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Piet MondrianFarm building near irrigation ditch with farmer at work and woman doing the laundryÖl

In Moderne und Zeitgenössische Kunst - Evening Sa...

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Piet MondrianFarm building near irrigation ditch with farmer at work and woman doing the laundryÖl
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Köln

Piet Mondrian
Farm building near irrigation ditch with farmer at work and woman doing the laundry

Öl auf Leinwand 54,2 x 36,2 cm Gerahmt. Unten rechts rot signiert 'PIET MONDRIAAN.'. - Partiell mit feinem Craquelé.

Nicht bei Joosten/Welsh

Das Werk wird unter der Nummer A43a in das digitale Werkverzeichnis Piet Mondrian des RKD - Netherlands Institute for Art History aufgenommen. Wir danken Wietse Coppes, Conservator Mondriaan & De Stijl-archieven en documentatie - RKD, für die wissenschaftliche Beratung.

Provenienz
Sammlung Guillaume Campo, Antwerpen (um 1920-1930); Privatsammlung, Belgien (seit um 1930); Belgische Privatsammlung

Piet Mondrians naturalistisch-impressionistisches Frühwerk ist geprägt von der intensiven Beobachtung der niederländischen Landschaft und ihrer Erscheinungen. Für diese Werke aus der Zeit bis etwa 1912 wählt Mondrian augenscheinlich einfache ländliche Ansichten: Wiesen, Häuser am Feld, kleine Baumgruppen oder, wie in unserem Bild, einen Bewässerungsgraben. So wenig diese Gemälde und Zeichnungen auf den ersten Blick mit Mondrians divisionistisch-kubistischen Werken oder der Radikalität seiner neoplastischen Kompositionen zu tun haben, so scheint in ihnen bereits sein Interesse am Absoluten, am Geistigen, am Verborgenen auf. Mondrian widmet sich den Landschaften seiner Heimat mit genauem, geduldigem Blick, als wolle er über die Wiederholung im Bild zu ihrem Grund vorstoßen. Tatsächlich fallen in die Zeit um 1900 auch Mondrians erste Beschäftigungen mit der Theosophie, die ihn sein Leben lang begleiten sollte.
Unsere Darstellung des Kanals mit einem Bauer und einer Frau bei der Wäsche stellt eine Entdeckung dar und konnte erst kürzlich in das Werkverzeichnis Piet Mondrian aufgenommen werden. Kompositorisch bemerkenswert ist das gestreckte Hochformat, aber auch die piktoriale Erweiterung der Landschaft durch die beiden Figuren, die sich bei Mondrian nur selten findet. Der Darstellung wohnt kaum etwas Narratives oder gar Pittoreskes inne, vielmehr kündigt sich im Blau und Weiß ihrer Kleidung Mondrians überragendes Gespür für die absolute Qualität der Farbe an.
Piet Mondrian
Farm building near irrigation ditch with farmer at work and woman doing the laundry

Oil on canvas 54.2 x 36.2 cm Framed. Signed 'PIET MONDRIAAN.' in red lower right. - Partially with fine craquelure.

Not recorded by Joosten/Welsh

The work will be included in the digital catalogue raisonné Piet Mondrian of the RKD - Netherlands Institute for Art History under the number A43a. We would like to thank Wietse Coppes, Conservator Mondriaan & De Stijl-archieven en documentatie - RKD, for scientific advice.

Provenance
Collection Guillaume Campo, Antwerp (circa 1920-1930); Private collection, Belgium (since circa 1930); Private collection, Belgium

Piet Mondrian's naturalistic-impressionistic early work is defined by his intense observation of the Dutch landscape and its appearances. For these works from the period until around 1912, Mondrian selected manifestly simple views of the countryside: meadows, houses next to fields, small groups of trees or, as in the case of our picture, an irrigation canal. As little as these paintings and drawings have to do with Mondrian's divisionistic-cubistic works or the radicalism of his Neo-Plastic compositions at first glance, his interest in the absolute, the spiritual and the hidden is already visible within them. Mondrian devoted his attention to the landscapes of his homeland with a precise and patient eye, as though he wished to break through to their underlying essence via their repetition in pictures. Mondrian's initial occupation with Theosophy, which would accompany him for the rest of his life, did in fact take place in the period around 1900.
Our depiction of a canal with a farmer and a woman doing laundry represents a discovery, and it only recently became possible for it to be entered into the catalogue of works by Piet Mondrian. The elongated vertical format is remarkable compositionally, but so is the pictorial expansion of the landscape through the two figures, which are only rarely to be found in Mondrian's work. Their depiction contains scarcely any narrative, not to mention picturesque, element; instead, the blue and white of their clothing signalises Mondrian's exceptional sense for the absolute quality of colour.

