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Otto ModersohnHerbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen KleidÖl auf Leinwand 74

In Moderne und Zeitgenössische Kunst - Evening Sa...

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Otto ModersohnHerbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen KleidÖl auf Leinwand 74 - Bild 1 aus 2
Otto ModersohnHerbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen KleidÖl auf Leinwand 74 - Bild 2 aus 2
Otto ModersohnHerbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen KleidÖl auf Leinwand 74 - Bild 1 aus 2
Otto ModersohnHerbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen KleidÖl auf Leinwand 74 - Bild 2 aus 2
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Otto Modersohn
Herbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen Kleid

Öl auf Leinwand 74 x 90 cm bzw. 73 x 92 cm Doppelansichtig gerahmt. Unten links rotbraun signiert 'OModersohn' (ligiert), rechts mit den Resten einer überstrichenen Signatur sowie verso unten rechts schwarz signiert 'O Modersohn'. - Fachmännisch restauriert, die Bildrückseite freigelegt.

Im Atelierbuch Winter 1923/1924: 4) als "Herbstlandschaft Kanal n. Komp. 91 x 73". Verso Atelierbuch Winter 1912/1913: "L. grün vor Ofen 92 x 73" verzeichnet

Mit einer Expertise von Rainer Noeres, Otto Modersohn Museum, Fischerhude, vom 19.9.2019

Provenienz
Vom Vorbesitzer direkt vom Künstler erhalten; seitdem in Familienbesitz Süddeutschland

Ausstellungen
Fischerhude (Otto Modersohn Museum), Leihgabe

Die später auf die Rückseite des Porträts Louise Modersohn-Brelings gemalte Landschaft besticht in ihrem Querformat durch ihre Frische und Weite - beinahe scheint einem die klare Luft des norddeutschen Bremer Umlands entgegen zu wehen. Die Rot-Orangebrauntöne der herbstlichen Vegetation und der in die Landschaft geschmiegten Katen bilden einen kräftigen Kontrast zum hellen Himmelsblau. Wattige, weiche Konturen vermitteln Leichtigkeit, vermögen der Komposition aber dennoch erdverbundenen Stand und Tiefe zu verleihen. Die Komposition wird dynamisiert durch den diagonalen Verlauf des Moorkanals.
Nach Worpswede kommt der in Soest und Münster aufgewachsene Otto Modersohn im Sommer 1889; das Dorf und seine Umgebung werden Hauptthema in allen Motivvarianten und Variationen von Tages- und Jahreszeiten. In seinem Tagebuch beschreibt Otto Modersohn den ersten Eindruck: „Ich fand ein höchst originelles Dorf, das auf mich einen durchaus fremdartigen Eindruck machte […], die großen bemoosten Strohdächer, und nach allen Seiten, soweit man sehen konnte, alles so weit wie am Meer.“ (Otto Modersohn, Tagebuch 3.7.1889, zit. nach Ausst. Kat. Otto Modersohn. Fischerhude 1908-1943, Fischerhude 1993, S. 287 f.). Im Entstehungsjahr der Landschaft beschreibt der Maler seine neue Einsicht: „Einfachheit, Vereinfachung ist das Wichtigste, nicht bloß in der Form, sondern noch mehr in der Farbe. Ein Akkord, eine Harmonie muß das Bild darstellen. […] Alles kommt darauf an, daß ein Bild ‚stark' ist.“ (O.M., Tagebuch 10.9.1923, zit. nach ebenda, S. 110). Diese neuen Prinzipien kommen in der angebotenen Worpsweder Landschaft zum Tragen, Otto Modersohn ist eine starke überzeugende Komposition in leuchtender Farbigkeit gelungen, die eine optimistische Ruhe ausstrahlt.
Die ältere Vorderseite der beidseitig bemalten Leinwand zeigt das Porträt der Sängerin Louise Modersohn-Breling, seit 1909 mit dem zweimalig verwitweten Maler verheiratet. Otto Modersohn hält seine Gattin in beinahe abstrakter Weise fest; im Profil konturiert, verleiht er ihr einen, Prinzipien des Jugendstils folgenden, ornamentalen Charakter. Eingepasst in das räumliche Geviert des Raumes, füllt sie die gute Stube beinahe gänzlich aus. Aber jenseits von vermuteten Qualitäten an Heim und Herd, derer hier vielleicht gedacht ist, hat der Künstler Louise auch als eine mit intellektuellen Qualitäten befähigte Frau festgehalten. Die Pose der den Kopf Stützenden ist seit der Antike eine tradierte Haltung verschiedener Musen, die als antike Plastik zum Kanon der klassisch akademischen Ausbildung zählen - auch Modersohn hatte diese durchlaufen. Diese prägnante Körperhaltung dürfte dem Maler aktuell in der Darstellung des Denkers von Rodin während seiner Aufenthalte in Paris wieder begegnet sein.
Otto Modersohn
Herbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen Kleid

