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Gustave LoiseauDieppe
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Gustave Loiseau
Dieppe

Öl auf Leinwand. 60,5 x 74 cm. Gerahmt. Unten rechts blau signiert 'G Loiseau' und rückseitig datiert '1929'. - Auf dem Keilrahmen mit einem alten Papieretikett, darauf mit Tinte handschriftlich vermerkt "Loiseau 12839 Dieppe 1929".

Mit einer Foto-Expertise von Didier Imbert vom 22. Februar 2019. Das Gemälde wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen.

Provenienz
Galerie Durand-Ruel, Paris; Jacques D. Garvin, New York (1950). Schulman Galleries, New York; Privatsammlung; Christie's, New York, 11.5.1989, Lot 297; Privatsammlung; Auktion Me Briest, Paris, 18.4.1991, Lot 160; Privatsammlung Israel

Ausstellungen
Paris 1936 (Grand-Palais), Salon des Artistes Indépendants, Februar-März, Nr. 140

Gustave Loiseau schrieb sich für ein Studium der Malerei an der Pariser École des Arts Décoratifs ein, verließ die Hochschule jedoch nach kurzer Zeit wieder. Stattdessen konnte er den Landschaftsmaler Fernand Quignon als privaten Lehrer gewinnen, war letztendlich aber von dessen reiner Ateliermalerei nicht überzeugt. 1890 reiste Loiseau auf die Empfehlung seines Lehrers nach Pont Aven und freundete sich Paul Gauguin, Émile Bernard und Maxime Maufra an. In Pont Aven konnte er der plein-air-Malerei nachgehen, die unerlässlich war für die lebendigen Lichtstimmungen seiner Landschaftsdarstellungen. Seine Experimente mit dem Pointillismus führten zu einer sehr eigenständigen postimpressionistischen Ausprägung. Loiseau entwickelte einen Farbauftrag en treillis, also in Form einer Kreuzschraffur, mit dem er die Verbindung mehrerer Farbtöne zu einem lebendigen Lokalkolorit erreichte und der zum Erkennungsmerkmal seiner Werke wurde. Seine frühen Erfolge beim Salon des Indépendants und die Unterstützung durch Paul Durand-Ruel, dem wohl renommiertesten Pariser Kunsthändler jener Zeit, ermöglichte Gustave Loiseau eine stetige Reisetätigkeit. Er verbrachte die Winter in Paris und in Pontoise auf der Île-de-France und bereiste in den wärmeren Jahreszeiten die Landschaften der Bretagne, der Normandie und der Dordogne.
Der Künstler malte seine Landschaftsansichten oder Pariser Stadtszenen oft mehrfach, um sie in den unterschiedlichen Wetter- und Beleuchtungssituationen einzufangen. So existieren auch verschiedene atmosphärische Ansichten der normannischen Stadt Dieppe. In dem hier angebotenen Gemälde des Hafenpanoramas von Dieppe ist der typische Farbauftrag Loiseaus mit der charakteristischen Gitterstruktur gut erkennbar. Der Hafen ist bei sonnigem, doch etwas dunstigem Wetter wiedergegeben. Das Häusermeer der Stadt, das Hafenbecken und der hoch angesetzte sommerliche Himmel weisen eine faszinierende Vielfalt von lichten Farbtönen auf, die heitere, leicht verschwommene Lichtstimmung ist prägnant umgesetzt.



Gustave Loiseau
Dieppe

Oil on canvas. 60.5 x 74 cm. Framed. Signed 'G Loiseau' in blue lower right and dated '1929' verso. - An old paper label on the stretcher with handwritten annotation "Loiseau 12839 Dieppe 1929".

With a photo-certificate by Didier Imbert, dated 22 February 2019. The painting will be included in the forthcoming catalogue raisonné.

