282
Josef MangoldWeiblicher Akt am Fenster mit BlumeÖl auf Holz. 54,4 x 46,3 cm. Unten links in einer
In Modern Art
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Beschreibung
Josef Mangold
Weiblicher Akt am Fenster mit Blume
Öl auf Holz. 54,4 x 46,3 cm. Unten links in einer gemalten Kartusche grau signiert 'Jos. Mangold' und rückseitig u.a. von fremder Hand mit dem Enstehungsjahr "1928" beschriftet. - Die äußersten Ränder rahmungsbedingt etwas berieben, teils retuschiert.
Provenienz
Familie Staatsrat v. Raumer (rückseitige Beschriftung); Lempertz, Auktion Moderne Kunst 1051, 29.5.2015, Lot 325; Privatsammlung Österreich
Stillleben wie Josef Mangolds Bildkomposition der Neuen Sachlichkeit sind als dekoratives Sujet in der Malerei der 1920er Jahre sehr geschätzt.
Mit einer gewissen Nüchternheit im Blick auf das Dargestellte schildert der Künstler eine ungewöhnliche Szene in einem statisch festgefügten Bildaufbau. Eine nahezu glatte Faktur hinterlässt keine Spuren, gibt kaum Möglichkeiten einer emotionalen Strukturierung. Im Gegenteil, der Maler umgeht weitgehend eine tiefenräumliche Entwicklung der Erzählung; allein der Ausblick in die Landschaft öffnet partiell den hermetisch geschlossenen Raum. Hier sehen wir eine surreale Landschaft in klaren Grün- und Blautönen hinter dem eigentlichen Blick auf die deutlich in Szene gesetzte Glasvase mit einer altrosafarbenen Tulpe im leicht trüben Wasser auf der Fensterlaibung. Mangold, der mit der „Rheinischen Sezession“ und mit der „Rheingruppe“ ausstellt, zitiert hier ein gängiges Bildtopos großartiger Renaissanceporträts mit detailliertem Ausblick in eine Landschaft zumeist in ikonographischem Bezug zu dem Dargestellten. In diesem Fall belebt der zum Dreivierteltorso reduzierte Akt in tugendhafter Haltung, jede auch nur zu ahnende Personalisierung vermeidend, den Innenraum. In aktuellem Kurzhaarschnitt frisiert und unbekleidet, betrachtet die junge Frau von makellosem Wuchs ‚stilgerecht' eine anemonenartige Blüte in ihrer Hand. Mit meisterhaft eingesetzter Maltechnik reduziert Mangold das Narrative zugunsten eines stilisierten Bildeindrucks. Das Zeichnerische wird unterstrichen, ohne die Details allzu sehr in den Vordergrund zu spielen, etwa durch Verdichtung der angrenzenden Farbwerte bei gleichzeitigem Verzicht auf Konturen. Mit dem Ausschnitthaften dieser Szene erhöht der Künstler den Focus auf einen methaphorisch inszenierten Raum mit symbolischer Andeutung. Und dennoch bleibt der magisch vorgetragene Ausschnitt eine reine Erfindung, eine traumhaft wirkende Illusion.
Josef Mangold
Weiblicher Akt am Fenster mit Blume
Oil on wooden panel. 54.4 x 46.3 cm. Signed 'Jos. Mangold 1928' in grey within a painted cartouche lower left and on the verso, inscribed with the year of creation "1928", among other notations by an unknown hand. - The outermost edges slightly rubbed due to framing, partially retouched.
Provenance
Family Staatsrat v. Raumer (inscription verso); Lempertz, Auction Modern Art 29 May 2015, lot 325; Private collcetion, Austria
Still lifes like Josef Mangold's composition in the style of the New Objectivity are greatly admired as a decorative subject in the painting of the 1920s.
