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August MackeOrientalisches LiebespaarGouache und schwarze Kreide auf feinem bräunlichen Papier,

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August MackeOrientalisches LiebespaarGouache und schwarze Kreide auf feinem bräunlichen Papier, - Bild 1 aus 2
August MackeOrientalisches LiebespaarGouache und schwarze Kreide auf feinem bräunlichen Papier, - Bild 2 aus 2
August MackeOrientalisches LiebespaarGouache und schwarze Kreide auf feinem bräunlichen Papier, - Bild 1 aus 2
August MackeOrientalisches LiebespaarGouache und schwarze Kreide auf feinem bräunlichen Papier, - Bild 2 aus 2
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Köln

August Macke
Orientalisches Liebespaar

Gouache und schwarze Kreide auf feinem bräunlichen Papier, auf Karton aufgezogen 48,8 x 62,5 cm Unter Glas gerahmt. Rückseitig auf dem Karton mit dem ovalen Nachlass-Stempel (Lugt 1775b) sowie datiert, betitelt und bezeichnet "August Macke Paar in Blumen 1913. Farbige Zeichnungen Nr. 32". - In schönem farbfrischen Zustand. Geringfügig gebräunt.

Heiderich Aquarelle 209

Provenienz
Nachlass August Macke; Therkatz [möglicherweise der Schauspieler Rudolf T.], Düsseldorf (1957); Galerie Bargera, Köln (dort wohl in den späten 1960er Jahren erworben); seitdem Privatsammlung Rheinland

Ausstellungen
Bielefeld 1957 (Städtisches Kunsthaus), Macke, Aquarell-Ausstellung, Kat. Nr. 201 mit Abb. S. 30

Literatur
Gustav Vriesen, August Macke, 2. erw. Aufl., Stuttgart 1957, Kat. Nr. 201 mit Abb. S. 284.; vgl. Dominik Bartmann, August Macke. Kunsthandwerk, Glasbilder, Stickereien, Keramiken, Holzarbeiten und Entwürfe, Berlin 1979, Farbtafel 9 und Tafel 21; Peter Dering, Winnetou und Kara Ben Nemsi? Exotische Motive im Werk von August Macke, in: Ausst. Kat. Kleine Fluchten. Exotik im Rheinischen Expressionismus, August Macke Haus, Bonn 1995, S. 8-43; vgl. Dietrich Erdmann, Meine Kinderjahre im August Macke Haus, in: August Macke Haus Bonn, Ausst. Kat. August Macke Haus, Bonn, 1996, S. 34 (Wiederabdruck in: Ausst. Kat. August Macke: Blickfänge in und um sein Bonner Haus, August Macke Haus, Bonn 2001, S. 118); Ursula Heiderich, August Macke, Gemälde. Werkverzeichnis, Ostfildern 2008, vgl. Nr. 435 mit Abb. S. 447 ("Entwurf für einen Wandteppich mit orientalischem Liebespaar", Ölgemälde, 120 x 210 cm, heute Eigentum der Bundesrepublik Deutschland, Bundeskanzleramt Bonn/ Berlin)

Mackes Komposition "Orientalisches Liebespaar" entwirft in wenigen farbintensiven Linienzügen ein märchenhaft anmutendes Motiv. In der romantischen Gefühlsinnigkeit der Komposition fühlt man sich vage an Moritz von Schwind erinnert oder an Francesca da Rimini und an Bilder, die aus den Erzählungen von "Tausendundeine Nacht" aufsteigen. Die Liebenden sitzen geborgen inmitten von schattiger Vegetation, sie sind von ausgreifenden Blüten und Blattwerk umfangen - und im Weiteren dehnt sich eine skizzierte kleine Landschaft mit einem kubischen Haus vor lichtem Horizont. Macke verbindet die entrückte Liebesgeschichte mit abstrakt-ornamentalen Formen. Ihm gelingt eine intime wie harmonische Farbphantasie, die den Idealen des Blauen Reiter genau zu entsprechen scheint. Naturmystik, Exotik u

Full description on lot-tissimo.com
August Macke
Orientalisches Liebespaar

Gouache and black chalk on fine brownish paper, laid down on card 48.8 x 62.5 cm Framed under glass. Oval estate stamp verso on the card (Lugt 1775b) as well as dated, titled and inscribed "August Macke Paar in Blumen 1913. Farbige Zeichnungen Nr. 32". - In very fine condition with fresh colours. Slightly browned.

