Los

21

Max SlevogtStehender SchimmelÖl auf Karton auf Sperrholzplatte 65,5 x 65 cm Gerahmt. Unten rechts

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.
Max SlevogtStehender SchimmelÖl auf Karton auf Sperrholzplatte 65,5 x 65 cm Gerahmt. Unten rechts
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Max Slevogt
Stehender Schimmel

Öl auf Karton auf Sperrholzplatte 65,5 x 65 cm Gerahmt. Unten rechts schwarz signiert und datiert 'Slevogt 1902'. - Einige wenige Retuschen im linken Bilddrittel.

Vgl. Imiela 1968, Anm. 10, S. 376 ("Schimmelstudie")

Mit einer Foto-Expertise von Hans-Jürgen Imiela, Mainz, vom 24. Juni 1996

Provenienz
Dorotheum Salzburg, Auktion Klassische Moderne und Zeitgenössische Kunst, 9. Juni 2004, Los 537 ("Stehender Schimmel in pfälzischer Landschaft"); Privatbesitz Rheinland-Pfalz

Tierbildnisse sind im Werk Max Slevogts in den Jahren 1901 und 1902 sehr präsent. Zunächst erarbeitete der Künstler 1901 im Frankfurter Zoo eine Vielzahl von Tierzeichnungen und -aquarellen, die er zu einer Serie von insgesamt 29 Ölbildern von Raubtieren, Affen und Papageien mit ihren Wärtern ausführte. Im Sommer des folgenden Jahres, Slevogt war inzwischen nach Berlin übergesiedelt, widmete er sich einer Reihe von Reiterbildnissen, einer Motivik, zu der er wohl im Frankfurter Atelier Wilhelm Trübners angeregt worden war.
Das bekannteste ist der „Württembergischer Dragoneroffizier zu Pferde“ (Landesmuseum Hannover), als Modell für den jungen Offizier fungierte hier einer der Neffen des Künstlers. Das Pferd, einen stolzen Schimmel, bildete der Künstler im gleichen Jahr in dem hier angebotenen Gemälde auch einzeln ab. In schnellen, sicheren Strichen erfasste er Tier und Landschaft. Das Tier ist nach der Tradition klassischer Pferdebildnisse im strengen Profil dargestellt, die umgebende Landschaft, die hinter dem Anwesen des Künstler in Neukastel verortet werden kann, ist reduziert auf ein leicht ansteigendes Wiesenstück mit dunklem Buschwerk. Die vielfältigen Weiß- und Grautöne des Fells verschmelzen nach oben hin mit dem blau und rötlich nuancierten Weiß des bedeckten Himmels, der die kühle Lichtstimmung des Gemäldes hervorruft. Das Arbeiten unter freiem Himmel bei natürlichem Licht war von nun an von großer Bedeutung für Slevogt, zahlreiche Freilichtbildnisse entstanden in dieser Zeit.
Max Slevogt
Stehender Schimmel

Oil on card on plywood 65.5 x 65 cm Framed. Signed and dated 'Slevogt 1902' in black lower right. - A few retouches in the left third of the picture.

Cf. Imiela 1968, annot. 10, p. 376 ("Schimmelstudie")

With a photo-certificate by Hans-Jürgen Imiela, Mainz, dated 24 June 1996

Provenance
Dorotheum Salzburg, Auktion Klassische Moderne und Zeitgenössische Kunst, 9 June 2004, Lot 537 ("Stehender Schimmel in pfälzischer Landschaft"); Private possession, Rhineland-Palatinate

Images of animals are very present in Max Slevogt's work from 1901 and 1902. The artist first created a great number of animal drawings and watercolours at the Frankfurt zoo in 1901, and he developed these into a series totalling 29 oil paintings of predators, primates and parrots with their keepers. In the summer of the following year - Slevogt had moved to Berlin in the meantime - he devoted his attention to a series of images of riders, a theme presumably inspired in the Frankfurt studio of Wilhelm Trübner.
The best known of these is “Württembergischer Dragoneroffizier zu Pferde” (Landesmuseum Hannover), in which one of the artist's nephews served as the model for the young officer. That year the artist also depicted the same horse from the likeness - a proud grey - alone in the painting offered here. The animal and landscape are captured in rapid, confident strokes. The horse is depicted in strict profile, in keeping with the classic tradition of likenesses of horses, and the surrounding passage of landscape which can be located behind the artist's premises in Neukastel is reduced to a section of pasture sloping upwards slightly and featuring a dark area of shrubbery. The coat's diverse shades of white and grey merge towards the top into the sky's blue and white - with reddish nuances - which generates the cool atmosphere of the painting's light. Working with natural light in the open air was of great importance for Slevogt from this point forward, and he created numerous open-air likenesses in this period.

