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Joos de MomperRocky Landscape with Mill at a RiverOil on panel (parquetted). 81 x 124 cm.

In Paintings and Drawings 15th - 19th C. / Sculpt...

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Joos de MomperRocky Landscape with Mill at a RiverOil on panel (parquetted). 81 x 124 cm.
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Joos de Momper
Rocky Landscape with Mill at a River

Oil on panel (parquetted). 81 x 124 cm.

Expertise
Dr. Klaus Ertz, Lingen, 30.9.2019.

Joos de Momper, the son of a painter and art dealer, joined the Guild of Saint Luke in his hometown of Antwerp in 1581. It is highly probable that he then undertook a trip to Italy. Although this is not documented, it is indicated by numerous motifs in his paintings. He must have returned to Antwerp at the latest by the time of his marriage in 1590.

Momper devoted himself exclusively to landscape painting. Initially he mainly painted "world landscapes", which are still strongly influenced by Pieter Brueghel the Elder and Paul Bril, but later he expanded his repertoire to include hill and plain landscapes, grotto scenes, and seasonal depictions.

This painting was assigned to the artist's early phase by Dr Klaus Ertz, who dates it to the late 1590s. Here, De Momper combines various parts of the landscape into a harmonious overall composition, painted in predominantly pale colours. At the lower edge of the picture, a partly shaded path extends into the foremost picture plane. This leads to a bridge on the right where we see a peaceful group of figures conversing and several riders on horseback.

In the left half of the image, a rugged rock formation rises above a calm expanse of water. It is crowned by a castle and several waterfalls descend down its surface into the river below. A shepherd playing a shawm has settled with his dog and herd at the foot of the rock. On the right, the observer's gaze is led far into the distance, where the landscape appears to dissolve into a pale haze. Above the water mill on the river bank, one sees a covered wagon and several travellers on foot.

Ertz assigned the lively and varied figural staffage in this painting to an artist from the circle of Sebastiaen Vrancx (1573-1647). Flemish art of the early 17th century is characterised by this kind of creative collaboration between artists specialising in various genres.Joos de Momper
Felslandschaft mit Mühle am Fluss

Öl auf Holz (parkettiert). 81 x 124 cm.

Gutachten
Dr. Klaus Ertz, Lingen, 30.9.2019.

Joos de Momper, der Sohn eines Malers und Kunsthändlers, trat 1581 in die Lukasgilde seiner Heimatstadt Antwerpen ein. Höchstwahrscheinlich unternahm er danach eine Italienreise, die zwar dokumentarisch nicht belegt ist, worauf jedoch zahlreiche Motive in seinen Gemälden hindeuten. Spätestens zum Zeitpunkt seiner Heirat 1590 dürfte er wieder zurück in Antwerpen gewesen sein.
Momper hat sich ausschließlich der Landschaftsmalerei gewidmet: fertigte er zunächst vor allem Überschau- oder Weltlandschaften an, die noch stark unter dem Einfluss Pieter Brueghels d. Ä. und Paul Brils standen, so erweiterte er später sein Motivrepertoire um Hügel- und Flachlandschaften, Grottenszenen und jahreszeitliche Darstellungen.
Das vorliegende Gemälde wurde von Dr. Klaus Ertz dem Frühwerk des Künstlers zugewiesen, er datiert es in die späten1590er Jahre. De Momper kombiniert hier verschiedenartige Landschaftsteile zu einer harmonischen Gesamtkomposition, die er in überwiegend hellen Farben wiedergibt. Am unteren Bildrand erstreckt sich in der vordersten Bildebene ein teils verschatteter Weg, der nach rechts zu einer Brücke führt. Hier finden sich eine Gruppe entspannt miteinander plaudernder Figuren sowie mehrere Reiter zu Pferde. Über eine ruhige, ausgedehnte Wasserfläche erhebt sich in der linken Bildhälfte eine schroffe Felsformation, die von einer Burganlage bekrönt wird und von der sich mehrere Wasserfälle in den Fluss ergießen. Am Fuß der Felsen hat sich ein Schalmei spielender Ziegenhirte mit seinem Hund und seiner Herde niedergelassen. Auf der rechten Seite geht der Blick des Betrachters weit in die Ferne, die sich in hellsten Farbnuancen nahezu auflöst. Über der Wassermühle am Flussufer erkennt man einen Planwagen und mehrere Reisenden zu Fuß.
Die wunderbare, abwechslungsreiche Figurenstaffage weist Ertz einem Maler aus dem Umkreis des Sebastiaen Vrancx (1573-1647) zu. Für die flämische Malerei der ersten Hälfte des 17. Jahrhunderts ist eine solche Zusammenarbeit von zwei Künstlern und die Spezialisierung auf verschiedene Gattungen überaus charakteristisch.
- - -

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

Joos de Momper
Rocky Landscape with Mill at a River

Oil on panel (parquetted). 81 x 124 cm.

