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An online-only sale of unique works, editions, sculpture and collage by Max Ernst and other notable artists, the present collection comprehensively tells the story of Peter Schamoni’s deep affinity and appreciation of the pioneering and visionary Surrealist artist.

\n\n

Opening 1st December 12:00 GMT

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Closing 8th December 14:00 GMT

\n","auctionDetailsSmall","Online Auction 1 - 8 December 2021","extraInfo","

Charlotte Gibbs
\nHead of Online Sales
\n+44 20 7901 7993
\ncgibbs@phillips.com

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Max Ernst, Delicate Arch (Zion National Park), 1936. 20th Century & Contemporary Art, New York.

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The practice of art and the science of the cosmos combined in the surreal works of Max Ernst through his creative fascination with German astronomer Wilhelm Tempel. In 1861, Tempel discovered a planetoid and named it after Maximillian II, King of Bavaria. Ernst, in turn, would become engrossed in Tempel's unique approaches to astronomy, finding a kindred spirit in the relationship between science and the surreal; in the exploration of the limits of human perception of the universe. The stars continued to align when Ernst and director Peter Schamoni collaborated for a 1967 documentary on the life and work of Tempel, The Unlawful Practice of Astronomy, which began an artistic relationship betwen the director and the artist. Through his close friendship with Max Ernst, Peter Schamoni assembled an exceptional collection that serves as a lasting memento and retrospective of one of the most significant artists of the 20th century.

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Written by Ravit Helled

\n\n

We are part of the cosmos, but we are small and the universe is huge. It is important to open our eyes and hearts to better understand our place in the the grand picture, how insignificant, fragile and short-lived we are, how fascinating space is, and how we can be inspired by it. Perhaps astronomers and artists are not that different after all — they both aim to see beyond the visible and find a meaning to what’s around us.

\n\n

\n\n

Max Ernst, Ohne Titel (les hommes ne le sauront jamais), circa 1921. 20th Century & Contemporary Art, New York.

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1926: A Breakthrough

\n\n

Although the Sun is just one of billions of similar stars in our galaxy, it is special to us because it provides the energy for nearly all living things on Earth. Our Sun has shone for four and half billion years and will continue for another seven billion. Its main source of energy was a mystery until Albert Einstein showed that matter itself is pure energy and Arthur Eddington demonstrated how atoms could fuse together in stars, liberating this energy. In 1926, Eddington published calculations that revolutionized our understanding of the structure of stars and how they evolve in time. He showed that there is an intricate balance between gravity that holds stars together and nuclear energy that prevents them from collapsing. This work led to the relation between the masses of stars and their brightness, allowing astronomers to estimate their ages. This in turn led to the first limits on the age of our universe, which had to be older than the oldest stars that are 13 billion years old. The leap in our understanding of the workings of stars was a crucial milestone for astrophysics and our investigation of the cosmos.

\n\n

\n\n

Max Ernst, Kachina, le chien de Peggy Guggenheim, circa 1942. 20th Century & Contemporary Art, New York.

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1930: Planet X

\n\n

At the beginning of the 20th century, astronomer Percival Lowell thought that the irregular movements of the outer planets Uranus and Neptune could be due to a more distant, hypothetical planet X. In 1930, 14 years after his death, Pluto was discovered at the Lowell Observatory and officially added as the ninth planet of the Solar System. Its status as a planet lasted over seventy years, until the 2005 discovery of a larger object beyond the orbit of Neptune known as Eris, which initiated discussions on how planets in the solar system should be defined. After vivid and emotional debates culminating in a vote among professional astronomers, the International Astronomical Union (IAU) announced in 2006 that Pluto was no longer a planet, and classified it instead as a “dwarf planet.” One of the criteria for an object to be a planet is that it has to have cleared its planetary environment — in other words, it must be the dominant object in its orbital region. This is not the case for Pluto, which is part of the Kuiper belt, a region full of large rocky, icy objects beyond Neptune’s orbit. It was only in 2015 that we had our first close-up images of Pluto’s surface, showing that it is active with a liquid ocean that could even host life.

\n\n

\n\n

Max Ernst, Hawaï, 1952. 20th Century & Contemporary Art, New York.

\n\n

1957-58: The Age of Exploration Begins

\n\n

1957 represents the dawn of the Space Age. That year, the Soviet space program launched Sputnik 1, the world’s first artificial satellite, triggering the space race. The following year, the United States launched its first satellites into space, including Vanguard 1, which still orbits the Earth today. Political dimensions aside, the space race triggered important technological and scientific developments, from communication and Earth monitoring satellites to landing humans on the moon and the remote exploration of our solar system. Today there is a new space race, as many nations plan return trips to the moon and beyond. We also have private companies and the beginnings of space tourism. These breakthroughs raise their own important questions, such as who owns space? What are we capable of achieving in terms of space exploration? Will we colonize space? How are we going to be affected by these efforts? Are there limits we should not cross?

