Konrad Klapheck, ‘Das Lächeln der Auguren (The Augur’s Smile; Le sourire des augures)’, 1968, Galerie Michael Haas

Signature: signed and dated on the reverse, titled on the the stretcher, signed and titled on a label on the back of the cardboard cover "The Smile of the Augurs", dated and inscribed

Image rights: Lea Gryze / Galerie Michael Haas

Konrad Klapheck, Museum Boijmans van Beuningen, Rotterdam, 14.09. - 03.11.1974 / Palais des Beaux-Arts, Brüssel, 14.11.1974 - 05.01.1975 / Städtische Kunsthalle, Düsseldorf, 15.02. - 31.03.1975;
Schuhwerke. Aspekte zum Menschenbild, Kunsthalle, Nuremberg, 28. 05. - 26.09.1976

Konrad Klapheck, José Pierre (text), Institut für moderne Kunst Nürnberg (ed.), Cologne 1970, no. 203 (not ill.);
Konrad Klapheck, exhib. cat. Museum Boijmans van Beuningen, Rotterdam / Palais des Beaux-Arts, Brussels / Städtische Kunsthalle, Düsseldorf, n.p. 1974, no. 66, p. 151 (full page b/w image);
Schuhwerke, exhib. cat. Kunsthalle, Nürnberg, 1976, p. 73 (image)

Hannelore Mohr, Mülheim/Ruhr
private collection, southern Germany
private collection, Switzerland

About Konrad Klapheck

Konrad Klapheck is best known for his painterly explorations of technical equipment, machinery, and everyday objects, including typewriters, sewing machines, water taps, showers, telephones, irons, and saws. Influenced by Marcel Duchamp, Man Ray, and Max Ernst, Klapheck combines Surrealism and Pop Art in images of contemporary objects that are both ironic and charged with psychology and sexuality. For example, in Die Kapitulation (The Capitulation) (1966), a telephone handset rests on a wooden chair, its cable coiling suggestively into an orifice in the wall. More recently Klapheck has painted portraits of colleagues and celebrities from the international art scene. He studied under the painter Bruno Goller.

German, b. 1935, Dusseldorf, Germany