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1003

Bernhard Strigel, studio ofSaint ChristopherOil on panel. 92 x 84.5 cm.ExpertiseAnna Moraht-Fromm,

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

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Bernhard Strigel, studio ofSaint ChristopherOil on panel. 92 x 84.5 cm.ExpertiseAnna Moraht-Fromm,
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Bernhard Strigel, studio of
Saint Christopher

Oil on panel. 92 x 84.5 cm.

Expertise
Anna Moraht-Fromm, Berlin, July 2019.

Provenance
South German private collection,

Everything about this figure expresses power and physical prescence, but also the gravity of carrying the infant saviour across the rushing river. Saint Christopher strides vigorously towards the left; only the toes of his left foot touch the ground and he grips a tree trunk on the river bank with both hands. His face is turned upwards, which causes his entire body to twist in an agile curve. The Christ Child sits upon his shoulder facing the viewer with his right hand raised in a blessing gesture and holding a globe in his left. Despite Saint Christopher's animated pose, Christ sits calmly upon his shoulder, and only the fluttering cape testifies to the dynamic movement of the figures. Once they reach the river bank, Christ will baptise the giant and give him the name Christopher - Bearer of Christ.

This fascinating and expressive depiction once formed one of the outer panels of a polyptych made in the workshop of Bernhard Strigel in Memmingen which is dated to 1522. Like many altarpieces, this polyptych was later taken apart and its pieces were dispersed. However, it is still possible to reconstruct the appearance of the outer panel. Alongside this Saint Christopher, the upper register bore an image of the "Anna Selbdritt", with Saint Anne in a landscape holding Christ and the Virgin Mary in her hands (cf. fig. 1). The panel with the Anna Selbdritt, of identical dimensions to the present one, has previously appeared on the international art market. Aside from these two depictions of saints, the left outer panel also included an image of the Adoration of the Magi spread across two panels, only documented in old photographs.

With figures of Saint Anne and Saint Christopher, the left outer panel of the altarpiece both depicted the carrying of Christ, with the dynamic figure of Saint Christopher contrasting against the calm figure of Saint Anne. Moraht-Fromm compares this unusually expressive composition to Strigel's image of Christ crowned with Thorns in the high altar of the Benedictine Abbey of Blaubeuren.
Bernhard Strigel was the last great representative of a family of artists with a substantial workshop active as altar painters in southern Germany for three generations. Moraht-Fromm praises the fine underdrawing of the present panel, which could have been made by Bernhard Strigel himself.Bernhard Strigel, Werkstatt
Heiliger Christophorus

Öl auf Holz. 92 x 84,5 cm.

Gutachten
Anna Moraht-Fromm, Berlin, Juli 2019.

Provenienz
Württembergische Privatsammlung.

Alles an dieser Figur zeugt von ihrer Kraft und Größe, aber auch von der Bedeutung ihrer Aufgabe, den Heiland über den reißenden Fluss zu tragen. In einer mächtigen Bewegung schreitet der hl. Christophorus nach links. Er berührt nur mit den Zehenspitzen seines linken Fußes den Boden, mit beiden Händen umklammert er den Stamm eines Baumes am Ufer. Sein Kopf ist nach oben gewendet, so dass sich eine spannungsreiche Drehung des gesamten Körpers ergibt. Auf seiner Schulter sitzt das Christuskind, dem Betrachter zugewandt, die Rechte zum Segensgruß erhoben und in der Linken die Weltkugel haltend. Trotz der heftigen Bewegung thront Christus ruhig auf der Schulter des Heiligen, nur der kunstvoll im Wind flatternde Umhang zeugt von der dynamischen Bewegung der Figuren. Am Ufer angelangt, wird Christus den Riesen unter dem Namen Christophorus - Christusträger - taufen.
Diese in ihrer Expressivität faszinierende Darstellung stellt einen Teil der Außenseite eines Flügelaltars dar, der in der Werkstatt des in Memmingen ansässigen Bernhard Strigel entstanden ist und auf 1522 datiert werden kann. Wie so viele Altarretabel, so ist auch dieser in späterer Zeit auseinandergerissen worden. Gleichwohl lässt sich das Aussehen des Außenflügels rekonstruieren. Im oberen Register befand sich neben der vorliegenden Darstellung des Hl. Christophorus eine Anna Selbdritt mit der hl. Anna in einer Landschaft, Maria und Christus in ihren Händen tragend (vgl. Abb. 1). Diese Tafel mit identischen Maßen wie das vorliegende Gemälde tauchte vor einiger Zeit auf dem internationalen Kunstmarkt auf. Unter den beiden Heiligendarstellungen befand sich eine über zwei Tafeln verteilte Anbetung der Könige, die nur durch ältere Fotografien bekannt ist.
Mit der Anna Selbdritt und dem hl. Christophorus wurden somit zwei Christusträger auf der Außenseite dargestellt. Die dynamische Figur des hl. Christophorus wurde dabei die ruhig in der Bildmitte stehende Anna Selbdritt gegenübergestellt. Moraht-Fromm vergleicht die außergewöhnlich expressive Figurenkomposition der vorliegenden Tafel mit einem anderen Werk Bernhard Strigels, der Dornenkrönung auf dem Hochaltarretabel der Benediktiner-Klosterkirche in Blaubeuren.
Bernhard Strigel war der letzte bedeutende Vertreter einer Künstlerfamilie, die in Süddeutschland über drei Generationen Altäre schuf und eine große Werkstatt unterhielt. Moraht-Fromm verweist auf die qualitätvolle Unterzeichnung auf der vorliegenden Tafel, die von Bernhard Strigel selbst stammen könnte.
- - -

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

Bernhard Strigel, studio of
Saint Christopher

Oil on panel. 92 x 84.5 cm.