Piet Mondrian
Farm building near irrigation ditch with farmer at work and woman doing the laundry

Öl auf Leinwand 54,2 x 36,2 cm Gerahmt. Unten rechts rot signiert 'PIET MONDRIAAN.'. - Partiell mit feinem Craquelé.

Nicht bei Joosten/Welsh

Das Werk wird unter der Nummer A43a in das digitale Werkverzeichnis Piet Mondrian des RKD - Netherlands Institute for Art History aufgenommen. Wir danken Wietse Coppes, Conservator Mondriaan & De Stijl-archieven en documentatie - RKD, für die wissenschaftliche Beratung.

Provenienz
Sammlung Guillaume Campo, Antwerpen (um 1920-1930); Privatsammlung, Belgien (seit um 1930); Belgische Privatsammlung

Piet Mondrians naturalistisch-impressionistisches Frühwerk ist geprägt von der intensiven Beobachtung der niederländischen Landschaft und ihrer Erscheinungen. Für diese Werke aus der Zeit bis etwa 1912 wählt Mondrian augenscheinlich einfache ländliche Ansichten: Wiesen, Häuser am Feld, kleine Baumgruppen oder, wie in unserem Bild, einen Bewässerungsgraben. So wenig diese Gemälde und Zeichnungen auf den ersten Blick mit Mondrians divisionistisch-kubistischen Werken oder der Radikalität seiner neoplastischen Kompositionen zu tun haben, so scheint in ihnen bereits sein Interesse am Absoluten, am Geistigen, am Verborgenen auf. Mondrian widmet sich den Landschaften seiner Heimat mit genauem, geduldigem Blick, als wolle er über die Wiederholung im Bild zu ihrem Grund vorstoßen. Tatsächlich fallen in die Zeit um 1900 auch Mondrians erste Beschäftigungen mit der Theosophie, die ihn sein Leben lang begleiten sollte.
Unsere Darstellung des Kanals mit einem Bauer und einer Frau bei der Wäsche stellt eine Entdeckung dar und konnte erst kürzlich in das Werkverzeichnis Piet Mondrian aufgenommen werden. Kompositorisch bemerkenswert ist das gestreckte Hochformat, aber auch die piktoriale Erweiterung der Landschaft durch die beiden Figuren, die sich bei Mondrian nur selten findet. Der Darstellung wohnt kaum etwas Narratives oder gar Pittoreskes inne, vielmehr kündigt sich im Blau und Weiß ihrer Kleidung Mondrians überragendes Gespür für die absolute Qualität der Farbe an.
Piet Mondrian
Farm building near irrigation ditch with farmer at work and woman doing the laundry

Oil on canvas 54.2 x 36.2 cm Framed. Signed 'PIET MONDRIAAN.' in red lower right. - Partially with fine craquelure.

Not recorded by Joosten/Welsh

The work will be included in the digital catalogue raisonné Piet Mondrian of the RKD - Netherlands Institute for Art History under the number A43a. We would like to thank Wietse Coppes, Conservator Mondriaan & De Stijl-archieven en documentatie - RKD, for scientific advice.

Provenance
Collection Guillaume Campo, Antwerp (circa 1920-1930); Private collection, Belgium (since circa 1930); Private collection, Belgium

Piet Mondrian's naturalistic-impressionistic early work is defined by his intense observation of the Dutch landscape and its appearances. For these works from the period until around 1912, Mondrian selected manifestly simple views of the countryside: meadows, houses next to fields, small groups of trees or, as in the case of our picture, an irrigation canal. As little as these paintings and drawings have to do with Mondrian's divisionistic-cubistic works or the radicalism of his Neo-Plastic compositions at first glance, his interest in the absolute, the spiritual and the hidden is already visible within them. Mondrian devoted his attention to the landscapes of his homeland with a precise and patient eye, as though he wished to break through to their underlying essence via their repetition in pictures. Mondrian's initial occupation with Theosophy, which would accompany him for the rest of his life, did in fact take place in the period around 1900.
Our depiction of a canal with a farmer and a woman doing laundry represents a discovery, and it only recently became possible for it to be entered into the catalogue of works by Piet Mondrian. The elongated vertical format is remarkable compositionally, but so is the pictorial expansion of the landscape through the two figures, which are only rarely to be found in Mondrian's work. Their depiction contains scarcely any narrative, not to mention picturesque, element; instead, the blue and white of their clothing signalises Mondrian's exceptional sense for the absolute quality of colour.

Moderne und Zeitgenössische Kunst - Evening Sale

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

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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.

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

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