Pieter Engels Paintings & Artwork for Sale | Pieter Engels Art Value Price Guide

Nov. 30, 2024
Pieter ENGELS (1938-2019)
Est: €80 - €120
Sky event nr 7 (1974) Print on paper Edition 27 of 190 Signed by the artist and dated with pencil, lower right.
Hessink's
Nov. 30, 2024
Pieter ENGELS (1938-2019)
Est: €80 - €120
Sky event nr 5 (1982) Print on paper Edition 27 of 190 Signed by the artist and dated with pencil, lower right.
Hessink's
Nov. 30, 2024
Pieter ENGELS (1938-2019)
Est: €80 - €120
Futuristic sky event nr 4 (1972) Print on paper Edition 27 of 190 Signed by the artist and dated with pencil, lower right.
Hessink's
Oct. 15, 2024
Pieter Engels (1838-2019) - Perspective Reprodution of Picasso, 1972
Est: €1,500 - €2,000
Two vintage chromogenic prints applied on original cardboard mounted on panel cm 141 x 81 | 55.5 x 31.9 in. Titled in black felt pen on the cardboard recto and signed in blue marker on the panel verso Unique work
Finarte
Apr. 23, 2024
Pieter Engels (1938-2019) - Modern death event (100x100x30 cm coffin for the ashes of a 100x100x30 cm coffin)
Est: €1,800 - €2,200
Pieter Engels (1938-2019) Modern death event (100x100x30 cm coffin for the ashes of a 100x100x30 cm coffin), a black lacquered wooden case filled with the ashes of a wooden case of the same size, 100x100x30 cm (when closed), H 141 cm (when opened) Executed in 1968 Provenance: Property from the Chateau Collection Sjoerd Buisman.Exhibited: -Oss, Museum Jan Cunen, ‘Pieter Engels, the rrrol’s-royce among artists’, 12 Dec. 2010 - 27 Feb. 2011 (illustrated in the exhibition catalogue on p. 36).-Amsterdam, Stedelijk Museum, ‘Engels: the selfportrait of this century’, 27 Feb. - 13 April 1969, cat. no. 17 (illustrated in the exhibition catalogue), Modern Death Event by Pieter Engels was part of a solo exhibition at the Stedelijk Museum Amsterdam in 1969, The self-portrait of this Century. On the occasion of this exhibition Engels was interviewed for a Dutch newspaper. The journalist seemed to be not quite sure of what to make of Engels’ disconcerting art. The ashes in a coffin, the shoes on a Formica table connected to electrical wire, the references to death and suicide, it all seemed way too dark and morbid, far too confronting.When asked, Engels is happy to shed a little light on his way of thinking revealing that his art is just a way of demonstrating that what the world sees as normal shouldn’t be seen as such. “All this is a self-portrait of this century in which a lot of things are wrong. I try to give a signal to show what the world should get rid of: violence, discrimination, poverty. I’m not like the protester in the streets, I try to show what’s wrong in a cooler, more rational way. We don’t have to accept it all, you know.” Demonstrating his concern about the world through his disturbing art might have been in line with the anti-authoritarian spirit of the 1960’s, it was also Engels’ way to ironically criticize the seriousness of the art world. Engels questioned openly the value of art, and especially the commercialisation of it. Without playing down the sincerity of Engels’ concern with global problems, we should take into consideration the ‘tongue in cheek’ approach which was consistently part of Engels’ perspective and work. He was always the man of the paradox: pretending that his art was not made by himself but by a company, named Engels Products Organisation (EPO), he questioned the idea of art being a product of individual expression. Acting as his alter ego, marketing director Simon Es, he issued attractive posters and pamphlets to advertise his products and services. He offered bottles of exhaled air, sold pieces of furniture that he first smashed and then reassembled, asked money for cutting through banknotes and signing the pieces, and offered to scratch cars (Engels damages your car beautifully: Price from fl.100). His actions and performances which he called “Wonder Events” cannot be separated from the zeitgeist in which they were created, and remind us of the work of contemporaries such as Piero Manzoni, Lee Lozano, Marcel Broodthaers, Wim T. Schippers and Ger van Elk. They were immersed in the atmosphere of Fluxus, the art movement that sought to close the gap between art and life, through their contrarian humour. In 1967, Engels founded a new company, ENIO (Engels New Internment Organisation), which sought inspiration from developments in the funeral industry. Modern Death Event originates from this time. In his own ironical adverts for ENIO he offered to bury people