Los

218

Max LiebermannStudie zum "Rindermarkt in Leiden"

In Modern Art Catalogue Paul Baum Collection Gemm...

Diese Auktion ist eine LIVE Auktion! Sie müssen für diese Auktion registriert und als Bieter freigeschaltet sein, um bieten zu können.
Sie wurden überboten. Um die größte Chance zu haben zu gewinnen, erhöhen Sie bitte Ihr Maximal Gebot.
Ihre Registrierung wurde noch nicht durch das Auktionshaus genehmigt. Bitte, prüfen Sie Ihr E-Mail Konto für mehr Details.
Leider wurde Ihre Registrierung durch das Auktionshaus abgelehnt. Sie können das Auktionshaus direkt kontaktieren über +49 (0)221 9257290 um mehr Informationen zu erhalten.
Sie sind zurzeit Höchstbieter! Um sicher zustellen, dass Sie das Los ersteigern, melden Sie sich zum Live Bieten an unter , oder erhöhen Sie ihr Maximalgebot.
Geben Sie jetzt ein Gebot ab! Ihre Registrierung war erfolgreich.
Entschuldigung, die Gebotsabgabephase ist leider beendet. Es erscheinen täglich 1000 neue Lose auf lot-tissimo.com, bitte starten Sie eine neue Anfrage.
Das Bieten auf dieser Auktion hat noch nicht begonnen. Bitte, registrieren Sie sich jetzt, so dass Sie zugelassen werden bis die Auktion startet.
1/2
Max LiebermannStudie zum "Rindermarkt in Leiden" - Bild 1 aus 2
Max LiebermannStudie zum "Rindermarkt in Leiden" - Bild 2 aus 2
Max LiebermannStudie zum "Rindermarkt in Leiden" - Bild 1 aus 2
Max LiebermannStudie zum "Rindermarkt in Leiden" - Bild 2 aus 2
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Max Liebermann
Studie zum "Rindermarkt in Leiden"

Öl auf festem Malkarton. 32,6 x 40,2 cm. Gerahmt. In der Darstellung seitlich unten rechts mit schwarzer Tusche signiert 'M Liebermann'. - Der Karton rückseitig mit dem Stempel einer holländischen Malmittelfirma aus Den Haag. - In gutem Zustand mit minimalen Randretuschen. Der Karton in den Ecken mit Lochspuren einer Reissnagelheftung.

Eberle 1900/15 (dort noch als "verschollen")

Mit einem Gutachten von Matthias Eberle, Berlin, vom 1. September 2002

Provenienz
Max Liebermann, Berlin (1902); Direktor Alfred Hagelstange, Köln (1911); Paul Cassirer, Berlin (1917); Galerie Caspari, München (1917); Rheinische Privatsammlung; Privatsammlung Süddeutschland

Ausstellungen
Apolda 2011 (Kunsthaus Apolda Avantgarde) und Aschaffenburg 2012 (Kunsthalle Jesuitenkriche), Reiselust und Sinnesfreude, Corinth - Liebermann - Slevogt, Kat. Nr. 27 mit Farbabb. S. 93 ("Rindermarkt in Leyden")

Literatur
Gustav Pauli, Max Liebermann. Des Meisters Gemälde, (Klassiker der Kunst, Neunzehnter Band), Stuttgart/Leipzig 1911, S. 246, Anm. zu S. 129 (Erwähnung der "Ölstudie" im "Besitz von Herrn Direktor Dr. Hagelstange in Köln"); Erich Hanke, Max Liebermann. Sein Leben und seine Werke, Berlin 1914, S. 402, Werkkatalog S. 539 ("Rindermarkt in Leiden (Studie)", mit Angabe der Provenienz "Direktor Hagelstange, Köln a. Rh.")