With a certain sobriety regarding his subject matter, the artist has depicted an unusual scene in a statically fixed composition. An almost smoothly painted surface leaves behind no traces and provides scarcely any possibility for its emotional structuring. On the contrary, the painter largely circumvents any development of the narrative in depth; only the view of the landscape partially opens up the hermetically sealed space. Outside we see a surreal landscape in clear tones of green and blue behind the glass vase - presented in a striking manner and forming the actual object of our gaze, it contains a light-pink tulip in slightly murky water and rests on the windowsill. Here Mangold, who exhibited with the “Rheinische Sezession” and the “Rheingruppe”, is citing an established visual topos from magnificent Renaissance portraits featuring a detailed view of a landscape that is typically related iconographically to the portrait's sitter. In this case the nude, who is reduced to a three-quarter figure in a modest pose and avoids even the slightest suggestion of individuation, brings the interior to life. Undressed and with her hair cut short in a current style, the young woman with an immaculate figure gazes 'stylishly' at an anemone-like flower in her hand. With a masterfully employed painting technique, Mangold reduces the narrative element for the sake of an stylised pictorial impression. Without drawing all too much attention to details, the graphic quality is emphasised - for example, by concentrating neighbouring tones while simultaneously rejecting the use of contours. The artist has used the silhouette-like quality of this scene to increase our focus on the metaphorical staging of a space that is suggestively symbolic. Nonetheless, this magically articulated passage remains pure invention, an illusion producing a dream-like effect.
Weiblicher Akt am Fenster mit Blume
Öl auf Holz. 54,4 x 46,3 cm. Unten links in einer gemalten Kartusche grau signiert 'Jos. Mangold' und rückseitig u.a. von fremder Hand mit dem Enstehungsjahr "1928" beschriftet. - Die äußersten Ränder rahmungsbedingt etwas berieben, teils retuschiert.
Provenienz
Familie Staatsrat v. Raumer (rückseitige Beschriftung); Lempertz, Auktion Moderne Kunst 1051, 29.5.2015, Lot 325; Privatsammlung Österreich
Stillleben wie Josef Mangolds Bildkomposition der Neuen Sachlichkeit sind als dekoratives Sujet in der Malerei der 1920er Jahre sehr geschätzt.
Mit einer gewissen Nüchternheit im Blick auf das Dargestellte schildert der Künstler eine ungewöhnliche Szene in einem statisch festgefügten Bildaufbau. Eine nahezu glatte Faktur hinterlässt keine Spuren, gibt kaum Möglichkeiten einer emotionalen Strukturierung. Im Gegenteil, der Maler umgeht weitgehend eine tiefenräumliche Entwicklung der Erzählung; allein der Ausblick in die Landschaft öffnet partiell den hermetisch geschlossenen Raum. Hier sehen wir eine surreale Landschaft in klaren Grün- und Blautönen hinter dem eigentlichen Blick auf die deutlich in Szene gesetzte Glasvase mit einer altrosafarbenen Tulpe im leicht trüben Wasser auf der Fensterlaibung. Mangold, der mit der „Rheinischen Sezession“ und mit der „Rheingruppe“ ausstellt, zitiert hier ein gängiges Bildtopos großartiger Renaissanceporträts mit detailliertem Ausblick in eine Landschaft zumeist in ikonographischem Bezug zu dem Dargestellten. In diesem Fall belebt der zum Dreivierteltorso reduzierte Akt in tugendhafter Haltung, jede auch nur zu ahnende Personalisierung vermeidend, den Innenraum. In aktuellem Kurzhaarschnitt frisiert und unbekleidet, betrachtet die junge Frau von makellosem Wuchs ‚stilgerecht' eine anemonenartige Blüte in ihrer Hand. Mit meisterhaft eingesetzter Maltechnik reduziert Mangold das Narrative zugunsten eines stilisierten Bildeindrucks. Das Zeichnerische wird unterstrichen, ohne die Details allzu sehr in den Vordergrund zu spielen, etwa durch Verdichtung der angrenzenden Farbwerte bei gleichzeitigem Verzicht auf Konturen. Mit dem Ausschnitthaften dieser Szene erhöht der Künstler den Focus auf einen methaphorisch inszenierten Raum mit symbolischer Andeutung. Und dennoch bleibt der magisch vorgetragene Ausschnitt eine reine Erfindung, eine traumhaft wirkende Illusion.