Heiderich Aquarelle 209

Provenance
Estate August Macke; Therkatz [possibly the actor Rudolf T.], Düsseldorf (1957); Galerie Bargera, Cologne (acquired there, probably in the late 1960s); Private collection, Rhineland, since

Exhibitions
Frankfurt am Main 1920 (Kunstverein), Gedächtnis-Ausstellung August Macke, cat. no. 51; Wiesbaden 1920 (Neues Museum Wiesbaden, Nassauischer Kunstverein/Wiesbadener Gesellschaft für bildende Kunst), Gedächtnis-Ausstellung August Macke, cat. no. 51; Bielefeld 1957 (Städtisches Kunsthaus), Macke, Aquarell-Ausstellung, cat. no. 201 with illus. p. 30

Literature
Gustav Vriesen, August Macke, 2nd exp. ed., Stuttgart 1957, cat. no. 201 with illus. p. 284.; cf. Dominik Bartmann, August Macke. Kunsthandwerk, Glasbilder, Stickereien, Keramiken, Holzarbeiten und Entwürfe, Berlin 1979, pl. 9 and pl. 21; Peter Dering, Winnetou und Kara Ben Nemsi? Exotische Motive im Werk von August Macke, in: exhib. cat. Kleine Fluchten. Exotik im Rheinischen Expressionismus, August Macke Haus, Bonn 1995, pp. 8-43; cf. Dietrich Erdmann, Meine Kinderjahre im August Macke Haus, in: August Macke Haus Bonn, exhib. cat. August Macke Haus, Bonn, 1996, p. 34 (reprint in: exhib. cat. August Macke: Blickfänge in und um sein Bonner Haus, August Macke Haus, Bonn 2001, p. 118); Ursula Heiderich, August Macke, Gemälde. Werkverzeichnis, Ostfildern 2008, cf. no. 435 with illus. p. 447 ("Entwurf für einen Wandteppich mit orientalischem Liebespaar", oil on canvas, 120 x 210 cm, today collection of the Federal Republic of Germany, German Chancellery Bonn/Berlin)

Macke's sheet “Orientalisches Liebespaar” uses a few boldly colourful lines to sketch a motif suggestive of a fairy tale. In the composition's Romantic ardour of feeling, we feel ourselves vaguely reminded of Moritz von Schwind or Francesca da Rimini and pictures emerging from the tales of the “Thousand and One Nights”. The lovers sit, sheltered in the midst of the shadowy vegetation and surrounded by projecting blooms and foliage - further back, a little sketched landscape with a cube-shaped house stretches out before a bright horizon. Macke has combined the secluded love story with abstract-ornamental forms. He has successfully created an intimate and harmonious chromatic fantasy which seems to precisely correspond to the ideals of Der Blaue Reiter. Nature-based mysticism, exoticism and the project of an artistic and earthly paradise resonate as vivid ideas in this composition.
The “oriental couple” also proves to be a motif that appears multiple times in Macke's work. A preliminary formulation of the couple can be found in a small reverse glass painting from 1911, which is stylistically reminiscent of a colourful miniature. The distinctive way the seated figures turn towards one another can be explained through a long pearl necklace which binds them to each other and which they hold together in their hands (see Bartmann, op. cit., 1979, “Orientalisches Paar in Blumenlandschaft”, see comp. illus.). This can also still be recognised in the delicate preliminary drawing on our sheet. The motif of the couple here is additionally to be found in identical and prominently cited form in the 1912 oil painting “Entwurf für einen Wandteppich mit orientalischem Liebespaar” (Heiderich 435, 120 x 210 cm). This exceptionally large painting once hung, as described by Dietrich Erdmann in his memoirs, directly on the ground floor, in the entry hall of Macke's home in Bonn. It is now owned by the state of Germany and adorns the Federal Chancellery.
Peter Dering introduces his study on exotic motifs in the work of August Macke (Dering, op. cit., 1995, p. 9) with an epigraph by the poet Fernando Pessoa: “Fundamentally, one travels best by feeling.” The present composition also radiates this sense: “The image of the lover[s] gives concrete form to an idea of people who - in a particular exceptional situation - experience existence with the greatest concentration and most heightened intensity. Here, using means that are astonishingly simple in terms of motif, Macke achieves something that represents his specific contribution to Expressionism's heightened sense of life” (Dering, op. cit., 1995, p. 26). Along with what he experienced as a happy personal situation, which has surely also found its artistic expression here, there were also cheerful and playful components in this programmatic exoticism in Macke's work. The artist was friends with the Worringer family, who were planning a new tea salon in Cologne, and in this context the artist had envisioned three rooms, each with different decorations featuring motifs related to the Rococo, the Orient and “modern life”. World War I prevented its realisation, but in 1913 Macke had already gone ahead and given Emmy Worringer the “Indischer Brautzug” he had painted in c

