Los

2539

Carl SpitzwegMountain Landscape with a Mill (High-Mountain Landscape)Oil on canvas (relined). 31.5 x

In Kunst des 19. Jahrhunderts

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Carl SpitzwegMountain Landscape with a Mill (High-Mountain Landscape)Oil on canvas (relined). 31.5 x
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Carl Spitzweg
Gebirgslandschaft mit Mühle (Hochgebirgslandschaft)

Öl auf Leinwand (doubliert). 31,5 x 23,5 cm.

Provenienz
1935 Kunsthandlung Abels, Köln. - Hermann Uhde-Bernays, Starnberg. - Auktion Graupe, Berlin, 23.-24.3.1936, Lot 113. – 382. Lempertz-Auktion, Köln, 5.11.1936, Lot 283. - 396. Lempertz-Auktion, Köln, 10.-12.5.1938, Lot 239. – Auktion Neumeister, München, 29.-30.11.1972, Nr. 1618. – Süddeutsche Privatsammlung.

Ausstellungen
Zwei Jahrhunderte deutscher Landschafts-Malerei (1700-1900), Nassauisches Landesmuseum Wiesbaden, April bis Juli 1936, Nr. 682 („aus Berliner Privatbesitz“). – Kleucker, Düsseldorf, 15.3.-15.4.1938, Nr. 37 („aus Besitz W. F. in Köln“).

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 155, Nr. 170. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 495, Nr. 1334.

Verso auf dem Keilrahmen Ausschnitt des Katalogs der Auktion bei Neumeister. In den Katalogen der Auktionen bei Graupe und Lempertz wird jeweils ein heute nicht mehr vorliegendes Gutachten von Uhde-Bernays erwähnt.

Carl Spitzweg wandte sich in seinem Spätwerk zunehmend der Landschaftsmalerei zu, beeinflusst vor allem durch seinen Malerkollegen und -freund Eduard Schleich, der als bedeutender Wegbereiter der Freilichtmalerei in Deutschland gilt. Mit ihm unternahm Spitzweg zahlreiche Reisen, u. a. 1851 nach Paris, wo insbesondere die Schule von Barbizon großen Eindruck auf die beiden Künstler machte. Spitzwegs Malerei und sein Pinselduktus wurde in der Folge immer offener und freier und lassen eine Entwicklung zum Impressionismus erahnen. Häufig beinhalten seine lichtdurchfluteten Landschaften wenige oder gar keine Staffagefiguren, im Vordergrund stehen vielmehr die Phänomene Licht und Natur.
Im vorliegenden Gemälde, das Siegfried Wichmann in das Spätwerk um 1875-1880 datiert, besteht die Staffage lediglich aus zwei vergleichsweise klein wiedergegebenen Kindern, die nach links in Richtung einer tiefen Schlucht schauen. Das Hauptaugenmerk des Künstlers ist auf das enge Gebirgstal gerichtet, das von einem tief gelegenen Betrachterstandpunkt aus wiedergegeben wird. Von dem bis zum unteren Bildrand reichende Fußweg geht der Blick des Betrachters über die beiden Kinder und die annähernd in das Bildzentrum platzierte Wassermühle steil nach oben zu den Wäldern und den diese noch überragenden Felsen bis hin zum leicht bewölkten Himmel am oberen Bildrand. Spitzweg hat sich mit diesem Bildthema sehr eingehend beschäftigt, was nicht nur zwei Skizzen und zwei Vorzeichnung belegen, sondern auch einige Varianten des Sujets. Unserem Bild am nächsten kommt davon ein nur wenig kleineres Gemälde in Privatbesitz (Wichmann, a.a.O., S. 494, Nr. 1333).



Carl Spitzweg
Mountain Landscape with a Mill (High-Mountain Landscape)

Oil on canvas (relined). 31.5 x 23.5 cm.