\n\n

\n\n

Max Ernst, Déchets d'oeuvres, 1968. 20th Century & Contemporary Art, New York.

\n\n

1969: To the Moon and Beyond

\n\n

Our planetary system is the remnant of the formation of the Sun. While today we know that planetary systems are common in the galaxy, just about two decades ago, the Solar System was the only known planetary system. Already in the late 1700s it was suggested that our planetary system was formed as a result of the collapse of a gaseous cloud. The collapse of this cloud was thought to lead to the formation of the young Sun, which was surrounded by a disk, from where the planets formed. Only in 1969 did the Russian astronomer Victor Safronov publish his theory on the “Evolution of the protoplanetary cloud and formation of the earth and the planets” in Russian. This work, which introduces key questions linked to the origin of planets, was been translated into English three years later. This theory represents the beginning of extensive research on the origin of the Solar System and planetary systems around other stars.

\n\n

\n\n

Max Ernst, Portrait de Ernst Wilhelm Leberecht Tempel, 1965. 20th Century & Contemporary Art, New York.

\n\n

1974: A Message to the Stars

\n\n

The question of whether extraterrestrial life exists has been keeping scientists and philosophers busy well before we detected the first extra-solar planet. Only recently we have learned that small planets are common in the galaxy, suggesting that life in the universe is not a rare phenomenon, at least statistically speaking.

\n\n

In 1974, a message to space, known as the Arecibo message, was sent to the star cluster M13, near the edge of the Milky Way galaxy. The Arecibo message included 1,679 binary digits, and was sent from the Arecibo radio telescope in Puerto Rico. The message included basic information about human race, such as the fundamental chemicals of life, the formula for DNA, and graphics of the Solar System and the Arecibo telescope. The search for intelligent extraterrestrial communications in the universe and Earth-like planets are ongoing, and we seem to be closer than ever to finally answer the question: “Are we alone?”

\n\n

Ravit Helled is a Professor of Theoretical Astrophysics at the Institute for Computational Science, Center for Theoretical Astrophysics & Cosmology, University of Zurich. Helled’s scientific work concentrates on planet formation and evolution, planetary interiors, and extrasolar planets. She is an international expert in planetary modeling, and uniquely addressing the link between planetary formation, evolution, and internal structure, as well as linking exoplanetary studies with solar system science. Professor Helled is strongly involved in space exploration and is a key member in several ESA and NASA space missions.

\n\n

Discover More from 20th Century & Contemporary Art >

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\n\n

\n","publishDate","2021-09-29T15:25:24.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/84427892/max-ernst-stars-art-phillips-auction","displayOrder","auctionEditorialID",1460,"editorialID",3661,"flocklerID",84427892,"https://flockler.com/thumbs/sites/889/max-ernst-paintings-sale-vue-phillips-34b0bb34-969c-4554-b6f9-e7a70db20d49_s600x0.jpg","In the latest installment of \"The Prompt,\" Angela Readman explores the peculiar objects of memory – featuring works by Max Ernst and Lee Miller. ","The Prompt: Max Ernst","

Max Ernst, Vue de ma fenêtre. Maximiliana: Max Ernst from the Collection of Peter Schamoni.

\n\n

The Pelican

\n\n

Written by Angela Readman

\n\n

All morning I’ve been biting the inside of my mouth, staring at the bra on the phone line outside my house. Hanging over the dirt road, a flash of peach and the taste of it not raining. Of course, the artist is late. I used to call him my husband. I bring the pelican to the porch then take it inside. It’s been in the attic twelve years, so much summer may be a shock.

\n\n

He shows up in a different car, but I know it’s him, a frizz of white hair going too fast. The car hasn’t been washed in some time and someone, him, I am sure, looked at his wristwatch and ran a fingertip across the dusty bonnet, drawing some sort of animal before getting in. I have always thought he has stick legs. He still does. Walking towards me, he stops, shaking crumbs off his pants – a chicken dance in the dessert. I keep my sunglasses on. He squints at himself in the lenses like a pair of portraits. One for each wife still alive.

