Los

2249

Anselm FeuerbachJacob freit um Rahel

In 19. Jahrhundert / 19th Century

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 Höchstbietender! 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.
Bieten ist beendet
Anselm FeuerbachJacob freit um Rahel
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Anselm Feuerbach
Jacob freit um Rahel

Öl auf Leinwand. 147 x 182 cm.

Gutachten
Paul Wember, Krefeld, 5.8.1953 (abgedruckt bei Ecker, a.a.O., S. 204f).

Ausstellungen
Von 1969 bis 1979 als Leihgabe im Kaiser Wilhelm Museum Krefeld.

Literatur
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, München 1991, S. 204f, Nr. 332.

Das vorliegende Gemälde ist ein frühes und großformatiges Werk von Anselm Feuerbach. In seinem Gutachten von 1953 datierte es Paul Wember in die Düsseldorfer Studienzeit des Künstlers. Jürgen Ecker schlug dagegen im 1991 erschienenen Werkverzeichnis eine Datierung in die Zeit des ersten römischen Aufenthalts vor und hält heute eine Entstehung im Karlsruher Atelier des Künstlers um 1854 für wahrscheinlich, kurz vor dem ersten Italienaufenthalt Feuerbachs.
Das Thema unseres Gemäldes ist dem 1. Buch Moses entnommen (Kap. 29). Nachdem sich Jakob den Segen des Erstgeborenen durch seinen Vater Isaak erschlichen hatte, bedrohte ihn sein älterer Bruder Esau mit dem Tod und Jakob floh zu seinem Onkel Laban von Haran. Er verliebte sich in dessen Tochter Rahel und diente sieben Jahre bei Laban, um diese heiraten zu können. Am Ende der sieben Jahre gab ihm Laban jedoch nicht wie vereinbart Rahel, sondern der Tradition folgend deren ältere Schwester Lea zur Frau. Um auch Rahel heiraten zu können, musste er Laban sieben weitere Jahre dienen.
Feuerbach stellt den Moment dar, in dem Jakob seinem Onkel Vorhaltungen macht, nicht die erbetene Rahel, sondern deren Schwester zur Frau bekommen zu haben. Die beiden Hauptfiguren sind der junge Jakob und sein Onkel Laban. Zwischen ihnen steht Rahel, am rechten Bildrand sitzt Lea mit ihrer älteren Dienerin Silpa. Während Jakob und Rahel vor einem weiten Landschaftsausblick und Lea mit ihrer Dienerin vor einer laubumrankten Häuserwand dargestellt werden, bildet die mittlere Figur des Laban eine Verbindung dieser beiden Hintergrundszenerien. Feuerbach gibt die fünf Figuren in einer vergleichsweise strengen Anordnung nebeneinander wieder, wobei ein besonderer Reiz in der Gestik der Hände liegt, die das komplizierte Beziehungsgeflecht verdeutlichen. Sowohl Jakob (vorwurfsvoll) als auch Laban (anbietend) verweisen auf die mit gesenktem Kopf sitzende Lea. Mit der anderen Hand hält Laban den Arm seiner jüngeren Tochter Rahel fest. Deren anderer Arm wiederum ist in Demutsgeste vor die Brust gehalten. Die Dienerin Silpa verweist mit einer Hand auf die beiden Kontrahenten Jakob und Laban und stützt mit der anderen ihre Herrin, die wiederum in Verzweiflung und Passivität beide Arme sinken lässt.
Unser in kleinen Partien noch unvollendetes Werk zeigt bereits die charakteristischen Merkmale von Feuerbachs Stil aus seiner römischen Zeit, insbesondere die klassisch beruhigte Komposition mit einer statuarischen Figurenbildung und zurückhaltendem Kolorit. Feuerbach steht damit durchaus im Gegensatz zu einigen seiner Zeitgenossen, beispielsweise dem Wiener Malerfürsten Hans Makart oder dem Münchener Akademiedirektor Carl Theodor von Piloty, die zu einer prunkvolleren und dekorativen Malerei mit deutlich kräftigerem Kolorit neigten. Demgegenüber ist Feuerbach ein Vertreter der idealen Malerei des 19. Jahrhunderts.
Wir danken Herrn Dr. Jürgen Ecker für seine nochmalige Bestätigung der Eigenhändigkeit von Anselm Feuerbach auf der Grundlage hochauflösender Fotografien.





Anselm Feuerbach
Jacob and Rachel

Oil on canvas. 147 x 182 cm.

Certificate
Paul Wember, Krefeld, 05.08.1953 (printed in Ecker, ibid., p. 204f).

Exhibitions
On loan to the Kaiser Wilhelm Museum in Krefeld from 1969 to 1979.

Literature
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, Munich 1991, p. 204f, no. 332.