Josef Mangold
Weiblicher Akt am Fenster mit Blume
Oil on wooden panel. 54.4 x 46.3 cm. Signed 'Jos. Mangold 1928' in grey within a painted cartouche lower left and on the verso, inscribed with the year of creation "1928", among other notations by an unknown hand. - The outermost edges slightly rubbed due to framing, partially retouched.
Provenance
Family Staatsrat v. Raumer (inscription verso); Lempertz, Auction Modern Art 29 May 2015, lot 325; Private collcetion, Austria
Still lifes like Josef Mangold's composition in the style of the New Objectivity are greatly admired as a decorative subject in the painting of the 1920s.
With a certain sobriety regarding his subject matter, the artist has depicted an unusual scene in a statically fixed composition. An almost smoothly painted surface leaves behind no traces and provides scarcely any possibility for its emotional structuring. On the contrary, the painter largely circumvents any development of the narrative in depth; only the view of the landscape partially opens up the hermetically sealed space. Outside we see a surreal landscape in clear tones of green and blue behind the glass vase - presented in a striking manner and forming the actual object of our gaze, it contains a light-pink tulip in slightly murky water and rests on the windowsill. Here Mangold, who exhibited with the “Rheinische Sezession” and the “Rheingruppe”, is citing an established visual topos from magnificent Renaissance portraits featuring a detailed view of a landscape that is typically related iconographically to the portrait's sitter. In this case the nude, who is reduced to a three-quarter figure in a modest pose and avoids even the slightest suggestion of individuation, brings the interior to life. Undressed and with her hair cut short in a current style, the young woman with an immaculate figure gazes 'stylishly' at an anemone-like flower in her hand. With a masterfully employed painting technique, Mangold reduces the narrative element for the sake of an stylised pictorial impression. Without drawing all too much attention to details, the graphic quality is emphasised - for example, by concentrating neighbouring tones while simultaneously rejecting the use of contours. The artist has used the silhouette-like quality of this scene to increase our focus on the metaphorical staging of a space that is suggestively symbolic. Nonetheless, this magically articulated passage remains pure invention, an illusion producing a dream-like effect.
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Josef Mangold
Weiblicher Akt am Fenster mit Blume
Öl auf Holz. 54,4 x 46,3 cm. Unten links in einer gemalten Kartusche grau signiert 'Jos. Mangold' und rückseitig u.a. von fremder Hand mit dem Enstehungsjahr "1928" beschriftet. - Die äußersten Ränder rahmungsbedingt etwas berieben, teils retuschiert.
Provenienz
Familie Staatsrat v. Raumer (rückseitige Beschriftung); Lempertz, Auktion Moderne Kunst 1051, 29.5.2015, Lot 325; Privatsammlung Österreich
Stillleben wie Josef Mangolds Bildkomposition der Neuen Sachlichkeit sind als dekoratives Sujet in der Malerei der 1920er Jahre sehr geschätzt.
Mit einer gewissen Nüchternheit im Blick auf das Dargestellte schildert der Künstler eine ungewöhnliche Szene in einem statisch festgefügten Bildaufbau. Eine nahezu glatte Faktur hinterlässt keine Spuren, gibt kaum Möglichkeiten einer emotionalen Strukturierung. Im Gegenteil, der Maler umgeht weitgehend eine tiefenräumliche Entwicklung der Erzählung; allein der Ausblick in die Landschaft öffnet partiell den hermetisch geschlossenen Raum. Hier sehen wir eine surreale Landschaft in klaren Grün- und Blautönen hinter dem eigentlichen Blick auf die deutlich in Szene gesetzte Glasvase mit einer altrosafarbenen Tulpe im leicht trüben Wasser auf der Fensterlaibung. Mangold, der mit der „Rheinischen Sezession“ und mit der „Rheingruppe“ ausstellt, zitiert hier ein gängiges Bildtopos großartiger Renaissanceporträts mit detailliertem Ausblick in eine Landschaft zumeist in ikonographischem Bezug zu dem Dargestellten. In diesem Fall belebt der zum Dreivierteltorso reduzierte Akt in tugendhafter Haltung, jede auch nur zu ahnende Personalisierung vermeidend, den Innenraum. In aktuellem Kurzhaarschnitt frisiert und unbekleidet, betrachtet die junge Frau von makellosem Wuchs ‚stilgerecht' eine anemonenartige Blüte in ihrer Hand. Mit meisterhaft eingesetzter Maltechnik reduziert Mangold das Narrative zugunsten eines stilisierten Bildeindrucks. Das Zeichnerische wird unterstrichen, ohne die Details allzu sehr in den Vordergrund zu spielen, etwa durch Verdichtung der angrenzenden Farbwerte bei gleichzeitigem Verzicht auf Konturen. Mit dem Ausschnitthaften dieser Szene erhöht der Künstler den Focus auf einen methaphorisch inszenierten Raum mit symbolischer Andeutung. Und dennoch bleibt der magisch vorgetragene Ausschnitt eine reine Erfindung, eine traumhaft wirkende Illusion.