and under the same flag he also made ‘funeral’ art like the work that is on offer now. Again, the paradox is part of the artwork: a coffin contains the ashes of another coffin. What seems logical or rational, two qualities Engels claims to possess in great amounts, is no longer part of the experience. The extensive catalogue accompanying the aforementioned exhibition at the Stedelijk in 1969 comes with 48 empty pages. In Engels’own words:“for no other reason than to make the catalogue considerably thicker and to strengthen the non-Engels fans in their belief that it is more than it seems”Mocking art, the seriousness of the artist as a genius, would remain Engels’ Leitmotiv throughout his life. LiteratureEngels, The self-portrait of this century, catalogue, Stedelijk Museum Amsterdam, 1969Pieter Engels loopt storm tegen gangbare normen / L. van Duinhoven, Algemeen Dagblad, 06-03-1969Pieter Engels, kist met 10, 2 l verdronken water / Carel Blotkamp, OKV tijdschrift, 1972Kunstenaar Engels voor het beschadigen van al uw auto’s en stoelpoten / Sandra Smallenburg, NRC, 20 maart 2019
Venduehuis der Notarissen
Oct. 18, 2023
Pieter Engels (1938-2019)
Est: €1,500 - €2,000
Pieter Engels (1938-2019), Wash-Event D/A no. 1, each signed 'engels amsterdam holland' and numbered 1 through 6 (on the reverse), six sheets of paper washed in six different ways in a washing machine (AEG Princess), accompanied by an explanatory sheet with three photographs and a text, each work framed behind acrylic glass, 51x51 cm each (7 pieces) Executed in 1968, Provenance: -Salco Tromp-Meesters collection.-Property from the Chateau Collection Sjoerd Buisman. Literature:‘Engels, the self-portrait of this century’, Museum Boijmans Van Beuningen, Rotterdam, exhib. catalogue, p. 59, cat. no. 54, another version from the collection of the Stedelijk Museum, Amsterdam, illustrated. Exhibited: The Hague, Gemeentemuseum, 1970-1973, Venlo, Cultureel Centrum, 1975/76, touring exhibition, 'Collectie Tromp Meesters', 1. washing at boiling temperature 95° 2. washing at boiling temperature without preliminary washing 95°, 3. washing of multicoloured material 60°4. washing of fine multicoloured material 40° 5. washing of multicoloured, synthetic material 30° 6. washing of wool and silk 0°,
Venduehuis der Notarissen
Oct. 18, 2023
Pieter Engels (1938-2019)
Est: €1,800 - €2,200
Pieter Engels (1938-2019), Modern death event (100x100x30 cm coffin for the ashes of a 100x100x30 cm coffin), a black lacquered wooden case filled with the ashes of a wooden case of the same size, 100x100x30 cm (when closed), H 141 cm (when opened) Executed in 1968, Provenance: Property from the Chateau Collection Sjoerd Buisman.Exhibited: -Oss, Museum Jan Cunen, ‘Pieter Engels, the rrrol’s-royce among artists’, 12 Dec. 2010 - 27 Feb. 2011 (illustrated in the exhibition catalogue on p. 36).-Amsterdam, Stedelijk Museum, ‘Engels: the selfportrait of this century’, 27 Feb. - 13 April 1969, cat. no. 17 (illustrated in the exhibition catalogue), Modern Death Event by Pieter Engels was part of a solo exhibition at the Stedelijk Museum Amsterdam in 1969, The self-portrait of this Century. On the occasion of this exhibition Engels was interviewed for a Dutch newspaper. The journalist seemed to be not quite sure of what to make of Engels’ disconcerting art. The ashes in a coffin, the shoes on a Formica table connected to electrical wire, the references to death and suicide, it all seemed way too dark and morbid, far too confronting.When asked, Engels is happy to shed a little light on his way of thinking revealing that his art is just a way of demonstrating that what the world sees as normal shouldn’t be seen as such. “All this is a self-portrait of this century in which a lot of things are wrong. I try to give a signal to show what the world should get rid of: violence, discrimination, poverty. I’m not like the protester in the streets, I try to show what’s wrong in a cooler, more rational way. We don’t have to accept it all, you know.” Demonstrating his concern about the world through his disturbing art might have been in line with the anti-authoritarian spirit of the 1960’s, it was also Engels’ way to ironically criticize the seriousness of the art world. Engels questioned openly the value of art, and especially the commercialisation of it. Without playing down the sincerity of Engels’ concern with global problems, we should take into consideration the ‘tongue in cheek’ approach which was consistently part of Engels’ perspective and work. He was