Sale: 540 / Evening Sale, June 09. 2023 in Munich Lot 54


Georg Baselitz
Zwilling I, 2000.
Oil on canvas
€ 120,000 - 150,000

$ 132,000 - 165,000

Zwilling I. 2000.
Oil on canvas.
Signed and dated "11.III.2 [für 2000]", titled and inscribed "OBEN" and with two crossed-out inscriptions on the reverse. 161 x 129 cm (63.3 x 50.7 in).
The counterpart painting "Zwilling II" is part of a French private collection today [JS].
• "Zwilling I" allows for a highly associative intellectual game about the uniqueness of human life.
• Baselitz decontextualizes and alienates the traditional motif of the Infant Jesus and confronts the observer with fundamental questions of existence.
• Remarkable document of Baselitz' intriguing play with tradition and the power of provocation.
• Recently, Fondation Beyeler, Basel, (2018) and the Centre Pompidou, Paris, (2021/22) showed grand Baselitz retrospectives.
• Currently, the Kunsthistorische Museum in Vienna shows "Baselitz. Nackte Meister" (March 7 - June 25, 2023), with nude paintings from Baselitz` œuvre alongside Old Master painting

We are grateful to the Georg Baselitz Archive, Munich, for the kind support in cataloging this lot. The work is registered in the archive.

PROVENANCE: Galerie Michael, Schultz, Berlin.
Galerie Terminus, Munich (with several stamps on the stretcher, as well as with a label).
Private collection Southern Germany.

EXHIBITION: Georg Baselitz - Neue Bilder, Galerie Michael Werner, Köln, 05.05.-10.06.2000, Kat.-Nr. 1 (m. Abb.).

"I like the way that art historians decipher Cranach, Correggio and so on, but as painter I never cared much. I draw wealth from other sources, mainly from the audacity I find with some painters. The audacity to change pictures, to create new images."
Georg Baselitz, quoted from:

Called up: June 9, 2023 - ca. 18.46 h +/- 20 min.

Due to his outstanding creation, which repeatedly found new artistic ways to challenge and at the same time continue art-historical traditions since the 1960s, Georg Baselitz is considered one of the most prominent representatives of German contemporary art. With his powerful representational works, he violated established categories and time and again took up the fight against our traditional concept of art. In 1963, Baselitz became famous overnight with his first major scandal in the course of a solo exhibition at Galerie Werner & Katz in Berlin: Above all, the two paintings "Die große Nacht im Eimer" (The Big Night in the Bucket, 1962) and "Der nackte Mann" (The Naked Man, 1962), which shows a haggard male nude with an over-sized penis lying dead in a grave-like hole, triggered the provocation. A shocking painting that refers to the art-historical tradition of depictions of the corpse of Christ, while it also allows for association of images of prisoners of Nazi concentration camps, images from a time that was largely suppressed in post-war Germany. Both paintings were confiscated by the public prosecutor's office on charges of pornography. The following day, the daily BZ wrote: "It's a scandal the likes of which hasn't happened in Berlin since the end of the war."

In 1969 Baselitz created the first painting in which he turned the motif upside-down, "Der Wald auf dem Kopf" (The Forest Upside-Down, Museum Ludwig, Cologne). Once again, Baselitz radically challenges our traditional viewing habits. This bold step, which ultimately became Baselitz' artistic trademark in an art world still dominated by abstraction, not only earned him a permanent place in art history, but was also a powerful act of liberation. "The act of painting emancipates itself from the depiction, from the representation, and allows the works to appear both representational and non-representational at the same time." (Toni Stoss, in: Georg Baselitz, Gemälde und Skulpturen 1960-2008, p. 8). This decisive step in Baselitz' work was also based on a historic model, because the motif of "Der Wald auf dem Kopf" was influenced by the painting "Wermsdorfer Wald" by Ferdinand von Rayski from 1859, on display at the Dresden Gemäldegalerie. And as early as in 1967/68, Baselitz tied a forest worker upside-down to a tree in the painting of the same name (Museum of Modern Art, New York), thus creating a reminiscence of the martyrdom of the Apostle Peter, who was crucified upside down, as has been handed down in numerous paintings and prints .

Since 1965, Baselitz has been collecting prints, primarily from Renaissance, Mannerism and Baroque, their wealth of inventiveness satisfies his immeasurable thirst for something new. In these works Baselitz encounters a variety of pictorial themes, some of which have almost been forgotten, but which have shaped our collective memory for a long time and which he brings back to the present day through decontextualization and alienation. In this way, his paintings generate an enigmatic, associative pictorial content that can never be fully fathomed right away. Accordingly, the present work with the meaningful title "Zwilling I"(Twin I) is particularly fascinating for its vast range of associations that give the canvas a mysterious aura despite its striking motifs. Apparently weightless, a naked baby Jesus flies through an undefined space and casts his dark shadow on the Earth. "Zwilling I" is not only inspiring for its extremely powerful representational painting manner, it is also a kind of visual catalyst for an associative intellectual game that revolves around fundamental questions of our existence. It is about the birth of Christ, questions about the origin of human life and the limits of our earthly existence. Where do we come from, where are we going? What is the meaning of our supposedly unique existence? "Zwilling I" also refers to a scientific debate of the 2000s that was closely intertwined with these existential questions: the possibilities and limits of genetic cloning, a complex topic in which religious concepts of creation, scientific progress and fundamental ethical questions directly collide. [JS]


Buyer's premium, taxation and resale right compensation for Georg Baselitz "Zwilling I"
This lot can be purchased subject to differential or regular taxation, artist‘s resale right compensation is due.

Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
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 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
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 19 % is levied to the sum of hammer price and premium. As an exception, the reduced VAT of 7 % is added for printed books.

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.