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A terracotta figure of Carlo Terzo di BorboneFinely modelled bozetto of the king standing in a

In Decorative Kunst

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A terracotta figure of Carlo Terzo di BorboneFinely modelled bozetto of the king standing in a
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Köln

Carlo Terzo di Borbone
Terracotta. Fein modellierter vollplastischer Bozzetto auf eckiger flacher Plinthe mit einer Mauerstütze hinten rechts. In Schrittstellung stehend, eine Hand in der Schärpe, die Zweite auf den (fehlenden) Stock gestützt. Den Kopf leicht nach links gewandt, mit Dreispitz, Zopf, langem Justaucorps und in hohen Stiefeln. Am Band den Orden zum Goldenen Vlies über einer Schärpe. Hinten mit Bleistift bezeichnet "R. Belliazi". H 34 cm.
Raffaele Belliazzi, zugeschrieben, um 1888.

Carlos Sebastián de Borbón y Farnesio (1716 - 1788) regierte als Karl VII. ab 1752 das Königreich Neapel und Sizilien und wurde nach dem Tod von König Ferdinand VI. 1759 König von Spanien. Obwohl er damit den neapolitanischen Thron seinem (noch nicht volljährigen) Sohn Ferdinand übergeben musste, verblieb er im Gedächtnis der Italiener als Carlo Terzo.
Das berühmteste Werk Raffaele Belliazzis ist das monumentale Standbild des Königs am Palazzo Reale di Napoli, das 100 Jahre nach dem Tod von Carlo Terzo, auf Veranlassung von König Umberto I., dort errichtet wurde. Möglicherweise handelt es sich bei diesem kleinen Bozzetto um eine Vorstudie. Der ausgearbeitete Marmor zeigt einige Unterschiede zur Terracottafigur, so z.B. dass der König eine lockige lange Allongeperücke trägt. Auch die Volute an der Mauerstütze ist kräftiger und plastischer gestaltet. In die Regierungszeit von Karl III. fiel der berühmte Madrider Hutaufstand von 1766, mit dem die Bevölkerung auf die zahlreichen Reformen reagierte, die der Monarch durchführte. Unter anderem wurde die traditionelle spanische Kleidung, Sombrero und langer Mantel, zugunsten des französischen Dreispitzes und Justaucorps verboten. Belliazzi muss dieses Ereignis bewusst gewesen sein, denn sowohl die Terracottastatue als auch die Marmorfigur weisen eine große Sorgfalt in der Ausgestaltung der Kleidungsdetails auf.

Provenienz
Belgische Privatsammlung.



A terracotta figure of Carlo Terzo di Borbone
Finely modelled bozetto of the king standing in a striding pose with one hand on his sash, the other resting on a (no longer extant) walking cane. He wears a tricorn, a long justacorps, boots and a ribbon with the Order of the Golden Fleece. Inscribed on the reverse in pencil "R. Belliazi". H 34 cm.
Attributed to Raffaele Belliazzi, around 1888.

Carlos Sebastián de Borbón y Farnesio (1716 - 1788) reigned as Charles VII of Naples and Sicily as of 1752 and became king of Spain following the death of Ferdinand VI in 1759. Although he then had to cede the Neapolitan throne to his (underage) son, he remained in the minds of the Italian people as Carlo Terzo. Raffaele Belliazzi's most famous work is probably the monumental statue of the king in the Palazzo Reale di Napoli which was made 100 years after the death of Carlo Terzo at the behest of King Umberto I. This small bozzetto may be a study for this work. The finished version in marble varies only slightly from the terracotta, for example in the fact that the king there wears a long, loose allonge wig. The scroll on the wall support is also thicker and more three-dimensional. The reign of Carlos III saw the famous Esquilache Riots of 1766, in which the citizens of Madrid protested against various reforms implemented by the king. One of which was the banning of traditional Spanish costume consisting of a broad sombrero and a long cape in favour of the French style tricorn and justacorps. Belliazzi appears to have been aware of this fact and thus paid particular attention to the clothing in both the terracotta and the marble statue.

