Los

259

Max SlevogtRote NelkenÖl auf Leinwand. 78,5 x 62,5 cm. Gerahmt. Unten links schwarz signiert und

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.
Max SlevogtRote NelkenÖl auf Leinwand. 78,5 x 62,5 cm. Gerahmt. Unten links schwarz signiert und
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Max Slevogt
Rote Nelken

Öl auf Leinwand. 78,5 x 62,5 cm. Gerahmt. Unten links schwarz signiert und datiert 'Slevogt 1904'. - Mit einzelnen unauffälligen Retuschen.

Das Gemälde ist im Slevogt-Archiv von Hans-Jürgen Imiela geführt. Wir danken Sigrun Paas und Bernhard Geil für die wissenschaftliche Beratung.

Provenienz
Familie des Künstlers; Sammlung Familie Frowein, Wuppertal; Math. Lempertz'sche Kunstversteigerung, Kunst des XX. Jahrhunderts, 5. Dezember 1979, Lot 605; Privatbesitz Rheinlandpfalz

Bedeutend und pretiös ist ein üppiger Strauß roter Nelken, Blumen, die eher nicht im heimischen Garten, sondern zumeist in südlichen Gewächshäusern an der Côte d'Azur oder der italienischen Costiera dei fiori gezogen werden, vor dunklem Umraum in Szene gesetzt. Das pastose Stakkato, der in wildem Gestus gesetzten roten Nelkenblüten steht in reizvollem Kontrast zur weich wirkenden, teppichartigen Tischdecke mit orientalisch anmutendem Muster. Die stürzende Perspektive verleiht dem Stillleben zudem eine optische Dynamik, die auch inhaltlich durch den einem Kuvert entnommenen Brief verstärkt wird. Der Betrachter ist geneigt, beides - Strauß und Brief - in einen narrativen Bezug zueinander zu setzen.
Das Gemälde, das Max Slevogt in seinen persönlichen Aufzeichnungen für das Jahr 1904 erwähnt, war im Besitz seiner Mutter.
1904 arbeitet Slevogt in Berlin an Bühnenbildern und Kostümentwürfen - daher vielleicht das in unserem Stillleben offenbarte Interesse am textilen Ornament. Zudem wird sein Blick für die aktuellen Kunstströmungen durch die zahlreich vertretenen französischen Impressionisten in den Sezessionsausstellungen geschärft. „Corinth wusste zu interessieren und zu amüsieren und Debatten zu entfesseln. Slevogt aber blendete mit seinem schwungvollen Talent“, schrieb der bekannte Kunstkritiker Karl Scheffler (zit. nach Ausst. Kat. Max Slevogt. Die Berliner Jahre, Wuppertal/Berlin 2005, S. 187).

Max Slevogt
Rote Nelken

Oil on canvas. 78.5 x 62.5 cm. Framed. Signed and dated 'Slevogt 1904' in black lower left. - Isolated, unobtrusive retouches.

The painting is registered in the Slevogt-Archiv compiled by Hans-Jürgen Imelia. We would like to thank Sigrun Paas and Bernhard Geil for scientific advice.

Provenance
Artist's family; Familie Frowein Collection, Wuppertal; Math. Lempertz'sche art auction, 20th century art, 5 December 1979, lot 605; Private possession, Rhineland Palatinate.

An abundant bouquet of red carnations - flowers usually picked not in one's own private garden, but in southern greenhouses along the Côte d'Azur or the Italian Costiera dei fiori - are evocatively and decoratively presented before the dark space surrounding them. The impasto staccato of the carnations' red flowers has been realised in wild gestures and stands in charming contrast to the soft impression of the table's rug-like covering featuring what seems to be an oriental pattern. The plunging perspective additionally invests the still life with an optical dynamism that is also reinforced thematically through the letter removed from its envelope. Viewers are inclined to place both - bouquet and letter - in a narrative relationship with one another.
The painting, which Max Slevogt mentions in his personal records for the year 1904, was owned by his mother.
In 1904 Slevogt was working in Berlin on stage sets and costume designs - this may be the source of the interest in textile decoration revealed by our still life. Furthermore, the numerous French impressionists presented at the Secession's exhibitions surely sharpened his eye for contemporary currents in art. “Corinth knew how to interest and amuse and unleash debates. Slevogt, though, dazzled with his spirited talent”, wrote the well-known art critic Karl Scheffler (cited in exhib. cat., Max Slevogt: Die Berliner Jahre, Wuppertal/Berlin 2005, p. 187).
Max Slevogt
Rote Nelken

Öl auf Leinwand. 78,5 x 62,5 cm. Gerahmt. Unten links schwarz signiert und datiert 'Slevogt 1904'. - Mit einzelnen unauffälligen Retuschen.

