Los

224

Gerd ArntzSpiegelBemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf

In Modern Art

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Gerd ArntzSpiegelBemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf - Bild 1 aus 3
Gerd ArntzSpiegelBemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf - Bild 2 aus 3
Gerd ArntzSpiegelBemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf - Bild 3 aus 3
Gerd ArntzSpiegelBemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf - Bild 1 aus 3
Gerd ArntzSpiegelBemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf - Bild 2 aus 3
Gerd ArntzSpiegelBemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf - Bild 3 aus 3
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Gerd Arntz
Spiegel

Bemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf desselben Motivs rückseitig schwarz signiert, datiert und betitelt 'Arntz 25 Spiegel' und zweifach mit Bleistift nummeriert "7" und "VII". - Mit wenigen feinen vertikalen Spannungsrissen. Zum äußersten rechten Rand ein minimaler Farbausbruch.
Beiliegend: Holzschnitt auf dünnem Japanpapier. 35,6 x 24 cm (43,3 x 31,4 cm). Unter Glas gerahmt. Signiert, datiert, nummeriert und betitelt 'Arntz 25 SPIEGEL (1-10) K "Spiegel" 10 Dr'. In schönem Erhaltungszustand.

Broos-Bool 71 (Holzschnitt)

Provenienz
Richmod Galerie Casimir Hagen, Köln (der Druckstock mit rückseitigem Klebe-Etikett "Frau bei der Toilette"); Privatsammlung Rheinland

Ausstellungen
Köln 2008 (Museum Ludwig), köln progessiv. seiwert - hoerle - arntz, Kat. Nr. 81/82 mit Abb. S. 63

Wie das Werk seiner Künstlerfreunde Franz W. Seiwert und Heinrich Hoerle, so sind auch die Arbeiten von Gerd Arntz der Veränderung sozialer und gesellschaftlicher Realitäten verpflichtet; sie versuchen sich an nicht weniger als der Synthese von Kunst und revolutionärer Politik. Dass die neue klassenlose Gesellschaft dafür neuer Ausdrucksformen in der Kunst bedürfe, lag für die Künstlergruppe Kölner Progressive auf der Hand. Wie radikal der Arntz nach neuen Wegen in der Kunst suchte, bezeugt nicht zuletzt sein Schaffen im Zwischenraum von Druckgraphik, Malerei und Plastik.
Für Gerd Arntz sind das plastische Werk des Druckstocks und der Druck untrennbar miteinander verbunden. Ihm selbst, so Arntz über sein Werk, sei das „plastische Gefühl wichtiger als das Drucken […] lange arbeitete ich nur die Stöcke, ohne Abzüge machen zu wollen“ (Gerd Arntz, Autobiographischer Abriss, in: Ausstellung Arntz Holzschnitte, Ausst. Kat. Neuer Buchladen, Köln 1925, o. S.). Tatsächlich fertigte der Künstler seine Drucke nur in sehr kleinen Auflagen von meist fünf bis fünfzehn Exemplaren, um sich dann der weiteren Gestaltung des Holzstocks zu widmen. Dass diese Gestaltung weit über die einfache nachträgliche Bemalung hinausgeht, zeigt unser Werk auf eindrucksvolle Weise - das titelgebende Motiv des Spiegels wird in der Reflektion über den Umkehrprozess beim Drucken noch einmal potenziert. Arntz koloriert den Stock nicht nur, sondern er erweitert ihn zum Relief: Die Ausarbeitungen im Bereich von Brust, Bein und Bauch verstärken die Plastizität des Werkes und unterstreichen nicht zuletzt das für den Künstler so wichtige sinnliche Moment der Formen.
In einem Katalog anlässlich einer Ausstellung in der Kölner Richmod-Galerie Casimir Hagen im Jahr 1926 resümiert Gerd Arntz in knappen Worten: „Wichtig ist mir: Strenge Ausnutzung der einfachen Möglichkeiten der Holztafel und der Fläche. Resultate: Eine Grafik ohne Zufälligkeiten und ein plastisches Bild: Beides gute Mittel die Erscheinungen unseres Lebens umgeformt, knapp und drastisch aufzuzeigen.“ (Ausst. Kat. Richmod Galerie Kasimir Hagen, Köln 1926. Zit. nach: Ausst. Kat. Gerd Arntz - Augustin Tschinkel, Galerie Glöckner, Köln 2010/11, S. 5).

Gerd Arntz
Spiegel

Painted printing block. 35.6 x 23.4 cm. Framed. Signed, dated and titled 'Arntz 25 Spiegel' in black verso on printing block in the rejected design of the same motif and numbered "7" and "VII" twice in pencil. - With few fine vertical tension cracks. A minimal loss of colour in outer right margin.
With: woodcut on thin Japan paper. 35.6 x 24 cm (43.3 x 31.4 cm). Framed under glass. Signed, dated, numbered and titled 'Arntz 25 SPIEGEL (1-10) K "Spiegel" 10 Dr'. In fine condition.