Oil on canvas 74 x 90 cm resp. 73 x 92 cm Framed on both sides. Signed 'OModersohn' (joined) in reddish brown lower left, remnants of a crossed out signature to the right as well as signed verso 'O Modersohn' in black lower right. - Professionally restored. The rear side of painting revealed.

In studio book winter 1923/1924: 4) as "Herbstlandschaft Kanal n. Komp. 91 x 73". Verso studio book winter 1912/1913: "L. grün vor Ofen 92 x 73"

With a certificate by Rainer Noeres, Otto Modersohn Museum, Fischerhude, dated 19 Sept. 2019

Provenance
Acquired directly from the artist by the previous owner; in family possession, South Germany, since

Exhibitions
Fischerhude (Otto Modersohn Museum), loan

This landscape later painted on the back of the portrait of Louise Modersohn-Breling is captivating in its vitality and expansiveness within its horizontal format - the clear air of the area surrounding Bremen in North Germany almost seems to blow out against us. The red-orange and brown tones of the autumnal vegetation and the huts nestled into the landscape form a bold contrast to the light blue of the sky. Cottony, soft contours convey a sense of lightness, but they are nonetheless able to provide the composition with a down-to-earth steadfastness and depth. This composition is dynamised through the diagonal course of the fen canal.
Otto Modersohn, who grew up in Soest and Münster, came to Worpswede in the summer of 1889, and the village and its surroundings became his main theme, with every variation on its motifs and times of day and the year. In his journal, Otto Modersohn describes his first impression: “I found a highly original village that made a thoroughly foreign impression on me […], the large moss-covered straw roofs, and in every direction, as far as you could see, always the same expansiveness as along the sea.” (Otto Modersohn, Journal, 3 July 1889, cited in exhib. cat., Otto Modersohn. Fischerhude 1908-1943, Fischerhude 1993, pp. 287 f.). In the year this landscape was created, the painter described his new insight: “Simplicity, simplification is the most important thing, not just in the form, but even more so in the colour. The picture must represent an accord, a harmony. […] Everything depends on a picture's being 'strong'” (O.M., Journal, 10 Sept 1923, cited in ibid., p. 110). These new principles come to bear in the Worpswede landscape offered here: Otto Modersohn has achieved a strong and convincing composition in a luminous colour scheme which radiates a sense of optimistic calm.
What was formerly the front of this canvas, which is painted on both sides, presents a portrait of the singer Louise Modersohn-Breling, who married the twice-widowed painter in 1909. Otto Modersohn has depicted his wife in an almost abstract manner: outlined in profile, he has invested her with an ornamental character adhering to the principles of art nouveau. Fitted into the three-dimensional rectangle of the space, she almost entirely fills the sitting room. However, beyond the expected qualities of hearth and home, which are perhaps commemorated here, the artist has also depicted Louise in terms of a woman endowed with intellectual qualities. Since antiquity the gesture of figures resting their head on one hand has been a traditional one for various muses who, as ancient sculptures, were part of the canon of classic academic training - which Modersohn also completed. The painter presumably also re-encountered this succinctly evocative pose at that time, during his stay in Paris, in Rodin's depiction of The Thinker.

