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Albert Renger-PatzschIndustrielandschaft bei Essen, Kiesgrube bei Bottrop

In 30 Years of Photography at Lempertz - 30 Photo...

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Albert Renger-PatzschIndustrielandschaft bei Essen, Kiesgrube bei Bottrop
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Albert Renger-Patzsch
Industrielandschaft bei Essen, Kiesgrube bei Bottrop

Vintage, Gelatinesilberabzug auf Kodak-Royal-Papier. 37 x 27,2 cm. Rückseitig mit Buntstift datiert, mit Bleistift ausführlich betitelt und zweimal beziffert 'I 142' sowie mit zwei Photographenstempeln.

Provenienz
Privatsammlung, Rheinland

Literatur
Ann und Jürgen Wilde (Hg.), Albert Renger-Patzsch. Ruhrgebietslandschaften 1927-1935, Ausst.kat. Pinakothek der Moderne München, Köln 2017, Tafel 79 (hier betitelt: Formsandgrube bei Bottrop); Ann und Jürgen Wilde/Thomas Weski (Hg.), Albert Renger-Patzsch. Meisterwerke, Ausst.kat. Sprengel Museum Hannover, München u.a. 1997, Tafel 25; Albert Renger-Patzsch 1897-1966, Ausst.kat. Jeu de Paume, Paris u.a., Madrid 2017, S. 155 mit Abb.; Stefanie Grebe/Heinrich Theodor Grütter (Hg.), Albert Renger-Patzsch. Die Ruhrgebietsfotografien, Ausst.kat. Stiftung Ruhr Museum, Essen, Köln 2018, S. 49 mit Abb.

Aufgrund seiner Aufträge von Seiten der Industrie-Architekten Fritz Schupp und Alfred Fischer, deren Zechen er photographisch dokumentierte, war Albert Renger-Patzsch in den späten 1920er Jahren häufig im Ruhrgebiet unterwegs. 1929, dem Jahr der Aufnahme der Kiesgrube bei Bottrop, zog er mit seiner Familie auf die Margarethenhöhe in Essen. In den Jahren bis 1932 entstanden mehr als 150 freie, auftragsungebundene Aufnahmen dieser Gegend. Dabei richtete er das Objektiv seiner Kamera keineswegs auf Sehenswürdigkeiten oder Naturidyllen. Vielmehr waren es die eher reizlosen, von der Industrie durchsetzten und gezeichneten, ja als trist zu bezeichnenden Orte - Halden, Brachen, Gruben, Fabrikschlote und Fördertürme samt Rauch, Schotter und Erdreich - die er in den Blick nahm. Ebenso wie in seinen Objektphotographien sah er auch gegenüber der Landschaft seine Aufgabe als Photograph darin, ihren tatsächlichen Charakter in seinen Bildern festzuhalten: „So sollten wir die Wiedergabe der 'Landschaft als Dokument' wie eine Verpflichtung auffassen, die für uns mehr Reiz hat, als die Aufnahme pompöser Sonnenuntergänge.“ (zit. nach Simone Förster, in: Ann und Jürgen Wilde (Hg.),a.a.O., S. 11).
Gleichwohl manifestiert sich auch in Renger-Patzschs Ruhrgebietsphotographien der ihm eigene Wille zu einer in hohem Maße ästhetischen Bildgestaltung. Dies gilt insbesondere für die Aufnahme der Kiesgrube. Der Ausschnitt ist hier eng gewählt, statt einen topographischen Überblick zu gewähren, lenkt der Photograph unseren Blick auf die steil abfallende Abbruchkante der Formsandgrube, die mehr als die Hälfte der Bildfläche einnimmt. Ihre Oberflächenbeschaffenheit, d.h. die durch die Abtragung entstandenen Schürfspuren sowie die unterschiedlich verfärbten Schichten des Sandes, stehen im Fokus des photographischen Interesses und verdichten sich im Bild zu einer Struktur aus feins

Full description on lot-tissimo.com



Albert Renger-Patzsch
Industrielandschaft bei Essen, Kiesgrube bei Bottrop

Vintage, gelatin silver print on Kodak-Royal paper. 37 x 27.2 cm. Dated in crayon, titled and numbered twice 'I 147' as well as two photographer's stamps on the verso.