Josef Mangold
Weiblicher Akt am Fenster mit Blume
Oil on wooden panel. 54.4 x 46.3 cm. Signed 'Jos. Mangold 1928' in grey within a painted cartouche lower left and on the verso, inscribed with the year of creation "1928", among other notations by an unknown hand. - The outermost edges slightly rubbed due to framing, partially retouched.
Provenance
Family Staatsrat v. Raumer (inscription verso); Lempertz, Auction Modern Art 29 May 2015, lot 325; Private collcetion, Austria
Still lifes like Josef Mangold's composition in the style of the New Objectivity are greatly admired as a decorative subject in the painting of the 1920s.
With a certain sobriety regarding his subject matter, the artist has depicted an unusual scene in a statically fixed composition. An almost smoothly painted surface leaves behind no traces and provides scarcely any possibility for its emotional structuring. On the contrary, the painter largely circumvents any development of the narrative in depth; only the view of the landscape partially opens up the hermetically sealed space. Outside we see a surreal landscape in clear tones of green and blue behind the glass vase - presented in a striking manner and forming the actual object of our gaze, it contains a light-pink tulip in slightly murky water and rests on the windowsill. Here Mangold, who exhibited with the “Rheinische Sezession” and the “Rheingruppe”, is citing an established visual topos from magnificent Renaissance portraits featuring a detailed view of a landscape that is typically related iconographically to the portrait's sitter. In this case the nude, who is reduced to a three-quarter figure in a modest pose and avoids even the slightest suggestion of individuation, brings the interior to life. Undressed and with her hair cut short in a current style, the young woman with an immaculate figure gazes 'stylishly' at an anemone-like flower in her hand. With a masterfully employed painting technique, Mangold reduces the narrative element for the sake of an stylised pictorial impression. Without drawing all too much attention to details, the graphic quality is emphasised - for example, by concentrating neighbouring tones while simultaneously rejecting the use of contours. The artist has used the silhouette-like quality of this scene to increase our focus on the metaphorical staging of a space that is suggestively symbolic. Nonetheless, this magically articulated passage remains pure invention, an illusion producing a dream-like effect.
Weiblicher Akt am Fenster mit Blume
Öl auf Holz. 54,4 x 46,3 cm. Unten links in einer gemalten Kartusche grau signiert 'Jos. Mangold' und rückseitig u.a. von fremder Hand mit dem Enstehungsjahr "1928" beschriftet. - Die äußersten Ränder rahmungsbedingt etwas berieben, teils retuschiert.
Provenienz
Familie Staatsrat v. Raumer (rückseitige Beschriftung); Lempertz, Auktion Moderne Kunst 1051, 29.5.2015, Lot 325; Privatsammlung Österreich
Stillleben wie Josef Mangolds Bildkomposition der Neuen Sachlichkeit sind als dekoratives Sujet in der Malerei der 1920er Jahre sehr geschätzt.