\n\n

We talk about the drive. Who do you have to fuck to get a vegetarian sandwich? Is he still smoking? Yes, but only clouds now. He waves a silver pen and I nod. Yes, I painted the door orange and kept those awful marigold curtains, I say. Of course, I’m still sculpting. I cut back on the horns and tits. Only garden ornaments sell. “Pretty is easier,” he says, “well.” I raise my glasses, biting my cheek.

\n\n

\n\n

Lee Miller, Max Ernst auf einer Holzleiter, Sedona, Arizona, August 1946. Maximiliana: Max Ernst from the Collection of Peter Schamoni.

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I don’t mention the wife, who is also an artist. She paints women in complicated dresses, oceans of fabric. When you look closely, the folds are body parts. After the wedding, I opened a magazine and saw a picture. She looked like someone posing for Magritte, like she was half-expecting a curtain to fall on her kiss. I let her husband inside and he follows me to the kitchen, arms hard to his sides, a penguin.

\n\n

We have done this, the splitting of things. He took clothes, work, little else. The place is the same he says. He spots the ironic teapot, the china we thought was funny, the tin devil we bought in Mexico, still here, grinning over the stove. I keep cactus now, that’s new. He touches a paper flower blooming across the view from my sink. I can see nothing but copper, rocks, the dry soil of my yard, and the bra. It has dangled for weeks. I suppose someone flung it. Though the house is miles from the road. If there’s a parcel, the postman drives up, but he doesn’t seem like someone with bikinis in his pocket.

\n\n

My husband, strike that, The artist inspects the box on the table. I flung in a few pictures of his friend I heard died, a black hat I joked was welded on the year he turned fifty, some sketches I found, but he doesn’t comment. He is here for the pelican. I don’t ask why. We found it laid on the ground one winter, wings fanning snow, the opposite of sunning itself. Most people wouldn’t get this, but it seemed it may be useful. On this we were in complete agreement.

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\n\n

Lee Miller, Max Ernst, Oak Creek Canyon, Sedona, Arizona 1946. Maximiliana: Max Ernst from the Collection of Peter Schamoni.

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He picks up the pelican and turns it in his hands. Looking from all angles. It has borne up well. It’s larger than he thought, but lighter. The last time I saw him really hold it was lifting it out the freezer, moving Christmas cake and meat to deliver it to the taxidermist. We waited for weeks. More than once, he phoned to inquire about it tapping his pencil. How is it? How is it coming? Does he look lifelike?

\n\n

He carries the pelican to the car and straps it into the passenger seat. I ask if he wants the box, his sketches, the photos. He holds up a hand as if stopping traffic. "Keep it, Anna," he says, "sell what you like, well." Our business is done, my tongue tastes of pennies. He opens his door and pauses, spotting the fabric scrap swaying on wire, the ladders leaning against the gable. "It just appeared," I say, "I don’t think I’ll reach."

\n\n

\n\n

Max Ernst, Ohne titel, 1971. Maximiliana: Max Ernst from the Collection of Peter Schamoni.

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It seems we could laugh now. With a different husband, I might. We would speculate about where the thing came from, stage an uprising of undergarments drifting off while we sleep. He says nothing but walks to the ladders and starts taking off his shoes and socks. I forgot this, at least I have tried. He has always climbed ladders bare footed. He made cleaning gutters look like claiming a bunkbed. Shoes don’t feel the run, arch into the curved wood. He holds a dress shoe in his hand to show me the logic, again, the slippery sole compared to the grain of his foot.

\n\n

I squint watching him climb, wonder if I should offer a stick to poke something loose. He steps on with one foot, then the other, climbs slowly and stops. Two thirds up the ladder, he turns, the back of his head a halo glowing in the bedroom window. The bra sways above him, the sun glorifying the fabric, two small bowls of summer he could reach up and grab. He doesn’t jump but sits with his back to the wall staring at the red hills. Not a bird in the sky. He used to say it was like living in the painting he’d been trying to draw all his life. Sometimes he could barely move for looking. I call him. He stays on the ladder for what seems a long time but is probably nothing.

\n\n

Angela Readman is a short story writer and poet in Northumberland, UK. Her stories have won the Mslexia Competition, the Costa Short Story Award, the NNFD Competition and the Anton Chekhov prize for short fiction. Her debut collection Don’t Try This at Home won The Rubery Book Award, a Sabotage Award, and was translated into Catalan. In 2019 And Other Stories published her first novel Something like Breathing. Her flash has appeared in numerous journals and anthologies including Best Microfiction. In 2020, Ravena Press published her first flash chapbook as part of their triple series.

\n\n

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\n\n

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28

Max Ernst

Ohne Titel

Full-Cataloguing

Max Ernst