always the man of the paradox: pretending that his art was not made by himself but by a company, named Engels Products Organisation (EPO), he questioned the idea of art being a product of individual expression. Acting as his alter ego, marketing director Simon Es, he issued attractive posters and pamphlets to advertise his products and services. He offered bottles of exhaled air, sold pieces of furniture that he first smashed and then reassembled, asked money for cutting through banknotes and signing the pieces, and offered to scratch cars (Engels damages your car beautifully: Price from fl.100). His actions and performances which he called “Wonder Events” cannot be separated from the zeitgeist in which they were created, and remind us of the work of contemporaries such as Piero Manzoni, Lee Lozano, Marcel Broodthaers, Wim T. Schippers and Ger van Elk. They were immersed in the atmosphere of Fluxus, the art movement that sought to close the gap between art and life, through their contrarian humour. In 1967, Engels founded a new company, ENIO (Engels New Internment Organisation), which sought inspiration from developments in the funeral industry. Modern Death Event originates from this time. In his own ironical adverts for ENIO he offered to bury people and under the same flag he also made ‘funeral’ art like the work that is on offer now. Again, the paradox is part of the artwork: a coffin contains the ashes of another coffin. What seems logical or rational, two qualities Engels claims to possess in great amounts, is no longer part of the experience. The extensive catalogue accompanying the aforementioned exhibition at the Stedelijk in 1969 comes with 48 empty pages. In Engels’own words:“for no other reason than to make the catalogue considerably thicker and to strengthen the non-Engels fans in their belief that it is more than it seems”Mocking art, the seriousness of the artist as a genius, would remain Engels’ Leitmotiv throughout his life. LiteratureEngels, The self-portrait of this century, catalogue, Stedelijk Museum Amsterdam, 1969Pieter Engels loopt storm tegen gangbare normen / L. van Duinhoven, Algemeen Dagblad, 06-03-1969Pieter Engels, kist met 10,2 l verdronken water / Carel Blotkamp, OKV tijdschrift, 1972Kunstenaar Engels voor het beschadigen van al uw auto’s en stoelpoten / Sandra Smallenburg, NRC, 20 maart 2019 ,
Venduehuis der Notarissen
May. 25, 2023
Engels, P. (1938-2019) "Pieter Engels, New Works 1978-1979 - Epo-Show Engels Products, Flashback 1964-1967."
Est: €100 - €150
Engels, P. (1938-2019) "Pieter Engels, New Works 1978-1979 - Epo-Show Engels Products, Flashback 1964-1967." Poster/ invitation, 78x52 cm., printed on recto and verso, ills., folded as published. = Exhibition at Orez Mobiel, The Hague, 11 May - 22 June 1979. AND 3 (of 8) posters from the Project Owlglass print series, all publ. Amst., "BAMM: Brain-squad against mass-communication and mediocrity" (= Pieter Engels), 1976-77, each 78x52 cm., printed on recto and verso (1x recto only), folded as published (1x w. the orig. envelope). - Sl. yellowed along folds. = (No.1) Temporary Event 1976. I.a. showing pieces of paper w. the names of various artists, and a fragment reading "The average conceptual art is the main reason of the present day, spiritual inflation in modern art because it is academical - boring - similar and rarely visual/(like this piece). Engels (the Rolls-Royce amongst artists)"; (No.3) Engels/ a magician amongst artists or a loner without claque. Printed in black and gold, recto showing Engels wearing a magician's top hat and holding a small shield with the aforementioned text; (No.5) Karl Marx (). Showing a pair of boots, one w. attached shields reading "Down with mediocrity" and "Down with mass-communication" on the heel and the sole.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Feb. 16, 2023
Pieter Engels (1938-2019) "Gold as an introspective mirror (blind golded selfportrait)", gesigneerd en gedateerd '84 m.o.
Est: €100 - €200
"Gold as an introspective mirror (blind golded selfportrait)", gesigneerd en gedateerd '84 m.o.
Vendu Rotterdam
Nov. 08, 2022
Pieter Engels (1938-2019)
Est: €200 - €400
"Gold as an introspective mirror (blind golded selfportrait)", signed and dated '84 lower middle.
Vendu Rotterdam
Apr. 13, 2022
Pieter Engels (1938-2019)
Est: €2,000 - €4,000
Pieter Engels (1938-2019), Prototype, carved white formica board, 125x125 cm Executed in 1964. Provenance: Property from the collection of art historian Prof. Dr. Albert Blankert, The Hague.
