Asta: 606 / Evening Sale del 12 giugno 2026 a Monaco di Baviera → Lot 125001508
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125001508
Christo
The Pont Neuf, Wrapped (Project for Paris) (2-teilig), 1985.
Mixed media. Graphite, charcoal, pastel, wax cr...
Stima: € 150,000 / $ 174,000
Le informationi sulla commissione, le tasse e il diritto di seguito saranno disponibili quattro settimane prima dell´asta.
125001508
Christo
The Pont Neuf, Wrapped (Project for Paris) (2-teilig), 1985.
Mixed media. Graphite, charcoal, pastel, wax cr...
Stima: € 150,000 / $ 174,000
Le informationi sulla commissione, le tasse e il diritto di seguito saranno disponibili quattro settimane prima dell´asta.
Christo
1935 - 2020
The Pont Neuf, Wrapped (Project for Paris) (2-teilig). 1985.
Mixed media. Graphite, charcoal, pastel, wax crayon, fabric, and aerial photograph, partially collaged, on cardboard, mounted on a stretcher.
Signed and dated in the lower right corner of the upper panel. Titled “THE PONT NEUF, WRAPPED (Project for Paris) Quai du Louvre, Q. de la Mégisserie. Ile de la Cité, Q. de l'Horloge, Quai des Orfevres, Q. de Conti, Q. des Gds. Augustins” along the lower edge. Inscribed with the dimensions and construction notes in the lower part. Both panels are inscribed with hanging instructions on the reverse. Total dimensions: ca. 144.5 x 165 cm (56.8 x 64.9 in). Upper Teil: 38 x 165 cm (14,9 x 64,9 in). Unterer Teil: 106,5 x 165 cm (41,73 x 64,96 in).
• Christo and Jeanne-Claude transform Paris's landmark, the Pont Neuf, into a temporary sculpture.
• This deliberate alienation prompts a reevaluation of the historic monument.
• A unique work of art that conveys the project's concept and vision.
• Key biographical work: Due to its Paris reference, the work holds a special personal significance for Christo and Jeanne-Claude.
• From the Deutsche Bank Collection.
• Similar works involving the wrapping of the Pont Neuf can be found at, among others, the Centre Pompidou in Paris, the Metropolitan Museum of Art in New York, and the National Gallery of Art in Washington, D.C.
We are grateful to Mr. Matthias Koddenberg of the Christo and Jeanne-Claude Foundation in New York for his kind assistance. The work is registered in the archive.
PROVENANCE: Michael Cullen, London.
Deutsche Bank cOLLECTION, Frankfurt (acquired from the above in 1985).
1935 - 2020
The Pont Neuf, Wrapped (Project for Paris) (2-teilig). 1985.
Mixed media. Graphite, charcoal, pastel, wax crayon, fabric, and aerial photograph, partially collaged, on cardboard, mounted on a stretcher.
Signed and dated in the lower right corner of the upper panel. Titled “THE PONT NEUF, WRAPPED (Project for Paris) Quai du Louvre, Q. de la Mégisserie. Ile de la Cité, Q. de l'Horloge, Quai des Orfevres, Q. de Conti, Q. des Gds. Augustins” along the lower edge. Inscribed with the dimensions and construction notes in the lower part. Both panels are inscribed with hanging instructions on the reverse. Total dimensions: ca. 144.5 x 165 cm (56.8 x 64.9 in). Upper Teil: 38 x 165 cm (14,9 x 64,9 in). Unterer Teil: 106,5 x 165 cm (41,73 x 64,96 in).
• Christo and Jeanne-Claude transform Paris's landmark, the Pont Neuf, into a temporary sculpture.
• This deliberate alienation prompts a reevaluation of the historic monument.
• A unique work of art that conveys the project's concept and vision.
• Key biographical work: Due to its Paris reference, the work holds a special personal significance for Christo and Jeanne-Claude.
• From the Deutsche Bank Collection.
• Similar works involving the wrapping of the Pont Neuf can be found at, among others, the Centre Pompidou in Paris, the Metropolitan Museum of Art in New York, and the National Gallery of Art in Washington, D.C.
We are grateful to Mr. Matthias Koddenberg of the Christo and Jeanne-Claude Foundation in New York for his kind assistance. The work is registered in the archive.
PROVENANCE: Michael Cullen, London.
Deutsche Bank cOLLECTION, Frankfurt (acquired from the above in 1985).
Wrapping the Pont Neuf, Christo and his partner Jeanne-Claude transformed this historic Parisian landmark into a temporary sculpture. Pont Neuf is the oldest bridge across the Seine still preserved in its original state. However, the wrapping project was not Object Art in the conventional sense, but rather a planned intervention in public space. Through this temporary veiling, the structure temporarily loses its natural presence within Paris’s cultural identity. A familiar part of the city’s collective memory is hidden, alienated, and transformed: contours emerge, and the bridge’s volume is emphasized. This process of alienation both reveals new aspects of the structure and enhances the historical monument’s significance. The realization of the project was preceded by several years of planning, and the wrapping was ultimately on view for 14 days starting September 22, 1985. 300 professional workers contributed to completing the project, covering the bridge with a golden fabric reminiscent of silk. This installation is held in place by ropes and steel chains, which also help ensure that the bridge’s essential contours remain recognizable.
“The Pont Neuf, Wrapped (Project for Paris)” holds a special place in the oeuvre of Christo and Jeanne-Claude, as it was in Paris that they met. Beyond the city’s general significance as an art metropolis, the project also represents a deeply personal work, one that is further charged with meaning by its biographical connection.
Christo and Jeanne-Claude are known for funding their projects independently. A common practice is to sell accompanying drawings, sketches, and collages—as is the case with our work. These artworks are not mere project documentation but distinct artistic statements in their own right. They convey the idea behind the concept, distill the vision, and make it tangible. Christo and Jeanne-Claude’s wrapping projects are regarded as a watershed moment in public art. Our image symbolizes an iconic chapter in art history in which urban identity and conceptual radicalism are brought together distinctively. [MH]
“The Pont Neuf, Wrapped (Project for Paris)” holds a special place in the oeuvre of Christo and Jeanne-Claude, as it was in Paris that they met. Beyond the city’s general significance as an art metropolis, the project also represents a deeply personal work, one that is further charged with meaning by its biographical connection.
Christo and Jeanne-Claude are known for funding their projects independently. A common practice is to sell accompanying drawings, sketches, and collages—as is the case with our work. These artworks are not mere project documentation but distinct artistic statements in their own right. They convey the idea behind the concept, distill the vision, and make it tangible. Christo and Jeanne-Claude’s wrapping projects are regarded as a watershed moment in public art. Our image symbolizes an iconic chapter in art history in which urban identity and conceptual radicalism are brought together distinctively. [MH]