Provenance
Belgian private collection.

Carlo Terzo di Borbone
Terracotta. Fein modellierter vollplastischer Bozzetto auf eckiger flacher Plinthe mit einer Mauerstütze hinten rechts. In Schrittstellung stehend, eine Hand in der Schärpe, die Zweite auf den (fehlenden) Stock gestützt. Den Kopf leicht nach links gewandt, mit Dreispitz, Zopf, langem Justaucorps und in hohen Stiefeln. Am Band den Orden zum Goldenen Vlies über einer Schärpe. Hinten mit Bleistift bezeichnet "R. Belliazi". H 34 cm.
Raffaele Belliazzi, zugeschrieben, um 1888.

Carlos Sebastián de Borbón y Farnesio (1716 - 1788) regierte als Karl VII. ab 1752 das Königreich Neapel und Sizilien und wurde nach dem Tod von König Ferdinand VI. 1759 König von Spanien. Obwohl er damit den neapolitanischen Thron seinem (noch nicht volljährigen) Sohn Ferdinand übergeben musste, verblieb er im Gedächtnis der Italiener als Carlo Terzo.
Das berühmteste Werk Raffaele Belliazzis ist das monumentale Standbild des Königs am Palazzo Reale di Napoli, das 100 Jahre nach dem Tod von Carlo Terzo, auf Veranlassung von König Umberto I., dort errichtet wurde. Möglicherweise handelt es sich bei diesem kleinen Bozzetto um eine Vorstudie. Der ausgearbeitete Marmor zeigt einige Unterschiede zur Terracottafigur, so z.B. dass der König eine lockige lange Allongeperücke trägt. Auch die Volute an der Mauerstütze ist kräftiger und plastischer gestaltet. In die Regierungszeit von Karl III. fiel der berühmte Madrider Hutaufstand von 1766, mit dem die Bevölkerung auf die zahlreichen Reformen reagierte, die der Monarch durchführte. Unter anderem wurde die traditionelle spanische Kleidung, Sombrero und langer Mantel, zugunsten des französischen Dreispitzes und Justaucorps verboten. Belliazzi muss dieses Ereignis bewusst gewesen sein, denn sowohl die Terracottastatue als auch die Marmorfigur weisen eine große Sorgfalt in der Ausgestaltung der Kleidungsdetails auf.

Provenienz
Belgische Privatsammlung.



A terracotta figure of Carlo Terzo di Borbone
Finely modelled bozetto of the king standing in a striding pose with one hand on his sash, the other resting on a (no longer extant) walking cane. He wears a tricorn, a long justacorps, boots and a ribbon with the Order of the Golden Fleece. Inscribed on the reverse in pencil "R. Belliazi". H 34 cm.
Attributed to Raffaele Belliazzi, around 1888.

Carlos Sebastián de Borbón y Farnesio (1716 - 1788) reigned as Charles VII of Naples and Sicily as of 1752 and became king of Spain following the death of Ferdinand VI in 1759. Although he then had to cede the Neapolitan throne to his (underage) son, he remained in the minds of the Italian people as Carlo Terzo. Raffaele Belliazzi's most famous work is probably the monumental statue of the king in the Palazzo Reale di Napoli which was made 100 years after the death of Carlo Terzo at the behest of King Umberto I. This small bozzetto may be a study for this work. The finished version in marble varies only slightly from the terracotta, for example in the fact that the king there wears a long, loose allonge wig. The scroll on the wall support is also thicker and more three-dimensional. The reign of Carlos III saw the famous Esquilache Riots of 1766, in which the citizens of Madrid protested against various reforms implemented by the king. One of which was the banning of traditional Spanish costume consisting of a broad sombrero and a long cape in favour of the French style tricorn and justacorps. Belliazzi appears to have been aware of this fact and thus paid particular attention to the clothing in both the terracotta and the marble statue.

Provenance
Belgian private collection.

Decorative Kunst

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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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.

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.

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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.

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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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