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Max Joseph WagenbauerGebirgslandschaft bei Oberaudorf mit InntalÖl auf Kupfer. 47,5 x 60,8 cm.

In 19th Century Art

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Max Joseph WagenbauerGebirgslandschaft bei Oberaudorf mit InntalÖl auf Kupfer. 47,5 x 60,8 cm.
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Max Joseph WagenbauerGebirgslandschaft bei Oberaudorf mit InntalÖl auf Kupfer. 47,5 x 60,8 cm.ProvenienzSlg. Finanzrat von Deiners, Frankfurt. - Privatsammlung, Großburgwedel. - Süddeutsche Privatsammlung.LiteraturBarbara Heine: Max Joseph Wagenbauer. Diss. München 1972, München 1972, S. 135, Nr. 507a (= Oberbayerisches Archiv, Bd. 95).Diese eindrucksvolle Gebirgslandschaft von Max Josef Wagenbauer mit der Darstellung der Gegend um Oberaudorf stellt ein Spätwerk des Künstlers aus den Jahren 1827/28 dar und bildet das Pendant zu einem gleichgroßen Gemälde, das ebenfalls eine Gebirgslandschaft zeigt (Heine, op. cit., S. 135, Nr. 507a u. 507b). Wagenbauer lebte 1826 in Reisach bei Oberaudorf, dieses Gemälde ist ein Produkt dieses künstlerisch fruchtbaren Aufenthaltes. In einem Brief aus dieser Zeit schreibt Wagenbauer: „Ich habe so interessante Zeichnungen nebst einer großen Zeichnung in meinen 2 Zwickbücheln, daß ich drei Tage zur Ausführung beschäftigt sein kann. Diese Gegend ist so reichhaltig, daß ich 4-6 Tage hier bleibe." (zitiert in Heine, op. cit., S. 13)Die „reichhaltige Gegend“ - damit war die oberbayerische Landschaft mit ihrer eindrucksvollen Natur gemeint, die das künstlerische Lebensthema Wagenbauers darstellte. Der 1775 in Grafing geborene Künstler, der sich früh auf die Landschafts- und Tiermalerei spezialisierte, stand zunächst noch ganz in der Tradition der holländischen Kunst des 17. Jahrhunderts und der Landschaftsauffassung des Klassizismus; seine Tierdarstellungen etwa wurden von der Kritik immer wieder mit jenen Paulus Potters und anderer Holländer verglichen. Wagenbauer machte sich jedoch eine unmittelbare Naturanschauung zu eigen, mit der er auch der modernen Landschaftsauffassung der Münchener Schule des 19. Jahrhundert den Weg bereitete. Die Wertschätzung für seine Kunst zeigte sich in den Aufträgen, die Wagenbauer vom kurfürstlichen und später vom königlichen Hof in München erhielt. So zählte er zu jenen Künstlern, die im Auftrag des Kronprinzen Ludwig Ansichten Bayerischer Seen für Schloss Nymphenburg malten.Max Joseph WagenbauerMountain Landscape near Oberaudorf with InntalOil on copper. 47.5 x 60.8 cm.ProvenanceCollection of Finanzrat von Deiners, Frankfurt. - Private collection, Großburgwedel. - Private collection, South Germany.LiteratureBarbara Heine. Max Joseph Wagenbauer. Diss. München 1972, Munich 1972, p. 135, no. 507a (= Oberbayerisches Archiv, vol. 95)This imposing mountain landscape depicts the area around Oberaudorf. It is a product of Wagenbauer's later period, painted in 1827/28, and forms a pendant to another mountainous landscape of identical size (Heine, op. cit., p. 135, no. 507a & 507b). Wagenbauer visited the town of Reisach near Oberaudorf in 1826, and his stay there proved to be a highly fruitful artistic phase. He wrote in a letter: “I have made such interesting drawings alongside a large drawing in my two sketch books, that I will be busy for three days making them. This is such a rich area that I will stay here 4-6 days.” (cited from the German in Heine, op. cit., p. 13)With “rich area”, Wagenbauer was referring to the Upper Bavarian landscape. The depiction of its impressive natural features was to occupy him throughout his career. Wagenbauer was born in Grafing in 1775 and specialised in landscape and animal painting early on. He first worked entirely in the tradition of Dutch 17th century Classicism, and critics repeatedly compared his animal paintings to those of Paulus Potter and other Netherlandish painters. He later began to work in a more naturalistic manner, thus paving the way for the modern school of Munich painters in the 19th century.How much his work was appreciated by his contemporaries is reflected in the commissions that Wagenbauer received from the Electoral, and later the Royal court of