Provenance
Private collection, Rhineland

Literature
Ann und Jürgen Wilde (ed.), Albert Renger-Patzsch. Ruhrgebietslandschaften 1927-1935, exhib.cat. Pinakothek der der Moderne, München, Cologne 2017, plate 79 (here titled: Formsandgrube bei Bottrop); Ann und Jürgen Wilde/Thomas Weski (ed.), Albert Renger-Patzsch. Meisterwerke, exhib.cat. Sprengel Museum Hannover, Munich i.a. 1997, plate 25; Albert Renger-Patzsch 1897-1966, exhib.cat. Jeu de Paume, Paris i.a., Madrid 2017, ill. p. 155; Stefanie Grebe/Heinrich Theodor Grütter (ed.), Albert Renger-Patzsch. Die Ruhrgebietsfotografien, exhib.cat. Stiftung Ruhr Museum, Essen, Cologne 2018, ill. p. 49

From the late 1920s onwards, Albert Renger-Patzsch travelled often through the Ruhr valley due to commissions from the industrial architects Fritz Schupp and Alfred Fischer, whose collieries he documented photographically; in 1929, the year of the creation of Kiesgrube bei Bottrop, he moved to Margarethenhöhe in Essen together with his family. In the years up to 1932, more than 150 free, non-commissioned photographs of this region were taken. However, he did not aim the lens of his camera at places of interest or idylls of nature. On the contrary, it was rather the unattractive places, permeated and scarred by industry that could even be described as dreary - dumps, wasteland, pits, factory chimneys, and shaft towers including smoke, gravel and soil - upon which he focussed. Just as in his object photography, with regards to landscape photography he perceived his role as a photographer in recording their true character in his images: 'So we should see the reproduction of the “landscape as a document” as an obligation that has more appeal to us than the recording of pompous sunsets.' (as cited by Simone Förster, in: Ann und Jürgen Wilde (ed.), loc.cit., p. 11).
At the same time, Renger-Patzsch's own will to create highly aesthetic images manifests itself in his photographs of the Ruhr valley. This applies in particular to the shot of the Kiesgrube. Here, the detail is narrowly chosen; instead of providing a topographical overview, the photographer directs our gaze to the steeply sloping edge of the moulding sand pit, which occupies more than half of the image area. Its surface texture, i.e. the scrape marks as well as the differently discoloured layers of sand, are the focus of photographic interest and condense within the image into a structure of fine lines and grey shades. The rails running below the edge also become a graphic element due to their linearity, the diagonal of which determines the entire composition. Renger-Patzsch does not choose an extreme perspective and does not relinquish the effect of depth in favour of a composition that appears to be purely two-dimensional, as is the case in some of his other photographs. However, here also, the motif is subject to an aesthetic translation in which the various picture planes are combined to form a structure that is independent of the object, finely balanced, and abstractly legible. Renger-Patzsch himself described this procedure in detail: 'The detailed view of the space should be designed in such a way that it results in an ordered picture surface when projected onto the plane.' (as cited by Thomas Janzen, Zwischen der Stadt. Photographien des Ruhrgebiets von Albert Renger-Patzsch, Ostfildern 1996, p. 18). If he succeeds in transforming the real existing location into an aesthetic pictorial space, 'Renger-Patzsch will occupy a significant position in the artistic genre of landscape of the 1920s and 1930s, in addition to his position as one of the most significant object and industrial photographers of New Objectivity. Restrained emotionality and compositional clarity are elements of his objective photographic grammar, according to which he defined the landscapes of the Ruhr in his photographs. In doing so, he succeeded in giving this actually disparate landscape formation an appropriate form within the photographic image. In his images of the Ruhr valley, Renger-Patzsch captured the 'nature of the landscape' in such a manner that this photographic series has an iconic validity beyond its own era with regard to the representation of the region (as cited by Simone Förster, loc.cit, p. 12)
In addition to Drahtzaun im Schnee, Renger-Patzsch's widely published Kiesgrube pertains to the first two photographs that were exhibited in the USA, and that as early as 1932 at 'Philadelphia International Salon of Photography' at Pennsylvania Museum of Art. It is highly probable that the large-format print on light chamois-coloured Kodak Royal paper, which is up for auction here, was the exhibit from that exhibition.