Venduehuis der Notarissen
Dec. 11, 2017
Pieter Engels (Rosmalen 1938)
Est: €1,000 - €2,000
ObjectPainted wood and metal, H. 172 cm
AAG Auctioneers
Jun. 04, 2016
Engels, Pieter. Perspective reproduction of a reproduction of a picasso. Co
Est: €300 - €450
Engels, Pieter. Perspective reproduction of a reproduction of a picasso. Colour-reproduction of a portfolio containing a colour-reproduction of a 'Picasso'. Zweiteiliges Objekt mit 2 montierten Original-Photographien auf Karton montiert und auf Holzplatte montiert. Vorne signiert und datiert. Verso signiert. 1972. Größe: 141 x 80 cm. Unter Plexiglas gerahmt.Ironischer Beitrag zum künstlerischen Establishment von dem holländischen Objekt- und Konzeptkünstler Pieter Engels. - Trägerkarton und Holzplatte unten mit Wasserrand, 1 Photo rechts ebenfalls mit Wasserrand, da es aus der Montierung gelöst war, Plexiglas im Rand mit kleiner Fehlstelle.
Nosbüsch & Stucke GmbH
Jun. 04, 2016
Engels, Pieter. Complicated way to sign a painting. Dokumentation einer kün
Est: €800 - €1,200
Engels, Pieter. Complicated way to sign a painting. Dokumentation einer künstlerischen Aktion bestehend aus 3 montierten und gerahmten Original-Photographien, 1 Gemälde mit gelb bemalter Leinwand auf Holzplatte und montierter Flasche sowie 1 Doppel-Single, auf der der stille Vorgang aufgezeichnet ist. Alle Arbeiten betitelt und signiert. 1972. Gemälde: 120,5 x 120,5 cm. Photos im Format 24 x 24 cm. Plexiglasrahmen im Format 35,5 x 35,5 cm.Pieter Engels (1938 - lebt und arbeitet in Amsterdam) ist ein niederländischer Objekt- und Konzeptkünstler. Seine Kunst ist eine Provokation und Parodie auf die etablierte Kunstwelt, die er als Konsumwelt ablehnt. Vorliegende künstlerische Dokumentation der von Pieter Engels auch auf Video festggehaltenen Aktion verdeutlicht diese Ablehnung auf ironische Art. Gleichzeitig eine geniale Idee das Vergängliche der Performance zu materialisieren. - Die Arbeiten durchnummeriert von 1-4, jeweils mit eigenem Titel: I. pieter engels makes his signature. - II. pieter engels smokes his signature. - III. pieter engels blows the smoke into a bottle (and then he seals the bottle). - IV. Difficult way to sign a painting. - Mit der Doppel-Single: Fabulous oldest hits. 2 Singles in illustrierter Original-Hülle. - Auf dem Innendeckel signiert. Enthält: I. Single. 1. Big Fat Girl 1963. 2. Cadillac (1963). - II. Single. 1. Oral signature. 2. ditto. - Plexiglas leicht kratzspurig, Leinwand leicht fleckig und in den Rändern etwas angestaubt.
Nosbüsch & Stucke GmbH
Jul. 02, 2012
Pieter Engels
Est: -
(Rosmalen 1938) - Parallel landscape - Signed, dated 1979 on the reverse - Signed, dated 1979 on the stretcher - Acrylic on canvas, 180 x 200 cm. - Exhibited: - - Hasselt, Provinciaal Museum, A Choice within a Choice, 1981-1982 - - Arsac et Médoc, Château dArsac, and travelling, Aventure dans l'Art, Collection Peter Stuyvesant, 1989 - N.B.: - Acquired in 1981.
AAG Auctioneers
Jun. 11, 2012
Pieter Engels
Est: -
(Rosmalen 1938) - After Rembrandts Selfportrait 1628 - Signed and dated 87 l.r. - Signed and dated 1987 on the reverse - Acrylic on paper on panel, 128.9 x 98.8 cm
AAG Auctioneers
Jun. 11, 2012
Pieter Engels
Est: -
(Rosmalen 1938) - After Rembrandt's 'Hendrikje' 1656/1657 - Signed and dated 87 l.r. - Titled l.l. - Signed and dated 1987 on the reverse - Acrylic on paper on panel, 129.8 x 98.7 cm
AAG Auctioneers
Sep. 29, 2011
Engels, Pieter
Est: €120 - €200
gouache and collage Untitled signed 86' '89
Boven’s in coop with Douwes Fine Art
Jun. 28, 2011
Engels, Pieter; gouache and collage Untitled
Est: €120 - €200
Engels, Pieter; gouache and collage Untitled signed 86' '89 49,5 x 64,8 cm.
Boven’s in coop with Douwes Fine Art