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Berenice AbbottNightview, New York
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Beschreibung
Berenice Abbott
Nightview, New York
Späterer Gelatinesilberabzug. 90,1 x 71,4 cm. Auf Originalkarton aufgezogen, dort unterhalb des Bildes rechts mit Bleistift signiert. Rückseitig mit Photographenstempel und von fremder Hand mit Bleistift bezeichnet.
Provenienz
Nachlass Berenice Abbott
Literatur
Aperture Foundation (Hg.), Masters of Photography, Bd. 9: Berenice Abbott, New York 1988, S. 57 mit Abb.; Berenice Abbott, Bd.2: New York, Göttingen 2008, S. 54 mit Abb. und Abb. auf dem Buchtitel; Berenice Abbott, Ausst.kat. Centre National de la Photographie, Paris, London 2010, Tafel 20
Als Berenice Abbott nach achtjährigem Aufenthalt in Paris 1929 wieder nach New York zurückkehrte, war sie von den tiefgreifenden städtebaulichen Veränderungen, die sich in der Metropole in der Zwischenzeit vollzogen hatten, derart überwältigt, dass sie anfing, den Umbruch und die rasant fortschreitenden urbanen Entwicklungen mittels einer Großformatkamera, die sie eigens zu diesem Zweck erworben hatte, zu dokumentieren. Dabei widmete sie sich ihrer Arbeit mit jener Sorgfalt und Liebe zum Detail, die sie bei ihrem Pariser Vorbild Eugène Atget kennengelernt hatte. Auch er hatte sich - allerdings in Paris und dreißig Jahre zuvor - als Chronist urbaner Veränderungen betätigt - denkbar, dass auch dies ein Grund für Abbott war, sich mit dem Thema Wandel einer Großstadt zu beschäftigen.
Die ersten Jahre finanzierte Abbott ihre Arbeit durch kommerzielle Aufträge, die sie nebenher erledigte. 1935 erhielt sie eine Finanzierung für ihr Projekt Changing New York durch das Federal Art Project (FAP) und konnte sich von da ab ihrer Aufgabe vollständig widmen. 1937 wurden ihre Arbeiten in der gleichnamigen Ausstellung gezeigt. Als sie 1939 aus dem Projekt ausschied, hatte sie 305 Photographien fertiggestellt, die in den Bestand des Museum of the City of New York eingingen.
Der 1932 an einem frühen Abend im Dezember entstandene Blick von einer der obersten Etagen des Empire State Buildings auf das winterliche New York hat nichts von seiner atemberaubenden Wirkung auf den Betrachter eingebüßt. Die schwindelerregende Vogelperspektive, die massige Kubatur der Wolkenkratzer, übersäht von unzähligen kleinen Lichtpunkten der noch hell erleuchteten Büroetagen, das geheimnisvolle Aufleuchten einzelner, heller strahlender Aureolen üben eine magische Wirkung aus. Vor allem als großformatiger Abzug, wie er hier vorliegt, beeindruckt die Photographie durch ihre enorme Sogkraft und ihre geradezu futuristisch anmutende Modernität.
Berenice Abbott
Nightview, New York
Gelatin silver print, printed later. 90.1 x 71.4 cm. Flush-mounted to original card, signed in pencil below the image on the mount. Photographer's stamp and annotated in an unknown hand in pencil on the reverse of the mount.
Provenance
Estate of Berenice Abbott
Literature
Aperture Foundation (ed.), Masters of Photography, Vol. 9: Berenice Abbott, New York 1988, ill. p. 57; Berenice Abbott, Vol. II: New York, Göttingen 2008., ill. p. 54 and ill. on front cover; Berenice Abbott, exhib.cat. Centre National de la Photographie, Paris, London 2010, plate 20
When Berenice Abbott returned to New York in 1929 after an eight-year stay in Paris, she was so overwhelmed by the profound urban changes that had taken place in the metropolis in the meantime that she began to document the change and the rapidly progressing urban developments with a large-format camera she had purchased especially for this purpose. She devoted herself to her work with the care and attention to detail she had come to know from her Parisian role model Eugène Atget. He too had been active - albeit in Paris and thirty years earlier - as a chronicler of urban change; it is conceivable that this was one of the reasons for Abbott to deal with the subject of the transformation of a metropolis.
For the first few years Abbott financed her work through commercial commissions that she did on the side. In 1935, she received funding for her project 'Changing New York' from the Federal Art Project (FAP) and was able to devote herself entirely to her work from then on. In 1937, her works were shown in the 'Changing New York' exhibition. When she retired from the project in 1939, she had completed 305 photographs that were included to the collection of the 'Museum of the City of New York'.
The view of wintery New York from one of the top floors of the Empire State Building, taken in 1932 on an early December evening, has lost none of its breathtaking effect on the viewer. The vertiginous bird's-eye view, the massive cubature of the skyscrapers, covered by countless small points of light on the still brightly lit office floors, the mysterious illumination of individual, brightly shining aureoles exert a magical effect. Above all as a large-format print, as it is presented here, the photograph impresses with its enormous lure and its almost futuristic modernity.