Albert Renger-Patzsch
Industrielandschaft bei Essen, Kiesgrube bei Bottrop

Vintage, Gelatinesilberabzug auf Kodak-Royal-Papier. 37 x 27,2 cm. Rückseitig mit Buntstift datiert, mit Bleistift ausführlich betitelt und zweimal beziffert 'I 142' sowie mit zwei Photographenstempeln.

Provenienz
Privatsammlung, Rheinland

Literatur
Ann und Jürgen Wilde (Hg.), Albert Renger-Patzsch. Ruhrgebietslandschaften 1927-1935, Ausst.kat. Pinakothek der Moderne München, Köln 2017, Tafel 79 (hier betitelt: Formsandgrube bei Bottrop); Ann und Jürgen Wilde/Thomas Weski (Hg.), Albert Renger-Patzsch. Meisterwerke, Ausst.kat. Sprengel Museum Hannover, München u.a. 1997, Tafel 25; Albert Renger-Patzsch 1897-1966, Ausst.kat. Jeu de Paume, Paris u.a., Madrid 2017, S. 155 mit Abb.; Stefanie Grebe/Heinrich Theodor Grütter (Hg.), Albert Renger-Patzsch. Die Ruhrgebietsfotografien, Ausst.kat. Stiftung Ruhr Museum, Essen, Köln 2018, S. 49 mit Abb.

Aufgrund seiner Aufträge von Seiten der Industrie-Architekten Fritz Schupp und Alfred Fischer, deren Zechen er photographisch dokumentierte, war Albert Renger-Patzsch in den späten 1920er Jahren häufig im Ruhrgebiet unterwegs. 1929, dem Jahr der Aufnahme der Kiesgrube bei Bottrop, zog er mit seiner Familie auf die Margarethenhöhe in Essen. In den Jahren bis 1932 entstanden mehr als 150 freie, auftragsungebundene Aufnahmen dieser Gegend. Dabei richtete er das Objektiv seiner Kamera keineswegs auf Sehenswürdigkeiten oder Naturidyllen. Vielmehr waren es die eher reizlosen, von der Industrie durchsetzten und gezeichneten, ja als trist zu bezeichnenden Orte - Halden, Brachen, Gruben, Fabrikschlote und Fördertürme samt Rauch, Schotter und Erdreich - die er in den Blick nahm. Ebenso wie in seinen Objektphotographien sah er auch gegenüber der Landschaft seine Aufgabe als Photograph darin, ihren tatsächlichen Charakter in seinen Bildern festzuhalten: „So sollten wir die Wiedergabe der 'Landschaft als Dokument' wie eine Verpflichtung auffassen, die für uns mehr Reiz hat, als die Aufnahme pompöser Sonnenuntergänge.“ (zit. nach Simone Förster, in: Ann und Jürgen Wilde (Hg.),a.a.O., S. 11).
Gleichwohl manifestiert sich auch in Renger-Patzschs Ruhrgebietsphotographien der ihm eigene Wille zu einer in hohem Maße ästhetischen Bildgestaltung. Dies gilt insbesondere für die Aufnahme der Kiesgrube. Der Ausschnitt ist hier eng gewählt, statt einen topographischen Überblick zu gewähren, lenkt der Photograph unseren Blick auf die steil abfallende Abbruchkante der Formsandgrube, die mehr als die Hälfte der Bildfläche einnimmt. Ihre Oberflächenbeschaffenheit, d.h. die durch die Abtragung entstandenen Schürfspuren sowie die unterschiedlich verfärbten Schichten des Sandes, stehen im Fokus des photographischen Interesses und verdichten sich im Bild zu einer Struktur aus feins

Full description on lot-tissimo.com



Albert Renger-Patzsch
Industrielandschaft bei Essen, Kiesgrube bei Bottrop

Vintage, gelatin silver print on Kodak-Royal paper. 37 x 27.2 cm. Dated in crayon, titled and numbered twice 'I 147' as well as two photographer's stamps on the verso.

