• Ernst Ludwig Kirchner’s Pantomime Reimann: Die Rache der Tänzerin will be offered with an estimate of £6,000,000-8,000,000, the first time the painting has appeared at auction
• Alexander Calder’s Untitled (circa 1944, estimate: £3,500,000-5,000,000), a rare early glass work is offered at auction for the first time
• The works are both explorations in movement, bold statements that demonstrate how kinetic and static mediums alike can conjure a sense of dynamism and motion
• ‘I begin with movement […] I believe that all human visual experiences are born from movement…’ – Ernst Ludwig Kirchner (quoted in D. Wye, Kirchner and the Berlin Street, exh. cat., New York, 2008, p. 39).
• The London to Paris livestreamed sale series, incorporating Christie’s salerooms in Hong Kong and New York, will encompass the 20th/21st Century: London Evening Sale, Collection Francis Gross & Maitre anciens, and the 20th/21st Century: Paris vente du soir

London – Ernst Ludwig Kirchner’s Pantomime Reimann: Die Rache der Tänzerin (1912, estimate: £6,000,000-8,000,000) and Alexander Calder’s Untitled (circa 1944, estimate: £3,500,000-5,500,000) will be highlights of Christie’s 20^th and 21^st Century Evening Sale, part of a series of sales taking place on 30 June, which are anchored around the culturally dynamic cities of London and Paris. Following the successful relay format at Christie’s in October, ‘London to Paris’ will present iconic works by artists who defined the diverse and influential movements that shaped the 20^th century, situating them alongside those working throughout the last 20 years who have continued to radicalise artistic practice in the 21^st century. Kirchner’s Pantomime Reimann: Die Rache der Tänzerin is being offered at auction for the first time, and has remained in the same collection since the 1980s. Created circa 1944, Untitled is a superb early mobile by Calder, conjured from found fragments of glass, pottery shards and Plexiglas. The works are both explorations in movement, bold statements that demonstrate how kinetic and static mediums alike can be utilised by artists to conjure a sense of dynamism and motion.

Keith Gill and Tessa Lord, Co-Heads of Sale, 20^th and 21^st Century Evening Sale, Christie’s London: “Following the success of our London to Paris season in October 2020, Christie’s is thrilled to unite our collectors once more in a dynamic series of sales that will celebrate the pioneering spirit of artists in both the 20^th and 21^st centuries. Kirchner and Calder carved very different paths in representation and figuration but Pantomime Reimann: Die Rache der Tänzerin and Untitled are exquisite examples that shine a light on the common exploration of movement and motion that unify these artists. Joined by our international colleagues, the London to Paris series will present exceptional works to our global audience in person and via livestream.”

Filled with glowing colours, Pantomime Reimann: Die Rache der Tänzerin of 1912 is a testament to the growing complexity and sophistication of Ernst Ludwig Kirchner’s compositions following his move to Berlin, as he began to explore new questions of identity, sexuality and the psychological dynamics between characters in his work. While the artist had long been fascinated by dancers, cabaret artists and circus performers, these subjects gained a new prominence in Kirchner’s work following his move to the capital in the autumn of 1911 – here, they came to represent the heady experience of life in the city, their forms a reflection of the innumerable amusements and vices that were available to the artist. Aided by his constant sketching, Kirchner would record his personal impressions of the many performances he attended, committing the whirl of movement, vivid costumes and interactions of the different characters to memory, in order to study them at length upon his return to the studio. The addition of dynamic lines of hatched brushwork along the edges of the dancer’s contours in Pantomime Reimann: Die Rache der Tänzerin, meanwhile, hint at the important shifts that would soon take hold in Kirchner’s painterly style. Here, they subtly enhance the three-dimensional quality of the sitter’s form, granting her a greater sense of monumentality and presence within the scene.

By using translucent materials, Alexander Calder’s Untitled heightens the mobile’s interaction with light as well as movement. Its elements sparkle and glow with jewel-like colour, shifting as they dance through space and through changing light. Calder’s works do not consist of single objects, but are animated by the dialogues, links and forces that operate among multiple bodies moving through the world. In this sense, as Jean-Paul Sartre said, they are truly ‘mid-way between matter and life’. Calder’s delicate use of found objects testifies to his resourcefulness and ingenuity. He would shatter bottles against the wall of his barn studio in Roxbury, Connecticut, or collect sea-glass from nearby beaches. Transforming these found fragments, which appear to have originated in crockery, bottles, and glasses, into a dynamic constellation of floating, interactive forms, Calder furthers the legacy of his 1920s years in Paris, where the Surrealists sought magic in the materials of everyday life. Unlike the objets trouvés of Duchamp or Man Ray, however, Calder’s objects were chosen more for their structure and colour rather than their evocative qualities. Untitled was included in the major 1998 retrospective ‘Alexander Calder: 1898-1976’, which travelled from the National Gallery of Art, Washington, D.C., to the San Francisco Museum of Modern Art.