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Raumbeispiel
271
Horst Antes
Interieur 1 (Milano), 1963.
Egg and oil tempera on canvas
Estimate:
€ 50,000 - 70,000
$ 58,500 - 81,900
271
Horst Antes
Interieur 1 (Milano), 1963.
Egg and oil tempera on canvas
Estimate:
€ 50,000 - 70,000
$ 58,500 - 81,900
Horst Antes
1936
Interieur 1 (Milano). 1963.
Egg and oil tempera on canvas.
Signed, dated and inscribed "entstanden 1963 Antes 8.7.96" on the reverse at a later point. 100 x 70 cm (39.3 x 27.5 in).
On the occasion of the artist’s 90th birthday, the Sprengel Museum in Hanover presents an extensive solo exhibition from April 11 to July 5, 2026. [CH].
• In the early 1960s, Antes developed his iconic cephalopods, usually depicted in profile: a central motif of his artistic oeuvre.
• The paintings from the early 1960s are his most sought-after works on the international auction market: The five highest prices were achieved by works created between 1960 and 1964 (source: artprice.com).
• In 1964, Antes participated in documenta III in Kassel, followed by his participation in the 33rd Venice Biennale (German Pavilion) in 1966.
• Part of a significant private collection in Berlin over the past decades.
• Works by the artist are in many museum collections, including the Busch-Reisinger Museum of the Harvard Art Museums, Cambridge (MA), the Pinakothek der Moderne, Munich, the Sprengel Museum, Hanover, and the Städel Museum, Frankfurt am Main.
Accompanied by a certificate of authenticity issued by Dorothée Antes of Karlsruhe on July 14, 1996.
PROVENANCE: Dr. Paolo Marinotti Collection, Milan.
Galerie Orangerie-Reinz, Cologne (2004).
Berlin/North Rhine-Westphalia art trade.
Private collection, Berlin (acquired from the above in 2005, Ketterer Kunst).
LITERATURE: Katja Szymczak, Horst Antes. Catalogue Raisonné of Paintings, vol. 1: 1957–1964, Künzelsau 2020, p. 166, CR no. 1963-39 (with color illustration).
- -
Ketterer Kunst, Munich, 293rd Auction, 20th-Century Art, May 12, 2005, lot 163.
"At first, I painted the figure in a frontal view. [..] I then painted the figure from the side, and the images changed; I changed. [..] The individual figure is very important to me because I am alone with it. I create something there that I can truly converse with. [..] I don’t take someone who exists; instead, I create someone. [..] The figure confronts the viewer, and vice versa. The figure is a negative form, a stigma; it absorbs and endures color, hatching, thoughts, quotations, time, history, and the conflict with the fickleness of the present; it is a repository that takes in and gives out. I load and unload my figure symbolically, sentimentally, organically, historically; I fill it and empty it with allusions, gestures, thoughts, speculations, desires, and anxieties. I create an image, I make someone into a parable, a partner, a mirror. I multiply myself, assert myself, take possession, recognize myself, and, through myself, something—in snapshots of lasting duration.
[..] In my early paintings, I was concerned only with what lies within the human being; what was outside held no interest for me."
Horst Antes in an interview with Rolf-Gunter Dienst, in: Noch Kunst. Neuestes aus deutschen Ateliers, Düsseldorf 1970, pp. 15f.
Called up: June 13, 2026 - ca. 16.48 h +/- 20 min.
1936
Interieur 1 (Milano). 1963.
Egg and oil tempera on canvas.
Signed, dated and inscribed "entstanden 1963 Antes 8.7.96" on the reverse at a later point. 100 x 70 cm (39.3 x 27.5 in).
On the occasion of the artist’s 90th birthday, the Sprengel Museum in Hanover presents an extensive solo exhibition from April 11 to July 5, 2026. [CH].
• In the early 1960s, Antes developed his iconic cephalopods, usually depicted in profile: a central motif of his artistic oeuvre.
• The paintings from the early 1960s are his most sought-after works on the international auction market: The five highest prices were achieved by works created between 1960 and 1964 (source: artprice.com).
• In 1964, Antes participated in documenta III in Kassel, followed by his participation in the 33rd Venice Biennale (German Pavilion) in 1966.
• Part of a significant private collection in Berlin over the past decades.
• Works by the artist are in many museum collections, including the Busch-Reisinger Museum of the Harvard Art Museums, Cambridge (MA), the Pinakothek der Moderne, Munich, the Sprengel Museum, Hanover, and the Städel Museum, Frankfurt am Main.
Accompanied by a certificate of authenticity issued by Dorothée Antes of Karlsruhe on July 14, 1996.
PROVENANCE: Dr. Paolo Marinotti Collection, Milan.
Galerie Orangerie-Reinz, Cologne (2004).
Berlin/North Rhine-Westphalia art trade.
Private collection, Berlin (acquired from the above in 2005, Ketterer Kunst).
LITERATURE: Katja Szymczak, Horst Antes. Catalogue Raisonné of Paintings, vol. 1: 1957–1964, Künzelsau 2020, p. 166, CR no. 1963-39 (with color illustration).
- -
Ketterer Kunst, Munich, 293rd Auction, 20th-Century Art, May 12, 2005, lot 163.
"At first, I painted the figure in a frontal view. [..] I then painted the figure from the side, and the images changed; I changed. [..] The individual figure is very important to me because I am alone with it. I create something there that I can truly converse with. [..] I don’t take someone who exists; instead, I create someone. [..] The figure confronts the viewer, and vice versa. The figure is a negative form, a stigma; it absorbs and endures color, hatching, thoughts, quotations, time, history, and the conflict with the fickleness of the present; it is a repository that takes in and gives out. I load and unload my figure symbolically, sentimentally, organically, historically; I fill it and empty it with allusions, gestures, thoughts, speculations, desires, and anxieties. I create an image, I make someone into a parable, a partner, a mirror. I multiply myself, assert myself, take possession, recognize myself, and, through myself, something—in snapshots of lasting duration.
[..] In my early paintings, I was concerned only with what lies within the human being; what was outside held no interest for me."
Horst Antes in an interview with Rolf-Gunter Dienst, in: Noch Kunst. Neuestes aus deutschen Ateliers, Düsseldorf 1970, pp. 15f.
Called up: June 13, 2026 - ca. 16.48 h +/- 20 min.
Buyer's premium, taxation and resale right compensation for Horst Antes "Interieur 1 (Milano)"
This lot can be purchased subject to differential or regular taxation, artist‘s resale right compensation is due.
Differential taxation:
Hammer price up to 2,000,000 €: herefrom 34 % premium.
The share of the hammer price exceeding 2,000,000 € is subject to a premium of 29 % and is added to the premium of the share of the hammer price up to 2,000,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 2,000,000 €: herefrom 29 % premium.
The share of the hammer price exceeding 2,000,000 € is subject to a premium of 23% and is added to the premium of the share of the hammer price up to 2,000,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 7 % is levied to the sum of hammer price and premium.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.
The artist‘s resale right compensation is VAT-exempt.
Differential taxation:
Hammer price up to 2,000,000 €: herefrom 34 % premium.
The share of the hammer price exceeding 2,000,000 € is subject to a premium of 29 % and is added to the premium of the share of the hammer price up to 2,000,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.
Regular taxation:
Hammer price up to 2,000,000 €: herefrom 29 % premium.
The share of the hammer price exceeding 2,000,000 € is subject to a premium of 23% and is added to the premium of the share of the hammer price up to 2,000,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 7 % is levied to the sum of hammer price and premium.
We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.
Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.
The artist‘s resale right compensation is VAT-exempt.
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