Sigmar Polke ”.....Höhere Wesen befehlen”. 1968

4 drawings (watercolour, watercolour and pencil, or watercolour, ballpoint pen and pencil on lined, perforated or squared paper) and 14 offset prints after photographs by Sigmar Polke and Chris Kohlhöfer. With the original box.. Drawings: to 21 × 15 cm; graphics: each 22 × 16 cm (29,7 × 20,8 cm) (8 ¼ × 5 ⅞ in.; graphics: each 8 ⅝ × 6 ¼ in. (11 ¾ × 8 ¼ in.)). Signed on a label inside the original box. The drawings each signed and dated in ballpoint pen or pencil: S. Polke 67 or 68. Catalogue raisonné: Becker/Von der Osten 8. One of 50 numbered copies from Edition A, from a total edition of 80 + 10 AP. Berlin, Galerie René Block, 1968. [2001] Each framed, 4 drawings (watercolour, watercolour and pencil, or watercolour, ballpoint pen and pencil on lined, perforated or squared paper) and 14 offset prints after photographs by Sigmar Polke and Chris Kohlhöfer. With the original box.. Drawings: to 21 × 15 cm; graphics: each 22 × 16 cm (29,7 × 20,8 cm) (8 ¼ × 5 ⅞ in.; graphics: each 8 ⅝ × 6 ¼ in. (11 ¾ × 8 ¼ in.)). Signed on a label inside the original box. The drawings each signed and dated in ballpoint pen or pencil: S. Polke 67 or 68. Catalogue raisonné: Becker/Von der Osten 8. One of 50 numbered copies from Edition A, from a total edition of 80 + 10 AP. Berlin, Galerie René Block, 1968. [2001] Each framed, Collection of Wulf Herzogenrath, Berlin (acquired from Bruno Brunnet Fine Arts, Berlin, in 1993), Collection of Wulf Herzogenrath, Berlin (acquired from Bruno Brunnet Fine Arts, Berlin, in 1993), We would like to thank Michael Trier, Cologne, for kindly providing additional information. Sigmar Polke. Gemeinschaftswerk Aufschwung Ost. Berlin, Bruno Brunnet Fine Arts, 1993, cat. no. 41, ill. of one of the drawings (cat. no. 41/C: “o. T. (Aquarell zu Bambusbild)”), Cf. Michael Glasmeier and Katrin Seemann (eds.): Drei Hubwagen und ein Blatt Papier. René Block. Editionen 1966–2022. Munich, Schirmer/Mosel, 2023, ill. pp. 38–50, “Dear Block! Enclosed are the photographs for the edition. It’s going to be really terrific, don’t you think?” Polke wrote to the gallerist in September 1968, adding that he had also prepared “a summary with brief explanations to make the photographs easier to understand” (letter from Sigmar Polke to René Block, 25 September 1968). The portfolio edition “.....Höhere Wesen befehle”n (.....Higher Beings Command), to which Polke’s remarks refer, comprises four unique drawings by Polke and 14 offset prints after photographs by Polke and Chris Kohlhöfer. For each portfolio, Polke assembled four original drawings, which are mounted individually in passe-partouts. The summary with brief explanations mentioned in his letter appears in Fraktur type on a brown flyleaf accompanying the portfolio. The list of prints is preceded by a general note on their content: “The prints are not intended merely as simple reproductions of the objects or actions, but as direct carriers of the idea behind what is depicted, particularly since the objects no longer exist or can be recreated at any time. They were made to be shown as photographs.” The eight sheets in the palm tree series are described in the list as follows: “8 photographs from the series ‘The Praying Palm’, possible forms of the palm tree, a palm tree in different states, made from different materials and arising from small activities.” Within this series, a twisted folding ruler can become a palm tree motif just as readily as Polke posing with the help of several paper (palm) leaves, or a glove standing upright. The edition’s ironic dimension is brought to a head by its title, “.....Höhere Wesen befehlen”, which simultaneously mocks the notion of artistic creation as the product of inspired genius and absolves the artist of responsibility for his work. Another distinctive feature of this edition is the inclusion of four small drawings selected from the artist’s own stock of works. Sketches and watercolours on ring-binder paper, some punched, squared or ruled, each signed and titled, offer insight into the artist’s imaginative universe. Through both their uniqueness and the exuberant abundance of ideas and reflections presented in sketch form, they subvert the very principle of the print portfolio. Sigmar Polke was among the artists who worked with Galerie Block regularly from the time of its opening. His first solo exhibition, “Sigmar Polke. Bilder und Zeichnungen” (Sigmar Polke. Paintings and Drawings), opened in May 1966 and was accompanied by a small catalogue featuring an introduction by Joseph Beuys. The edition “.....Höhere Wesen befehlen” was presented on the occasion of Polke’s second solo exhibition at Galerie Block, “Moderne Kunst. Bilder von Sigmar Polke” (Modern Art. Paintings by Sigmar Polke), in December 1968. “Does he mean this ‘modern art’ seriously? Has he given up? Is he suggesting the end of all image-making that hangs on a wall, in favour of an imagination that no longer considers the consumability of artistic work?” asked a seemingly bewildered critic in Der Tagesspiegel in response to the exhibition (Heinz Ohff, “Wien und Düsseldorf. Zwei Städte in zwei Malern”, Der Tagesspiegel, 17 December 1968). Birgit Eusterschulte, in: Michael Glasmeier and Katrin Seemann (eds.), Drei Hubwagen und ein Blatt Papier. René Block. Editionen 1966–2022, Munich 2023, pp. 304–305

Estimación:€70,000

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