Los

53

Alexej von JawlenskyVariation 1916 N. 4Öl auf Halbkarton. Auf Hartfaser (47,8 x 34,7 cm) montiert

In Moderne und Zeitgenössische Kunst - Evening Sa...

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 Höchstbieter! 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.
Alexej von JawlenskyVariation 1916 N. 4Öl auf Halbkarton. Auf Hartfaser (47,8 x 34,7 cm) montiert
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Alexej von Jawlensky
Variation 1916 N. 4

Öl auf Halbkarton. Auf Hartfaser (47,8 x 34,7 cm) montiert 39,8 x 27,3 cm Gerahmt. Unten links schwarz monogrammiert 'A.J.'. - Rückseitig auf dem Karton des Bildträgers mit Tinte von Lisa Kümmel bezeichnet "A. Jawlensky. 1916. N. 4." - In den Ecken mit Reißnagellöchern. - Am Unterrand mit kurzem oberflächlichem Kratzer und winzigen Farbausbrüchen sowie einer kleinen Retusche.

Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky Bianconi Bd. IV, 2287 (Addendum) mit Farbabb. S. 425

Wir danken Angelica Jawlensky Bianconi, Muralto, für freundliche Hinweise.

Provenienz
Richard Gerson, Berlin (späte 1930er Jahre); Privatsammlung Israel; Kunsthaus Nagel, Stuttgart, Auktion 29.3.1996, Lot 3077; Privatsammlung Hessen

Jawlensky bezeichnete seine ab 1914 in der Schweizer Emigration entstandene erste große Motivserie als "Variationen über ein landschaftliches Thema". Wie in Rückbindung an cézannesque anmutendes, schöpferisches Arbeiten durch auserwählte Motivbeschränkung, Wiederholung und Abstraktion, folgt Jawlensky hier seinen eigenen Prinzipien der Synthese. Die hier neuartige Vereinfachung und Formalisierung, die in ihrer inneren Konsequenz für das Spätwerk bestimmend werden sollte, berührt noch heute durch den Umfang ihres Ausdrucks. Jede der "Variationen" verzaubert durch ihre höchst individuelle wie entgrenzende künstlerische Empfindung.
"Jawlenskys 'Variationen' der Jahre 1914-17 eignen deutlich Züge des Kontemplativen und der Versenkung, was sich im späteren Werk verdichtete. Es ging dem Maler um die farbigen Äquivalenzen für den inneren Klang der Naturerscheinungen. Hier taucht zum ersten Mal das Prinzip der 'offenen Serie' [Katharina Schmidt] auf. Eine Reihe von über hundert annähernd gleichgroßen, auf Karton gemalten Hochformaten kreist fast ausschließlich um immer das gleiche Landschaftsmotiv. Bezeichnend ist die Loslösung vom Querformat des traditionellen Landschaftsbildes. Alles zielt auf eine stärkere Konzentration des Geistigen. Die noch an die Fauves gemahnende, eruptive Farbigkeit der früheren Bilder hat sich - zuweilen nahezu pastellartig - in einen transparenten Gesamtklang gelichtet. Sparsam ins Bild integrierte Hinweise an Gegenständliches rufen gelegentlich Kandinskys frühe 'Improvisationen' in Erinnerung. Auch ein Echo von Delaunays 'Disques simultanés' scheint vernehmbar. Kein Zweifel kann daran bestehen, dass in diesen 'Variationen' Anklänge an Musikalisches mitschwingen. Jawlenskys persönliche Affinität zur Musik war tiefgehend und hatte durch den Umgang mit Igor Strawinsky gerade während der Schweizer Jahre neue Anstöße erhalten. In der Ästhetik des 'Blauen Reiters' waren Ideen vom 'Gesamtkunstwerk' virulent, deren romantisch-symbolistische Wurzeln bis tief ins 19. Jahrhundert zurückreichen. Skrjabins 'Prometheus' [5. Symphonie, 1910], in dem die Synchronie zwischen dem Musikalischen und wechselnden farbigen Beleuchtungen versucht wurde, war damals Gegenstand künstlerischer Diskussionen. [...] Der musikalische Urgrund im Sinne einer mystisch-innerlichen Gesamtschau der Welt schwang bei dem Maler stets [...] mit." (Michael Semff, Variationen-Meditationen. Zum Spätwerk Jawlenskys, in: Bildzyklen, Ausst. Kat. Staatsgalerie Stuttgart 1987, S. 17 f.).
Alexej von Jawlensky
Variation 1916 N. 4

Oil on light card, laid down on fibreboard (47.8 x 34.7 cm) 39.8 x 27.3 cm Framed. Monogrammed 'A.J.' in black lower left. - Inscribed verso "A. Jawlensky. 1916. N. 4." by Lisa Kümmel. - The corner with drawing pin holes. The lower edge with a short surface scratch and tiny losses of colour, with a minor retouching.

Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky Bianconi Bd. IV, 2287 (Addendum) with colour illus. p. 425

We would like to thank Angelica Jawlensky Bianconi, Muralto, for kind advice.

Provenance
Richard Gerson, Berlin (late 1930s); Private collection, Israel; Kunsthaus Nagel, Stuttgart, Auction 29 Mar. 1996, Lot 3077; Private collection, Hesse

Jawlensky referred to the first major series of motifs he created during his Swiss emigration, beginning in 1914, as “Variationen über ein landschaftliches Thema”. Here, as though recurring back to a Cézanne-like manner of working creatively by choosing repetition, abstraction and the limitation of the motif, Jawlensky followed his own principles of synthesis. The inner logic behind this new type of simplification and formalisation would become defining for his late work, and we still find it moving today on account of its breadth of expression. Each “Variation” enchants us with its extremely individual as well as groundbreaking artistic sense.
“Jawlensky's 'Variationen' of the years 1914-17 are characterised by clear elements of contemplation and absorption, which became more concentrated in his later work. The painter was interested in the chromatic equivalents of the inner resonance of natural phenomena. Here the principle of the 'open series' [Katharina Schmidt] emerges for the first time. A series of over one hundred vertical-format paintings on cardboard, all roughly equal in size, revolves almost exclusively around a single landscape motif. His distancing himself from the horizontal format of the traditional landscape image is indicative. Everything is directed towards a stronger concentration of the spiritual. The eruptive tonalities of the earlier pictures, which still recall the Fauves, lightens into a - sometimes almost pastel-like - transparent collective resonance. The references to objective elements sparingly integrated into the pictures occasionally call to mind Kandinsky's early 'Improvisationen'. It also seems possible to detect an echo of Delaunay's 'Disques simultanés'. There can be no doubt that musical reverberations also resonate in these 'Variationen'. Jawlensky had a deep personal affinity to music, and it was provided with new impulses precisely during his years in Switzerland, through his contact with Igor Stravinsky. Ideas about the 'Gesamtkunstwerk' - whose Romantic and Symbolist roots stretch back deep into the 19th century - were prevalent in the aesthetics of 'Der Blaue Reiter'. Scriabin's 'Prometheus' [5th Symphony, 1910] attempts to establish a synchrony between the musical element and alternating coloured lighting, and it was a topic of discussions among artists at that time. [...] The primeval ground of music, in the sense of a mystical-inward overview of the world, always resonated in the painter […].” (Michael Semff, Variationen-Meditationen: Zum Spätwerk Jawlenskys, in: Bildzyklen, exhib. cat., Staatsgalerie Stuttgart 1987, pp. 17/18).

Alexej von Jawlensky
Variation 1916 N. 4

Öl auf Halbkarton. Auf Hartfaser (47,8 x 34,7 cm) montiert 39,8 x 27,3 cm Gerahmt. Unten links schwarz monogrammiert 'A.J.'. - Rückseitig auf dem Karton des Bildträgers mit Tinte von Lisa Kümmel bezeichnet "A. Jawlensky. 1916. N. 4." - In den Ecken mit Reißnagellöchern. - Am Unterrand mit kurzem oberflächlichem Kratzer und winzigen Farbausbrüchen sowie einer kleinen Retusche.

Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky Bianconi Bd. IV, 2287 (Addendum) mit Farbabb. S. 425

Wir danken Angelica Jawlensky Bianconi, Muralto, für freundliche Hinweise.

Provenienz
Richard Gerson, Berlin (späte 1930er Jahre); Privatsammlung Israel; Kunsthaus Nagel, Stuttgart, Auktion 29.3.1996, Lot 3077; Privatsammlung Hessen