Full description on lot-tissimo.com

August Macke
Orientalisches Liebespaar

Gouache und schwarze Kreide auf feinem bräunlichen Papier, auf Karton aufgezogen 48,8 x 62,5 cm Unter Glas gerahmt. Rückseitig auf dem Karton mit dem ovalen Nachlass-Stempel (Lugt 1775b) sowie datiert, betitelt und bezeichnet "August Macke Paar in Blumen 1913. Farbige Zeichnungen Nr. 32". - In schönem farbfrischen Zustand. Geringfügig gebräunt.

Heiderich Aquarelle 209

Provenienz
Nachlass August Macke; Therkatz [möglicherweise der Schauspieler Rudolf T.], Düsseldorf (1957); Galerie Bargera, Köln (dort wohl in den späten 1960er Jahren erworben); seitdem Privatsammlung Rheinland

Ausstellungen
Bielefeld 1957 (Städtisches Kunsthaus), Macke, Aquarell-Ausstellung, Kat. Nr. 201 mit Abb. S. 30

Literatur
Gustav Vriesen, August Macke, 2. erw. Aufl., Stuttgart 1957, Kat. Nr. 201 mit Abb. S. 284.; vgl. Dominik Bartmann, August Macke. Kunsthandwerk, Glasbilder, Stickereien, Keramiken, Holzarbeiten und Entwürfe, Berlin 1979, Farbtafel 9 und Tafel 21; Peter Dering, Winnetou und Kara Ben Nemsi? Exotische Motive im Werk von August Macke, in: Ausst. Kat. Kleine Fluchten. Exotik im Rheinischen Expressionismus, August Macke Haus, Bonn 1995, S. 8-43; vgl. Dietrich Erdmann, Meine Kinderjahre im August Macke Haus, in: August Macke Haus Bonn, Ausst. Kat. August Macke Haus, Bonn, 1996, S. 34 (Wiederabdruck in: Ausst. Kat. August Macke: Blickfänge in und um sein Bonner Haus, August Macke Haus, Bonn 2001, S. 118); Ursula Heiderich, August Macke, Gemälde. Werkverzeichnis, Ostfildern 2008, vgl. Nr. 435 mit Abb. S. 447 ("Entwurf für einen Wandteppich mit orientalischem Liebespaar", Ölgemälde, 120 x 210 cm, heute Eigentum der Bundesrepublik Deutschland, Bundeskanzleramt Bonn/ Berlin)

Mackes Komposition "Orientalisches Liebespaar" entwirft in wenigen farbintensiven Linienzügen ein märchenhaft anmutendes Motiv. In der romantischen Gefühlsinnigkeit der Komposition fühlt man sich vage an Moritz von Schwind erinnert oder an Francesca da Rimini und an Bilder, die aus den Erzählungen von "Tausendundeine Nacht" aufsteigen. Die Liebenden sitzen geborgen inmitten von schattiger Vegetation, sie sind von ausgreifenden Blüten und Blattwerk umfangen - und im Weiteren dehnt sich eine skizzierte kleine Landschaft mit einem kubischen Haus vor lichtem Horizont. Macke verbindet die entrückte Liebesgeschichte mit abstrakt-ornamentalen Formen. Ihm gelingt eine intime wie harmonische Farbphantasie, die den Idealen des Blauen Reiter genau zu entsprechen scheint. Naturmystik, Exotik u

Full description on lot-tissimo.com
August Macke
Orientalisches Liebespaar

Gouache and black chalk on fine brownish paper, laid down on card 48.8 x 62.5 cm Framed under glass. Oval estate stamp verso on the card (Lugt 1775b) as well as dated, titled and inscribed "August Macke Paar in Blumen 1913. Farbige Zeichnungen Nr. 32". - In very fine condition with fresh colours. Slightly browned.