Provenance
Private collection, Rhineland

Literature
Ann und Jürgen Wilde (ed.), Albert Renger-Patzsch. Ruhrgebietslandschaften 1927-1935, exhib.cat. Pinakothek der der Moderne, München, Cologne 2017, plate 79 (here titled: Formsandgrube bei Bottrop); Ann und Jürgen Wilde/Thomas Weski (ed.), Albert Renger-Patzsch. Meisterwerke, exhib.cat. Sprengel Museum Hannover, Munich i.a. 1997, plate 25; Albert Renger-Patzsch 1897-1966, exhib.cat. Jeu de Paume, Paris i.a., Madrid 2017, ill. p. 155; Stefanie Grebe/Heinrich Theodor Grütter (ed.), Albert Renger-Patzsch. Die Ruhrgebietsfotografien, exhib.cat. Stiftung Ruhr Museum, Essen, Cologne 2018, ill. p. 49

From the late 1920s onwards, Albert Renger-Patzsch travelled often through the Ruhr valley due to commissions from the industrial architects Fritz Schupp and Alfred Fischer, whose collieries he documented photographically; in 1929, the year of the creation of Kiesgrube bei Bottrop, he moved to Margarethenhöhe in Essen together with his family. In the years up to 1932, more than 150 free, non-commissioned photographs of this region were taken. However, he did not aim the lens of his camera at places of interest or idylls of nature. On the contrary, it was rather the unattractive places, permeated and scarred by industry that could even be described as dreary - dumps, wasteland, pits, factory chimneys, and shaft towers including smoke, gravel and soil - upon which he focussed. Just as in his object photography, with regards to landscape photography he perceived his role as a photographer in recording their true character in his images: 'So we should see the reproduction of the “landscape as a document” as an obligation that has more appeal to us than the recording of pompous sunsets.' (as cited by Simone Förster, in: Ann und Jürgen Wilde (ed.), loc.cit., p. 11).
At the same time, Renger-Patzsch's own will to create highly aesthetic images manifests itself in his photographs of the Ruhr valley. This applies in particular to the shot of the Kiesgrube. Here, the detail is narrowly chosen; instead of providing a topographical overview, the photographer directs our gaze to the steeply sloping edge of the moulding sand pit, which occupies more than half of the image area. Its surface texture, i.e. the scrape marks as well as the differently discoloured layers of sand, are the focus of photographic interest and condense within the image into a structure of fine lines and grey shades. The rails running below the edge also become a graphic element due to their linearity, the diagonal of which determines the entire composition. Renger-Patzsch does not choose an extreme perspective and does not relinquish the effect of depth in favour of a composition that appears to be purely two-dimensional, as is the case in some of his other photographs. However, here also, the motif is subject to an aesthetic translation in which the various picture planes are combined to form a structure that is independent of the object, finely balanced, and abstractly legible. Renger-Patzsch himself described this procedure in detail: 'The detailed view of the space should be designed in such a way that it results in an ordered picture surface when projected onto the plane.' (as cited by Thomas Janzen, Zwischen der Stadt. Photographien des Ruhrgebiets von Albert Renger-Patzsch, Ostfildern 1996, p. 18). If he succeeds in transforming the real existing location into an aesthetic pictorial space, 'Renger-Patzsch will occupy a significant position in the artistic genre of landscape of the 1920s and 1930s, in addition to his position as one of the most significant object and industrial photographers of New Objectivity. Restrained emotionality and compositional clarity are elements of his objective photographic grammar, according to which he defined the landscapes of the Ruhr in his photographs. In doing so, he succeeded in giving this actually disparate landscape formation an appropriate form within the photographic image. In his images of the Ruhr valley, Renger-Patzsch captured the 'nature of the landscape' in such a manner that this photographic series has an iconic validity beyond its own era with regard to the representation of the region (as cited by Simone Förster, loc.cit, p. 12)
In addition to Drahtzaun im Schnee, Renger-Patzsch's widely published Kiesgrube pertains to the first two photographs that were exhibited in the USA, and that as early as 1932 at 'Philadelphia International Salon of Photography' at Pennsylvania Museum of Art. It is highly probable that the large-format print on light chamois-coloured Kodak Royal paper, which is up for auction here, was the exhibit from that exhibition.

30 Years of Photography at Lempertz - 30 Photographic Masterpieces / Photography

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

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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

 

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