Kurt Schwitters, ‘Sans titre (WAGNER UND WIEN)’, 1925, Galerie Zlotowski

Signature: Signed lower left "Kurt Schwitters", dated by Rose Fried "1923"

Kurt Schwitters, San Antonio, Marion Koogler McNay Art Museum, 15 avril-6 mai 1962 ;
Pasadena, Pasadena Art Museum, 19 juin-17 juillet 1962, cat. n° 27 ;
Manchester, The Currier Gallery of Art, 27 septembre-18 octobre 1962 ;
Washington, D.C, The Phillips Collection, 4-25 novembre 1962 ;
Minneapolis, University of Minnesota, 7 janvier-4 février 1963 ;
Louisville, J.B. Speed Art Museum, 14 février-7 mars 1963.
A View of the Century, Pasadena, Pasadena Art Museum, 1964, cat. n° 39.

Schmalenbach Werner, Kurt Schwitters, Cologne, 1967, fig. 61 ;

Orchard Karin & Schulz Isabel, Kurt Schwitters, Catalogue raisonné 1923-1936, vol. II, Hatje Cantz 2003, n° 1319 p. 167.

Ernst Schwitters, Lysaker, 1948-1956 (succession de l'artiste)
Charlotte Weidler, New York, 1956
Rose Fried Gallery, New York, 1956
Ferus Gallery, Los Angeles, 1962
Donna O'Neill, Los Angeles, à partir de 1962

About Kurt Schwitters

Associated with the Dada movement, painter, poet, and mixed-media artist Kurt Schwitters is best known for his collage and assemblage works in which he transformed appropriated imagery and text from print media into dynamic and layered compositions. Schwitters studied at the Dresden Academy of Art with Otto Dix and George Grosz, and after showing in Berlin in 1918 was introduced to Dadaists Raoul Hausmann, Hannah Höch, and Jean Arp. It was at this time he began making assemblages from materials found discarded on the streets of his home city, Hannover, intending to reflect the ruined state of German culture; he called the works Merzbilder after the German word “Kommerz,” as in Merzbild 1A. The mental doctor (1919). Unlike the Berlin Dadaists, however, Schwitters’ main concern was art-making, not political activism, and he is remembered best for his innovative use of mixed-media and masterful sense of composition.

German, 1887-1948, Hannover, Germany