Gustav Pauli und Erich Hancke erwähnen beide in ihren frühen Monographien zu Max Liebermann eine Ölstudie zu dem größeren Leinwandgemälde „Rindermarkt in Leiden“ (60 x 71 cm, Eberle 1901/26). Sie war ehemals im Besitz von Alfred Hagelstange (1874-1914), dem vormaligen Direktor des Wallraf-Richartz-Museums in Köln. Als auf „Holz“ gemalt tradiert, Angaben, die Matthias Eberle noch in seinem Werkverzeichnis der Gemälde von Max Liebermann übernahm, konnte der Bildträger in seiner aktuellen Expertise zum hier vorliegenden Werk korrigiert werden: diese Studie ist auf Karton gemalt. Tatsächlich fand Eberle zudem auf zwei verschiedenen Fotoporträts des Künstlers jeweils im Hintergrund auf der Wand seines Ateliers eine lange Tafel, auf der Ölstudien als Kartons aufgeheftet sind, darunter eine zum „Rindermarkt“ (s. Materialien zum Eberle-Gutachten). Liebermann schuf nach dem Motiv auch eine bekannte Radierung (Schiefler 51, s. auch Vergleichsabb.).

Der Maler entwickelt in der Studie offensichtlich einen ersten Entwurf des Motivs, der den Darstellungsausschnitt, die räumliche Situation und die Grundanlage der Komposition festlegte. Diese Elemente wurden im größeren Format der Leinwandarbeit übernommen wie auch die Radierung in den Angaben der Szenerie am Ufer des Kanals mit zwei Lastkähnen im Vordergrund identisch ist. Die zentrale Partie mit dem Tiermarkt und den Menschen ist später geordnet, präziser in der Zeichnung und detailreicher ausgemalt. In der Ölstudie rhythmisiert Liebermann in abstrahierten groben Pinselzügen die Masse der Rinder und die Figurengruppen in einer noch unbestimmten, gelösten Manier, den lebendigen Farbeindruck festhaltend, ohne Differenzierung der Einzelform. Daraus ergibt sich eine durch Farbe und malerischen Akzent betonte Dynamik, die Liebermanns Studienkartons allgemein gegenüber den Endausführungen auszeichnen.



Max Liebermann
Studie zum "Rindermarkt in Leiden"

Oil on firm artist's board. 32.6 x 40.2 cm. Framed. Signed 'M Liebermann' laterally in black India ink in the depiction lower right. - Stamp of a Dutch paint company from The Hague verso on card. - In fine condition with minor marginal defects. The corners of the board with traces of drawing pins.

Eberle 1900/15 (there still mentioned as "verschollen")

With an expert report by Matthias Eberle, Berlin, dated 1 September 2002

Provenance
Max Liebermann, Berlin (1902); Direktor Alfred Hagelstange, Cologne (1911); Paul Cassirer, Berlin (1917); Galerie Caspari, Munich (1917); Private collection, Rhineland; Private collection, South Germany

Exhibitions
Apolda 2011 (Kunsthaus Apolda Avantgarde) und Aschaffenburg 2012 (Kunsthalle Jesuitenkriche), Reiselust und Sinnesfreude, Corinth - Liebermann - Slevogt, cat. no. 27 with colour illus. p. 93 ("Rindermarkt in Leyden")

Literature
Gustav Pauli, Max Liebermann. Des Meisters Gemälde, (Klassiker der Kunst, Neunzehnter Band), Stuttgart/Leipzig 1911, p. 246, annot. p. 129 (Mention of the "oil study" in the "possession of Mr. Director Dr. Hagelstange in Cologne"); Erich Hanke, Max Liebermann. Sein Leben und seine Werke, Berlin 1914, p. 402, catalogue raisonné p. 539 ("Rindermarkt in Leiden (Studie)", with indication of provenance "Director Hagelstange, Cologne a. Rh.")

In their early monographs on Max Liebermann Gustav Pauli and Erich Hancke both mention an oil study for the larger canvas painting “Rindermarkt in Leiden” (60 x 71 cm, Eberle 1901/26). It was formerly owned by Alfred Hagelstange (1874-1914), the former director of the Wallraf-Richartz-Museum in Cologne. Itemized as being painted on “wooden panel” (a detail that Matthias Eberle adopted in his catalog raisoné of Max Liebermann's paintings), in his current expert opinion on the present work he corrects this: The study is painted on card. In fact, Eberle also discerned in the background in each instance on two different photo portraits of the artist in his studio a long blackboard to which oil studies on card are pinned, including one on the “Rindermarkt” (see documentation with the Eberle report). Liebermann also produced a well-known etching based on the same theme (Schiefler 51, see also comparative illus.).