Broos-Bool 71 (woodcut)

Provenance
Richmod Galerie Casimir Hagen, Cologne (adhesive label "Frau bei der Toilette" verso on printing block); Private collection, Rhineland

Exhibitions
Cologne 2008 (Museum Ludwig), köln progessiv. seiwert - hoerle - arntz, cat. no. 81/82 with illus. p. 63

Like the work of his fellow artists and friends Franz W. Seiwert and Heinrich Hoerle, the works of Gerd Arntz were also made with a commitment to changing social and societal realities; they venture an attempt at nothing less than a synthesis of art and revolutionary politics. The notion that the new classless society would need new artistic forms of expression for this seemed obvious to the artists of the group “Kölner Progressive”. The radicalness with which Arntz sought new paths in art is demonstrated not least by his work in an intermediate realm between printmaking, painting and sculpture.

For Gerd Arntz the sculptural work on the printing block and the print were inseparably intertwined. Arntz said of his work that, for him, the “sculptural feeling is more important than the printing […] for a long time, I only worked on the blocks, without wanting to make impressions.” (Gerd Arntz, Autobiographischer Abriss, in: Ausstellung Arntz Holzschnitte, exhib. cat. Neuer Buchladen, Cologne 1925, no pag.). The artist actually did produce his prints only in very small editions of usually five to fifteen impressions and then dedicated his attention to the further composition of the printing block. Our work strikingly demonstrates that this treatment went far beyond simply painting the block after the fact - the mirror motif which gave the work its title is rendered even more potent through the reflection on the process of inversion during printing. Arntz has not only added colour to the block, he has also expanded it into a relief: its sculptural elaboration in the area of the breast, leg and belly enhance the three-dimensionality of the work and particularly underscore that sensual aspect of the forms which was so important to the artist.
In a catalogue produced in 1926 on the occasion of an exhibition at the Richmod-Galerie Casimir Hagen in Cologne, Gerd Arntz offered a succinct summary: “What is important to me: strict utilisation of the simple possibilities of the wooden panel and the plane. Results: a graphic art without chance elements and a three-dimensional image: both are good means to transformatively, concisely and emphatically present the manifestations of our lives.” (Exhib. cat. Richmod Galerie Kasimir Hagen, Cologne 1926. Cited in: exhib. cat. Gerd Arntz - Augustin Tschinkel, Galerie Glöckner, Cologne 2010/11, p. 5).
Gerd Arntz
Spiegel

Bemalter Druckstock. 35,6 x 23,4 cm. Gerahmt. Der Druckstock im verworfenen Entwurf desselben Motivs rückseitig schwarz signiert, datiert und betitelt 'Arntz 25 Spiegel' und zweifach mit Bleistift nummeriert "7" und "VII". - Mit wenigen feinen vertikalen Spannungsrissen. Zum äußersten rechten Rand ein minimaler Farbausbruch.
Beiliegend: Holzschnitt auf dünnem Japanpapier. 35,6 x 24 cm (43,3 x 31,4 cm). Unter Glas gerahmt. Signiert, datiert, nummeriert und betitelt 'Arntz 25 SPIEGEL (1-10) K "Spiegel" 10 Dr'. In schönem Erhaltungszustand.

Broos-Bool 71 (Holzschnitt)

Provenienz
Richmod Galerie Casimir Hagen, Köln (der Druckstock mit rückseitigem Klebe-Etikett "Frau bei der Toilette"); Privatsammlung Rheinland

Ausstellungen
Köln 2008 (Museum Ludwig), köln progessiv. seiwert - hoerle - arntz, Kat. Nr. 81/82 mit Abb. S. 63

