Los

311

Auguste HerbinNature morte à la cafetière Öl auf Leinwand. 41,1 x 33,2 cm. Gerahmt. Unten mittig

In Modern Art

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.
Auguste HerbinNature morte à la cafetière Öl auf Leinwand. 41,1 x 33,2 cm. Gerahmt. Unten mittig
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Auguste Herbin
Nature morte à la cafetière

Öl auf Leinwand. 41,1 x 33,2 cm. Gerahmt. Unten mittig schwarz signiert 'herbin'. - Die Ecken der Leinwand alt berieben mit Farbverlusten, sonst in gutem Erhaltungszustand.

Claisse 253

Provenienz
Galerie Koller Zürich, Gemälde, Aquarelle, Zeichnungen und Skulpturen des 19. und 20. Jh., Auktion 28. November1996, Lot 3110; Sammlung Klaus J. Jacobs, Zürich

"Nature morte à la cafetière" gehört zu Herbins frühen kubistischen Stillleben. Er arbeitete damals im Bateau-Lavoir in unmittelbarer Nachbarschaft zu Pablo Picasso am Montmartre. Mit Picasso, Braque, Léger, Kupka, Brancusi, Archipenko oder Metzinger und Gleizes zählt Auguste Herbin im frühen 20. Jahrhundert zur ersten Garde der Abstraktion in Frankreich. Im Unterschied zur gedeckten Monochromie des klassischen Kubismus mit seiner räumlichen, vexierhaften Formzerlegung des Gegenständlichen entwickelt Herbin schöpferisch eine eigene Variante der Abstraktion, die - so hob es Geneviève Claisse hervor - sich von Beginn an durch ihre lebendigen Farbeigenschaften, ihre Farbkontraste und ihre flächige Geometrie auszeichnete (Geneviève Claisse, Herbin, Paris 1993, S. 49). Seine eigentümliche Malerei sollte den Stil vorbereiten, den man mit dem Begriff des "synthetischen" Kubismus fasste.
In der vorliegenden Komposition ist das Motiv formal im Wesentlichen reduziert auf die zweidimensionalen Komponenten in der Fläche. Dies schliesst die Details der Binnengestaltung ein, wie das Licht und "spiegelnde" Effekte in den dargestellten Objekten, die zu abstrakten Balken und geometrisierten Flächenornamenten sich verfestigt haben. Damit sind sie dem Arrangement der Fläche eingeschrieben und der neuen malerischen Bildstruktur angepasst. Die in den Binnenflächen leicht pastose und chromatisch abgestufte Farbigkeit erzeugt durch das Absetzen mit Schwarz und zusammen mit der Dynamik diagonaler, spitzwinkliger Elemente einen lebendigen Eindruck. Im Focus steht dabei die metallisch wirkende Silhouette einer warmtonigen Kaffekanne, deren geschwungener Henkel sich als abstrahierte Form einem erstaunlich puristischen, blauen Hochrechteck eingeschrieben hat.

Auguste Herbin
Nature morte à la cafetière

Oil on canvas. 41.1 x 33.2 cm. Framed. Signed 'herbin' in black lower centre. - The corners of the canvas with old abrasions and loss of colour, otherwise in fine condition.

Claisse 253

Provenance
Galerie Koller Zürich, Gemälde, Aquarelle, Zeichnungen und Skulpturen des 19. und 20. Jh., auction 28 November1996, lot 3110; Klaus J. Jacobs Collection, Zurich

“Nature morte à la cafetière” is one of Herbin's early Cubist still lifes. He was working in the Bateau Lavoir at that time, in direct proximity to Pablo Picasso, on Montmartre. With Picasso, Braque, Léger, Kupka, Brancusi, Archipenko or Metzinger and Gleizes, Auguste Herbin was among the avant-garde of abstraction in France in the early 20th century. In contrast to the muted monochrome tonalities of classical Cubism, with its three-dimensional, ambiguously oscillating fragmentation of representational forms, Herbin inventively developed his own distinctive variety of abstraction which - as emphasised by Geneviève Claisse - was characterised from the very beginning by its vivid chromatic qualities, colour contrasts and two-dimensional geometry (Geneviève Claisse, Herbin, Paris 1993, p. 49). His idiosyncratic painting would prepare the way for the style described by the term “synthetic” Cubism.
In the present composition, the motif has essentially been reduced formally to two-dimensional components on the picture plane. These include the interior details within the contours, such as the light and the “reflective” effects on the depicted objects, which have congealed into abstract bars and geometricised surface decoration. They are thus inscribed into the arrangement of the picture plane and adapted to the new, painted pictorial structure. The slight impasto and chromatically graduated tones within the objects' contours generate a vibrant impression through their delineation in black and in combination with the dynamism of diagonal, sharply angled elements. Here the focus is on the metallic-looking silhouette of a coffee can in warm tones, whose curvilinear handle has inscribed itself into an amazingly puristic, vertical, blue rectangle as a semi-abstract form.
Auguste Herbin
Nature morte à la cafetière

Öl auf Leinwand. 41,1 x 33,2 cm. Gerahmt. Unten mittig schwarz signiert 'herbin'. - Die Ecken der Leinwand alt berieben mit Farbverlusten, sonst in gutem Erhaltungszustand.

