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Max LiebermannZwei Mädchen aus LarenÖl auf leinenstrukturiertem Halbkarton, auf feste Malpappe alt

In Modern Art

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Max LiebermannZwei Mädchen aus LarenÖl auf leinenstrukturiertem Halbkarton, auf feste Malpappe alt
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Max Liebermann
Zwei Mädchen aus Laren

Öl auf leinenstrukturiertem Halbkarton, auf feste Malpappe alt aufgezogen. 50 x 34 cm. Gerahmt. Unten links mit Tuschfeder signiert 'M Liebermann'. - In äußerst farbfrischem Zustand, die Ecken des Kartons teils minimalst gestaucht.

Nicht bei Eberle

Mit einer Expertise von Matthias Eberle, Berlin, vom 16.10.2018. Das Gemälde wird unter der Nummer "1897/12 a" in den Nachtrag des Werkverzeichnisses aufgenommen.

Provenienz
Kunstsalon Hermann Abels, Köln (rückseitige Aufkleber, dort "1899" datiert); Wilhelm Cahn, Köln (1930er); Martin Aschkenasy, New York; in Erbfolge an Rolf und Hannah Noether, Larchmont, New York (1952-2006, rückseitige Aufkleber); seitdem in Familienbesitz

Max Liebermann, der für die impressionistischen Schilderungen seines Wannseegartens berühmte weltmännische Berliner, findet gegen Ende des 19. Jahrhunderts seine bevorzugten Themen während seiner langen Sommeraufenthalte in den Niederlanden. Hier interessieren den vermögenden Großstädter Motive aus der Arbeitswelt der auf den ländlichen Höfen und in den Webereien arbeitenden Dorfbevölkerung. Neben der genauen Beobachtung von arbeitstechnischen Abläufen liegt sein Augenmerk aber auch auf den Kindern und Jugendlichen. Dort findet er wie bei den großansichtig formatfüllenden „Zwei Mädchen aus Laren“ das psychologisch interessante Moment. Hin- und hergerissen zwischen Neugier und Pflichtbewusstsein bleiben die beiden adrett in helle Kittelschürzen gekleideten jungen Damen dem Blick des Malers, resp. des Betrachters für einen flüchtigen Moment zugewandt, um danach weiter zu eilen auf ihrem vermutlich zur Schule führenden Weg. Dass ihre Gesichtszüge nicht näher erläutert sind, steht in diesem Zusammenhang wie die bewußte Unschärfe wohl auch als Absicht Liebermanns interpretiert werden darf. Kindliche Niedlichkeit ist absichtlich vermieden. Ihr schwarzes Schuhwerk anstelle der üblicheren hellen Holzklompen unterstreicht diesen Aspekt und verweist auf die wohlhabendere Herkunft der Mädchen.
Die angebotene Studie reiht sich ein in eine kleinere Anzahl von heute zumeist als verschollen geltenden oder im musealen Besitz befindlichen Ölskizzen zu dem in zwei Fassungen 1898 gemalten „Schulgang in Laren“ (Eberle 1898/3, 1898/4).

Max Liebermann
Zwei Mädchen aus Laren

Oil on linen-structured light card, laid down on firm artist's board (original mounting). 50 x 34 cm. Framed. Signed 'M Liebermann' in pen and ink lower left. - The colours vibrant, the corners of the card partially minimally bumped.

Not recorded by Eberle

With a certificate from Matthias Eberle, Berlin, dated 16 Oct. 2018. The painting will be included in the supplement of the catalogue raisonné under "1897/12 a".

Provenance
Kunstsalon Hermann Abels, Cologne (labels verso, therein dated "1899"); Wilhelm Cahn, Cologne (1930s); Martin Aschkenasy, New York; in succession to Rolf and Hannah Noether, Larchmont, New York (1952-2006, labels verso); in family possession since

Towards the end of the 19th century Max Liebermann, the cosmopolitan Berliner famous for his Impressionistic depictions of his garden in Wannsee, found his favourite subjects during his long summer holidays in the Netherlands. There the well-to-do urbanite was interested in motifs taken from the working life of villagers labouring on rural farms and in the textile mills. In addition to precisely observing technical working procedures, he also focused his attention on children and adolescents. There, in works like “Zwei Mädchen aus Laren”, in which the two girls are depicted in a close-up that nearly fills the canvas, he found the psychologically interesting aspect. Torn back and forth between curiosity and their sense of duty, for a fleeting moment the two young ladies dressed smartly in light-coloured pinafore dresses remain turned towards the gaze of the painter - or, alternatively, the viewer - only to then hurry along again, presumably on their way to school. The fact that their facial features are not described in greater detail is to be understood in this context, just as the deliberate indistinctness can surely also be interpreted as Liebermann's intention. The adorable quality of children has purposely been avoided. The fact that they have black shoes instead of the light-coloured wooden clogs that were more common underscores this aspect and indicates that the girls come from a wealthier home.
The study offered here belongs to a relatively small number of oil sketches - now mostly owned by museums or assumed to be lost - related to the two versions of “Schulgang in Laren” painted in 1898 (Eberle 1898/3, 1898/4).
Max Liebermann
Zwei Mädchen aus Laren

Öl auf leinenstrukturiertem Halbkarton, auf feste Malpappe alt aufgezogen. 50 x 34 cm. Gerahmt. Unten links mit Tuschfeder signiert 'M Liebermann'. - In äußerst farbfrischem Zustand, die Ecken des Kartons teils minimalst gestaucht.