In the study, Liebermann evidently created a first outline for the theme which defined the cropping of the image, the spatial setting, and the basics of the composition. These elements were then incorporated into the larger format of the piece on canvas and into the etching in terms of the identical scenery on the banks of the canal with the two barges in the foreground. The central section with the animal market and the people was structured later, more precisely in the drawing, and painted in great detail. In the oil study, setting a rhythm Liebermann uses large abstract brushstrokes to record the mass of the cattle while the group of figures is painted in an indefinite, leisurely manner, capturing the vibrant colour impression and without distinguishing the individual forms. This gives rise to a dynamism emphasized by the colour and painterly accents, something which in general typified Liebermann's studies on card compared to the final versions on canvas.


- - -

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


Max Liebermann
Studie zum "Rindermarkt in Leiden"

Öl auf festem Malkarton. 32,6 x 40,2 cm. Gerahmt. In der Darstellung seitlich unten rechts mit schwarzer Tusche signiert 'M Liebermann'. - Der Karton rückseitig mit dem Stempel einer holländischen Malmittelfirma aus Den Haag. - In gutem Zustand mit minimalen Randretuschen. Der Karton in den Ecken mit Lochspuren einer Reissnagelheftung.

Eberle 1900/15 (dort noch als "verschollen")

Mit einem Gutachten von Matthias Eberle, Berlin, vom 1. September 2002

Provenienz
Max Liebermann, Berlin (1902); Direktor Alfred Hagelstange, Köln (1911); Paul Cassirer, Berlin (1917); Galerie Caspari, München (1917); Rheinische Privatsammlung; Privatsammlung Süddeutschland

Ausstellungen
Apolda 2011 (Kunsthaus Apolda Avantgarde) und Aschaffenburg 2012 (Kunsthalle Jesuitenkriche), Reiselust und Sinnesfreude, Corinth - Liebermann - Slevogt, Kat. Nr. 27 mit Farbabb. S. 93 ("Rindermarkt in Leyden")

Literatur
Gustav Pauli, Max Liebermann. Des Meisters Gemälde, (Klassiker der Kunst, Neunzehnter Band), Stuttgart/Leipzig 1911, S. 246, Anm. zu S. 129 (Erwähnung der "Ölstudie" im "Besitz von Herrn Direktor Dr. Hagelstange in Köln"); Erich Hanke, Max Liebermann. Sein Leben und seine Werke, Berlin 1914, S. 402, Werkkatalog S. 539 ("Rindermarkt in Leiden (Studie)", mit Angabe der Provenienz "Direktor Hagelstange, Köln a. Rh.")

Gustav Pauli und Erich Hancke erwähnen beide in ihren frühen Monographien zu Max Liebermann eine Ölstudie zu dem größeren Leinwandgemälde „Rindermarkt in Leiden“ (60 x 71 cm, Eberle 1901/26). Sie war ehemals im Besitz von Alfred Hagelstange (1874-1914), dem vormaligen Direktor des Wallraf-Richartz-Museums in Köln. Als auf „Holz“ gemalt tradiert, Angaben, die Matthias Eberle noch in seinem Werkverzeichnis der Gemälde von Max Liebermann übernahm, konnte der Bildträger in seiner aktuellen Expertise zum hier vorliegenden Werk korrigiert werden: diese Studie ist auf Karton gemalt. Tatsächlich fand Eberle zudem auf zwei verschiedenen Fotoporträts des Künstlers jeweils im Hintergrund auf der Wand seines Ateliers eine lange Tafel, auf der Ölstudien als Kartons aufgeheftet sind, darunter eine zum „Rindermarkt“ (s. Materialien zum Eberle-Gutachten). Liebermann schuf nach dem Motiv auch eine bekannte Radierung (Schiefler 51, s. auch Vergleichsabb.).

