Los

253

Mela Muter (Maria Melania Mutermilch)Spanischer Tanz (Danse espagnole)Öl auf Leinwand. 136 x 146 cm.

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.
Mela Muter (Maria Melania Mutermilch)Spanischer Tanz (Danse espagnole)Öl auf Leinwand. 136 x 146 cm.
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Mela Muter (Maria Melania Mutermilch)
Spanischer Tanz (Danse espagnole)

Öl auf Leinwand. 136 x 146 cm. Gerahmt. Unten links schwarz signiert 'Muter'. - Im linken Bilddrittel mit unauffälliger vertikaler Kappnaht und kleineren Bereibungen in der unteren Partie sowie mittig mit einer winzigen Leinwandverletzung. Auf neueren Keilrahmen aufgezogen.

Provenienz
Nachlass der Künstlerin; Galerie Bargera, Köln (mit Rahmenetikett)

Ausstellungen
Paris 1966 (Galerie Jean-Claude Bellier), Mela Muter, Kat. 24, mit Farbabb. auf dem Titel; Köln 1966 (Galerie Gmurzynska), Mela Muter: Bilder, Aquarelle und Zeichnungen, Kat. Nr. 29, mit ganzseitiger Farbabb.; Köln 1967 (Galerie Gmurzynska), Mela Muter 1876-1967. Retrospektiv-Ausstellung, Kat. Nr. 1, mit Farbabb. auf dem Titel

„Eine einzigartige Künstlerin“, schreibt der Kunstkritiker Robert Kemp im Entstehungsjahr dieses Gemäldes, 1913, über Mela Muter. „Und mit welcher Autorität, welcher originellen Meisterschaft, welchem präzisen und packenden Können! […] Sie läßt Flächen frei, die eine Bedeutung, einen Akzent gewinnen. Die Zeichnung ist ohne verstärkende Linie klar, willensstark und fest. Das ähnelt nichts bisher Dagewesenem. Es ist halluzinierend, sehr stark gekonnt.“ (Robert Kemp, zit. nach: Ausst. Kat. Köln 1967, op.cit., o.S.). Als eines der bedeutendsten und eindrucksvollsten Werke Mela Muters zierte der „Spanische Tanz“ den Katalogtitel der von Galerie Gmurzynska ausgerichteten Retrospektive von 1967. Der Betrachter wird mit einer großformatigen Figurenszene konfrontiert, deren Thematik folkloristisch anmutet, jedoch von der Künstlerin gänzlich unkonventionell umgesetzt wird. Bildbeherrschend ist die groß angelegte Figur eines sitzenden Gitarrenspielers, an dessen rechtes Knie sich ein Hund schmiegt, während zu seiner Linken ein Kinderpaar mit expressiven Bewegungen zu der Gitarrenmusik tanzt. Die Gruppe füllt den Bildraum zur Gänze aus, die Dargestellten scheinen von den seitlichen Bildrändern regelrecht bedrängt zu werden. Die räumliche Enge macht die Beziehungslosigkeit zwischen den Figuren besonders augenfällig. Sie erscheinen in sich gekehrt, ihre Blicke stellen weder zueinander noch zum Betrachter einen Kontakt her. Die Körper sind in sich verdreht, die hochgezogenen Schultern, angespannten Gliedmaßen und verschobenen Körperachsen geben ihnen eine marionettenhafte Anmutung und laufen dem Temperament und der Leidenschaft zuwider, die der Betrachter mit einem spanischen Tanz in Verbindung bringt. Das verhaltene kreidige Kolorit, charakteristisch für das Werk Mela Muters, unterstreicht die melancholische Atmosphäre. Menschen aus der einfachen Bevölkerung gehören zu den bevorzugten Bildmotiven Muters. Mehrfach bereiste sie in den Jahren vor dem I. Weltkrieg Spanien und fand dort offenbar die Inspiration für diese dörfliche Tanzszene. Die Modelle für ihre beiden kindlichen Tänzer begegnen uns auch auf anderen Werken dieser Zeit.

Mela Muter (Maria Melania Mutermilch)
Spanischer Tanz (Danse espagnole)

Oil on canvas. 136 x 146 cm. Framed. Signed 'Muter' in black lower left. - Unobtrusive vertical felled seam in the left third of the painting and smaller rubbing in the lower part as well as minute damage to canvas in the centre. Mounted on newer stretcher.

