Jeschke Jádi

15/08/2026

The flags for the Kronprinzenpalais are flying here at Villa Puhlmann in Berlin-Zehlendorf — and for all our ILAB colleagues! 🌎🌍🌏

Jeschke Jádi is delighted to take part in Rare Books Berlin VDA - RARE BOOKS BERLIN .

Discover our selected highlights from Rare Books Prints and Photography and explore the impressive contributions of our colleagues in the online catalogue at the Rare Books Berlin website.

Secure your free tickets now!
We look forward to seeing you in Berlin!

Rare Books Berlin – Messe für Bücher & Graphik
Kronprinzenpalais
Unter den Linden 3
D- 10717 Berlin
Germany

Opening Hours

Friday, 18 September: 16:00 – 21:00
Saturday, 19 September: 11:00 – 19:00
Sunday, 20 September: 11:00 – 17:00

09/07/2026

Robert Barry’s impressive square, monochrome canvas, originally shown at the Holly Solomon Gallery in New York, presents a deep, saturated burgundy surface whose chromatic intensity situates the work firmly within a conceptual tradition that shifts emphasis from material presence to the realm of the idea.

On this dark wine-red ground, the words REGRET, OPPOSITE, LIFE, AVOIDING, INEVITABLE, ROUTINE, INTEND are arranged in strict logical order and rendered in a luminous, slightly lighter magenta-red, so that language operates as a latent visual structure activated solely under particular optical and spatial conditions. It is only through the viewer’s movement around the work, the drifting of the gaze, and slight variations in the incidence of light that the semantic dimension emerges, extending Barry’s earlier investigations with invisible media—such as inert gases and radio waves—into a reflection on perception, time, and invisibility.

The consistently maintained square format and the cross schema evoked by the title place the canvas in a dialogue with the history of geometric abstraction, using its formal rigor as a conceptual frame for an almost dematerialized constellation of writing and image. At the same time, the reserved yet intense chromatic register and the insistent presence of the word “regret” embed the piece in a reception-aesthetic horizon in which ideas of belatedness, loss, and deferred meaning become fully effective only within the viewer’s temporally structured experience of reading the painting.

Lot 359
Robert Barry
Untitled (Dark Red, Cross).
1994
61 x 61 cm
Acrylic and ink on canvas. Monogrammed and dated in the corners on the reverse, and bearing typographically printed labels with details of the work and information on its provenance.

Auction 160
Modern and Contemporary Art
Saturday, July, 11, 2026

06/07/2026

The present drawing represents a significant turning point and the beginning of the artists creative phase in the early 1920s. Willi Baumeister’s „Stehende und sitzende Figur“ (Standing and Seated Figure) from 1923, executed in charcoal and pencil, dates from that early creative phase in which the artist, influenced by international Constructivism, consistently broke down the human figure into elementary geometric forms. These drawings are not mere preparatory studies but pictorially condensed compositions of autonomous character, revolving around the theme of the abstracted figure and its placement within surface and space.

From a reception-aesthetic perspective, the sheet unfolds its effect precisely in the oscillation between abstract and figurative pictorial language, which mutually condition one another and leave the viewer suspended between recognizing and dissolving the figure. Baumeister himself described this process in retrospect by noting that forms originally intended as abstract came, upon further viewing, to reveal figures within them—a phenomenon that continues to shape the reception of his work today, since legible forms only take shape through the viewer’s active act of seeing. This open linear construction, with its hatching and empty spaces, invites viewers to develop their own associations regarding relationships such as movement, stasis, or the connection between the two figures, without the composition ever dissolving into vagueness.

The sheet thus stands as an example of Baumeister’s aspiration to convey more universal statements through reduced, geometricized bodily signs than a detailed likeness could achieve.

Lot 255
Willi Baumeister
Stehende und sitzende Figur
Charcoal and pencil on wove paper. Monogrammed and dated.
40,7 cm × 25,9 cm

Provenance: Private collection, North Rhine-Westphalia. Achim Moeller Ltd., London, 1983. Galerie Büdenhölzer, Emmendingen, 1986. Galerie Gunzenhauser, Munich. - Auction 1984, Lempertz, Cologne.

Auction 160
Modern and Contemporary Art
Saturday, July, 11, 2026.

#1920

03/07/2026

🎨 Welcome to our preview to Auction 160 – Modern and Contemporary Art!

Get an first look at the art works heading to the block before our Modern and Contemporary Art sale on Saturday, July 11, 2026. This is your chance to view the works up close, in person, and in their full original glory — no screen can do them justice.

📅 Preview Viewing Hours:

• Saturday, July 4: 12:00–17:00
• Monday–Thursday, July 6–9: 10:00–19:00
• Friday, July 10: 10:00–18:00

📍 Visit us at Potsdamer Straße 16, 14163 Berlin-Zehlendorf

🚏🚆Getting There by Public Transportation

Take the M48 bus to the Bussealle stop, then walk 6 minutes.

Take the 112 bus to the Fürstenstrasse stop, then walk 1 minute.

Take the 101, 115, 285, X10, or X11 bus to the Zehlendorf Eiche stop, then walk 12 minutes.
Take S-Bahn Line 1 to the Mexikoplatz stop, then walk 12 minutes.

With over 1200 artworks spanning modern masters and contemporary voices, Auction 160 offers something for every collector — from bold paintings to intricate works on paper. Whether you’re a seasoned bidder or simply love art, our preview days are the perfect opportunity to browse, ask questions, and get a feel for the pieces before bidding begins.