Provenance
1935 Abels art dealers, Cologne. - Hermann Uhde-Bernays, Starnberg. - Auctioned by Graupe, Berlin, 23.-24.03.1936, lot 113. – Lempertz auction 382, Cologne, 05.11.1936, lot 283. - Lempertz auction 396, Cologne, 10.-12.05.1938, lot 239. – Auctioned by Neumeister, Munich, 29.-30.11.1972, no. 1618. – South German private collection.

Exhibitions
Zwei Jahrhunderte deutscher Landschafts-Malerei (1700-1900), Nassauisches Landesmuseum Wiesbaden, April to July 1936, no. 682 (“from private ownership, Berlin”). – Kleucker, Düsseldorf, 15.03.-15.04.1938, no. 37 („from possession of W. F. in Cologne“).

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 155, no. 170. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 495, no. 1334.

With a cutting from the Neumeister auction catalogue affixed to the back of the stretcher. The catalogues of the Graupe and Lempertz auctions mention an expertise by Uhde-Bernays that no longer exists today.

In his late period, Carl Spitzweg increasingly dedicated his time to landscape painting. He was influenced in this decision by his friend and fellow artist Eduard Schleich, who was one of the leading pioneers of plein air painting in Germany. Spitzweg and Schleich undertook many journeys together, including one to Paris in 1851, where the two artists were especially impressed by the works of the Barbizon School. Spitzweg's brushwork became increasingly loose and open in the following years, with a certain development towards Impressionism. The brightly illuminated landscapes he painted during this period contain few to no human figures, with the focus lying primarily in the depiction of phenomena of light and nature.
The present work, which Siegfried Wichmann dates within this late period to around 1875 - 1800, is populated by just two comparatively small figures of children striding towards a deep gorge on the left. The artist focusses the majority of his attention on the depiction of the narrow mountain valley, seen from a low-lying viewpoint. The observer's gaze is led via the path leading from the lower edge of the image over the children and the water mill placed almost exactly in the centre of the work towards the steep woods with the rock face towering above them and into the lightly clouded sky in the upper edge of the work. Spitzweg spent a long time perfecting this motif, as shown not only by two sketches and two studies of this composition but also by the numerous variations on the subject which he painted. The composition of the present work is most similar to a slightly smaller version in private ownership (Wichmann, ibid., p. 494, no. 1333).

Carl Spitzweg
Gebirgslandschaft mit Mühle (Hochgebirgslandschaft)

Öl auf Leinwand (doubliert). 31,5 x 23,5 cm.

Provenienz
1935 Kunsthandlung Abels, Köln. - Hermann Uhde-Bernays, Starnberg. - Auktion Graupe, Berlin, 23.-24.3.1936, Lot 113. – 382. Lempertz-Auktion, Köln, 5.11.1936, Lot 283. - 396. Lempertz-Auktion, Köln, 10.-12.5.1938, Lot 239. – Auktion Neumeister, München, 29.-30.11.1972, Nr. 1618. – Süddeutsche Privatsammlung.

Ausstellungen
Zwei Jahrhunderte deutscher Landschafts-Malerei (1700-1900), Nassauisches Landesmuseum Wiesbaden, April bis Juli 1936, Nr. 682 („aus Berliner Privatbesitz“). – Kleucker, Düsseldorf, 15.3.-15.4.1938, Nr. 37 („aus Besitz W. F. in Köln“).

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 155, Nr. 170. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 495, Nr. 1334.

Verso auf dem Keilrahmen Ausschnitt des Katalogs der Auktion bei Neumeister. In den Katalogen der Auktionen bei Graupe und Lempertz wird jeweils ein heute nicht mehr vorliegendes Gutachten von Uhde-Bernays erwähnt.

