Los

2508

Sylvester ShchedrinThe Coast of SorrentOil on canvas, mounted on wood. 33 x 45 cm.CertificateLuisa

In Kunst des 19. Jahrhunderts

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 Höchstbietender! 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
Bieten ist beendet
Sylvester ShchedrinThe Coast of SorrentOil on canvas, mounted on wood. 33 x 45 cm.CertificateLuisa - Bild 1 aus 2
Sylvester ShchedrinThe Coast of SorrentOil on canvas, mounted on wood. 33 x 45 cm.CertificateLuisa - Bild 2 aus 2
Sylvester ShchedrinThe Coast of SorrentOil on canvas, mounted on wood. 33 x 45 cm.CertificateLuisa - Bild 1 aus 2
Sylvester ShchedrinThe Coast of SorrentOil on canvas, mounted on wood. 33 x 45 cm.CertificateLuisa - Bild 2 aus 2
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Sylvester Shchedrin
An der Küste von Sorrent

Öl auf Leinwand, auf Holz aufgezogen. 33 x 45 cm.

Gutachten
Luisa Martorelli, 10. Juni 2018.

Literatur
F. Mazzocca (Hg.): Romanticismo. Ausstellungskatalog Mailand 2018/2019, S. 87, Abb. 5.

Das vorliegende Gemälde hat Dr. Luisa Martorelli dem Werk des russischen Romantikers Sylvester Feodosievic Shchedrin zugeordnet und als wichtige Ergänzung zu dessen Oeuvre beschrieben.
Shchedrin kam 1818 nach Italien, zog zunächst nach Rom und dann nach Neapel, um sich später endgültig in Sorrent niederzulassen. Er trug wesentlich zur Bildung der sogenannten "Scuola di Posillipo" bei, der süditalienischen Landschaftsmalerei der 1820er und 1830er Jahre, die entscheidend geprägt wurde von Shchedrins Umgang mit den atmosphärischen Phänomenen und der Wiedergabe von Landschaft und Natur (siehe dazu: Il pittore russo Silvestr Šcedrin in Italia. In: Luce d'Italia. Silvestr Pitloo´s ed i suoi contemporanei russi. Dipinti, disegni e acquarelli dalla collezione del Museo Russo, Formia 2007).
Shchedrin hat immer wieder dieselben Orte aufgesucht und aus unterschiedlicher Perspektive und unter anderen Lichtverhältnissen in vorweggenommener „plein air Malerei“ gemalt (G. Goldovskij, E. Petrova, C. Poppi: La pittura russa nell´etá romantica, Bologna 1990, S. 73). Das hier präsentierte Gemälde ist ein weiterer Beleg dieser Arbeitsweise Shchedrins. Es steht im Zusammenhang mit einem seiner Bilder in der Moskauer Tretjakov Galerie, ebenfalls eine Ansicht der Bucht von Sorrent (44 x 61 cm messend und 1826 datiert) sowie mit einer weiteren, deutlich kleineren Variante in Privatbesitz. Dabei erweist sich unser Bild als Bindeglied zwischen dem ersten Entwurf und der größeren, reich ausstaffierten Darstellung in Moskau. Alle drei zeichnet die atmosphärische Intensität aus, die dem Maler so wichtig war.
Schon zu seinen Lebzeiten hatten die Werke Shchedrins großen Erfolg bei Sammlern und europäischen Aristokraten auf der Grand Tour. Obwohl er den Großteil seines reifen Lebens zwischen Rom, Neapel und der Amalfiküste verbrachte, befinden sich viele seiner bekannten Werke in russischen Institutionen, aber es sind - wie in diesem Falle - durchaus noch neue Entdeckungen in italienischen Sammlungen zu erwarten.



Sylvester Shchedrin
The Coast of Sorrent

Oil on canvas, mounted on wood. 33 x 45 cm.

Certificate
Luisa Martorelli, 10th June 2018.

Literature
F. Mazzocca (ed.): Romanticismo. Ausstellungskatalog Milan 2018/19, p. 87, illus. 5.

Dr. Luisa Martorelli attributes the present work to the Russian Romantic painter Sylvester Feodosievic Shchedrin, describing it as an important addition to his oeuvre.
Shchedrin travelled to Italy in 1818, first going to Rome, then to Naples, and later settling in Sorrent. He was an important influence on the so-called "Scuola di Posillipo" of Southern Italian landscape painters active throughout the 1820s and 1830s. They were deeply impressed by the Russian artist's rendering of atmospheric phenomena, landscape, and nature (for more on this relationship, see: Il pittore russo Silvestr Šcedrin in Italia, in Luce d'Italia/ Silvestr Pitloo´s ed i suoi contemporanei russi / dipinti, disegni e acquerelli dalla collezione del Museo Russo, Formia 2007).
Shchedrin visited the same locations again and again, painting them from different perspectives in differing light conditions, thus becoming a forerunner of “plein air” painting (G. Goldovskij, E. Petrova, C. Poppi, La pittura russa nell´etá romantica, Bologna 1990, p. 73). The present work testifies to this manner of working. It can be compared to two other works by the artist: One painting housed in the State Tretyakov Gallery in Moscow depicting the Bay of Sorrent, measuring 44 x 61 cm and dated 1826, and a significantly smaller version of the motif in private ownership. The present work represents a link between the principal sketch and the fully finished version in Moscow. All three paintings share the same atmospheric intensity for which this artist was so admired.
Shchedrin's works were popular among collectors and European aristocrats taking the Grand Tour throughout his lifetime. He spent the majority of his adult life in Rome, Naples, and the Amalfi Coast, but many of his most famous works are now housed in Russian museums, although there may still be many paintings - like the present one - still waiting to be discovered in Italian collections.