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24.00 % buyer's premium on the hammer price
7.00 % pre-paid importation VAT on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Berenice Abbott
Nightview, New York
Späterer Gelatinesilberabzug. 90,1 x 71,4 cm. Auf Originalkarton aufgezogen, dort unterhalb des Bildes rechts mit Bleistift signiert. Rückseitig mit Photographenstempel und von fremder Hand mit Bleistift bezeichnet.
Provenienz
Nachlass Berenice Abbott
Literatur
Aperture Foundation (Hg.), Masters of Photography, Bd. 9: Berenice Abbott, New York 1988, S. 57 mit Abb.; Berenice Abbott, Bd.2: New York, Göttingen 2008, S. 54 mit Abb. und Abb. auf dem Buchtitel; Berenice Abbott, Ausst.kat. Centre National de la Photographie, Paris, London 2010, Tafel 20
Als Berenice Abbott nach achtjährigem Aufenthalt in Paris 1929 wieder nach New York zurückkehrte, war sie von den tiefgreifenden städtebaulichen Veränderungen, die sich in der Metropole in der Zwischenzeit vollzogen hatten, derart überwältigt, dass sie anfing, den Umbruch und die rasant fortschreitenden urbanen Entwicklungen mittels einer Großformatkamera, die sie eigens zu diesem Zweck erworben hatte, zu dokumentieren. Dabei widmete sie sich ihrer Arbeit mit jener Sorgfalt und Liebe zum Detail, die sie bei ihrem Pariser Vorbild Eugène Atget kennengelernt hatte. Auch er hatte sich - allerdings in Paris und dreißig Jahre zuvor - als Chronist urbaner Veränderungen betätigt - denkbar, dass auch dies ein Grund für Abbott war, sich mit dem Thema Wandel einer Großstadt zu beschäftigen.
Die ersten Jahre finanzierte Abbott ihre Arbeit durch kommerzielle Aufträge, die sie nebenher erledigte. 1935 erhielt sie eine Finanzierung für ihr Projekt Changing New York durch das Federal Art Project (FAP) und konnte sich von da ab ihrer Aufgabe vollständig widmen. 1937 wurden ihre Arbeiten in der gleichnamigen Ausstellung gezeigt. Als sie 1939 aus dem Projekt ausschied, hatte sie 305 Photographien fertiggestellt, die in den Bestand des Museum of the City of New York eingingen.
Der 1932 an einem frühen Abend im Dezember entstandene Blick von einer der obersten Etagen des Empire State Buildings auf das winterliche New York hat nichts von seiner atemberaubenden Wirkung auf den Betrachter eingebüßt. Die schwindelerregende Vogelperspektive, die massige Kubatur der Wolkenkratzer, übersäht von unzähligen kleinen Lichtpunkten der noch hell erleuchteten Büroetagen, das geheimnisvolle Aufleuchten einzelner, heller strahlender Aureolen üben eine magische Wirkung aus. Vor allem als großformatiger Abzug, wie er hier vorliegt, beeindruckt die Photographie durch ihre enorme Sogkraft und ihre geradezu futuristisch anmutende Modernität.
Berenice Abbott
Nightview, New York
Gelatin silver print, printed later. 90.1 x 71.4 cm. Flush-mounted to original card, signed in pencil below the image on the mount. Photographer's stamp and annotated in an unknown hand in pencil on the reverse of the mount.
Provenance
Estate of Berenice Abbott
Literature
Aperture Foundation (ed.), Masters of Photography, Vol. 9: Berenice Abbott, New York 1988, ill. p. 57; Berenice Abbott, Vol. II: New York, Göttingen 2008., ill. p. 54 and ill. on front cover; Berenice Abbott, exhib.cat. Centre National de la Photographie, Paris, London 2010, plate 20
When Berenice Abbott returned to New York in 1929 after an eight-year stay in Paris, she was so overwhelmed by the profound urban changes that had taken place in the metropolis in the meantime that she began to document the change and the rapidly progressing urban developments with a large-format camera she had purchased especially for this purpose. She devoted herself to her work with the care and attention to detail she had come to know from her Parisian role model Eugène Atget. He too had been active - albeit in Paris and thirty years earlier - as a chronicler of urban change; it is conceivable that this was one of the reasons for Abbott to deal with the subject of the transformation of a metropolis.
For the first few years Abbott financed her work through commercial commissions that she did on the side. In 1935, she received funding for her project 'Changing New York' from the Federal Art Project (FAP) and was able to devote herself entirely to her work from then on. In 1937, her works were shown in the 'Changing New York' exhibition. When she retired from the project in 1939, she had completed 305 photographs that were included to the collection of the 'Museum of the City of New York'.
The view of wintery New York from one of the top floors of the Empire State Building, taken in 1932 on an early December evening, has lost none of its breathtaking effect on the viewer. The vertiginous bird's-eye view, the massive cubature of the skyscrapers, covered by countless small points of light on the still brightly lit office floors, the mysterious illumination of individual, brightly shining aureoles exert a magical effect. Above all as a large-format print, as it is presented here, the photograph impresses with its enormous lure and its almost futuristic modernity.
- - -
24.00 % buyer's premium on the hammer price
7.00 % pre-paid importation VAT on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
30 Years of Photography at Lempertz - 30 Photographic Masterpieces / Photography
Auktionsdatum
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
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
24.00 % buyer's premium on the hammer price
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
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
