Page 150 - Auction Team Breker | Auction 24+25 May 2018

in Münster. – Dabei: "Der Computer – Mein Le- benswerk", Konrad Zuse 1984, mit Original- Widmung vom 10.11.1993.
Futuristic Cityscape by Konrad Zuse, 1991
Oil on canvas, signed on lower-right side "K. Zuse 91", 233/5 x311⁄2in.,261/3 x341⁄4in.framed.–KonradZuse (1910–1995), civil engineer, artist and pioneer of infor- mation technology, is widely recognized as the inventor of the first programmable electro-mechanical computer. Born in Berlin in 1910, Zuse studied architecture and engineering at the Technische Hochschule Berlin- Charlottenburg 1927–1935. – The young Zuse began designs for a computer as early as 1934. His first project, the "Z1", a mechanical calculator that read instructions from 35mm film, was completed in 1938. The "Z2" fol- lowed in 1940, succeeded by the revolutionary "Z3", the first programmable calculator with memory and a calcu- lation unit based on telephone relays, in May 1941. Groundbreaking research into machine code resulted in the first high-level programming language, "Plankalkül", written for a computer. – Zuse's sense of form and space found only partial expression through his mathematical work. An early interest in design included drawing, pho- tography and the Expressionist movement. The attempt to define space in all its concrete and abstract elements became a guiding principle. In his 1969 discourse, "Rechnender Raum" ("Calculating Space"), Zuse visualized the cosmos as a giant computer that could not be influenced externally.
Zuse's autobiography describes how architecture ap- pealed to his artistic side like a "tantalising mirage" while his profession represented "the ideal combination of artist and engineer". His controlled abstract works and urban landscapes, with titles such as "Stadtvision" ("Vision of a City"), "Kosmischer Raum" ("Cosmic Space") and "Bestrahlte Architektur" ("Irradiated Archi- tecture"), show Zuse's preoccupation with space as a physical as well as a theoretical concept. –
By 1962 the 52-year-old Zuse was devoting ever more time to his art, working in oils, watercolor and chalk. Later paintings were signed with the pseudonym "Kuno See", in order, as he wrote in 1988, to "make a clear distinction between my main work, computer develop- ment and information technology, and my artistic activi- ties". – Konrad Zuse's status as the grandfather of in- formation technology was cemented at the 1994 IFIP Congress (International Federation for Information Pro- cessing) in Hamburg with the presentation of his twelve chalk portraits of German computing pioneers. At Ce- Bit '95 fair in Hannover the following year, he presented this portrait to Microsoft co-founder Bill Gates, com- menting: "I admire Bill Gates as a successful business man but I do not envy him. His successes have required a resolute dedication. The responsibility is high and the well-being of the economy and of the United States de- pends ever more on the quality of the software in the most diverse of areas". – Zuse's work is to be found in national German collections, including the Konrad Zuse Museum in Hünfeld, the Astronomisch-Physikalisches Kabinett in Kassel and the Staatliche Graphische Sammlung in Mün- ster. – Accompanied by the book "Der Computer – Mein Lebenswerk", Konrad Zuse, 1984, with original dedica- tion from Konrad Zuse 10.11.1993.
– (1–2/–) – € 8.000/15.000 – (786/3)
491: "Sewing Machine" (Nähmaschine) von Fumio Yoshimura, um 1970 € 6.500,-
Raffinierte Lindenholz-Skulptur von Fumio Yoshimura (1926–2002). Detailgetreu geschnitzte Gestell-Nähma- schine im Maßstab 1:1. "Singer"-Plakette, Antriebsrie- men, Nadel und Fußpedal sind komplett aus Holz gefer- tigt (78 x 42 x 94 cm). – Dabei ein Original- Pressephoto (A4), das Yoshimura mit seiner Nähma- schinen-Skulptur in seinem Studio zeigt. Rückseitig beschriftet "Fumio Yoshimura, husband of Kate Millet" und mit Pressestempel "The Observer, 24 Jan.". – An- läßlich seines Todes veröffentlichte die New York Times einen Nachruf und nannte ihn den "Sculptor of (the) Everyday". Fumio Yoshimura, geboren in Japan, studierte Kunst an der Kunstakademie in Tokyo, emi- grierte 1963 in die USA und lernte in New York autodi- daktisch die Holzschnitzerei mit Meißel, Messern und Bohrern kennen. Er schuf sich sein eigenes Studio und kreierte detaillierte hölzerne Replikas von Pflanzen, Maschinen und verschiedensten Gebrauchsgegenstän- den, wie Schreibmaschinen, Motorrädern und ausgefal- lenen Fahrrädern – alle Reproduktionen im Maßstab 1:1, aus unlackiertem Lindenholz. – 1965 heiratete Yoshimura die berühmte amerikanische Schriftstelle- rin, Bildhauerin und Feministin Kate Millet, die ihm 1970 ihr Werk "Sexual Politics" widmete. – Obwohl Yoshimura niemals Personen in seiner Arbeit darstellte, wurden in seinen Objekten indirekt deren Tätigkeiten dargestellt, wie in einem Apfelschäler mit einer halbge- schälten Frucht. Er erinnert mit seinen raffinierten Lin- denholz-Skulpturen, die er selbst "ghosts of the original objects" nannte, an die Zeit der Pop-Art und an den Funktionalismus von Andy Warhol. – Yoshimuras Skulpturen sind in namhaften Museumssammlungen zu finden, wie zum Beispiel im Philadelphia Museum of Arts, the Hood Museum of Art am Dartmouth College und im Norton Museum of Art in West Palm Beach. – Die hier angebotene Nähmaschinenskulptur ist ein attraktives Original eines großen und bedeutenden Künstlers der Moderne.
"Sewing Machine" by Fumio Yoshimura, c. 1970
Static linden wood sculpture of a treadle sewing ma- chine with carved "Singer" plaque, bobbins, fretwork treadle, drive-belt and wheel, on serpentine base with drawer-fronts, wd. 30 1⁄2 x dp. 16 1⁄2 x ht. 37 in. (78 x 42 x 94 cm). – Accompanying the sculpture is an 8 x 11 in. press photograph of Yoshimura standing before this sewing machine sculpture in his studio, the reverse with pencil inscription: "Fumio Yoshimura, husband of Kate Millet" and press stamp from "The Observer" newspa- per, 24. January. – Heralded by the "New York Times" as "Sculptor of (the) Everyday", Fumio Yoshimura (1926–2002) was born in Japan and studied painting at the Tokyo University of Arts. After moving to New York in 1963, Yoshimura taught himself wood carving with an assortment of chisels, knives and drills. He estab- lished his own studio and created detailed sculptures of ephemeral life, such as flowers and food, as well utili- tarian items – typewriters, motorbikes, machines – which he reproduced on a 1:1 scale in unfinished linden wood. – In 1965 Yoshimura married the prominent American feminist author, artist and activist Kate Mil- let, whose 1970 work "Sexual Politics" is dedicated to him. – Though he never depicted people in his work, the