Provenance
Artist's estate; Galerie Bargera, Cologne (frame label)

Exhibitions
Paris 1966 (Galerie Jean-Claude Bellier), Mela Muter, cat. 24, with colour illus. on the title; Cologne 1966 (Galerie Gmurzynska), Mela Muter: Bilder, Aquarelle und Zeichnungen, cat. no. 29, with full page colour illus.; Cologne 1967 (Galerie Gmurzynska), Mela Muter 1876-1967. Retrospektiv-Ausstellung, cat. no. 1, with colour illus. on the title

“A unique artist” is what the art critic Robert Kemp wrote of Mela Muter in 1913, the year this painting was created. “And what authority, what original mastery, what precise and enthralling ability! […] She leaves areas unpainted and they become significant, emphasised. The drawing is clear, strong-willed and solid without a reinforcing line. This resembles nothing that has previously existed. It is hallucinatory, extremely adept.” (Robert Kemp, cited in: exhib. cat. Cologne 1976, op. cit., n. pag.). As one of Mela Muter's most important and impressive works, the “Spanischer Tanz” adorned the cover of the catalogue for the 1967 retrospective organised by Galerie Gmurzynska. The painting confronts its viewers with a large-format figural scene featuring a seemingly folkloric theme, however, the artist has executed it in an entirely unconventional manner. The monumental figure of a seated guitar player dominates the image. A dog has nestled its head on his right knee while, to his left, a pair of children dance to the music of the guitar with expressive movements. The group fills the entire picture plane, and the sides of the painting directly seem to crowd them in. This constricted space renders the lack of relationship between the figures particularly striking. They seem absorbed in their own worlds, their gazes make contact neither with each other nor with their viewers. The bodies twist inwards while the raised shoulders, strained limbs and skewed axes of the figures invest them with a marionette-like quality and run counter to the vigour and passion that viewers associate with Spanish dances. The muted and chalky tonality, which is characteristic of Mela Muter's work, underscores the melancholy atmosphere. People from the common folk were among Muter's favourite subjects for her pictures. She travelled in Spain multiple times during the years preceding World War I and that is apparently where she found the inspiration for this village dance scene. We also encounter the models for the two child dancers in other works from this period.
Mela Muter (Maria Melania Mutermilch)
Spanischer Tanz (Danse espagnole)

Öl auf Leinwand. 136 x 146 cm. Gerahmt. Unten links schwarz signiert 'Muter'. - Im linken Bilddrittel mit unauffälliger vertikaler Kappnaht und kleineren Bereibungen in der unteren Partie sowie mittig mit einer winzigen Leinwandverletzung. Auf neueren Keilrahmen aufgezogen.

Provenienz
Nachlass der Künstlerin; Galerie Bargera, Köln (mit Rahmenetikett)

Ausstellungen
Paris 1966 (Galerie Jean-Claude Bellier), Mela Muter, Kat. 24, mit Farbabb. auf dem Titel; Köln 1966 (Galerie Gmurzynska), Mela Muter: Bilder, Aquarelle und Zeichnungen, Kat. Nr. 29, mit ganzseitiger Farbabb.; Köln 1967 (Galerie Gmurzynska), Mela Muter 1876-1967. Retrospektiv-Ausstellung, Kat. Nr. 1, mit Farbabb. auf dem Titel