Otto Modersohn
Herbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen Kleid

Öl auf Leinwand 74 x 90 cm bzw. 73 x 92 cm Doppelansichtig gerahmt. Unten links rotbraun signiert 'OModersohn' (ligiert), rechts mit den Resten einer überstrichenen Signatur sowie verso unten rechts schwarz signiert 'O Modersohn'. - Fachmännisch restauriert, die Bildrückseite freigelegt.

Im Atelierbuch Winter 1923/1924: 4) als "Herbstlandschaft Kanal n. Komp. 91 x 73". Verso Atelierbuch Winter 1912/1913: "L. grün vor Ofen 92 x 73" verzeichnet

Mit einer Expertise von Rainer Noeres, Otto Modersohn Museum, Fischerhude, vom 19.9.2019

Provenienz
Vom Vorbesitzer direkt vom Künstler erhalten; seitdem in Familienbesitz Süddeutschland

Ausstellungen
Fischerhude (Otto Modersohn Museum), Leihgabe

Die später auf die Rückseite des Porträts Louise Modersohn-Brelings gemalte Landschaft besticht in ihrem Querformat durch ihre Frische und Weite - beinahe scheint einem die klare Luft des norddeutschen Bremer Umlands entgegen zu wehen. Die Rot-Orangebrauntöne der herbstlichen Vegetation und der in die Landschaft geschmiegten Katen bilden einen kräftigen Kontrast zum hellen Himmelsblau. Wattige, weiche Konturen vermitteln Leichtigkeit, vermögen der Komposition aber dennoch erdverbundenen Stand und Tiefe zu verleihen. Die Komposition wird dynamisiert durch den diagonalen Verlauf des Moorkanals.
Nach Worpswede kommt der in Soest und Münster aufgewachsene Otto Modersohn im Sommer 1889; das Dorf und seine Umgebung werden Hauptthema in allen Motivvarianten und Variationen von Tages- und Jahreszeiten. In seinem Tagebuch beschreibt Otto Modersohn den ersten Eindruck: „Ich fand ein höchst originelles Dorf, das auf mich einen durchaus fremdartigen Eindruck machte […], die großen bemoosten Strohdächer, und nach allen Seiten, soweit man sehen konnte, alles so weit wie am Meer.“ (Otto Modersohn, Tagebuch 3.7.1889, zit. nach Ausst. Kat. Otto Modersohn. Fischerhude 1908-1943, Fischerhude 1993, S. 287 f.). Im Entstehungsjahr der Landschaft beschreibt der Maler seine neue Einsicht: „Einfachheit, Vereinfachung ist das Wichtigste, nicht bloß in der Form, sondern noch mehr in der Farbe. Ein Akkord, eine Harmonie muß das Bild darstellen. […] Alles kommt darauf an, daß ein Bild ‚stark' ist.“ (O.M., Tagebuch 10.9.1923, zit. nach ebenda, S. 110). Diese neuen Prinzipien kommen in der angebotenen Worpsweder Landschaft zum Tragen, Otto Modersohn ist eine starke überzeugende Komposition in leuchtender Farbigkeit gelungen, die eine optimistische Ruhe ausstrahlt.
Die ältere Vorderseite der beidseitig bemalten Leinwand zeigt das Porträt der Sängerin Louise Modersohn-Breling, seit 1909 mit dem zweimalig verwitweten Maler verheiratet. Otto Modersohn hält seine Gattin in beinahe abstrakter Weise fest; im Profil konturiert, verleiht er ihr einen, Prinzipien des Jugendstils folgenden, ornamentalen Charakter. Eingepasst in das räumliche Geviert des Raumes, füllt sie die gute Stube beinahe gänzlich aus. Aber jenseits von vermuteten Qualitäten an Heim und Herd, derer hier vielleicht gedacht ist, hat der Künstler Louise auch als eine mit intellektuellen Qualitäten befähigte Frau festgehalten. Die Pose der den Kopf Stützenden ist seit der Antike eine tradierte Haltung verschiedener Musen, die als antike Plastik zum Kanon der klassisch akademischen Ausbildung zählen - auch Modersohn hatte diese durchlaufen. Diese prägnante Körperhaltung dürfte dem Maler aktuell in der Darstellung des Denkers von Rodin während seiner Aufenthalte in Paris wieder begegnet sein.
Otto Modersohn
Herbst am Moorkanal. Verso: Louise Modersohn-Breling im grünen Kleid