Der Maler entwickelt in der Studie offensichtlich einen ersten Entwurf des Motivs, der den Darstellungsausschnitt, die räumliche Situation und die Grundanlage der Komposition festlegte. Diese Elemente wurden im größeren Format der Leinwandarbeit übernommen wie auch die Radierung in den Angaben der Szenerie am Ufer des Kanals mit zwei Lastkähnen im Vordergrund identisch ist. Die zentrale Partie mit dem Tiermarkt und den Menschen ist später geordnet, präziser in der Zeichnung und detailreicher ausgemalt. In der Ölstudie rhythmisiert Liebermann in abstrahierten groben Pinselzügen die Masse der Rinder und die Figurengruppen in einer noch unbestimmten, gelösten Manier, den lebendigen Farbeindruck festhaltend, ohne Differenzierung der Einzelform. Daraus ergibt sich eine durch Farbe und malerischen Akzent betonte Dynamik, die Liebermanns Studienkartons allgemein gegenüber den Endausführungen auszeichnen.



Max Liebermann
Studie zum "Rindermarkt in Leiden"

Oil on firm artist's board. 32.6 x 40.2 cm. Framed. Signed 'M Liebermann' laterally in black India ink in the depiction lower right. - Stamp of a Dutch paint company from The Hague verso on card. - In fine condition with minor marginal defects. The corners of the board with traces of drawing pins.

Eberle 1900/15 (there still mentioned as "verschollen")

With an expert report by Matthias Eberle, Berlin, dated 1 September 2002

Provenance
Max Liebermann, Berlin (1902); Direktor Alfred Hagelstange, Cologne (1911); Paul Cassirer, Berlin (1917); Galerie Caspari, Munich (1917); Private collection, Rhineland; Private collection, South Germany

Exhibitions
Apolda 2011 (Kunsthaus Apolda Avantgarde) und Aschaffenburg 2012 (Kunsthalle Jesuitenkriche), Reiselust und Sinnesfreude, Corinth - Liebermann - Slevogt, cat. no. 27 with colour illus. p. 93 ("Rindermarkt in Leyden")

Literature
Gustav Pauli, Max Liebermann. Des Meisters Gemälde, (Klassiker der Kunst, Neunzehnter Band), Stuttgart/Leipzig 1911, p. 246, annot. p. 129 (Mention of the "oil study" in the "possession of Mr. Director Dr. Hagelstange in Cologne"); Erich Hanke, Max Liebermann. Sein Leben und seine Werke, Berlin 1914, p. 402, catalogue raisonné p. 539 ("Rindermarkt in Leiden (Studie)", with indication of provenance "Director Hagelstange, Cologne a. Rh.")

In their early monographs on Max Liebermann Gustav Pauli and Erich Hancke both mention an oil study for the larger canvas painting “Rindermarkt in Leiden” (60 x 71 cm, Eberle 1901/26). It was formerly owned by Alfred Hagelstange (1874-1914), the former director of the Wallraf-Richartz-Museum in Cologne. Itemized as being painted on “wooden panel” (a detail that Matthias Eberle adopted in his catalog raisoné of Max Liebermann's paintings), in his current expert opinion on the present work he corrects this: The study is painted on card. In fact, Eberle also discerned in the background in each instance on two different photo portraits of the artist in his studio a long blackboard to which oil studies on card are pinned, including one on the “Rindermarkt” (see documentation with the Eberle report). Liebermann also produced a well-known etching based on the same theme (Schiefler 51, see also comparative illus.).

In the study, Liebermann evidently created a first outline for the theme which defined the cropping of the image, the spatial setting, and the basics of the composition. These elements were then incorporated into the larger format of the piece on canvas and into the etching in terms of the identical scenery on the banks of the canal with the two barges in the foreground. The central section with the animal market and the people was structured later, more precisely in the drawing, and painted in great detail. In the oil study, setting a rhythm Liebermann uses large abstract brushstrokes to record the mass of the cattle while the group of figures is painted in an indefinite, leisurely manner, capturing the vibrant colour impression and without distinguishing the individual forms. This gives rise to a dynamism emphasized by the colour and painterly accents, something which in general typified Liebermann's studies on card compared to the final versions on canvas.


- - -

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

Modern Art Catalogue Paul Baum Collection Gemmer / Modern Art Part I and II

Auktionsdatum
Lose: 200 - 269
Lose: 1 - 61
Lose: 270 - 509
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

Various premiums. Check premium on lot level!

3 % live surcharge plus VAT

 

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

 

Vollständige AGBs