Mit einer gewissen Nüchternheit im Blick auf das Dargestellte schildert der Künstler eine ungewöhnliche Szene in einem statisch festgefügten Bildaufbau. Eine nahezu glatte Faktur hinterlässt keine Spuren, gibt kaum Möglichkeiten einer emotionalen Strukturierung. Im Gegenteil, der Maler umgeht weitgehend eine tiefenräumliche Entwicklung der Erzählung; allein der Ausblick in die Landschaft öffnet partiell den hermetisch geschlossenen Raum. Hier sehen wir eine surreale Landschaft in klaren Grün- und Blautönen hinter dem eigentlichen Blick auf die deutlich in Szene gesetzte Glasvase mit einer altrosafarbenen Tulpe im leicht trüben Wasser auf der Fensterlaibung. Mangold, der mit der „Rheinischen Sezession“ und mit der „Rheingruppe“ ausstellt, zitiert hier ein gängiges Bildtopos großartiger Renaissanceporträts mit detailliertem Ausblick in eine Landschaft zumeist in ikonographischem Bezug zu dem Dargestellten. In diesem Fall belebt der zum Dreivierteltorso reduzierte Akt in tugendhafter Haltung, jede auch nur zu ahnende Personalisierung vermeidend, den Innenraum. In aktuellem Kurzhaarschnitt frisiert und unbekleidet, betrachtet die junge Frau von makellosem Wuchs ‚stilgerecht' eine anemonenartige Blüte in ihrer Hand. Mit meisterhaft eingesetzter Maltechnik reduziert Mangold das Narrative zugunsten eines stilisierten Bildeindrucks. Das Zeichnerische wird unterstrichen, ohne die Details allzu sehr in den Vordergrund zu spielen, etwa durch Verdichtung der angrenzenden Farbwerte bei gleichzeitigem Verzicht auf Konturen. Mit dem Ausschnitthaften dieser Szene erhöht der Künstler den Focus auf einen methaphorisch inszenierten Raum mit symbolischer Andeutung. Und dennoch bleibt der magisch vorgetragene Ausschnitt eine reine Erfindung, eine traumhaft wirkende Illusion.
Josef Mangold
Weiblicher Akt am Fenster mit Blume
Oil on wooden panel. 54.4 x 46.3 cm. Signed 'Jos. Mangold 1928' in grey within a painted cartouche lower left and on the verso, inscribed with the year of creation "1928", among other notations by an unknown hand. - The outermost edges slightly rubbed due to framing, partially retouched.
Provenance
Family Staatsrat v. Raumer (inscription verso); Lempertz, Auction Modern Art 29 May 2015, lot 325; Private collcetion, Austria
Still lifes like Josef Mangold's composition in the style of the New Objectivity are greatly admired as a decorative subject in the painting of the 1920s.
With a certain sobriety regarding his subject matter, the artist has depicted an unusual scene in a statically fixed composition. An almost smoothly painted surface leaves behind no traces and provides scarcely any possibility for its emotional structuring. On the contrary, the painter largely circumvents any development of the narrative in depth; only the view of the landscape partially opens up the hermetically sealed space. Outside we see a surreal landscape in clear tones of green and blue behind the glass vase - presented in a striking manner and forming the actual object of our gaze, it contains a light-pink tulip in slightly murky water and rests on the windowsill. Here Mangold, who exhibited with the “Rheinische Sezession” and the “Rheingruppe”, is citing an established visual topos from magnificent Renaissance portraits featuring a detailed view of a landscape that is typically related iconographically to the portrait's sitter. In this case the nude, who is reduced to a three-quarter figure in a modest pose and avoids even the slightest suggestion of individuation, brings the interior to life. Undressed and with her hair cut short in a current style, the young woman with an immaculate figure gazes 'stylishly' at an anemone-like flower in her hand. With a masterfully employed painting technique, Mangold reduces the narrative element for the sake of an stylised pictorial impression. Without drawing all too much attention to details, the graphic quality is emphasised - for example, by concentrating neighbouring tones while simultaneously rejecting the use of contours. The artist has used the silhouette-like quality of this scene to increase our focus on the metaphorical staging of a space that is suggestively symbolic. Nonetheless, this magically articulated passage remains pure invention, an illusion producing a dream-like effect.
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24.00 % buyer's premium on the hammer price
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Some lots:
24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
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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.
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.
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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.
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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