✨ Admission is free and open to all — no appointment necessary during preview hours.

👉 Explore the full catalogue via the link in our bio, and follow along for more sneak peeks in the days ahead.

Auction 160
Modern and Contemporary Art
Saturday, July, 11, 2026.

01/07/2026

Miró’s striking meditation on color is a calligraphic-abstract composition of washed-out clouds of color and black pen lines. The palette is limited to Miró’s iconic primary colors — which, in terms of pigments, can be described as vermilion, cobalt blue, cadmium yellow, and chrome oxide green — and which blend into one another as diffusely sprayed, watercolor-like mists. A rich chrome oxide green on the left forms the compositional counterpoint to a luminous vermilion on the right, while a warm cadmium yellow at the top and a cool cobalt blue at the right edge serve as accentuating counterweights. Over these areas of color lies a network of thin, seemingly spontaneous black ink lines that suggest biomorphic forms such as heads, eyes, and star-shaped symbols—typologically related to Miró’s personal repertoire of symbols. The result is an open, asymmetrical pictorial structure without a central perspective, in which vermilion, cobalt blue, cadmium yellow, and chrome oxide green, in free interplay with the black lines, replace classical compositional hierarchies.

Lot 239
Joan Miró
Partie de Campagne V. 1967.
Aquatint and etching in colors
58.5 x 92.5 cm (74.5 x 104 cm)

Auction 160
Modern and Contemporary Art
Saturday, July, 11, 2026.

23/06/2026

If there is one encounter in the history of the livre d’artiste that seems almost inevitable, it is this one: Zao Wou-Ki and Arthur Rimbaud. Two visionaries, two cultures, two centuries — and yet the same impulse: the dissolution of the visible into light, movement, and cosmic stillness.

The eight aquatint etchings were created in 1966/67, during a highly productive and aesthetically mature phase for Zao Wou-Ki. By this point, the artist had left entirely behind the figurative-calligraphic beginnings of his Paris years, working in a visual language positioned between American Abstract Expressionism and European Lyrical Abstraction — abstraction lyrique — without fully submitting to either.

What makes these eight sheets so visually exceptional is the paradox that Zao Wou-Ki mastered so perfectly in aquatint: weight and lightness in the same breath. Expansive, densely bitten aquatint fields — near-monochrome masses of deep black and velvety grey — open suddenly into zones of an almost floating transparency. This tension between condensation and dissolution, between plein and vide, is genuinely Taoist in conception: empty space is not absence, but productive force. On BFK Rives paper, this dialectic unfolds with maximum effect. The paper absorbs the deepest aquatint blacks with a velvety, matte depth, while the exposed white zones appear to radiate light — an effect that would simply be impossible on coated paper.

Lot 167
Zao Wou Ki
Les Illuminations. 1967.
8 Aquatint etchings
31 x 23,3 cm (42 x 31,4 cm)

Auction 160
Modern and Contemporary Art
Saturday, July, 11, 2026.

23/06/2026

07/06/2026

An alphabet meant to teach not children — but to astonish adults. 🔠🔥

At the age of 80, Man Ray (1890–1976) created what may be his most playful and subversive late work: Alphabet pour Adultes, published in 1970 In this portfolio he combines 38 original lithographs with a signed Rayograph as frontispiece — that cameraless photogram technique Man Ray had already revolutionized in the 1920s.

The alphabet fascinated Man Ray not as a pedagogical system but as a visual and poetic raw material — a set of signs whose conventional meanings could be dismantled, reassembled, and charged with new erotic, dreamlike, or absurdist energy. His first engagement with letter-images dates back to 1923, when he painted individual characters as autonomous pictorial objects, treating each letter as a form with its own aesthetic life independent of language.

This Portfolio is a return to the very language of the avant-garde — a kind of aesthetic testament. The work unites painting, printmaking, photography, poetry, and book design within a single object, and in doing so reflects the remarkable medial breadth of one of the last great universal artists of modernity.

Man Ray
Alphabet pour Adultes, 1970
With a Rayographie and 38 Lithographs
One of 30 copies.
Signed, dated and numbered

Auction 160
Modern and Contemporary Art
Saturday, July, 11, 2026.

25/05/2026

🟫 No beginning, no end — only the meander.
Rhythm as rebellion — Julije Knifer’s Meander, 1985.

Since 1959, the Croatian artist Julije Knifer dedicated his entire practice to a single motif: the meander. Black blocks, white stripes, strict geometry — nothing more was needed.

The 1985 print portfolio Meander distills this radical program into five signed, magnificent serigraphy prints with graphite.

For Knifer, the meander was not an ornament but pure visual rhythm — inspired by Stravinsky’s dictum that music is nothing but rhythm. Created within the circle of the Zagreb Gorgona group, the work bridges Minimal Art and Conceptualism with an almost meditative consistency: no sheet is like another, yet for Knifer the first meander is equal to the last. Time is irrelevant.

The individual sheets vary minimally in the placement and offset of the black blocks, without implying development or progression. In doing so, the work suspends measurable time and connects conceptually with Minimal Art and Conceptualism, while remaining singular through its existential, almost meditative dimension.

A life’s work from a single form.

Radical. Absolute. Timeless.

/// CONSIGNNOW ///

Julije Knifer
mäander
5 Serigraphs with graphite
66 × 51 cm
One of 40 copies.
Signed, dated and numbered

Auction 160
Modern and Contemporary Art
Saturday, July, 11, 2026.