Expertise
Anna Moraht-Fromm, Berlin, July 2019.

Provenance
South German private collection,

Everything about this figure expresses power and physical prescence, but also the gravity of carrying the infant saviour across the rushing river. Saint Christopher strides vigorously towards the left; only the toes of his left foot touch the ground and he grips a tree trunk on the river bank with both hands. His face is turned upwards, which causes his entire body to twist in an agile curve. The Christ Child sits upon his shoulder facing the viewer with his right hand raised in a blessing gesture and holding a globe in his left. Despite Saint Christopher's animated pose, Christ sits calmly upon his shoulder, and only the fluttering cape testifies to the dynamic movement of the figures. Once they reach the river bank, Christ will baptise the giant and give him the name Christopher - Bearer of Christ.

This fascinating and expressive depiction once formed one of the outer panels of a polyptych made in the workshop of Bernhard Strigel in Memmingen which is dated to 1522. Like many altarpieces, this polyptych was later taken apart and its pieces were dispersed. However, it is still possible to reconstruct the appearance of the outer panel. Alongside this Saint Christopher, the upper register bore an image of the "Anna Selbdritt", with Saint Anne in a landscape holding Christ and the Virgin Mary in her hands (cf. fig. 1). The panel with the Anna Selbdritt, of identical dimensions to the present one, has previously appeared on the international art market. Aside from these two depictions of saints, the left outer panel also included an image of the Adoration of the Magi spread across two panels, only documented in old photographs.

With figures of Saint Anne and Saint Christopher, the left outer panel of the altarpiece both depicted the carrying of Christ, with the dynamic figure of Saint Christopher contrasting against the calm figure of Saint Anne. Moraht-Fromm compares this unusually expressive composition to Strigel's image of Christ crowned with Thorns in the high altar of the Benedictine Abbey of Blaubeuren.
Bernhard Strigel was the last great representative of a family of artists with a substantial workshop active as altar painters in southern Germany for three generations. Moraht-Fromm praises the fine underdrawing of the present panel, which could have been made by Bernhard Strigel himself.Bernhard Strigel, Werkstatt
Heiliger Christophorus

Öl auf Holz. 92 x 84,5 cm.

Gutachten
Anna Moraht-Fromm, Berlin, Juli 2019.

Provenienz
Württembergische Privatsammlung.

Alles an dieser Figur zeugt von ihrer Kraft und Größe, aber auch von der Bedeutung ihrer Aufgabe, den Heiland über den reißenden Fluss zu tragen. In einer mächtigen Bewegung schreitet der hl. Christophorus nach links. Er berührt nur mit den Zehenspitzen seines linken Fußes den Boden, mit beiden Händen umklammert er den Stamm eines Baumes am Ufer. Sein Kopf ist nach oben gewendet, so dass sich eine spannungsreiche Drehung des gesamten Körpers ergibt. Auf seiner Schulter sitzt das Christuskind, dem Betrachter zugewandt, die Rechte zum Segensgruß erhoben und in der Linken die Weltkugel haltend. Trotz der heftigen Bewegung thront Christus ruhig auf der Schulter des Heiligen, nur der kunstvoll im Wind flatternde Umhang zeugt von der dynamischen Bewegung der Figuren. Am Ufer angelangt, wird Christus den Riesen unter dem Namen Christophorus - Christusträger - taufen.
Diese in ihrer Expressivität faszinierende Darstellung stellt einen Teil der Außenseite eines Flügelaltars dar, der in der Werkstatt des in Memmingen ansässigen Bernhard Strigel entstanden ist und auf 1522 datiert werden kann. Wie so viele Altarretabel, so ist auch dieser in späterer Zeit auseinandergerissen worden. Gleichwohl lässt sich das Aussehen des Außenflügels rekonstruieren. Im oberen Register befand sich neben der vorliegenden Darstellung des Hl. Christophorus eine Anna Selbdritt mit der hl. Anna in einer Landschaft, Maria und Christus in ihren Händen tragend (vgl. Abb. 1). Diese Tafel mit identischen Maßen wie das vorliegende Gemälde tauchte vor einiger Zeit auf dem internationalen Kunstmarkt auf. Unter den beiden Heiligendarstellungen befand sich eine über zwei Tafeln verteilte Anbetung der Könige, die nur durch ältere Fotografien bekannt ist.
Mit der Anna Selbdritt und dem hl. Christophorus wurden somit zwei Christusträger auf der Außenseite dargestellt. Die dynamische Figur des hl. Christophorus wurde dabei die ruhig in der Bildmitte stehende Anna Selbdritt gegenübergestellt. Moraht-Fromm vergleicht die außergewöhnlich expressive Figurenkomposition der vorliegenden Tafel mit einem anderen Werk Bernhard Strigels, der Dornenkrönung auf dem Hochaltarretabel der Benediktiner-Klosterkirche in Blaubeuren.
Bernhard Strigel war der letzte bedeutende Vertreter einer Künstlerfamilie, die in Süddeutschland über drei Generationen Altäre schuf und eine große Werkstatt unterhielt. Moraht-Fromm verweist auf die qualitätvolle Unterzeichnung auf der vorliegenden Tafel, die von Bernhard Strigel selbst stammen könnte.
- - -

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

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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.
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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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