Los

2251

Carl SpitzwegDas Quartett

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
Carl SpitzwegDas Quartett
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Carl Spitzweg
Das Quartett

Öl auf Leinwand (doubliert). 39 x 22 cm.
Monogrammiert unten links: S im Rhombus.

Provenienz
Bis 1917 Sammlung Otto Spitzweg. - Galerie Caspari, München. - Auktion Christie’s, London, 11.10.1995, Lot 62. - Süddeutsche Privatsammlung.

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 256, Nr. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, München 1975, Nr. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 563, Nr. 1559.

Carl Spitzweg hat die Musik geliebt. Er war ein begeisterter Musikkenner und durchaus versierter Klavierspieler. Sein jüngerer Bruder Eduard handelte mit Musikalien und heiratete nacheinander zwei Töchter des Münchener Hofviolinisten Johann Baptist Moralt. In den Skizzenbüchern Spitzwegs finden sich immer wieder detaillierte Zeichnungen von Musikern oder Instrumenten. Darüber hinaus widmen sich zahlreiche Gemälde des Künstlers musikalischen Themen, von denen das vorliegende Werk eines der charmantesten sein dürfte. Es zeigt ein Männerquartett zu nächtlicher Stunde in einem vom Mondlicht teils hell erleuchteten Innenhof. Drei frontal und ein im Profil wiedergegebener Sänger schmettern aus voller Kehle ihr Ständchen unter dem Erkerfenster einer angebeteten Dame. Eine laut Wichmann nach unserem um 1865-70 zu datierenden Gemälde angefertigte zweite Version in Privatbesitz ist breiter angelegt und weist nicht das von Spitzweg so oft gewählte extrem schmale Hochformat auf, das für unser Bild so charakteristisch ist. Daneben zeigt unser Gemälde auch die Ambiguität vieler Werke von Spitzweg, die Verbindung von Gegensätzen und Spannungen, von biedermeierlicher Beschaulichkeit und deren humorvoller Ironisierung. Spitzweg, einer der bekanntesten und beliebtesten Maler des 19. Jahrhunderts, steht damit einerseits in der Tradition des Biedermeiers und weist dabei zugleich auf die Moderne voraus.





Carl Spitzweg
The Quartet

Oil on canvas (relined). 39 x 22 cm.
Monogrammed lower left: S in a rhombus..

Provenance
In the collection of Otto Spitzweg until 1917. - Galerie Caspari, Munich. - Auctioned by Christie’s, London, 11.10.1995, lot 62. - South German private collection.

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 256, no. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, Munich 1975, no. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 563, no. 1559.

Carl Spitzweg loved music. He was an enthusiastic music connoisseur and an experienced piano player. His younger brother Eduard was a music supply merchant and married two daughters of the Munich court violinist Johann Baptist Moralt one after the other. Detailed drawings of musicians or instruments are often found in Spitzweg's sketchbooks, and he dedicated several paintings to musical themes, of which the present painting is probably one of its most charming. The painting shows a male quartet at night in a courtyard partly brightly lit by moonlight. The singers, three viewed from the front and one in profile, enthusiastically serenade a revered lady from beneath her bay window. According to Wichmann, a second, privately owned version made after our painting of 1865-70, is broader in scale and does not have the extremely narrow portrait format so often chosen by Spitzweg that is so characteristic of our painting. In addition, our painting also shows the ambiguity of many of Spitzweg's works, the combination of opposites and tensions, of Biedermeier tranquillity and its humorous irony. Spitzweg, one of the best known and most popular German painters of the 19th century, thus stands on the one hand in the tradition of the Biedermeier whilst simultaneously pointing the way forward to modernity.





Carl Spitzweg
Das Quartett

Öl auf Leinwand (doubliert). 39 x 22 cm.
Monogrammiert unten links: S im Rhombus.

Provenienz
Bis 1917 Sammlung Otto Spitzweg. - Galerie Caspari, München. - Auktion Christie’s, London, 11.10.1995, Lot 62. - Süddeutsche Privatsammlung.

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 256, Nr. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, München 1975, Nr. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 563, Nr. 1559.

Carl Spitzweg hat die Musik geliebt. Er war ein begeisterter Musikkenner und durchaus versierter Klavierspieler. Sein jüngerer Bruder Eduard handelte mit Musikalien und heiratete nacheinander zwei Töchter des Münchener Hofviolinisten Johann Baptist Moralt. In den Skizzenbüchern Spitzwegs finden sich immer wieder detaillierte Zeichnungen von Musikern oder Instrumenten. Darüber hinaus widmen sich zahlreiche Gemälde des Künstlers musikalischen Themen, von denen das vorliegende Werk eines der charmantesten sein dürfte. Es zeigt ein Männerquartett zu nächtlicher Stunde in einem vom Mondlicht teils hell erleuchteten Innenhof. Drei frontal und ein im Profil wiedergegebener Sänger schmettern aus voller Kehle ihr Ständchen unter dem Erkerfenster einer angebeteten Dame. Eine laut Wichmann nach unserem um 1865-70 zu datierenden Gemälde angefertigte zweite Version in Privatbesitz ist breiter angelegt und weist nicht das von Spitzweg so oft gewählte extrem schmale Hochformat auf, das für unser Bild so charakteristisch ist. Daneben zeigt unser Gemälde auch die Ambiguität vieler Werke von Spitzweg, die Verbindung von Gegensätzen und Spannungen, von biedermeierlicher Beschaulichkeit und deren humorvoller Ironisierung. Spitzweg, einer der bekanntesten und beliebtesten Maler des 19. Jahrhunderts, steht damit einerseits in der Tradition des Biedermeiers und weist dabei zugleich auf die Moderne voraus.





Carl Spitzweg
The Quartet

Oil on canvas (relined). 39 x 22 cm.
Monogrammed lower left: S in a rhombus..

Provenance
In the collection of Otto Spitzweg until 1917. - Galerie Caspari, Munich. - Auctioned by Christie’s, London, 11.10.1995, lot 62. - South German private collection.

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 256, no. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, Munich 1975, no. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 563, no. 1559.

Carl Spitzweg loved music. He was an enthusiastic music connoisseur and an experienced piano player. His younger brother Eduard was a music supply merchant and married two daughters of the Munich court violinist Johann Baptist Moralt one after the other. Detailed drawings of musicians or instruments are often found in Spitzweg's sketchbooks, and he dedicated several paintings to musical themes, of which the present painting is probably one of its most charming. The painting shows a male quartet at night in a courtyard partly brightly lit by moonlight. The singers, three viewed from the front and one in profile, enthusiastically serenade a revered lady from beneath her bay window. According to Wichmann, a second, privately owned version made after our painting of 1865-70, is broader in scale and does not have the extremely narrow portrait format so often chosen by Spitzweg that is so characteristic of our painting. In addition, our painting also shows the ambiguity of many of Spitzweg's works, the combination of opposites and tensions, of Biedermeier tranquillity and its humorous irony. Spitzweg, one of the best known and most popular German painters of the 19th century, thus stands on the one hand in the tradition of the Biedermeier whilst simultaneously pointing the way forward to modernity.




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, Portrait