The present painting is an early and large-format work by Anselm Feuerbach. In his expertise from 1953, Paul Wember dates it to the artist's period of study in Düsseldorf. In the catalogue raisonné published in 1991, Jürgen Ecker in contrast suggested a dating to the time of his first sojourn in Rome and today considers a creation in the artist's studio in Karlsruhe in around 1854, shortly before Feuerbach's first stay in Italy, to be probable.
The theme of our painting is the First Book of Moses (chapter 29). After Jacob had obtained the blessing of the first-born through his father Issac, his elder bother Esau threatened him with death and so Jacob fled to his uncle Laban von Haran. He falls in love with Laban's daughter Rachel and in order to marry her, serves Laban for seven years. At the end of this time, Laban does not give him Rachel as agreed, but according to tradition, gives him her elder sister Lea as wife. To be able to marry Rachel as well, he must serve Laban for a further seven years.
Feuerbach depicts the moment when Jacob reproaches his uncle for not having received Rachel as wife, but her sister. Rachel stands between the two main characters of the young Jacob and his uncle Laban, with Lea and her elderly servant Silpa seated on the right edge of the picture. Whilst Jacob and Rachel are depicted in front of a wide landscape vista and Lea and her servant in front of the wall of a foliage-covered house, the central figure of Laban forms a connection between these two background scenes. Feuerbach presents the five figures in a comparatively strict arrangement alongside each other, whereby the gesture of the hands is particularly compelling, illustrating the complicated network of relationships. Both Jacob (reproachful) and Laban (offering) allude to Lea, seated with her head lowered. Laban firmly grips the arm of his other daughter Rachel with his other hand whilst his other arm is held at the chest in a gesture of humility. The servant Silva signals with one hand to both opponents, Jacob and Laban, and with the other supports her mistress whose arms hang down in despair and passiveness.
Our work, still unfinished in small sections, already shows the characteristic features of Feuerbach's style of his Roman period, in particular the classically calm composition and restrained colouring. This stands Feuerbach in contrast to his contemporaries such as the Viennese academic painter Hans Makart or the Munich academy director Carl Theodor von Piloty who tended towards a more splendid and decorative painting with considerably stronger colouring. On the other hand, Feuerbach is a representative of the ideal painting of the 19th century.
We would like to thank Dr Jürgen Ecker for his renewed confirmation of the hand of Anselm Feuerbach on the basis of high-resolution photographs.





Anselm Feuerbach
Jacob freit um Rahel

Öl auf Leinwand. 147 x 182 cm.

Gutachten
Paul Wember, Krefeld, 5.8.1953 (abgedruckt bei Ecker, a.a.O., S. 204f).

Ausstellungen
Von 1969 bis 1979 als Leihgabe im Kaiser Wilhelm Museum Krefeld.

Literatur
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, München 1991, S. 204f, Nr. 332.

Das vorliegende Gemälde ist ein frühes und großformatiges Werk von Anselm Feuerbach. In seinem Gutachten von 1953 datierte es Paul Wember in die Düsseldorfer Studienzeit des Künstlers. Jürgen Ecker schlug dagegen im 1991 erschienenen Werkverzeichnis eine Datierung in die Zeit des ersten römischen Aufenthalts vor und hält heute eine Entstehung im Karlsruher Atelier des Künstlers um 1854 für wahrscheinlich, kurz vor dem ersten Italienaufenthalt Feuerbachs.
Das Thema unseres Gemäldes ist dem 1. Buch Moses entnommen (Kap. 29). Nachdem sich Jakob den Segen des Erstgeborenen durch seinen Vater Isaak erschlichen hatte, bedrohte ihn sein älterer Bruder Esau mit dem Tod und Jakob floh zu seinem Onkel Laban von Haran. Er verliebte sich in dessen Tochter Rahel und diente sieben Jahre bei Laban, um diese heiraten zu können. Am Ende der sieben Jahre gab ihm Laban jedoch nicht wie vereinbart Rahel, sondern der Tradition folgend deren ältere Schwester Lea zur Frau. Um auch Rahel heiraten zu können, musste er Laban sieben weitere Jahre dienen.
Feuerbach stellt den Moment dar, in dem Jakob seinem Onkel Vorhaltungen macht, nicht die erbetene Rahel, sondern deren Schwester zur Frau bekommen zu haben. Die beiden Hauptfiguren sind der junge Jakob und sein Onkel Laban. Zwischen ihnen steht Rahel, am rechten Bildrand sitzt Lea mit ihrer älteren Dienerin Silpa. Während Jakob und Rahel vor einem weiten Landschaftsausblick und Lea mit ihrer Dienerin vor einer laubumrankten Häuserwand dargestellt werden, bildet die mittlere Figur des Laban eine Verbindung dieser beiden Hintergrundszenerien. Feuerbach gibt die fünf Figuren in einer vergleichsweise strengen Anordnung nebeneinander wieder, wobei ein besonderer Reiz in der Gestik der Hände liegt, die das komplizierte Beziehungsgeflecht verdeutlichen. Sowohl Jakob (vorwurfsvoll) als auch Laban (anbietend) verweisen auf die mit gesenktem Kopf sitzende Lea. Mit der anderen Hand hält Laban den Arm seiner jüngeren Tochter Rahel fest. Deren anderer Arm wiederum ist in Demutsgeste vor die Brust gehalten. Die Dienerin Silpa verweist mit einer Hand auf die beiden Kontrahenten Jakob und Laban und stützt mit der anderen ihre Herrin, die wiederum in Verzweiflung und Passivität beide Arme sinken lässt.
Unser in kleinen Partien noch unvollendetes Werk zeigt bereits die charakteristischen Merkmale von Feuerbachs Stil aus seiner römischen Zeit, insbesondere die klassisch beruhigte Komposition mit einer statuarischen Figurenbildung und zurückhaltendem Kolorit. Feuerbach steht damit durchaus im Gegensatz zu einigen seiner Zeitgenossen, beispielsweise dem Wiener Malerfürsten Hans Makart oder dem Münchener Akademiedirektor Carl Theodor von Piloty, die zu einer prunkvolleren und dekorativen Malerei mit deutlich kräftigerem Kolorit neigten. Demgegenüber ist Feuerbach ein Vertreter der idealen Malerei des 19. Jahrhunderts.
Wir danken Herrn Dr. Jürgen Ecker für seine nochmalige Bestätigung der Eigenhändigkeit von Anselm Feuerbach auf der Grundlage hochauflösender Fotografien.