Provenance
Galerie Durand-Ruel, Paris; Jacques D. Garvin, New York (1950). Schulman Galleries, New York; Private collection; Christie's, New York, 11.5.1989, lot 297; Private collection; Me Briest auction, Paris, 18.4.1991, lot 160; Private collection, Israel

Exhibitions
Paris 1936 (Grand-Palais), Salon des Artistes Indépendants, February-March, no. 140

Gustave Loiseau enrolled at the École des Arts Décoratifs in Paris to study painting, but left the school after a short time. Instead, he was able to convince the landscape painter Fernand Quignon to teach him privately; however, Loiseau ultimately also remained unconvinced by his pure studio painting. In 1890 Loiseau travelled to Pont Aven at the recommendation of his teacher, and he became friends with Paul Gauguin, Émile Bernard and Maxime Maufra. In Pont Aven he was able to pursue plein-air painting, which was essential for the vibrant atmospheres of the light in his landscape images. His experiments with pointillism led to a very distinctive version of post-impressionism. Loiseau developed a technique for applying the paint “en treillis”, that is, in the form of cross-hatching, allowing him to successfully combine multiple colours into vibrant local colour and providing the identifying feature of his works. His early successes at the Salon des Indépendants and the support of Paul Durand-Ruel - doubtlessly the most renowned Parisian art dealer of that time - enabled Gustave Loiseau to travel constantly. He spent the winter in Paris and in Pontoise on the Île-de-France; in the warmer parts of the year, he travelled through the landscapes of Brittany, Normandy and the Dordogne.
The artist often painted his landscape views or Parisian cityscapes multiple times in order to capture them under different weather and lighting conditions. Thus, there are also various atmospheric views of the Norman town of Dieppe. Loiseau's typical brushstroke, with its characteristic lattice structure, is readily recognisable in the painted panorama of Dieppe's harbour offered here. The harbour is depicted on a sunny, though somewhat misty day. The town's sea of buildings, the dock and the summer sky placed high up in the picture display a fascinating diversity of bright tones, and the cheerful, slightly blurry quality of the light is realised in a succinct manner.


- - -

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
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme


Gustave Loiseau
Dieppe

Öl auf Leinwand. 60,5 x 74 cm. Gerahmt. Unten rechts blau signiert 'G Loiseau' und rückseitig datiert '1929'. - Auf dem Keilrahmen mit einem alten Papieretikett, darauf mit Tinte handschriftlich vermerkt "Loiseau 12839 Dieppe 1929".

Mit einer Foto-Expertise von Didier Imbert vom 22. Februar 2019. Das Gemälde wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen.

Provenienz
Galerie Durand-Ruel, Paris; Jacques D. Garvin, New York (1950). Schulman Galleries, New York; Privatsammlung; Christie's, New York, 11.5.1989, Lot 297; Privatsammlung; Auktion Me Briest, Paris, 18.4.1991, Lot 160; Privatsammlung Israel

Ausstellungen
Paris 1936 (Grand-Palais), Salon des Artistes Indépendants, Februar-März, Nr. 140