Sylvester Shchedrin
An der Küste von Sorrent

Öl auf Leinwand, auf Holz aufgezogen. 33 x 45 cm.

Gutachten
Luisa Martorelli, 10. Juni 2018.

Literatur
F. Mazzocca (Hg.): Romanticismo. Ausstellungskatalog Mailand 2018/2019, S. 87, Abb. 5.

Das vorliegende Gemälde hat Dr. Luisa Martorelli dem Werk des russischen Romantikers Sylvester Feodosievic Shchedrin zugeordnet und als wichtige Ergänzung zu dessen Oeuvre beschrieben.
Shchedrin kam 1818 nach Italien, zog zunächst nach Rom und dann nach Neapel, um sich später endgültig in Sorrent niederzulassen. Er trug wesentlich zur Bildung der sogenannten "Scuola di Posillipo" bei, der süditalienischen Landschaftsmalerei der 1820er und 1830er Jahre, die entscheidend geprägt wurde von Shchedrins Umgang mit den atmosphärischen Phänomenen und der Wiedergabe von Landschaft und Natur (siehe dazu: Il pittore russo Silvestr Šcedrin in Italia. In: Luce d'Italia. Silvestr Pitloo´s ed i suoi contemporanei russi. Dipinti, disegni e acquarelli dalla collezione del Museo Russo, Formia 2007).
Shchedrin hat immer wieder dieselben Orte aufgesucht und aus unterschiedlicher Perspektive und unter anderen Lichtverhältnissen in vorweggenommener „plein air Malerei“ gemalt (G. Goldovskij, E. Petrova, C. Poppi: La pittura russa nell´etá romantica, Bologna 1990, S. 73). Das hier präsentierte Gemälde ist ein weiterer Beleg dieser Arbeitsweise Shchedrins. Es steht im Zusammenhang mit einem seiner Bilder in der Moskauer Tretjakov Galerie, ebenfalls eine Ansicht der Bucht von Sorrent (44 x 61 cm messend und 1826 datiert) sowie mit einer weiteren, deutlich kleineren Variante in Privatbesitz. Dabei erweist sich unser Bild als Bindeglied zwischen dem ersten Entwurf und der größeren, reich ausstaffierten Darstellung in Moskau. Alle drei zeichnet die atmosphärische Intensität aus, die dem Maler so wichtig war.
Schon zu seinen Lebzeiten hatten die Werke Shchedrins großen Erfolg bei Sammlern und europäischen Aristokraten auf der Grand Tour. Obwohl er den Großteil seines reifen Lebens zwischen Rom, Neapel und der Amalfiküste verbrachte, befinden sich viele seiner bekannten Werke in russischen Institutionen, aber es sind - wie in diesem Falle - durchaus noch neue Entdeckungen in italienischen Sammlungen zu erwarten.



Sylvester Shchedrin
The Coast of Sorrent

Oil on canvas, mounted on wood. 33 x 45 cm.

Certificate
Luisa Martorelli, 10th June 2018.

Literature
F. Mazzocca (ed.): Romanticismo. Ausstellungskatalog Milan 2018/19, p. 87, illus. 5.

Dr. Luisa Martorelli attributes the present work to the Russian Romantic painter Sylvester Feodosievic Shchedrin, describing it as an important addition to his oeuvre.
Shchedrin travelled to Italy in 1818, first going to Rome, then to Naples, and later settling in Sorrent. He was an important influence on the so-called "Scuola di Posillipo" of Southern Italian landscape painters active throughout the 1820s and 1830s. They were deeply impressed by the Russian artist's rendering of atmospheric phenomena, landscape, and nature (for more on this relationship, see: Il pittore russo Silvestr Šcedrin in Italia, in Luce d'Italia/ Silvestr Pitloo´s ed i suoi contemporanei russi / dipinti, disegni e acquerelli dalla collezione del Museo Russo, Formia 2007).
Shchedrin visited the same locations again and again, painting them from different perspectives in differing light conditions, thus becoming a forerunner of “plein air” painting (G. Goldovskij, E. Petrova, C. Poppi, La pittura russa nell´etá romantica, Bologna 1990, p. 73). The present work testifies to this manner of working. It can be compared to two other works by the artist: One painting housed in the State Tretyakov Gallery in Moscow depicting the Bay of Sorrent, measuring 44 x 61 cm and dated 1826, and a significantly smaller version of the motif in private ownership. The present work represents a link between the principal sketch and the fully finished version in Moscow. All three paintings share the same atmospheric intensity for which this artist was so admired.
Shchedrin's works were popular among collectors and European aristocrats taking the Grand Tour throughout his lifetime. He spent the majority of his adult life in Rome, Naples, and the Amalfi Coast, but many of his most famous works are now housed in Russian museums, although there may still be many paintings - like the present one - still waiting to be discovered in Italian collections.

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

Nothing important.

AGB

standard | standard



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.

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 three 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 the lot number and item description. In the event of ambiguities, the listed lot 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. Telephone 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. 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

Vollständige AGBs