Los

2541

Carl SpitzwegDeath at the banquetOil on canvas. 31 x 54 cm.ProvenanceAround 1927/28 in the Ludwigs-

In Kunst des 19. Jahrhunderts

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Köln

Carl Spitzweg
Der Tod beim Festmahl

Öl auf Leinwand. 31 x 54 cm.

Provenienz
Etwa 1927/28 bei der Ludwigs-Galerie, München. - Sammlung Deutsch, München. - Auktion Hugo Helbing, München, 12.5.1931, Lot 140 (Taf. 33). - Auktion Koller, Zürich, 22.5.1977.

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 206, Nr. 698. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 324, Nr. 692.

Verso auf der Leinwand Nachlassstempel. Am Keilrahmen befestigt ein leicht beschädigter Zettel mit einer Bestätigung von Otto Spitzweg „München 21. August [Jahreszahl verloren]". Bei Wichmann (a.a.O., S. 324) werden zwei weitere Bestätigungen von Otto Spitzweg (11.10.1913 u. 8.2.1916) sowie ein Gutachten von Adolf Alt erwähnt.

Zum faszinierend vielfältigen Oeuvre Carl Spitzwegs gehören neben den exemplarischen Genredarstellungen der Biedermeierepoche und den von der französischen plein-air-Malerei beeinflussten Landschaftsgemälden auch Darstellungen mit biblischem oder wie beim vorliegenden Werk allegorischem Inhalt. Spitzweg stellt sich mit dem Sujet „Der reiche Mann und der Tod" in die lange Tradition der Vanitasdarstellungen, die sich vor allem im Barock außerordentlicher Beliebtheit erfreuten. In diesen Werken ging es darum, an die Vergänglichkeit aller irdischen Dinge, die damit einhergehende Sinnlosigkeit des Reichtums und die kurze Dauer des Lebens zu erinnern.
In einem grisailleartig reduzierten Kolorit gibt Spitzweg seine Darstellung dieses Motivs querformatig vor einem angedeuteten architektonischen Hintergrund wieder. An einer Tafel sitzend nähert sich der reiche Mann einer weiblichen Figur, während eine zweite Frau ihr Glas erhebt. Links unterhalb des reichen Mannes greift der aus der Tiefe heraufsteigende Tod in Form eines Skeletts nach seinem Opfer. Spitzweg hat unser Gemälde mit einer Ölskizze sowie mit Bleistiftzeichnungen zur Figurengruppe (Skizzenbuch 1857) vorbereitet.



Carl Spitzweg
Death at the banquet

Oil on canvas. 31 x 54 cm.

Provenance
Around 1927/28 in the Ludwigs-Galerie, Munich. - The Deutsch Collection, Munich. - Auctioned by Hugo Helbing, Munich, 12.05.1931, lot 140 (pl. 33). - Auctioned by Koller, Zurich, 22.05.1977.

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 206, no. 698. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 324, no. 692.

With an estate stamp on the back of the canvas and a slightly damaged label with a confirmation of authenticity by Otto Spitzweg affixed to the stretcher dated “München 21. August [year missing]”. Wichmann (ibid., p. 324) lists two further confirmations by Otto Spitzweg (11.10.1913 & 08.02.1916) as well as an expertise by Adolf Alt.
Alongside his characteristic Biedermeier genre scenes and landscapes inspired by French plein air painting, Carl Spitzweg's fascinatingly diverse oeuvre also features Biblical motifs and allegorical depictions such as the present canvas. With his depiction of “Death and the Wealthy Man”, Spitzweg places himself in the long tradition of vanitas paintings, which were especially popular during the Baroque era. These works emphasised the transience of earthly things, reminding the viewer of the futility of riches and the brevity of life.
This work uses grisaille-like tones to depict the motif in landscape-format against an abstract architectural backdrop. Sitting at a table, the rich man is approached by a female figure as a second woman raises her glass. Below the rich man on the left, death in the form of a skeleton rises up from the depths to grasp his victim. Spitzweg prepared the composition of this painting in an oil sketch and a pencil drawing of the figures (found in his 1857 sketchbook).