Gustave Loiseau schrieb sich für ein Studium der Malerei an der Pariser École des Arts Décoratifs ein, verließ die Hochschule jedoch nach kurzer Zeit wieder. Stattdessen konnte er den Landschaftsmaler Fernand Quignon als privaten Lehrer gewinnen, war letztendlich aber von dessen reiner Ateliermalerei nicht überzeugt. 1890 reiste Loiseau auf die Empfehlung seines Lehrers nach Pont Aven und freundete sich Paul Gauguin, Émile Bernard und Maxime Maufra an. In Pont Aven konnte er der plein-air-Malerei nachgehen, die unerlässlich war für die lebendigen Lichtstimmungen seiner Landschaftsdarstellungen. Seine Experimente mit dem Pointillismus führten zu einer sehr eigenständigen postimpressionistischen Ausprägung. Loiseau entwickelte einen Farbauftrag en treillis, also in Form einer Kreuzschraffur, mit dem er die Verbindung mehrerer Farbtöne zu einem lebendigen Lokalkolorit erreichte und der zum Erkennungsmerkmal seiner Werke wurde. Seine frühen Erfolge beim Salon des Indépendants und die Unterstützung durch Paul Durand-Ruel, dem wohl renommiertesten Pariser Kunsthändler jener Zeit, ermöglichte Gustave Loiseau eine stetige Reisetätigkeit. Er verbrachte die Winter in Paris und in Pontoise auf der Île-de-France und bereiste in den wärmeren Jahreszeiten die Landschaften der Bretagne, der Normandie und der Dordogne.
Der Künstler malte seine Landschaftsansichten oder Pariser Stadtszenen oft mehrfach, um sie in den unterschiedlichen Wetter- und Beleuchtungssituationen einzufangen. So existieren auch verschiedene atmosphärische Ansichten der normannischen Stadt Dieppe. In dem hier angebotenen Gemälde des Hafenpanoramas von Dieppe ist der typische Farbauftrag Loiseaus mit der charakteristischen Gitterstruktur gut erkennbar. Der Hafen ist bei sonnigem, doch etwas dunstigem Wetter wiedergegeben. Das Häusermeer der Stadt, das Hafenbecken und der hoch angesetzte sommerliche Himmel weisen eine faszinierende Vielfalt von lichten Farbtönen auf, die heitere, leicht verschwommene Lichtstimmung ist prägnant umgesetzt.



Gustave Loiseau
Dieppe

Oil on canvas. 60.5 x 74 cm. Framed. Signed 'G Loiseau' in blue lower right and dated '1929' verso. - An old paper label on the stretcher with handwritten annotation "Loiseau 12839 Dieppe 1929".

With a photo-certificate by Didier Imbert, dated 22 February 2019. The painting will be included in the forthcoming catalogue raisonné.

Provenance
Galerie Durand-Ruel, Paris; Jacques D. Garvin, New York (1950). Schulman Galleries, New York; Private collection; Christie's, New York, 11.5.1989, lot 297; Private collection; Me Briest auction, Paris, 18.4.1991, lot 160; Private collection, Israel

Exhibitions
Paris 1936 (Grand-Palais), Salon des Artistes Indépendants, February-March, no. 140

Gustave Loiseau enrolled at the École des Arts Décoratifs in Paris to study painting, but left the school after a short time. Instead, he was able to convince the landscape painter Fernand Quignon to teach him privately; however, Loiseau ultimately also remained unconvinced by his pure studio painting. In 1890 Loiseau travelled to Pont Aven at the recommendation of his teacher, and he became friends with Paul Gauguin, Émile Bernard and Maxime Maufra. In Pont Aven he was able to pursue plein-air painting, which was essential for the vibrant atmospheres of the light in his landscape images. His experiments with pointillism led to a very distinctive version of post-impressionism. Loiseau developed a technique for applying the paint “en treillis”, that is, in the form of cross-hatching, allowing him to successfully combine multiple colours into vibrant local colour and providing the identifying feature of his works. His early successes at the Salon des Indépendants and the support of Paul Durand-Ruel - doubtlessly the most renowned Parisian art dealer of that time - enabled Gustave Loiseau to travel constantly. He spent the winter in Paris and in Pontoise on the Île-de-France; in the warmer parts of the year, he travelled through the landscapes of Brittany, Normandy and the Dordogne.
The artist often painted his landscape views or Parisian cityscapes multiple times in order to capture them under different weather and lighting conditions. Thus, there are also various atmospheric views of the Norman town of Dieppe. Loiseau's typical brushstroke, with its characteristic lattice structure, is readily recognisable in the painted panorama of Dieppe's harbour offered here. The harbour is depicted on a sunny, though somewhat misty day. The town's sea of buildings, the dock and the summer sky placed high up in the picture display a fascinating diversity of bright tones, and the cheerful, slightly blurry quality of the light is realised in a succinct manner.


- - -

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
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

Modern Art Catalogue Paul Baum Collection Gemmer / Modern Art Part I and II

Auktionsdatum
Lose: 200 - 269
Lose: 1 - 61
Lose: 270 - 509
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

Various premiums. Check premium on lot level!

3 % live surcharge plus VAT

 

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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