Steel sculpture with rust patina and engraving, welded. Not in Lutze any longer. Base plate with the name and the number (just partly legible as a result of the outdoor display). From an edition of 100 copies. Height: 220 cm. Base plate: 90 x 66,5 cm. Released in Edition Volker Huber, Offenbach/Main.
Edition & Galerie Volker Huber, Offenbach. Corporate Collection Ahlers AG, Herford (acquired from the above in 1988)
From 1957 to 1959 Antes studied at the Academy of Fine Arts in Karlsruhe under the important wood engraver HAP Grieshaber, who, contrary to the spirit of the times, remained true to figuration. Nevertheless, Antes' origins can be traced back to Informalism and its gestural expression. In Willem de Kooning, who combined informal and figurative elements, Antes found a role model that allowed him to discover his own path. Around 1960, he gradually developed the figure of the “Kopffüßler” (Head-Footer), a figure that has occupied him in countless variations and modifications, as well as in various other artistic techniques. In 1963, his “Kopffüßler” had fully developed in terms of style and became the definitive form for his sculptural work. In the late 1970s, Antes developed his “Kopffüßler” into highly abstract, archaic-looking figures. “Just as Antes extracted the image of the head-footed creature with the strict profile and the eye seen from the front from the works of the ancient Egyptians, from hieroglyphs, frescoes and reliefs at the beginning of the 1960s, his figures from the late 1970s also seem to harbor a mysterious riddle.” (quoted from Friedel/Szymczak (eds.), Horst Antes, vol. 5, Künzelsau 2012, p. 9). Antes' oversized “Figure 1000” is a particularly impressive example of this archaic, otherworldly visual language, with its silhouette-like flatness and beautiful natural rust patina. [JS]
Good overall impression. With a beautiful, lively, dark reddish-brown rust patina, including traces of oxidation and weathering due to the artist's intended outdoor display, most visible on the base plate. As well as with isolated, faint traces of rubbing and weather-related moisture marks.
Lot Details
Steel sculpture with rust patina and engraving, welded. Not in Lutze any longer. Base plate with the name and the number (just partly legible as a result of the outdoor display). From an edition of 100 copies. Height: 220 cm. Base plate: 90 x 66,5 cm. Released in Edition Volker Huber, Offenbach/Main.
Edition & Galerie Volker Huber, Offenbach. Corporate Collection Ahlers AG, Herford (acquired from the above in 1988)
From 1957 to 1959 Antes studied at the Academy of Fine Arts in Karlsruhe under the important wood engraver HAP Grieshaber, who, contrary to the spirit of the times, remained true to figuration. Nevertheless, Antes' origins can be traced back to Informalism and its gestural expression. In Willem de Kooning, who combined informal and figurative elements, Antes found a role model that allowed him to discover his own path. Around 1960, he gradually developed the figure of the “Kopffüßler” (Head-Footer), a figure that has occupied him in countless variations and modifications, as well as in various other artistic techniques. In 1963, his “Kopffüßler” had fully developed in terms of style and became the definitive form for his sculptural work. In the late 1970s, Antes developed his “Kopffüßler” into highly abstract, archaic-looking figures. “Just as Antes extracted the image of the head-footed creature with the strict profile and the eye seen from the front from the works of the ancient Egyptians, from hieroglyphs, frescoes and reliefs at the beginning of the 1960s, his figures from the late 1970s also seem to harbor a mysterious riddle.” (quoted from Friedel/Szymczak (eds.), Horst Antes, vol. 5, Künzelsau 2012, p. 9). Antes' oversized “Figure 1000” is a particularly impressive example of this archaic, otherworldly visual language, with its silhouette-like flatness and beautiful natural rust patina. [JS]
Good overall impression. With a beautiful, lively, dark reddish-brown rust patina, including traces of oxidation and weathering due to the artist's intended outdoor display, most visible on the base plate. As well as with isolated, faint traces of rubbing and weather-related moisture marks.