Nicht bei Eberle

Mit einer Expertise von Matthias Eberle, Berlin, vom 16.10.2018. Das Gemälde wird unter der Nummer "1897/12 a" in den Nachtrag des Werkverzeichnisses aufgenommen.

Provenienz
Kunstsalon Hermann Abels, Köln (rückseitige Aufkleber, dort "1899" datiert); Wilhelm Cahn, Köln (1930er); Martin Aschkenasy, New York; in Erbfolge an Rolf und Hannah Noether, Larchmont, New York (1952-2006, rückseitige Aufkleber); seitdem in Familienbesitz

Max Liebermann, der für die impressionistischen Schilderungen seines Wannseegartens berühmte weltmännische Berliner, findet gegen Ende des 19. Jahrhunderts seine bevorzugten Themen während seiner langen Sommeraufenthalte in den Niederlanden. Hier interessieren den vermögenden Großstädter Motive aus der Arbeitswelt der auf den ländlichen Höfen und in den Webereien arbeitenden Dorfbevölkerung. Neben der genauen Beobachtung von arbeitstechnischen Abläufen liegt sein Augenmerk aber auch auf den Kindern und Jugendlichen. Dort findet er wie bei den großansichtig formatfüllenden „Zwei Mädchen aus Laren“ das psychologisch interessante Moment. Hin- und hergerissen zwischen Neugier und Pflichtbewusstsein bleiben die beiden adrett in helle Kittelschürzen gekleideten jungen Damen dem Blick des Malers, resp. des Betrachters für einen flüchtigen Moment zugewandt, um danach weiter zu eilen auf ihrem vermutlich zur Schule führenden Weg. Dass ihre Gesichtszüge nicht näher erläutert sind, steht in diesem Zusammenhang wie die bewußte Unschärfe wohl auch als Absicht Liebermanns interpretiert werden darf. Kindliche Niedlichkeit ist absichtlich vermieden. Ihr schwarzes Schuhwerk anstelle der üblicheren hellen Holzklompen unterstreicht diesen Aspekt und verweist auf die wohlhabendere Herkunft der Mädchen.
Die angebotene Studie reiht sich ein in eine kleinere Anzahl von heute zumeist als verschollen geltenden oder im musealen Besitz befindlichen Ölskizzen zu dem in zwei Fassungen 1898 gemalten „Schulgang in Laren“ (Eberle 1898/3, 1898/4).

Max Liebermann
Zwei Mädchen aus Laren

Oil on linen-structured light card, laid down on firm artist's board (original mounting). 50 x 34 cm. Framed. Signed 'M Liebermann' in pen and ink lower left. - The colours vibrant, the corners of the card partially minimally bumped.

Not recorded by Eberle

With a certificate from Matthias Eberle, Berlin, dated 16 Oct. 2018. The painting will be included in the supplement of the catalogue raisonné under "1897/12 a".

Provenance
Kunstsalon Hermann Abels, Cologne (labels verso, therein dated "1899"); Wilhelm Cahn, Cologne (1930s); Martin Aschkenasy, New York; in succession to Rolf and Hannah Noether, Larchmont, New York (1952-2006, labels verso); in family possession since

Towards the end of the 19th century Max Liebermann, the cosmopolitan Berliner famous for his Impressionistic depictions of his garden in Wannsee, found his favourite subjects during his long summer holidays in the Netherlands. There the well-to-do urbanite was interested in motifs taken from the working life of villagers labouring on rural farms and in the textile mills. In addition to precisely observing technical working procedures, he also focused his attention on children and adolescents. There, in works like “Zwei Mädchen aus Laren”, in which the two girls are depicted in a close-up that nearly fills the canvas, he found the psychologically interesting aspect. Torn back and forth between curiosity and their sense of duty, for a fleeting moment the two young ladies dressed smartly in light-coloured pinafore dresses remain turned towards the gaze of the painter - or, alternatively, the viewer - only to then hurry along again, presumably on their way to school. The fact that their facial features are not described in greater detail is to be understood in this context, just as the deliberate indistinctness can surely also be interpreted as Liebermann's intention. The adorable quality of children has purposely been avoided. The fact that they have black shoes instead of the light-coloured wooden clogs that were more common underscores this aspect and indicates that the girls come from a wealthier home.
The study offered here belongs to a relatively small number of oil sketches - now mostly owned by museums or assumed to be lost - related to the two versions of “Schulgang in Laren” painted in 1898 (Eberle 1898/3, 1898/4).

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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(20.00 % on the part of the hammer price exceeding 400,001 EUR)
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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

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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.
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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