Expertise
Dr. Klaus Ertz, Lingen, 30.9.2019.

Joos de Momper, the son of a painter and art dealer, joined the Guild of Saint Luke in his hometown of Antwerp in 1581. It is highly probable that he then undertook a trip to Italy. Although this is not documented, it is indicated by numerous motifs in his paintings. He must have returned to Antwerp at the latest by the time of his marriage in 1590.

Momper devoted himself exclusively to landscape painting. Initially he mainly painted "world landscapes", which are still strongly influenced by Pieter Brueghel the Elder and Paul Bril, but later he expanded his repertoire to include hill and plain landscapes, grotto scenes, and seasonal depictions.

This painting was assigned to the artist's early phase by Dr Klaus Ertz, who dates it to the late 1590s. Here, De Momper combines various parts of the landscape into a harmonious overall composition, painted in predominantly pale colours. At the lower edge of the picture, a partly shaded path extends into the foremost picture plane. This leads to a bridge on the right where we see a peaceful group of figures conversing and several riders on horseback.

In the left half of the image, a rugged rock formation rises above a calm expanse of water. It is crowned by a castle and several waterfalls descend down its surface into the river below. A shepherd playing a shawm has settled with his dog and herd at the foot of the rock. On the right, the observer's gaze is led far into the distance, where the landscape appears to dissolve into a pale haze. Above the water mill on the river bank, one sees a covered wagon and several travellers on foot.

Ertz assigned the lively and varied figural staffage in this painting to an artist from the circle of Sebastiaen Vrancx (1573-1647). Flemish art of the early 17th century is characterised by this kind of creative collaboration between artists specialising in various genres.Joos de Momper
Felslandschaft mit Mühle am Fluss

Öl auf Holz (parkettiert). 81 x 124 cm.

Gutachten
Dr. Klaus Ertz, Lingen, 30.9.2019.

Joos de Momper, der Sohn eines Malers und Kunsthändlers, trat 1581 in die Lukasgilde seiner Heimatstadt Antwerpen ein. Höchstwahrscheinlich unternahm er danach eine Italienreise, die zwar dokumentarisch nicht belegt ist, worauf jedoch zahlreiche Motive in seinen Gemälden hindeuten. Spätestens zum Zeitpunkt seiner Heirat 1590 dürfte er wieder zurück in Antwerpen gewesen sein.
Momper hat sich ausschließlich der Landschaftsmalerei gewidmet: fertigte er zunächst vor allem Überschau- oder Weltlandschaften an, die noch stark unter dem Einfluss Pieter Brueghels d. Ä. und Paul Brils standen, so erweiterte er später sein Motivrepertoire um Hügel- und Flachlandschaften, Grottenszenen und jahreszeitliche Darstellungen.
Das vorliegende Gemälde wurde von Dr. Klaus Ertz dem Frühwerk des Künstlers zugewiesen, er datiert es in die späten1590er Jahre. De Momper kombiniert hier verschiedenartige Landschaftsteile zu einer harmonischen Gesamtkomposition, die er in überwiegend hellen Farben wiedergibt. Am unteren Bildrand erstreckt sich in der vordersten Bildebene ein teils verschatteter Weg, der nach rechts zu einer Brücke führt. Hier finden sich eine Gruppe entspannt miteinander plaudernder Figuren sowie mehrere Reiter zu Pferde. Über eine ruhige, ausgedehnte Wasserfläche erhebt sich in der linken Bildhälfte eine schroffe Felsformation, die von einer Burganlage bekrönt wird und von der sich mehrere Wasserfälle in den Fluss ergießen. Am Fuß der Felsen hat sich ein Schalmei spielender Ziegenhirte mit seinem Hund und seiner Herde niedergelassen. Auf der rechten Seite geht der Blick des Betrachters weit in die Ferne, die sich in hellsten Farbnuancen nahezu auflöst. Über der Wassermühle am Flussufer erkennt man einen Planwagen und mehrere Reisenden zu Fuß.
Die wunderbare, abwechslungsreiche Figurenstaffage weist Ertz einem Maler aus dem Umkreis des Sebastiaen Vrancx (1573-1647) zu. Für die flämische Malerei der ersten Hälfte des 17. Jahrhunderts ist eine solche Zusammenarbeit von zwei Künstlern und die Spezialisierung auf verschiedene Gattungen überaus charakteristisch.
- - -

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

Paintings and Drawings 15th - 19th C. / Sculpture and Works of Art

Auktionsdatum
Lose: 1000 - 1229
Lose: 1300 - 1380
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

3 % live surcharge plus VAT

Different terms on lot level:

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

or

19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR

or

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

AGB

Conditions of Sale

1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.

The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, -telephonically or via the internet. The placing of bids in absentia must reach -Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with ticket number and item description. In the event of ambiguities, the listed ticket number -becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b – d of the Civil Code) do not -apply. Telephonic bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction. The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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