In 1911, Kandinsky and Marc left the New Artists' Association in Munich; in their shared residence in Murnau - where the 'Winter Landscape' was probably created - they discussed their next steps, which ultimately led to the founding of the 'Blauer Reiter'. Original: 1910-1911, oil on canvas, 33 x 44.5 cm, Collection of Solomon R. Guggenheim Foundation, New York. Reproduction in Fine Art Glicée process directly on artist's canvas and mounted on stretcher frame. Limited edition of 499 copies. Framed in natural-coloured solid wood frame. Size 50 x 66 cm (H/W).
Original: 1908, oil on cardboard, privately owned. Previously part of the Peggy and David Rockefeller collection, the original found a new owner at an auction at Christie's New York in early May 2018 for USD 6.5 million. Edition on artist's canvas, stretched on stretcher frame. Limited edition of 980 copies with numbered certificate on the reverse. Framed in black silver solid wood frame. Size 51.3 x 60.3 cm (H/W). ars mundi exclusive edition.
Original: 1925, oil on canvas, 128 x 201.5 cm (H/W). Donated by Nina Kandinsky, 1976, Centre Georges Pompidou, Paris, Musée National d'Art Moderne. Reproduction on aluminium dibond behind 3 mm acrylic glass. Limited edition of 499 copies. Size 60 x 95 cm (H/W). With hanging device. Due to the smooth surface, mirror effects may occur depending on the incidence of light.
In 1922, Kandinsky accepted Walter Gropius' offer to teach at the Bauhaus. He combined teaching with intensive theoretical work and in 1926 followed up his famous book 'On the Spiritual in Art' (1911) with 'Point and Line to Surface', the 9th volume of the Bauhaus writings. In it, he explains the foundations of his painting on more than 200 pages and sets out his logic of colours and forms, in which, for example, blue is assigned to the circle, yellow to the acute-angled triangle and red to the square. Kandinsky's synaesthetic system goes far beyond these simple basic forms and includes linear forms, even associated sounds and smells in his finely ramified art and contemporary historical argumentation. The work offered here, dating from 1925, is an almost exemplary illustration of his ideas on the harmony of colour and form. Original: 1925, oil on canvas, 128 x 201.5 cm (H/W). Donated by Nina Kandinsky, 1976, Centre Georges Pompidou, Paris, Musée National d'Art Moderne. Brilliantly coloured fine art giclée on cotton canvas on stretcher frame. Framed in a valuable solid wood frame with silver shadow gap moulding. Limited edition of 499 copies, numbered certificate on the reverse. Format approx. 53.5 x 82.5 cm (H/W).
The Cuban Wifredo Lam succeeded in creating a perfect synthesis of native traditions and modern stylistic devices in his art. His pictures combine magical, totemic symbols and allusions to Afro-Cuban mythologies with elements of Cubism and Surrealism. Wifredo Lam's artistic interpretation of the letter W develops the typographical symbol as the initial of his first name in a kind of metamorphosis from the ears of a mysterious jungle animal. The ambiguous creature shines out of the deep darkness in an unreal, ghostly light. Photolithograph in six colours, signed by the artist, numbered on the reverse. Limited edition of 5,000 copies. Sheet size approx. 30 x 23.5 cm (H/W). Framed in silver-coloured solid wood framing with bevel cut passe-partout, glazed. Format 45.5 x 36.5 cm (H/W).