Wie das Werk seiner Künstlerfreunde Franz W. Seiwert und Heinrich Hoerle, so sind auch die Arbeiten von Gerd Arntz der Veränderung sozialer und gesellschaftlicher Realitäten verpflichtet; sie versuchen sich an nicht weniger als der Synthese von Kunst und revolutionärer Politik. Dass die neue klassenlose Gesellschaft dafür neuer Ausdrucksformen in der Kunst bedürfe, lag für die Künstlergruppe Kölner Progressive auf der Hand. Wie radikal der Arntz nach neuen Wegen in der Kunst suchte, bezeugt nicht zuletzt sein Schaffen im Zwischenraum von Druckgraphik, Malerei und Plastik.
Für Gerd Arntz sind das plastische Werk des Druckstocks und der Druck untrennbar miteinander verbunden. Ihm selbst, so Arntz über sein Werk, sei das „plastische Gefühl wichtiger als das Drucken […] lange arbeitete ich nur die Stöcke, ohne Abzüge machen zu wollen“ (Gerd Arntz, Autobiographischer Abriss, in: Ausstellung Arntz Holzschnitte, Ausst. Kat. Neuer Buchladen, Köln 1925, o. S.). Tatsächlich fertigte der Künstler seine Drucke nur in sehr kleinen Auflagen von meist fünf bis fünfzehn Exemplaren, um sich dann der weiteren Gestaltung des Holzstocks zu widmen. Dass diese Gestaltung weit über die einfache nachträgliche Bemalung hinausgeht, zeigt unser Werk auf eindrucksvolle Weise - das titelgebende Motiv des Spiegels wird in der Reflektion über den Umkehrprozess beim Drucken noch einmal potenziert. Arntz koloriert den Stock nicht nur, sondern er erweitert ihn zum Relief: Die Ausarbeitungen im Bereich von Brust, Bein und Bauch verstärken die Plastizität des Werkes und unterstreichen nicht zuletzt das für den Künstler so wichtige sinnliche Moment der Formen.
In einem Katalog anlässlich einer Ausstellung in der Kölner Richmod-Galerie Casimir Hagen im Jahr 1926 resümiert Gerd Arntz in knappen Worten: „Wichtig ist mir: Strenge Ausnutzung der einfachen Möglichkeiten der Holztafel und der Fläche. Resultate: Eine Grafik ohne Zufälligkeiten und ein plastisches Bild: Beides gute Mittel die Erscheinungen unseres Lebens umgeformt, knapp und drastisch aufzuzeigen.“ (Ausst. Kat. Richmod Galerie Kasimir Hagen, Köln 1926. Zit. nach: Ausst. Kat. Gerd Arntz - Augustin Tschinkel, Galerie Glöckner, Köln 2010/11, S. 5).

Gerd Arntz
Spiegel

Painted printing block. 35.6 x 23.4 cm. Framed. Signed, dated and titled 'Arntz 25 Spiegel' in black verso on printing block in the rejected design of the same motif and numbered "7" and "VII" twice in pencil. - With few fine vertical tension cracks. A minimal loss of colour in outer right margin.
With: woodcut on thin Japan paper. 35.6 x 24 cm (43.3 x 31.4 cm). Framed under glass. Signed, dated, numbered and titled 'Arntz 25 SPIEGEL (1-10) K "Spiegel" 10 Dr'. In fine condition.

Broos-Bool 71 (woodcut)

Provenance
Richmod Galerie Casimir Hagen, Cologne (adhesive label "Frau bei der Toilette" verso on printing block); Private collection, Rhineland

Exhibitions
Cologne 2008 (Museum Ludwig), köln progessiv. seiwert - hoerle - arntz, cat. no. 81/82 with illus. p. 63

Like the work of his fellow artists and friends Franz W. Seiwert and Heinrich Hoerle, the works of Gerd Arntz were also made with a commitment to changing social and societal realities; they venture an attempt at nothing less than a synthesis of art and revolutionary politics. The notion that the new classless society would need new artistic forms of expression for this seemed obvious to the artists of the group “Kölner Progressive”. The radicalness with which Arntz sought new paths in art is demonstrated not least by his work in an intermediate realm between printmaking, painting and sculpture.

For Gerd Arntz the sculptural work on the printing block and the print were inseparably intertwined. Arntz said of his work that, for him, the “sculptural feeling is more important than the printing […] for a long time, I only worked on the blocks, without wanting to make impressions.” (Gerd Arntz, Autobiographischer Abriss, in: Ausstellung Arntz Holzschnitte, exhib. cat. Neuer Buchladen, Cologne 1925, no pag.). The artist actually did produce his prints only in very small editions of usually five to fifteen impressions and then dedicated his attention to the further composition of the printing block. Our work strikingly demonstrates that this treatment went far beyond simply painting the block after the fact - the mirror motif which gave the work its title is rendered even more potent through the reflection on the process of inversion during printing. Arntz has not only added colour to the block, he has also expanded it into a relief: its sculptural elaboration in the area of the breast, leg and belly enhance the three-dimensionality of the work and particularly underscore that sensual aspect of the forms which was so important to the artist.
In a catalogue produced in 1926 on the occasion of an exhibition at the Richmod-Galerie Casimir Hagen in Cologne, Gerd Arntz offered a succinct summary: “What is important to me: strict utilisation of the simple possibilities of the wooden panel and the plane. Results: a graphic art without chance elements and a three-dimensional image: both are good means to transformatively, concisely and emphatically present the manifestations of our lives.” (Exhib. cat. Richmod Galerie Kasimir Hagen, Cologne 1926. Cited in: exhib. cat. Gerd Arntz - Augustin Tschinkel, Galerie Glöckner, Cologne 2010/11, p. 5).

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

3 % live surcharge plus VAT

different lot terms:

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

or:

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

 

or.

19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR

 

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

 

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