Max Slevogt
Stehender Schimmel

Öl auf Karton auf Sperrholzplatte 65,5 x 65 cm Gerahmt. Unten rechts schwarz signiert und datiert 'Slevogt 1902'. - Einige wenige Retuschen im linken Bilddrittel.

Vgl. Imiela 1968, Anm. 10, S. 376 ("Schimmelstudie")

Mit einer Foto-Expertise von Hans-Jürgen Imiela, Mainz, vom 24. Juni 1996

Provenienz
Dorotheum Salzburg, Auktion Klassische Moderne und Zeitgenössische Kunst, 9. Juni 2004, Los 537 ("Stehender Schimmel in pfälzischer Landschaft"); Privatbesitz Rheinland-Pfalz

Tierbildnisse sind im Werk Max Slevogts in den Jahren 1901 und 1902 sehr präsent. Zunächst erarbeitete der Künstler 1901 im Frankfurter Zoo eine Vielzahl von Tierzeichnungen und -aquarellen, die er zu einer Serie von insgesamt 29 Ölbildern von Raubtieren, Affen und Papageien mit ihren Wärtern ausführte. Im Sommer des folgenden Jahres, Slevogt war inzwischen nach Berlin übergesiedelt, widmete er sich einer Reihe von Reiterbildnissen, einer Motivik, zu der er wohl im Frankfurter Atelier Wilhelm Trübners angeregt worden war.
Das bekannteste ist der „Württembergischer Dragoneroffizier zu Pferde“ (Landesmuseum Hannover), als Modell für den jungen Offizier fungierte hier einer der Neffen des Künstlers. Das Pferd, einen stolzen Schimmel, bildete der Künstler im gleichen Jahr in dem hier angebotenen Gemälde auch einzeln ab. In schnellen, sicheren Strichen erfasste er Tier und Landschaft. Das Tier ist nach der Tradition klassischer Pferdebildnisse im strengen Profil dargestellt, die umgebende Landschaft, die hinter dem Anwesen des Künstler in Neukastel verortet werden kann, ist reduziert auf ein leicht ansteigendes Wiesenstück mit dunklem Buschwerk. Die vielfältigen Weiß- und Grautöne des Fells verschmelzen nach oben hin mit dem blau und rötlich nuancierten Weiß des bedeckten Himmels, der die kühle Lichtstimmung des Gemäldes hervorruft. Das Arbeiten unter freiem Himmel bei natürlichem Licht war von nun an von großer Bedeutung für Slevogt, zahlreiche Freilichtbildnisse entstanden in dieser Zeit.
Max Slevogt
Stehender Schimmel

Oil on card on plywood 65.5 x 65 cm Framed. Signed and dated 'Slevogt 1902' in black lower right. - A few retouches in the left third of the picture.

Cf. Imiela 1968, annot. 10, p. 376 ("Schimmelstudie")

With a photo-certificate by Hans-Jürgen Imiela, Mainz, dated 24 June 1996

Provenance
Dorotheum Salzburg, Auktion Klassische Moderne und Zeitgenössische Kunst, 9 June 2004, Lot 537 ("Stehender Schimmel in pfälzischer Landschaft"); Private possession, Rhineland-Palatinate

Images of animals are very present in Max Slevogt's work from 1901 and 1902. The artist first created a great number of animal drawings and watercolours at the Frankfurt zoo in 1901, and he developed these into a series totalling 29 oil paintings of predators, primates and parrots with their keepers. In the summer of the following year - Slevogt had moved to Berlin in the meantime - he devoted his attention to a series of images of riders, a theme presumably inspired in the Frankfurt studio of Wilhelm Trübner.
The best known of these is “Württembergischer Dragoneroffizier zu Pferde” (Landesmuseum Hannover), in which one of the artist's nephews served as the model for the young officer. That year the artist also depicted the same horse from the likeness - a proud grey - alone in the painting offered here. The animal and landscape are captured in rapid, confident strokes. The horse is depicted in strict profile, in keeping with the classic tradition of likenesses of horses, and the surrounding passage of landscape which can be located behind the artist's premises in Neukastel is reduced to a section of pasture sloping upwards slightly and featuring a dark area of shrubbery. The coat's diverse shades of white and grey merge towards the top into the sky's blue and white - with reddish nuances - which generates the cool atmosphere of the painting's light. Working with natural light in the open air was of great importance for Slevogt from this point forward, and he created numerous open-air likenesses in this period.

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