrylic, silkscreen, ink on canvas, on the reverse with the stamps of The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, New York, numbered with archive number PO 41.049, numbered again on the stretcher, 25.4 x 25.4 cm, on stretcher

Provenance:
Estate of the artist
Private collection, Florence
Galerie Hafenrichter, Nurnberg
Private collection, 德国y - acquired from the above

Literature:
Catalogue Raisonné, Andy Warhol, Paintings, 1976–1978, no. 3846

This small-format work by Andy Warhol from 1977 is a portrait of one of the best golfers of the 20th century - US golfer Jack Nicklaus, also known as The Golden Bear.

From the early 1960s until the late 1980s, Nicklaus was regarded as one of the best golfers in the world. With 18 major victories under his belt, he is still the most successful player in his sport.

This portrait was created as part of Warhol’s so-called Athletes series, commissioned by his friend and art collector Richard Weisman. It includes a total of ten portraits of famous athletes of the time, such as Muhammad Ali, Chris Evert and Pelé.
It is an interesting departure from Warhol’s usual society portraits and occupies a rather idiosyncratic position in his extensive oeuvre.

Warhol had little interest in sports and its heros, and did not choose the protagonists of the series himself, leaving this task to Weisman. The latter knew many athletes personally, which made it easy to persuade them to pose for Warhol. Warhol eventually met each of the top athletes in person, and took photographs of them with his Polaroid Big Shot camera. The silkscreen portraits were subsequently created on the basis of these images. Each portrait is executed in various colors, and captures both the glamour and personality of the individual athlete.

Of the around 60 Polaroids Warhol made of Jack Nicklaus with his Big Shot camera, he selected four and processed them further into canvases.
On the basis on the photographs of Nicklaus with his golf club, Warhol ultimately created 15 original portraits of the athlete.

图片文件尺寸 : 3892 x 4239px

WORLD HISTORY. :9 titles in 11 volumes:
1. [THOMAS, WILLIAM]. The Historye of Italye. London: 1561. 8vo. Title page with historiated woodcut border, woodcut initials. Early calf, rebacked to style. Covers worn, title page soiled, dampstaining to outside edge margins, scattered spotting and staining.
2. FRONSPERGER, LEONHARDT. Von Kaiserlichen Kriegsrechten Frankfurt: 1573. 3 volumes. Folio. Engraved frontispiece in volume I, 15 folding plates and diagrams, numerous woodcut illustrations in text. Modern half morocco and cloth. Volume I lacking title page (replaced in facsimile), browning and spotting throughout, some marginal dampstaining.
3. [BROTUFF, ERNST, and GOERG HAHN]. Historia Martisburgica: Darinnen Chronica Ditmari, Bischoffs zu Marßburg. Leipzig: 1606. Folio. Woodcut portraits in text, woodcut headers and initials. 19th century blind-tooled calf, with later rebacking. Title page replaced with old letterpress facsimile, lacking some leaves of text, worming, light spotting and browning throughout.
4. RALEIGH, WALTER. The Historie of the World in Five Books. London: 1628. Folio. Engraved portrait on title page, 6 engraved double-page maps, 2 battle plans, woodcut genealogical tables. Modern morocco. Lacking engraved extra title page, first 2 leaves mounted on stubs and title page laid down, with early crude repairs, browning and spotting.
5. [ESTIENNE, HENRI]. Discours merveilleux de la vie, actions deportemens de Catherine de Medicis. Paris: 1650. 8vo. Rebacked 18th century mottled calf. Browning and spotting.
6. MALLET, ALLAIN MANESSON. Description de l\'Univers ... tome quatrieme. Paris: 1683. 1 volume (of 5). 8vo. Engraved extra title page, numerous engraved maps and illustrations in text, most full-page. Modern quarter morocco and cloth. Browning, spotting, and some marginal dampstaining.
7. Philisophical Transactions ... Vol XXXI, for the Years 1720-1721. London: 1723. 4to. 8 engraved plates (4 folding). Modern quarter morocco and marbled boards. Title and dedication pages laid down and tipped to stubs, some marginal repairs, browning, scattered spotting and dampstaining.
8. WHITE, FRANCIS SELLON. A History of Inventions and Discoveries. London: 1827. 8vo. Contemporary half calf and cloth, rebacked retaining original covers and spine. Rubbed, endpapers replaced, toning.
9. LANG, KURT. Herrscherkopfe des Altertums. Berlin Zurich: 1938. Photographic illustrations. Publisher\'s black cloth. Toning.

世界历史。 11卷9个标题：

图片文件像素：4483 x 5098 px

西格马尔·波尔克，当代艺术I-

Sigmar Polke * - Zeitgenössische Kunst I-

(Oels/Niederschlesien 1942-2010 Cologne)
Untitled, 1994, on the reverse signed, dated twice S. Polke 94, natural resin and pigments (malachite, lapis lazuli and realgar) on canvas, 95 x 75 cm, framed

We are grateful to Michael Trier, Cologne, for his scientific advice in cataloguing this work.

Provenance:
Private Collection, North Rhine-Westphalia - directly from the artist
Van Ham Kunstauktionen, Cologne, 01 December 2021, lot 301 - acquired there by the present owner

Sigmar Polke has left us an extensive oeuvre, centred first and foremost on his irrepressible interest in colour. The production of colours was of great importance to the artist, who was often described as an alchemist, and he wanted to explore it from the bottom up. With the aid of the most modern techniques and motifs he was constantly searching for the origin of painting, sometimes also with a great deal of irony. Art ought to be an experiment with an open outcome, and he, the artist, ought to elicit the hidden beauty from the material world with his works.

Polke worked with the so-called \"Schüttbilder\" from the early 1970s on, colour samples and \"Probierbilder\", in which calculated chaos is elevated to a creative principle. Ten years later, Polke\'s painting showed a change \"that was much discussed in connection with the works for the exhibition Zeitgeist in 1982, for Documenta 7 in the same year and reached a climax in his contribution to the 德国 pavilion at the 42nd Venice Biennale (1986). Figuration recedes in favour of the more gestural and process-like use of colour, its lush or veil-like overlays and fusions.\"
(Katharina Schmidt, quoted from: Sigmar Polke – Zeichnungen, Aquarelle, Skizzenbücher 1962 – 1988, exh. cat., Kunstmuseum Bonn 1988, p. 194).

The 1994 work offered here is in the tradition of the colour samples of the 1970s and refers pictorially to the colour plates from 1992, which are in the Stedelijk Museum in Amsterdam. Its presentation is very painterly and overall reminiscent of the wall painting at the Venice Biennale (1986), for which Sigmar Polke was awarded the Golden Lion.

In the present work, the artist mixed a total of three dyes with natural resin and applied them to the canvas. In the lower area, the ultramarine blue of the dark blue semi-precious stone lapis lazuli dominates. Lapis lazuli is one of the oldest pigment stones of all and was already used as pigment in prehistoric Europe. For the upper part of the picture, Polke used the powdered pigment of the semi-precious stone malachite. The coarser the grain, the more intense the shade of colour. Malachite pigment was prized in antiquity as a cold green for wall paintings. It was used in panel paintings in the Renaissance. Next to green earths, malachite was the most important green pigment until the 18th century. On the left-hand side in the central area of the canvas, Polke painted an oval with the chemical pigment realgar. Realgar, also called ruby sulphur or ruby of arsenic, has a changing hue, which depends on the grind of the pigment. The darker shades are an orange-red, the lighter ones a yellow-orange, as seen in this painting. Although there are modern alternatives, Polke seems to have found processing the colours and pigments of the old masters with an awareness of modern times highly interesting.