Claisse 253

Provenienz
Galerie Koller Zürich, Gemälde, Aquarelle, Zeichnungen und Skulpturen des 19. und 20. Jh., Auktion 28. November1996, Lot 3110; Sammlung Klaus J. Jacobs, Zürich

"Nature morte à la cafetière" gehört zu Herbins frühen kubistischen Stillleben. Er arbeitete damals im Bateau-Lavoir in unmittelbarer Nachbarschaft zu Pablo Picasso am Montmartre. Mit Picasso, Braque, Léger, Kupka, Brancusi, Archipenko oder Metzinger und Gleizes zählt Auguste Herbin im frühen 20. Jahrhundert zur ersten Garde der Abstraktion in Frankreich. Im Unterschied zur gedeckten Monochromie des klassischen Kubismus mit seiner räumlichen, vexierhaften Formzerlegung des Gegenständlichen entwickelt Herbin schöpferisch eine eigene Variante der Abstraktion, die - so hob es Geneviève Claisse hervor - sich von Beginn an durch ihre lebendigen Farbeigenschaften, ihre Farbkontraste und ihre flächige Geometrie auszeichnete (Geneviève Claisse, Herbin, Paris 1993, S. 49). Seine eigentümliche Malerei sollte den Stil vorbereiten, den man mit dem Begriff des "synthetischen" Kubismus fasste.
In der vorliegenden Komposition ist das Motiv formal im Wesentlichen reduziert auf die zweidimensionalen Komponenten in der Fläche. Dies schliesst die Details der Binnengestaltung ein, wie das Licht und "spiegelnde" Effekte in den dargestellten Objekten, die zu abstrakten Balken und geometrisierten Flächenornamenten sich verfestigt haben. Damit sind sie dem Arrangement der Fläche eingeschrieben und der neuen malerischen Bildstruktur angepasst. Die in den Binnenflächen leicht pastose und chromatisch abgestufte Farbigkeit erzeugt durch das Absetzen mit Schwarz und zusammen mit der Dynamik diagonaler, spitzwinkliger Elemente einen lebendigen Eindruck. Im Focus steht dabei die metallisch wirkende Silhouette einer warmtonigen Kaffekanne, deren geschwungener Henkel sich als abstrahierte Form einem erstaunlich puristischen, blauen Hochrechteck eingeschrieben hat.

Auguste Herbin
Nature morte à la cafetière

Oil on canvas. 41.1 x 33.2 cm. Framed. Signed 'herbin' in black lower centre. - The corners of the canvas with old abrasions and loss of colour, otherwise in fine condition.

Claisse 253

Provenance
Galerie Koller Zürich, Gemälde, Aquarelle, Zeichnungen und Skulpturen des 19. und 20. Jh., auction 28 November1996, lot 3110; Klaus J. Jacobs Collection, Zurich

“Nature morte à la cafetière” is one of Herbin's early Cubist still lifes. He was working in the Bateau Lavoir at that time, in direct proximity to Pablo Picasso, on Montmartre. With Picasso, Braque, Léger, Kupka, Brancusi, Archipenko or Metzinger and Gleizes, Auguste Herbin was among the avant-garde of abstraction in France in the early 20th century. In contrast to the muted monochrome tonalities of classical Cubism, with its three-dimensional, ambiguously oscillating fragmentation of representational forms, Herbin inventively developed his own distinctive variety of abstraction which - as emphasised by Geneviève Claisse - was characterised from the very beginning by its vivid chromatic qualities, colour contrasts and two-dimensional geometry (Geneviève Claisse, Herbin, Paris 1993, p. 49). His idiosyncratic painting would prepare the way for the style described by the term “synthetic” Cubism.
In the present composition, the motif has essentially been reduced formally to two-dimensional components on the picture plane. These include the interior details within the contours, such as the light and the “reflective” effects on the depicted objects, which have congealed into abstract bars and geometricised surface decoration. They are thus inscribed into the arrangement of the picture plane and adapted to the new, painted pictorial structure. The slight impasto and chromatically graduated tones within the objects' contours generate a vibrant impression through their delineation in black and in combination with the dynamism of diagonal, sharply angled elements. Here the focus is on the metallic-looking silhouette of a coffee can in warm tones, whose curvilinear handle has inscribed itself into an amazingly puristic, vertical, blue rectangle as a semi-abstract form.

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

Different terms per lot.

In any case: 3 % additional premium for sales to internet bidders.

Standard:
24,00 % Aufgeld auf den Zuschlagspreis
(20,00 % für den 400.001 EUR übersteigenden Anteil des Zuschlags)
19,00 % MwSt. auf Aufgeld und Kosten nicht ausgewiesen und nicht erstattbar; Differenzbesteuerung

Also:
35,00 % Aufgeld auf den Zuschlagspreis
(31,00 % für den 400.000 EUR übersteigenden Anteil des Zuschlags)
Differenzbesteuerung, MwSt. enthalten, aber nicht ausgewiesen, nicht erstattbar

Also:
24,00 % Aufgeld auf den Zuschlagspreis
(20,00 % für den 400.001 EUR übersteigenden Anteil des Zuschlags)
7,00 % verauslagte Einfuhrumsatzsteuer auf den Zuschlagspreis, erstattbar bei Export aus der EU
19,00 % MwSt. auf Aufgeld und Kosten nicht ausgewiesen und nicht erstattbar; Differenzbesteuerung

Additionla fees because of artists' resale rights apply.

AGB

Conditions of Sale

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.
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 two 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 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

 

Vollständige AGBs