Hundertwasser's comment on the work

A few years ago I designed for a perfume bottle a snailcap. When I asked to sniff what was in it, I felt nauseous. Joram had put a couple of drops of this perfume on his sleeve because he didn't believe me, and he had to get out of his car and take the tram, that's how bad the perfume stank up the car. The perfume makers came to Vienna for the express purpose of giving me other perfumes to try: cyclamen, roses and all kinds of scents, in a suitcase full of flasks. All of them smelled horribly of perfumed ladies, the kind I go out of my way toavoid. I suggested that for the bottle I had designed they should make a scent that I, Hundertwasser, could identify with, too, exquisite turpentine, for example, but especially the humus odor of forest soil. The perfume makers were furious; never had personalities for whom perfumes had been named, and more renowned ones than I, ever made demands about the scent. So the Hundertwasser perfume bottle came to naught.

APA 353
1003
PERFUME FLACON
PARFUME FLACON

1994
Galerie Levy, Hamburg
Prototype
5 x 5 x 14 cm
Executed by Andreas I. Zanaschka, Bruderndorf, Lower Austria
Private collection, Vienna

Design
Vienna, December 1993
29.6 x 21 cm
Pencil on paper
Not signed
Private collection, Vienna
  • KunstHausWien, Vienna, 2008/09
  • ARKEN Museum of Modern Art, Ishoj, Denmark, 2014
  • Osthaus Museum, Hagen, 2015
  • A. C. Fürst, Hundertwasser 1928-2000, Catalogue Raisonné, Cologne, 2002, Vol. II, p. 1121 (c)
  • Der unbekannte Hundertwasser, KunstHausWien, Vienna, 2008, pp. 200-201 (and c), 295
  • Der unbekannte Hundertwasser, KunstHausWien, Vienna, 2008, pp. 200-201 (and c), 295
  • Der unbekannte Hundertwasser, KunstHausWien, Vienna, 2008, pp. 200-201 (and c), 295
  • Der unbekannte Hundertwasser, KunstHausWien, Vienna, 2008, pp. 200-201 (and c), 295