„Eine einzigartige Künstlerin“, schreibt der Kunstkritiker Robert Kemp im Entstehungsjahr dieses Gemäldes, 1913, über Mela Muter. „Und mit welcher Autorität, welcher originellen Meisterschaft, welchem präzisen und packenden Können! […] Sie läßt Flächen frei, die eine Bedeutung, einen Akzent gewinnen. Die Zeichnung ist ohne verstärkende Linie klar, willensstark und fest. Das ähnelt nichts bisher Dagewesenem. Es ist halluzinierend, sehr stark gekonnt.“ (Robert Kemp, zit. nach: Ausst. Kat. Köln 1967, op.cit., o.S.). Als eines der bedeutendsten und eindrucksvollsten Werke Mela Muters zierte der „Spanische Tanz“ den Katalogtitel der von Galerie Gmurzynska ausgerichteten Retrospektive von 1967. Der Betrachter wird mit einer großformatigen Figurenszene konfrontiert, deren Thematik folkloristisch anmutet, jedoch von der Künstlerin gänzlich unkonventionell umgesetzt wird. Bildbeherrschend ist die groß angelegte Figur eines sitzenden Gitarrenspielers, an dessen rechtes Knie sich ein Hund schmiegt, während zu seiner Linken ein Kinderpaar mit expressiven Bewegungen zu der Gitarrenmusik tanzt. Die Gruppe füllt den Bildraum zur Gänze aus, die Dargestellten scheinen von den seitlichen Bildrändern regelrecht bedrängt zu werden. Die räumliche Enge macht die Beziehungslosigkeit zwischen den Figuren besonders augenfällig. Sie erscheinen in sich gekehrt, ihre Blicke stellen weder zueinander noch zum Betrachter einen Kontakt her. Die Körper sind in sich verdreht, die hochgezogenen Schultern, angespannten Gliedmaßen und verschobenen Körperachsen geben ihnen eine marionettenhafte Anmutung und laufen dem Temperament und der Leidenschaft zuwider, die der Betrachter mit einem spanischen Tanz in Verbindung bringt. Das verhaltene kreidige Kolorit, charakteristisch für das Werk Mela Muters, unterstreicht die melancholische Atmosphäre. Menschen aus der einfachen Bevölkerung gehören zu den bevorzugten Bildmotiven Muters. Mehrfach bereiste sie in den Jahren vor dem I. Weltkrieg Spanien und fand dort offenbar die Inspiration für diese dörfliche Tanzszene. Die Modelle für ihre beiden kindlichen Tänzer begegnen uns auch auf anderen Werken dieser Zeit.

Mela Muter (Maria Melania Mutermilch)
Spanischer Tanz (Danse espagnole)

Oil on canvas. 136 x 146 cm. Framed. Signed 'Muter' in black lower left. - Unobtrusive vertical felled seam in the left third of the painting and smaller rubbing in the lower part as well as minute damage to canvas in the centre. Mounted on newer stretcher.

Provenance
Artist's estate; Galerie Bargera, Cologne (frame label)

Exhibitions
Paris 1966 (Galerie Jean-Claude Bellier), Mela Muter, cat. 24, with colour illus. on the title; Cologne 1966 (Galerie Gmurzynska), Mela Muter: Bilder, Aquarelle und Zeichnungen, cat. no. 29, with full page colour illus.; Cologne 1967 (Galerie Gmurzynska), Mela Muter 1876-1967. Retrospektiv-Ausstellung, cat. no. 1, with colour illus. on the title

“A unique artist” is what the art critic Robert Kemp wrote of Mela Muter in 1913, the year this painting was created. “And what authority, what original mastery, what precise and enthralling ability! […] She leaves areas unpainted and they become significant, emphasised. The drawing is clear, strong-willed and solid without a reinforcing line. This resembles nothing that has previously existed. It is hallucinatory, extremely adept.” (Robert Kemp, cited in: exhib. cat. Cologne 1976, op. cit., n. pag.). As one of Mela Muter's most important and impressive works, the “Spanischer Tanz” adorned the cover of the catalogue for the 1967 retrospective organised by Galerie Gmurzynska. The painting confronts its viewers with a large-format figural scene featuring a seemingly folkloric theme, however, the artist has executed it in an entirely unconventional manner. The monumental figure of a seated guitar player dominates the image. A dog has nestled its head on his right knee while, to his left, a pair of children dance to the music of the guitar with expressive movements. The group fills the entire picture plane, and the sides of the painting directly seem to crowd them in. This constricted space renders the lack of relationship between the figures particularly striking. They seem absorbed in their own worlds, their gazes make contact neither with each other nor with their viewers. The bodies twist inwards while the raised shoulders, strained limbs and skewed axes of the figures invest them with a marionette-like quality and run counter to the vigour and passion that viewers associate with Spanish dances. The muted and chalky tonality, which is characteristic of Mela Muter's work, underscores the melancholy atmosphere. People from the common folk were among Muter's favourite subjects for her pictures. She travelled in Spain multiple times during the years preceding World War I and that is apparently where she found the inspiration for this village dance scene. We also encounter the models for the two child dancers in other works from this period.

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

3 % live surcharge plus 19 % VAT

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

 

Some lots:

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

 

Some lots:

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

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