Heiderich Aquarelle 209

Provenance
Estate August Macke; Therkatz [possibly the actor Rudolf T.], Düsseldorf (1957); Galerie Bargera, Cologne (acquired there, probably in the late 1960s); Private collection, Rhineland, since

Exhibitions
Frankfurt am Main 1920 (Kunstverein), Gedächtnis-Ausstellung August Macke, cat. no. 51; Wiesbaden 1920 (Neues Museum Wiesbaden, Nassauischer Kunstverein/Wiesbadener Gesellschaft für bildende Kunst), Gedächtnis-Ausstellung August Macke, cat. no. 51; Bielefeld 1957 (Städtisches Kunsthaus), Macke, Aquarell-Ausstellung, cat. no. 201 with illus. p. 30

Literature
Gustav Vriesen, August Macke, 2nd exp. ed., Stuttgart 1957, cat. no. 201 with illus. p. 284.; cf. Dominik Bartmann, August Macke. Kunsthandwerk, Glasbilder, Stickereien, Keramiken, Holzarbeiten und Entwürfe, Berlin 1979, pl. 9 and pl. 21; Peter Dering, Winnetou und Kara Ben Nemsi? Exotische Motive im Werk von August Macke, in: exhib. cat. Kleine Fluchten. Exotik im Rheinischen Expressionismus, August Macke Haus, Bonn 1995, pp. 8-43; cf. Dietrich Erdmann, Meine Kinderjahre im August Macke Haus, in: August Macke Haus Bonn, exhib. cat. August Macke Haus, Bonn, 1996, p. 34 (reprint in: exhib. cat. August Macke: Blickfänge in und um sein Bonner Haus, August Macke Haus, Bonn 2001, p. 118); Ursula Heiderich, August Macke, Gemälde. Werkverzeichnis, Ostfildern 2008, cf. no. 435 with illus. p. 447 ("Entwurf für einen Wandteppich mit orientalischem Liebespaar", oil on canvas, 120 x 210 cm, today collection of the Federal Republic of Germany, German Chancellery Bonn/Berlin)

Macke's sheet “Orientalisches Liebespaar” uses a few boldly colourful lines to sketch a motif suggestive of a fairy tale. In the composition's Romantic ardour of feeling, we feel ourselves vaguely reminded of Moritz von Schwind or Francesca da Rimini and pictures emerging from the tales of the “Thousand and One Nights”. The lovers sit, sheltered in the midst of the shadowy vegetation and surrounded by projecting blooms and foliage - further back, a little sketched landscape with a cube-shaped house stretches out before a bright horizon. Macke has combined the secluded love story with abstract-ornamental forms. He has successfully created an intimate and harmonious chromatic fantasy which seems to precisely correspond to the ideals of Der Blaue Reiter. Nature-based mysticism, exoticism and the project of an artistic and earthly paradise resonate as vivid ideas in this composition.
The “oriental couple” also proves to be a motif that appears multiple times in Macke's work. A preliminary formulation of the couple can be found in a small reverse glass painting from 1911, which is stylistically reminiscent of a colourful miniature. The distinctive way the seated figures turn towards one another can be explained through a long pearl necklace which binds them to each other and which they hold together in their hands (see Bartmann, op. cit., 1979, “Orientalisches Paar in Blumenlandschaft”, see comp. illus.). This can also still be recognised in the delicate preliminary drawing on our sheet. The motif of the couple here is additionally to be found in identical and prominently cited form in the 1912 oil painting “Entwurf für einen Wandteppich mit orientalischem Liebespaar” (Heiderich 435, 120 x 210 cm). This exceptionally large painting once hung, as described by Dietrich Erdmann in his memoirs, directly on the ground floor, in the entry hall of Macke's home in Bonn. It is now owned by the state of Germany and adorns the Federal Chancellery.
Peter Dering introduces his study on exotic motifs in the work of August Macke (Dering, op. cit., 1995, p. 9) with an epigraph by the poet Fernando Pessoa: “Fundamentally, one travels best by feeling.” The present composition also radiates this sense: “The image of the lover[s] gives concrete form to an idea of people who - in a particular exceptional situation - experience existence with the greatest concentration and most heightened intensity. Here, using means that are astonishingly simple in terms of motif, Macke achieves something that represents his specific contribution to Expressionism's heightened sense of life” (Dering, op. cit., 1995, p. 26). Along with what he experienced as a happy personal situation, which has surely also found its artistic expression here, there were also cheerful and playful components in this programmatic exoticism in Macke's work. The artist was friends with the Worringer family, who were planning a new tea salon in Cologne, and in this context the artist had envisioned three rooms, each with different decorations featuring motifs related to the Rococo, the Orient and “modern life”. World War I prevented its realisation, but in 1913 Macke had already gone ahead and given Emmy Worringer the “Indischer Brautzug” he had painted in c

Full description on lot-tissimo.com

Moderne und Zeitgenössische Kunst - Evening Sale

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.

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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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