Max Joseph WagenbauerGebirgslandschaft bei Oberaudorf mit InntalÖl auf Kupfer. 47,5 x 60,8 cm.ProvenienzSlg. Finanzrat von Deiners, Frankfurt. - Privatsammlung, Großburgwedel. - Süddeutsche Privatsammlung.LiteraturBarbara Heine: Max Joseph Wagenbauer. Diss. München 1972, München 1972, S. 135, Nr. 507a (= Oberbayerisches Archiv, Bd. 95).Diese eindrucksvolle Gebirgslandschaft von Max Josef Wagenbauer mit der Darstellung der Gegend um Oberaudorf stellt ein Spätwerk des Künstlers aus den Jahren 1827/28 dar und bildet das Pendant zu einem gleichgroßen Gemälde, das ebenfalls eine Gebirgslandschaft zeigt (Heine, op. cit., S. 135, Nr. 507a u. 507b). Wagenbauer lebte 1826 in Reisach bei Oberaudorf, dieses Gemälde ist ein Produkt dieses künstlerisch fruchtbaren Aufenthaltes. In einem Brief aus dieser Zeit schreibt Wagenbauer: „Ich habe so interessante Zeichnungen nebst einer großen Zeichnung in meinen 2 Zwickbücheln, daß ich drei Tage zur Ausführung beschäftigt sein kann. Diese Gegend ist so reichhaltig, daß ich 4-6 Tage hier bleibe." (zitiert in Heine, op. cit., S. 13)Die „reichhaltige Gegend“ - damit war die oberbayerische Landschaft mit ihrer eindrucksvollen Natur gemeint, die das künstlerische Lebensthema Wagenbauers darstellte. Der 1775 in Grafing geborene Künstler, der sich früh auf die Landschafts- und Tiermalerei spezialisierte, stand zunächst noch ganz in der Tradition der holländischen Kunst des 17. Jahrhunderts und der Landschaftsauffassung des Klassizismus; seine Tierdarstellungen etwa wurden von der Kritik immer wieder mit jenen Paulus Potters und anderer Holländer verglichen. Wagenbauer machte sich jedoch eine unmittelbare Naturanschauung zu eigen, mit der er auch der modernen Landschaftsauffassung der Münchener Schule des 19. Jahrhundert den Weg bereitete. Die Wertschätzung für seine Kunst zeigte sich in den Aufträgen, die Wagenbauer vom kurfürstlichen und später vom königlichen Hof in München erhielt. So zählte er zu jenen Künstlern, die im Auftrag des Kronprinzen Ludwig Ansichten Bayerischer Seen für Schloss Nymphenburg malten.Max Joseph WagenbauerMountain Landscape near Oberaudorf with InntalOil on copper. 47.5 x 60.8 cm.ProvenanceCollection of Finanzrat von Deiners, Frankfurt. - Private collection, Großburgwedel. - Private collection, South Germany.LiteratureBarbara Heine. Max Joseph Wagenbauer. Diss. München 1972, Munich 1972, p. 135, no. 507a (= Oberbayerisches Archiv, vol. 95)This imposing mountain landscape depicts the area around Oberaudorf. It is a product of Wagenbauer's later period, painted in 1827/28, and forms a pendant to another mountainous landscape of identical size (Heine, op. cit., p. 135, no. 507a & 507b). Wagenbauer visited the town of Reisach near Oberaudorf in 1826, and his stay there proved to be a highly fruitful artistic phase. He wrote in a letter: “I have made such interesting drawings alongside a large drawing in my two sketch books, that I will be busy for three days making them. This is such a rich area that I will stay here 4-6 days.” (cited from the German in Heine, op. cit., p. 13)With “rich area”, Wagenbauer was referring to the Upper Bavarian landscape. The depiction of its impressive natural features was to occupy him throughout his career. Wagenbauer was born in Grafing in 1775 and specialised in landscape and animal painting early on. He first worked entirely in the tradition of Dutch 17th century Classicism, and critics repeatedly compared his animal paintings to those of Paulus Potter and other Netherlandish painters. He later began to work in a more naturalistic manner, thus paving the way for the modern school of Munich painters in the 19th century.How much his work was appreciated by his contemporaries is reflected in the commissions that Wagenbauer received from the Electoral, and later the Royal court of

19th Century Art

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1. The art auction house, Kunsthaus Lempertz (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.

The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
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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 ticket number and item description. In the event of ambiguities, the listed ticket 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. Telephonic 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. 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 calculated (VAT) on the surcharge 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 ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a 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 author died after 31.12.1943, a charge of 1,9 % 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 also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part 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 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, Auctioneer

 

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