Carl Spitzweg wandte sich in seinem Spätwerk zunehmend der Landschaftsmalerei zu, beeinflusst vor allem durch seinen Malerkollegen und -freund Eduard Schleich, der als bedeutender Wegbereiter der Freilichtmalerei in Deutschland gilt. Mit ihm unternahm Spitzweg zahlreiche Reisen, u. a. 1851 nach Paris, wo insbesondere die Schule von Barbizon großen Eindruck auf die beiden Künstler machte. Spitzwegs Malerei und sein Pinselduktus wurde in der Folge immer offener und freier und lassen eine Entwicklung zum Impressionismus erahnen. Häufig beinhalten seine lichtdurchfluteten Landschaften wenige oder gar keine Staffagefiguren, im Vordergrund stehen vielmehr die Phänomene Licht und Natur.
Im vorliegenden Gemälde, das Siegfried Wichmann in das Spätwerk um 1875-1880 datiert, besteht die Staffage lediglich aus zwei vergleichsweise klein wiedergegebenen Kindern, die nach links in Richtung einer tiefen Schlucht schauen. Das Hauptaugenmerk des Künstlers ist auf das enge Gebirgstal gerichtet, das von einem tief gelegenen Betrachterstandpunkt aus wiedergegeben wird. Von dem bis zum unteren Bildrand reichende Fußweg geht der Blick des Betrachters über die beiden Kinder und die annähernd in das Bildzentrum platzierte Wassermühle steil nach oben zu den Wäldern und den diese noch überragenden Felsen bis hin zum leicht bewölkten Himmel am oberen Bildrand. Spitzweg hat sich mit diesem Bildthema sehr eingehend beschäftigt, was nicht nur zwei Skizzen und zwei Vorzeichnung belegen, sondern auch einige Varianten des Sujets. Unserem Bild am nächsten kommt davon ein nur wenig kleineres Gemälde in Privatbesitz (Wichmann, a.a.O., S. 494, Nr. 1333).



Carl Spitzweg
Mountain Landscape with a Mill (High-Mountain Landscape)

Oil on canvas (relined). 31.5 x 23.5 cm.

Provenance
1935 Abels art dealers, Cologne. - Hermann Uhde-Bernays, Starnberg. - Auctioned by Graupe, Berlin, 23.-24.03.1936, lot 113. – Lempertz auction 382, Cologne, 05.11.1936, lot 283. - Lempertz auction 396, Cologne, 10.-12.05.1938, lot 239. – Auctioned by Neumeister, Munich, 29.-30.11.1972, no. 1618. – South German private collection.

Exhibitions
Zwei Jahrhunderte deutscher Landschafts-Malerei (1700-1900), Nassauisches Landesmuseum Wiesbaden, April to July 1936, no. 682 (“from private ownership, Berlin”). – Kleucker, Düsseldorf, 15.03.-15.04.1938, no. 37 („from possession of W. F. in Cologne“).

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 155, no. 170. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 495, no. 1334.

With a cutting from the Neumeister auction catalogue affixed to the back of the stretcher. The catalogues of the Graupe and Lempertz auctions mention an expertise by Uhde-Bernays that no longer exists today.

In his late period, Carl Spitzweg increasingly dedicated his time to landscape painting. He was influenced in this decision by his friend and fellow artist Eduard Schleich, who was one of the leading pioneers of plein air painting in Germany. Spitzweg and Schleich undertook many journeys together, including one to Paris in 1851, where the two artists were especially impressed by the works of the Barbizon School. Spitzweg's brushwork became increasingly loose and open in the following years, with a certain development towards Impressionism. The brightly illuminated landscapes he painted during this period contain few to no human figures, with the focus lying primarily in the depiction of phenomena of light and nature.
The present work, which Siegfried Wichmann dates within this late period to around 1875 - 1800, is populated by just two comparatively small figures of children striding towards a deep gorge on the left. The artist focusses the majority of his attention on the depiction of the narrow mountain valley, seen from a low-lying viewpoint. The observer's gaze is led via the path leading from the lower edge of the image over the children and the water mill placed almost exactly in the centre of the work towards the steep woods with the rock face towering above them and into the lightly clouded sky in the upper edge of the work. Spitzweg spent a long time perfecting this motif, as shown not only by two sketches and two studies of this composition but also by the numerous variations on the subject which he painted. The composition of the present work is most similar to a slightly smaller version in private ownership (Wichmann, ibid., p. 494, no. 1333).

Kunst des 19. Jahrhunderts

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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1. The art auction house, Kunsthaus Lempertz KG (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.

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11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per 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.

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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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