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2504

Jacob Philipp HackertView of the River Tiber and Saint Peter's in RomeWatercolour on paper. 34 x

In Kunst des 19. Jahrhunderts

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Jacob Philipp Hackert
Blick auf den Tiber und Sankt Peter in Rom

Aquarell auf Papier. 34 x 46,2 cm.
Gerahmt.
Signiert und datiert oben links:à Rome 1772. Ph. Hackert f..

Gutachten
Claudia Nordhoff, März 2020.

Provenienz
W. A. Blenz, Berlin, wohl dessen Nachlassauktion Berlin 1844 (Lugt 264). - Freiherr C. Rolas du Rosey, Dresden (1784-1862) (Lugt 2237). - Auktion Bruun Rasmussen 17.09.2019 - Privatbesitz Skandinavien.

Nach einer Lehrzeit in Berlin (1753-1762) und einem längeren Aufenthalt in Paris (1765-1768) erreichte Jakob Philipp Hackert im Winter 1768 Rom. Er ließ sich an der Spanischen Treppe, Selciata di San Sebastianello 5, nieder, wo er bis 1786 wohnen blieb. Gleich nach seinem Eintreffen hatte Hackert den Kontakt zu dem Maler Johann Christian von Mannlich (1741-1822) erneuert, den er 1765 in Paris kennengelernt hatte und der seit 1766 in der Ewigen Stadt lebte. Die beiden schlossen auch mit anderen Künstlern Freundschaft, und Mannlich überliefert in seinen Lebenserinnerungen für das Jahr 1769: „So hatte sich eine höchst lustige Gesellschaft zusammengefunden, die an allen Sonn- und Feiertagen zur Villa Madama unweit dem Ponte Molle, dreiviertel Meilen vor Rom, hinauswanderte. Dieser Palast […] stand zu unserer freien Verfügung.“
Die antike Brücke Pons Milvius - im Volksmund Ponte Molle genannt - führt im Norden Roms über den Tiber und bot damals den von Norden kommenden Romreisenden einen der ersten Blicke auf die Stadt. Dieser führt von der Brücke aus über den Fluss auf St. Peter und den Vatikan. Rechts hinter dem Petersdom erhebt sich der römische Hügel Gianicolo, auf dem man die 1643 unter Urban VIII. angelegte Festungsmauer erblickt; diese schließt an die sogenannten Leoninischen Mauern. Hackert hat von dieser Stelle schon 1769 ein Aquarell (heute Klassik Stiftung Weimar) sowie eine Gouache (Privatbesitz England) gemalt, und im folgenden Jahr ein Ölbild, das sich heute im Städel Museum in Frankfurt befindet. Zwei Jahre später entstand unser Aquarell.
Ein ausführliches Gutachten von Frau Dr. Claudia Nordhoff liegt vor.



Jacob Philipp Hackert
View of the River Tiber and Saint Peter's in Rome

Watercolour on paper. 34 x 46.2 cm.
Framed under glass.
Signed and dated upper left: à Rome 1772. Ph. Hackert f..

Certificate
Claudia Nordhoff, March 2020.

Provenance
W. A. Blenz, Berlin, presumably his estate sale, Berlin 1844 (Lugt 264). - Freiherr C. Rolas du Rosey, Dresden (1784-1862) (Lugt 2237). - Auctioned by Bruun Rasmussen 17.09.2019, - Private ownership, Scandinavia.

Following his apprenticeship in Berlin (1753-1762) and a longer stay in Paris (1765-1768), Jakob Philipp Hackert arrived in Rome in the winter of 1768. He moved into a house on the Spanish Steps, Selciata di San Sebastianello 5, and remained there until 1786. Shortly after his arrival in Rome, Hackert renewed his contacts to the painter Johann Christian von Mannlich (1741-1822), whom he had previously met in Paris and who had been living in the Eternal City since 1766. The two became friends with numerous other artists in the city, and Mannlich writes in his memoirs of the year 1769: “We found ourselves in very merry company, every Sunday and holiday we would go out to the Villa Madama, not far from the Ponte Molle, about three-quarters of a mile from Rome. The palace […] was at our disposal.”

The ancient Pons Milvius bridge, commonly referred to as the Ponte Molle, crosses the Tiber to the north of Rome and provides those arriving at the city from that direction with their first views of it. Their gaze is led across the river to Saint Peter's and the Vatican. Gianicolo hill rises up on the right behind Saint Peter's basilica, upon it one sees the fortified city walls constructed under Pope Urban VIII in 1643 which connected with the so-called Leonine Walls. Hackert had already made a watercolour sketch there in 1769 (now housed in the Klassik Stiftung Weimar) as well as a gouache (in an English private collection), and an oil painting now kept in the Städel Museum in Frankfurt was to follow the next year. This watercolour was painted two years later.

The work comes with a detailed expertise by Dr Claudia Nordhoff.

