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  • Provenance

    Bonakdar Jancou Gallery, New York

  • Exhibited

    Minneapolis, Walker Art Center, Painting at the Edge of the World, February 10 – June 5, 2001

  • Catalogue Essay

    The tactile visions Thomas Scheibitz creates on canvas appear as cut-outs and radiate with a collage complexity, much like the work of Philip Taaffe and Matthew Ritchie. The artist’s approach to composition is inherently glued to the fabric of his background as a sculptor. Despite the heavy three-dimensional influence on his flat works, Scheibitz also cleverly adds layers of expression and colloquialism, titling the present lot as Untitled (Greeting Card No. 240). This work, completed in 1999, suggests a strict painterly code with its union of color, form and architectural harmony. As Marcia E. Vetrocq illuminates, “[An] equivocation or instability of affect is communicated by Scheibitz’s more complex compositions. Concocted of fragmentary landscape and architectural elements (some of them details pirated from ads and magazines of amusement parks), the canvases pulse with zooming prospects, splintering contours and abrupt leaps of scale - a visual dynamics of precision urgency that situates the works somewhere between Expressionism and Japanese cartoon.” (M. E. Vetrocq,“Painting the Present Tense”, Art in America, March 2000)

3

Greeting Card (No. 240)

1999
Oil on canvas.
72 x 64 in. (182.9 x 162.6 cm).
Signed, titled and dated “Greeting Card 240 Scheibitz 99” on the reverse.

Estimate
£50,000 - 70,000 ‡ ♠

Sold for £54,000

Contemporary Art

22 June 2007, 4pm & 5pm
London