Das Gemälde ist im Slevogt-Archiv von Hans-Jürgen Imiela geführt. Wir danken Sigrun Paas und Bernhard Geil für die wissenschaftliche Beratung.

Provenienz
Familie des Künstlers; Sammlung Familie Frowein, Wuppertal; Math. Lempertz'sche Kunstversteigerung, Kunst des XX. Jahrhunderts, 5. Dezember 1979, Lot 605; Privatbesitz Rheinlandpfalz

Bedeutend und pretiös ist ein üppiger Strauß roter Nelken, Blumen, die eher nicht im heimischen Garten, sondern zumeist in südlichen Gewächshäusern an der Côte d'Azur oder der italienischen Costiera dei fiori gezogen werden, vor dunklem Umraum in Szene gesetzt. Das pastose Stakkato, der in wildem Gestus gesetzten roten Nelkenblüten steht in reizvollem Kontrast zur weich wirkenden, teppichartigen Tischdecke mit orientalisch anmutendem Muster. Die stürzende Perspektive verleiht dem Stillleben zudem eine optische Dynamik, die auch inhaltlich durch den einem Kuvert entnommenen Brief verstärkt wird. Der Betrachter ist geneigt, beides - Strauß und Brief - in einen narrativen Bezug zueinander zu setzen.
Das Gemälde, das Max Slevogt in seinen persönlichen Aufzeichnungen für das Jahr 1904 erwähnt, war im Besitz seiner Mutter.
1904 arbeitet Slevogt in Berlin an Bühnenbildern und Kostümentwürfen - daher vielleicht das in unserem Stillleben offenbarte Interesse am textilen Ornament. Zudem wird sein Blick für die aktuellen Kunstströmungen durch die zahlreich vertretenen französischen Impressionisten in den Sezessionsausstellungen geschärft. „Corinth wusste zu interessieren und zu amüsieren und Debatten zu entfesseln. Slevogt aber blendete mit seinem schwungvollen Talent“, schrieb der bekannte Kunstkritiker Karl Scheffler (zit. nach Ausst. Kat. Max Slevogt. Die Berliner Jahre, Wuppertal/Berlin 2005, S. 187).

Max Slevogt
Rote Nelken

Oil on canvas. 78.5 x 62.5 cm. Framed. Signed and dated 'Slevogt 1904' in black lower left. - Isolated, unobtrusive retouches.

The painting is registered in the Slevogt-Archiv compiled by Hans-Jürgen Imelia. We would like to thank Sigrun Paas and Bernhard Geil for scientific advice.

Provenance
Artist's family; Familie Frowein Collection, Wuppertal; Math. Lempertz'sche art auction, 20th century art, 5 December 1979, lot 605; Private possession, Rhineland Palatinate.

An abundant bouquet of red carnations - flowers usually picked not in one's own private garden, but in southern greenhouses along the Côte d'Azur or the Italian Costiera dei fiori - are evocatively and decoratively presented before the dark space surrounding them. The impasto staccato of the carnations' red flowers has been realised in wild gestures and stands in charming contrast to the soft impression of the table's rug-like covering featuring what seems to be an oriental pattern. The plunging perspective additionally invests the still life with an optical dynamism that is also reinforced thematically through the letter removed from its envelope. Viewers are inclined to place both - bouquet and letter - in a narrative relationship with one another.
The painting, which Max Slevogt mentions in his personal records for the year 1904, was owned by his mother.
In 1904 Slevogt was working in Berlin on stage sets and costume designs - this may be the source of the interest in textile decoration revealed by our still life. Furthermore, the numerous French impressionists presented at the Secession's exhibitions surely sharpened his eye for contemporary currents in art. “Corinth knew how to interest and amuse and unleash debates. Slevogt, though, dazzled with his spirited talent”, wrote the well-known art critic Karl Scheffler (cited in exhib. cat., Max Slevogt: Die Berliner Jahre, Wuppertal/Berlin 2005, p. 187).

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