Anselm Feuerbach
Jacob and Rachel

Oil on canvas. 147 x 182 cm.

Certificate
Paul Wember, Krefeld, 05.08.1953 (printed in Ecker, ibid., p. 204f).

Exhibitions
On loan to the Kaiser Wilhelm Museum in Krefeld from 1969 to 1979.

Literature
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, Munich 1991, p. 204f, no. 332.

The present painting is an early and large-format work by Anselm Feuerbach. In his expertise from 1953, Paul Wember dates it to the artist's period of study in Düsseldorf. In the catalogue raisonné published in 1991, Jürgen Ecker in contrast suggested a dating to the time of his first sojourn in Rome and today considers a creation in the artist's studio in Karlsruhe in around 1854, shortly before Feuerbach's first stay in Italy, to be probable.
The theme of our painting is the First Book of Moses (chapter 29). After Jacob had obtained the blessing of the first-born through his father Issac, his elder bother Esau threatened him with death and so Jacob fled to his uncle Laban von Haran. He falls in love with Laban's daughter Rachel and in order to marry her, serves Laban for seven years. At the end of this time, Laban does not give him Rachel as agreed, but according to tradition, gives him her elder sister Lea as wife. To be able to marry Rachel as well, he must serve Laban for a further seven years.
Feuerbach depicts the moment when Jacob reproaches his uncle for not having received Rachel as wife, but her sister. Rachel stands between the two main characters of the young Jacob and his uncle Laban, with Lea and her elderly servant Silpa seated on the right edge of the picture. Whilst Jacob and Rachel are depicted in front of a wide landscape vista and Lea and her servant in front of the wall of a foliage-covered house, the central figure of Laban forms a connection between these two background scenes. Feuerbach presents the five figures in a comparatively strict arrangement alongside each other, whereby the gesture of the hands is particularly compelling, illustrating the complicated network of relationships. Both Jacob (reproachful) and Laban (offering) allude to Lea, seated with her head lowered. Laban firmly grips the arm of his other daughter Rachel with his other hand whilst his other arm is held at the chest in a gesture of humility. The servant Silva signals with one hand to both opponents, Jacob and Laban, and with the other supports her mistress whose arms hang down in despair and passiveness.
Our work, still unfinished in small sections, already shows the characteristic features of Feuerbach's style of his Roman period, in particular the classically calm composition and restrained colouring. This stands Feuerbach in contrast to his contemporaries such as the Viennese academic painter Hans Makart or the Munich academy director Carl Theodor von Piloty who tended towards a more splendid and decorative painting with considerably stronger colouring. On the other hand, Feuerbach is a representative of the ideal painting of the 19th century.
We would like to thank Dr Jürgen Ecker for his renewed confirmation of the hand of Anselm Feuerbach on the basis of high-resolution photographs.




19. Jahrhundert / 19th Century

Auktionsdatum
Lose: 2200 - 2309
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

Zu Aufgeld und Mehrwertsteuer prüfen Sie bitte das jeweilige Los.

For buyer’s premium and VAT please check particular lot.

AGB

standard | standard



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.

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 three 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 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.

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. Written 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 (VAT) calculated on the premium 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 N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the 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 authors are either still alive or died after 31.12.1948, a charge of 1.8 % 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 reserves the right to refuse such a request if it is deemed appropriate.

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.

13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods 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, Kilian Jay von Seldeneck, auctioneers

Vollständige AGBs

Stichworte: , Oil on Canvas