Jawlensky bezeichnete seine ab 1914 in der Schweizer Emigration entstandene erste große Motivserie als "Variationen über ein landschaftliches Thema". Wie in Rückbindung an cézannesque anmutendes, schöpferisches Arbeiten durch auserwählte Motivbeschränkung, Wiederholung und Abstraktion, folgt Jawlensky hier seinen eigenen Prinzipien der Synthese. Die hier neuartige Vereinfachung und Formalisierung, die in ihrer inneren Konsequenz für das Spätwerk bestimmend werden sollte, berührt noch heute durch den Umfang ihres Ausdrucks. Jede der "Variationen" verzaubert durch ihre höchst individuelle wie entgrenzende künstlerische Empfindung.
"Jawlenskys 'Variationen' der Jahre 1914-17 eignen deutlich Züge des Kontemplativen und der Versenkung, was sich im späteren Werk verdichtete. Es ging dem Maler um die farbigen Äquivalenzen für den inneren Klang der Naturerscheinungen. Hier taucht zum ersten Mal das Prinzip der 'offenen Serie' [Katharina Schmidt] auf. Eine Reihe von über hundert annähernd gleichgroßen, auf Karton gemalten Hochformaten kreist fast ausschließlich um immer das gleiche Landschaftsmotiv. Bezeichnend ist die Loslösung vom Querformat des traditionellen Landschaftsbildes. Alles zielt auf eine stärkere Konzentration des Geistigen. Die noch an die Fauves gemahnende, eruptive Farbigkeit der früheren Bilder hat sich - zuweilen nahezu pastellartig - in einen transparenten Gesamtklang gelichtet. Sparsam ins Bild integrierte Hinweise an Gegenständliches rufen gelegentlich Kandinskys frühe 'Improvisationen' in Erinnerung. Auch ein Echo von Delaunays 'Disques simultanés' scheint vernehmbar. Kein Zweifel kann daran bestehen, dass in diesen 'Variationen' Anklänge an Musikalisches mitschwingen. Jawlenskys persönliche Affinität zur Musik war tiefgehend und hatte durch den Umgang mit Igor Strawinsky gerade während der Schweizer Jahre neue Anstöße erhalten. In der Ästhetik des 'Blauen Reiters' waren Ideen vom 'Gesamtkunstwerk' virulent, deren romantisch-symbolistische Wurzeln bis tief ins 19. Jahrhundert zurückreichen. Skrjabins 'Prometheus' [5. Symphonie, 1910], in dem die Synchronie zwischen dem Musikalischen und wechselnden farbigen Beleuchtungen versucht wurde, war damals Gegenstand künstlerischer Diskussionen. [...] Der musikalische Urgrund im Sinne einer mystisch-innerlichen Gesamtschau der Welt schwang bei dem Maler stets [...] mit." (Michael Semff, Variationen-Meditationen. Zum Spätwerk Jawlenskys, in: Bildzyklen, Ausst. Kat. Staatsgalerie Stuttgart 1987, S. 17 f.).
Alexej von Jawlensky
Variation 1916 N. 4

Oil on light card, laid down on fibreboard (47.8 x 34.7 cm) 39.8 x 27.3 cm Framed. Monogrammed 'A.J.' in black lower left. - Inscribed verso "A. Jawlensky. 1916. N. 4." by Lisa Kümmel. - The corner with drawing pin holes. The lower edge with a short surface scratch and tiny losses of colour, with a minor retouching.

Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky Bianconi Bd. IV, 2287 (Addendum) with colour illus. p. 425

We would like to thank Angelica Jawlensky Bianconi, Muralto, for kind advice.

Provenance
Richard Gerson, Berlin (late 1930s); Private collection, Israel; Kunsthaus Nagel, Stuttgart, Auction 29 Mar. 1996, Lot 3077; Private collection, Hesse

Jawlensky referred to the first major series of motifs he created during his Swiss emigration, beginning in 1914, as “Variationen über ein landschaftliches Thema”. Here, as though recurring back to a Cézanne-like manner of working creatively by choosing repetition, abstraction and the limitation of the motif, Jawlensky followed his own principles of synthesis. The inner logic behind this new type of simplification and formalisation would become defining for his late work, and we still find it moving today on account of its breadth of expression. Each “Variation” enchants us with its extremely individual as well as groundbreaking artistic sense.
“Jawlensky's 'Variationen' of the years 1914-17 are characterised by clear elements of contemplation and absorption, which became more concentrated in his later work. The painter was interested in the chromatic equivalents of the inner resonance of natural phenomena. Here the principle of the 'open series' [Katharina Schmidt] emerges for the first time. A series of over one hundred vertical-format paintings on cardboard, all roughly equal in size, revolves almost exclusively around a single landscape motif. His distancing himself from the horizontal format of the traditional landscape image is indicative. Everything is directed towards a stronger concentration of the spiritual. The eruptive tonalities of the earlier pictures, which still recall the Fauves, lightens into a - sometimes almost pastel-like - transparent collective resonance. The references to objective elements sparingly integrated into the pictures occasionally call to mind Kandinsky's early 'Improvisationen'. It also seems possible to detect an echo of Delaunay's 'Disques simultanés'. There can be no doubt that musical reverberations also resonate in these 'Variationen'. Jawlensky had a deep personal affinity to music, and it was provided with new impulses precisely during his years in Switzerland, through his contact with Igor Stravinsky. Ideas about the 'Gesamtkunstwerk' - whose Romantic and Symbolist roots stretch back deep into the 19th century - were prevalent in the aesthetics of 'Der Blaue Reiter'. Scriabin's 'Prometheus' [5th Symphony, 1910] attempts to establish a synchrony between the musical element and alternating coloured lighting, and it was a topic of discussions among artists at that time. [...] The primeval ground of music, in the sense of a mystical-inward overview of the world, always resonated in the painter […].” (Michael Semff, Variationen-Meditationen: Zum Spätwerk Jawlenskys, in: Bildzyklen, exhib. cat., Staatsgalerie Stuttgart 1987, pp. 17/18).

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

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