Jacob Philipp Hackert
Blick auf den Tiber und Sankt Peter in Rom

Aquarell auf Papier. 34 x 46,2 cm.
Gerahmt.
Signiert und datiert oben links:à Rome 1772. Ph. Hackert f..

Gutachten
Claudia Nordhoff, März 2020.

Provenienz
W. A. Blenz, Berlin, wohl dessen Nachlassauktion Berlin 1844 (Lugt 264). - Freiherr C. Rolas du Rosey, Dresden (1784-1862) (Lugt 2237). - Auktion Bruun Rasmussen 17.09.2019 - Privatbesitz Skandinavien.

Nach einer Lehrzeit in Berlin (1753-1762) und einem längeren Aufenthalt in Paris (1765-1768) erreichte Jakob Philipp Hackert im Winter 1768 Rom. Er ließ sich an der Spanischen Treppe, Selciata di San Sebastianello 5, nieder, wo er bis 1786 wohnen blieb. Gleich nach seinem Eintreffen hatte Hackert den Kontakt zu dem Maler Johann Christian von Mannlich (1741-1822) erneuert, den er 1765 in Paris kennengelernt hatte und der seit 1766 in der Ewigen Stadt lebte. Die beiden schlossen auch mit anderen Künstlern Freundschaft, und Mannlich überliefert in seinen Lebenserinnerungen für das Jahr 1769: „So hatte sich eine höchst lustige Gesellschaft zusammengefunden, die an allen Sonn- und Feiertagen zur Villa Madama unweit dem Ponte Molle, dreiviertel Meilen vor Rom, hinauswanderte. Dieser Palast […] stand zu unserer freien Verfügung.“
Die antike Brücke Pons Milvius - im Volksmund Ponte Molle genannt - führt im Norden Roms über den Tiber und bot damals den von Norden kommenden Romreisenden einen der ersten Blicke auf die Stadt. Dieser führt von der Brücke aus über den Fluss auf St. Peter und den Vatikan. Rechts hinter dem Petersdom erhebt sich der römische Hügel Gianicolo, auf dem man die 1643 unter Urban VIII. angelegte Festungsmauer erblickt; diese schließt an die sogenannten Leoninischen Mauern. Hackert hat von dieser Stelle schon 1769 ein Aquarell (heute Klassik Stiftung Weimar) sowie eine Gouache (Privatbesitz England) gemalt, und im folgenden Jahr ein Ölbild, das sich heute im Städel Museum in Frankfurt befindet. Zwei Jahre später entstand unser Aquarell.
Ein ausführliches Gutachten von Frau Dr. Claudia Nordhoff liegt vor.



Jacob Philipp Hackert
View of the River Tiber and Saint Peter's in Rome

Watercolour on paper. 34 x 46.2 cm.
Framed under glass.
Signed and dated upper left: à Rome 1772. Ph. Hackert f..

Certificate
Claudia Nordhoff, March 2020.

Provenance
W. A. Blenz, Berlin, presumably his estate sale, Berlin 1844 (Lugt 264). - Freiherr C. Rolas du Rosey, Dresden (1784-1862) (Lugt 2237). - Auctioned by Bruun Rasmussen 17.09.2019, - Private ownership, Scandinavia.

Following his apprenticeship in Berlin (1753-1762) and a longer stay in Paris (1765-1768), Jakob Philipp Hackert arrived in Rome in the winter of 1768. He moved into a house on the Spanish Steps, Selciata di San Sebastianello 5, and remained there until 1786. Shortly after his arrival in Rome, Hackert renewed his contacts to the painter Johann Christian von Mannlich (1741-1822), whom he had previously met in Paris and who had been living in the Eternal City since 1766. The two became friends with numerous other artists in the city, and Mannlich writes in his memoirs of the year 1769: “We found ourselves in very merry company, every Sunday and holiday we would go out to the Villa Madama, not far from the Ponte Molle, about three-quarters of a mile from Rome. The palace […] was at our disposal.”

The ancient Pons Milvius bridge, commonly referred to as the Ponte Molle, crosses the Tiber to the north of Rome and provides those arriving at the city from that direction with their first views of it. Their gaze is led across the river to Saint Peter's and the Vatican. Gianicolo hill rises up on the right behind Saint Peter's basilica, upon it one sees the fortified city walls constructed under Pope Urban VIII in 1643 which connected with the so-called Leonine Walls. Hackert had already made a watercolour sketch there in 1769 (now housed in the Klassik Stiftung Weimar) as well as a gouache (in an English private collection), and an oil painting now kept in the Städel Museum in Frankfurt was to follow the next year. This watercolour was painted two years later.

The work comes with a detailed expertise by Dr Claudia Nordhoff.

Kunst des 19. Jahrhunderts

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

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AGB

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Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (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.

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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. Written 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 (VAT) calculated on the premium 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 N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the 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 authors are either still alive or died after 31.12.1948, a charge of 1.8 % 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 reserves the right to refuse such a request if it is deemed appropriate.

11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per 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 German law for the protection of cultural goods 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, Kilian Jay von Seldeneck, auctioneers

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