Carl Spitzweg
Der Tod beim Festmahl

Öl auf Leinwand. 31 x 54 cm.

Provenienz
Etwa 1927/28 bei der Ludwigs-Galerie, München. - Sammlung Deutsch, München. - Auktion Hugo Helbing, München, 12.5.1931, Lot 140 (Taf. 33). - Auktion Koller, Zürich, 22.5.1977.

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 206, Nr. 698. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 324, Nr. 692.

Verso auf der Leinwand Nachlassstempel. Am Keilrahmen befestigt ein leicht beschädigter Zettel mit einer Bestätigung von Otto Spitzweg „München 21. August [Jahreszahl verloren]". Bei Wichmann (a.a.O., S. 324) werden zwei weitere Bestätigungen von Otto Spitzweg (11.10.1913 u. 8.2.1916) sowie ein Gutachten von Adolf Alt erwähnt.

Zum faszinierend vielfältigen Oeuvre Carl Spitzwegs gehören neben den exemplarischen Genredarstellungen der Biedermeierepoche und den von der französischen plein-air-Malerei beeinflussten Landschaftsgemälden auch Darstellungen mit biblischem oder wie beim vorliegenden Werk allegorischem Inhalt. Spitzweg stellt sich mit dem Sujet „Der reiche Mann und der Tod" in die lange Tradition der Vanitasdarstellungen, die sich vor allem im Barock außerordentlicher Beliebtheit erfreuten. In diesen Werken ging es darum, an die Vergänglichkeit aller irdischen Dinge, die damit einhergehende Sinnlosigkeit des Reichtums und die kurze Dauer des Lebens zu erinnern.
In einem grisailleartig reduzierten Kolorit gibt Spitzweg seine Darstellung dieses Motivs querformatig vor einem angedeuteten architektonischen Hintergrund wieder. An einer Tafel sitzend nähert sich der reiche Mann einer weiblichen Figur, während eine zweite Frau ihr Glas erhebt. Links unterhalb des reichen Mannes greift der aus der Tiefe heraufsteigende Tod in Form eines Skeletts nach seinem Opfer. Spitzweg hat unser Gemälde mit einer Ölskizze sowie mit Bleistiftzeichnungen zur Figurengruppe (Skizzenbuch 1857) vorbereitet.



Carl Spitzweg
Death at the banquet

Oil on canvas. 31 x 54 cm.

Provenance
Around 1927/28 in the Ludwigs-Galerie, Munich. - The Deutsch Collection, Munich. - Auctioned by Hugo Helbing, Munich, 12.05.1931, lot 140 (pl. 33). - Auctioned by Koller, Zurich, 22.05.1977.

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 206, no. 698. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 324, no. 692.

With an estate stamp on the back of the canvas and a slightly damaged label with a confirmation of authenticity by Otto Spitzweg affixed to the stretcher dated “München 21. August [year missing]”. Wichmann (ibid., p. 324) lists two further confirmations by Otto Spitzweg (11.10.1913 & 08.02.1916) as well as an expertise by Adolf Alt.
Alongside his characteristic Biedermeier genre scenes and landscapes inspired by French plein air painting, Carl Spitzweg's fascinatingly diverse oeuvre also features Biblical motifs and allegorical depictions such as the present canvas. With his depiction of “Death and the Wealthy Man”, Spitzweg places himself in the long tradition of vanitas paintings, which were especially popular during the Baroque era. These works emphasised the transience of earthly things, reminding the viewer of the futility of riches and the brevity of life.
This work uses grisaille-like tones to depict the motif in landscape-format against an abstract architectural backdrop. Sitting at a table, the rich man is approached by a female figure as a second woman raises her glass. Below the rich man on the left, death in the form of a skeleton rises up from the depths to grasp his victim. Spitzweg prepared the composition of this painting in an oil sketch and a pencil drawing of the figures (found in his 1857 sketchbook).

Kunst des 19. Jahrhunderts

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Stichworte: , Oil Sketch, Öl Gemälde