Oil on canvas 74 x 90 cm resp. 73 x 92 cm Framed on both sides. Signed 'OModersohn' (joined) in reddish brown lower left, remnants of a crossed out signature to the right as well as signed verso 'O Modersohn' in black lower right. - Professionally restored. The rear side of painting revealed.

In studio book winter 1923/1924: 4) as "Herbstlandschaft Kanal n. Komp. 91 x 73". Verso studio book winter 1912/1913: "L. grün vor Ofen 92 x 73"

With a certificate by Rainer Noeres, Otto Modersohn Museum, Fischerhude, dated 19 Sept. 2019

Provenance
Acquired directly from the artist by the previous owner; in family possession, South Germany, since

Exhibitions
Fischerhude (Otto Modersohn Museum), loan

This landscape later painted on the back of the portrait of Louise Modersohn-Breling is captivating in its vitality and expansiveness within its horizontal format - the clear air of the area surrounding Bremen in North Germany almost seems to blow out against us. The red-orange and brown tones of the autumnal vegetation and the huts nestled into the landscape form a bold contrast to the light blue of the sky. Cottony, soft contours convey a sense of lightness, but they are nonetheless able to provide the composition with a down-to-earth steadfastness and depth. This composition is dynamised through the diagonal course of the fen canal.
Otto Modersohn, who grew up in Soest and Münster, came to Worpswede in the summer of 1889, and the village and its surroundings became his main theme, with every variation on its motifs and times of day and the year. In his journal, Otto Modersohn describes his first impression: “I found a highly original village that made a thoroughly foreign impression on me […], the large moss-covered straw roofs, and in every direction, as far as you could see, always the same expansiveness as along the sea.” (Otto Modersohn, Journal, 3 July 1889, cited in exhib. cat., Otto Modersohn. Fischerhude 1908-1943, Fischerhude 1993, pp. 287 f.). In the year this landscape was created, the painter described his new insight: “Simplicity, simplification is the most important thing, not just in the form, but even more so in the colour. The picture must represent an accord, a harmony. […] Everything depends on a picture's being 'strong'” (O.M., Journal, 10 Sept 1923, cited in ibid., p. 110). These new principles come to bear in the Worpswede landscape offered here: Otto Modersohn has achieved a strong and convincing composition in a luminous colour scheme which radiates a sense of optimistic calm.
What was formerly the front of this canvas, which is painted on both sides, presents a portrait of the singer Louise Modersohn-Breling, who married the twice-widowed painter in 1909. Otto Modersohn has depicted his wife in an almost abstract manner: outlined in profile, he has invested her with an ornamental character adhering to the principles of art nouveau. Fitted into the three-dimensional rectangle of the space, she almost entirely fills the sitting room. However, beyond the expected qualities of hearth and home, which are perhaps commemorated here, the artist has also depicted Louise in terms of a woman endowed with intellectual qualities. Since antiquity the gesture of figures resting their head on one hand has been a traditional one for various muses who, as ancient sculptures, were part of the canon of classic academic training - which Modersohn also completed. The painter presumably also re-encountered this succinctly evocative pose at that time, during his stay in Paris, in Rodin's depiction of The Thinker.

Moderne und Zeitgenössische Kunst - Evening Sale

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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Conditions of Sale

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.

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.

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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 the lot number and item description. In the event of ambiguities, the listed lot 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. Telephone 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.

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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.

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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.

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.

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

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