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Sale: 479 / Classics of the 20th Century I, Dec. 08. 2018 in Munich Lot 846

Lot description
Pyramid. 1996.
Wood , in white.
115.5 x 164 x 89 cm (45.4 x 64.5 x 35 in).

This is one of the rare pyramid-shaped "Open Cubes".
Accompanied by a certificate issued by Galerie Verna, Zurich, inscribed with a confirmation by the artist.

PROVENANCE: Annemarie Verna Galerie, Zürich.

"The artist cannot imagine his art, and cannot perceive it until it is complete."
Sol LeWitt, Sentences on Conceptual Art, no. 22, quote after: N. Baume, Sol LeWitt. structures. 1965-2006, New York 2011, p. 13

Sol LeWitt, American master of Minimal Art and the most important representative of Conceptual Art, lived and worked extremely withdrawn. His impressive artistic work can also be regarded a mirror of his restrained and extremely focused artist personality. Inspired by the geometrical pictorial language of Constructivism, the Bauhaus and the Dutch "De Stijl" movement, LeWitt developed his own, radically reduced artistic language, which is particularly convincing for its formal minimalism and conceptual implementation and eventually earned its creator, who was honored with a retrospective at the Museum of Modern Art, New York in 1978, a prominent position in the history of American Post-War Modernism. As of the mid 1960s the geometric shape of the cube has been at the center of LeWitt's oeuvre. In "Wall / Floor Piece (Three Squares)" from 1966, a three-part sculptural installation, that, set up in the corner of an exhibition space, completes itself to three sides of a cube, LeWitt experiments with the negative form of the open cube for the first time. In his further sculptural creation, which he, in line with his background as graphic artist, prepares in numerous construction drawings, the form of the "open cube" henceforth occupied a prime position. LeWitt is not only a master of reduction, as his versatile artistic works from the following decades deliver proof of, but also a master of modulation. Accordingly, he succeeds in reinterpreting the concept of the "open cube", which must be understood as a kind of key vocabulary in his pictorial language, over and over again. As of the 1980s he began to developed complex multi-part structures. This work "Pyramid", an upwardly tapered triangle developed from a row of twelve open cubes, is LeWitt's artistic concept of reduction, sequencing and modulation. LeWitt was able to create seemingly infinite variations of the basic motif of the "open cube", which led, owing to their around-view and their unusual sculptural transparency, to impressive three-dimensional creations that captivate the observer with their airiness and, depending on the observer's point of view, ever new strictly geometrical structures. Sol LeWitt once described his works as "Structures". In line with his radical formal approach, he also drew a clear line to distance himself from the "Sculpture" and its long-standing art-historical tradition. Between 1968 and 1982 Sol LeWitt participated in the Documenta in Kassel four times. His work was honored in a retrospective at the Museum of Modern Art, New York as early as in 1978. Many acknowledged international solo shows followed. LeWitt's "Structures" can be found at, among others, the Museum of Modern Art, New York, the London Tate Gallery, and the San Francisco Museum of Modern Art. [JS]
Sol LeWitt
Pyramid, 1996.
Post auction sale: € 300,000 / $ 345,000

More Images
Sol LeWitt - Pyramid - Back side
Back side
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Buyer's premium, taxation and resale right apportionment for Sol LeWitt "Pyramid"
This lot can be purchased subject to differential or regular taxation.

Differential taxation:
Hammer prices up to € 500,000: 32 % buyer's premium
Hammer prices above € 500,000: for the share up to € 500,000: 32%, for the share above € 500,000: 27% buyer's premium
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Regular taxation:
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Objects made by artists who have not died at least 70 years ago are subject to a resale right apportionment of 1.5% plus statutory sales tax.
Sol LeWitt - lots sold by Ketterer Kunst