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Jan Woutersz Stap, zugeschriebenDer SteuereinnehmerÖl auf Leinwand (doubliert). 137 x 181 cm.Im

In Old Master Paintings and Drawings, Sculpture /...

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Jan Woutersz Stap, zugeschriebenDer SteuereinnehmerÖl auf Leinwand (doubliert). 137 x 181 cm.Im
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Jan Woutersz Stap, zugeschrieben
Der Steuereinnehmer

Öl auf Leinwand (doubliert). 137 x 181 cm.

Im von Rembrandt dominierten Amsterdam des zweiten Viertels des 17. Jahrhunderts schuf der in dieser Stadt geborene Jan Woutersz Stap ein ungewöhnliches Oeuvre: Im Rückgriff auf die niederländischen Meister des frühen 16. Jahrhunderts, insbesondere auf Quinten Massys und Marinus van Reymerswale, malte Stap großfigurige Genrebilder, die häufig das Sujet des Steuereinnehmers oder Geldwechslers zum Inhalt haben. Dieser Bezug auf Thematik, Komposition und Stil deutlich früherer Vorbilder führte dazu, dass man in Jan Woutersz Stap selber lange Zeit einen Künstler des 16. Jahrhundert vermutete, bevor neuentdeckte Dokumente und die Datierung auf einem seiner Werke im Amsterdamer Rijksmuseum zur richtigen Einordnung führten (vgl. A. Bredius, in: Oud Holland 52, 1935, und A. van Schendel, in: Oud Holland 54, 1937).
Bislang lassen sich Jan Woutersz Stap rund 30 Werke zuschreiben. Unser großformatiges Gemälde zeigt das Kontor eines Grundherrn oder Steuereinnehmers, in dem ungewöhnlich viele Figuren wiedergegeben sind. Der Bittgestus des Mannes unten rechts dürfte darauf hinweisen, dass es diesem nicht möglich ist, seine Abgaben zu entrichten, und er um Aufschub nachsucht. Ein Verwalter im Zentrum der Komposition weist seinen Herrn mit einem Zeigegestus auf diesen Bittsteller hin. In der orientalisch anmutenden Kleidung dieses Grundherrn mit einem bekröntem Turban klingt dann schließlich doch noch Staps lediglich fünf Jahre jüngerer Zeitgenosse Rembrandt an.

Jan Woutersz Stap, attributed to
The Tax Collector

Oil on canvas (relined). 137 x 181 cm.

Jan Woutersz Stap made a name for himself in Amsterdam in the second quarter of the 17th century, a time when painting in the city was dominated by the influence of Rembrandt, with an unusual oeuvre. Stap painted large-figure genre paintings with money changers and tax collectors as their principal motifs, drawing inspiration from the Netherlandish masters of the early 16th century, especially Quinten Massys and Marinus van Reymerswale. His successful rendition of the motifs, composition, and style of the previous century in the past led researchers to mistake Jan Stap for a 16th century artist. However, newly surfaced documents and a date on one of his works in the Rijksmuseum in Amsterdam have finally allowed scholars to properly classify his work (cf. A. Bredius, in: Oud Holland 52, 1935, and A. van Schendel, in: Oud Holland 54, 1937).
So far around 30 works have been attributed to this artist. The present large-format canvas depicts the office of a landlord or tax collector. The pitiful gesture of the man in the lower right suggests that he was unable to pay his dues and is asking for an extension. A steward in the centre of the composition points out the petitioner to his master. The landlord's Oriental costume with a crown and turban provide the only subtle reference to the influence of Stap's contemporary Rembrandt, who was just five years his junior.
Jan Woutersz Stap, zugeschrieben
Der Steuereinnehmer

Öl auf Leinwand (doubliert). 137 x 181 cm.

Im von Rembrandt dominierten Amsterdam des zweiten Viertels des 17. Jahrhunderts schuf der in dieser Stadt geborene Jan Woutersz Stap ein ungewöhnliches Oeuvre: Im Rückgriff auf die niederländischen Meister des frühen 16. Jahrhunderts, insbesondere auf Quinten Massys und Marinus van Reymerswale, malte Stap großfigurige Genrebilder, die häufig das Sujet des Steuereinnehmers oder Geldwechslers zum Inhalt haben. Dieser Bezug auf Thematik, Komposition und Stil deutlich früherer Vorbilder führte dazu, dass man in Jan Woutersz Stap selber lange Zeit einen Künstler des 16. Jahrhundert vermutete, bevor neuentdeckte Dokumente und die Datierung auf einem seiner Werke im Amsterdamer Rijksmuseum zur richtigen Einordnung führten (vgl. A. Bredius, in: Oud Holland 52, 1935, und A. van Schendel, in: Oud Holland 54, 1937).
Bislang lassen sich Jan Woutersz Stap rund 30 Werke zuschreiben. Unser großformatiges Gemälde zeigt das Kontor eines Grundherrn oder Steuereinnehmers, in dem ungewöhnlich viele Figuren wiedergegeben sind. Der Bittgestus des Mannes unten rechts dürfte darauf hinweisen, dass es diesem nicht möglich ist, seine Abgaben zu entrichten, und er um Aufschub nachsucht. Ein Verwalter im Zentrum der Komposition weist seinen Herrn mit einem Zeigegestus auf diesen Bittsteller hin. In der orientalisch anmutenden Kleidung dieses Grundherrn mit einem bekröntem Turban klingt dann schließlich doch noch Staps lediglich fünf Jahre jüngerer Zeitgenosse Rembrandt an.

Jan Woutersz Stap, attributed to
The Tax Collector

Oil on canvas (relined). 137 x 181 cm.

Jan Woutersz Stap made a name for himself in Amsterdam in the second quarter of the 17th century, a time when painting in the city was dominated by the influence of Rembrandt, with an unusual oeuvre. Stap painted large-figure genre paintings with money changers and tax collectors as their principal motifs, drawing inspiration from the Netherlandish masters of the early 16th century, especially Quinten Massys and Marinus van Reymerswale. His successful rendition of the motifs, composition, and style of the previous century in the past led researchers to mistake Jan Stap for a 16th century artist. However, newly surfaced documents and a date on one of his works in the Rijksmuseum in Amsterdam have finally allowed scholars to properly classify his work (cf. A. Bredius, in: Oud Holland 52, 1935, and A. van Schendel, in: Oud Holland 54, 1937).
So far around 30 works have been attributed to this artist. The present large-format canvas depicts the office of a landlord or tax collector. The pitiful gesture of the man in the lower right suggests that he was unable to pay his dues and is asking for an extension. A steward in the centre of the composition points out the petitioner to his master. The landlord's Oriental costume with a crown and turban provide the only subtle reference to the influence of Stap's contemporary Rembrandt, who was just five years his junior.

Old Master Paintings and Drawings, Sculpture / 19th Century Art

Auktionsdatum
Lose: 1500 - 1699
Lose: 2000 - 2088
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

24 % premium plus 19 VAT; VAT not refundable, margin scheme.

Some lots: 7 % additional costs (importation VAT, not refundable)

3 % extra premium on internet purchases.

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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.
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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.
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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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