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Alfred KubinRadfahr-Klub Stahlrad

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Alfred KubinRadfahr-Klub Stahlrad
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Alfred Kubin
Radfahr-Klub Stahlrad

Tuschfederzeichnung auf Bütten mit Wasserzeichen "GR. ULLERSDORF" 25,5 x 35 cm Unten rechts mit Tinte signiert 'AKubin' (ligiert), unten links mit Bleistift betitelt 'Radfahr Klub Stahlrad.'. - In guter Erhaltung. Im Rand teils minimal berieben.

Raabe 159 und 194 (die nach dieser Zeichnung entstandene Strichätzung); Abb. S. 102

Provenienz
Galerie Kornfeld 16. Juni 2006, Auktion 237, Lot 97; Privatsammlung, Westfalen

Literatur
Simplicissimus, Jahrgang 26, München 1921/1922, mit Abb. Nr. 12; Alfred Kubin, Fünfzig Zeichnungen, München, Verlag Albert Langen 1923, Tafel 17 mit ganzseitiger Farbabb.

Zeichnerisches und erzählerisches Genie verbindet Kubin in diesem Blatt, das erstmals 1921/1922 im Simplicissimus reproduziert wurde: Alle Aspekte und Facetten der insbesondere um die Jahrhundertwende grassierenden Begeisterung für das Fahrradfahren und für den Radsport sind scheinbar berücksichtigt. Seit 1870 entstanden die ersten sportiven Klubs. „All Heil!“ war (das muß man heute wissen), vergleichbar dem „Mast- und Schotbruch“ für die Wassersportler, der Gruß- und Schlachtruf der „Velocipedisten“. Mit leichter Ironie lässt Kubin eine zirkusreife Parade von betagter Herrschaft, balanciertem Hochrad und - vorneweg - einer etwas hochnäsigen, emanzipierten Dame vorfahren. Letztere schien auf dem Rad immer noch relativ unerhört. Aber männliche Eitelkeiten werden genauso aufs Korn genommen, sei es der verbissene Raser im „92. Kilometer“, die Gruppe im steilen Berganstieg, der Gestürzte im fesch gepunkteten Hemd am Rande. In zeichnerischen Kürzeln wird der alkoholisierte Jubel der Fans auf der erhöhten Vereinsterrasse charakterisiert wie die eher unbeteiligte Nonchalance und Ruhe einer Erfrischung unter dem Sonnenschirm. Mensch und Vereinsbewegung, Mensch und technische Gerätschaft, beides zieht der Zeichner in einer Komposition zusammen, die in ihrem engen Geviert ein Maximum an Atmosphäre und Laune verströmt.
Kubin war als Zeichner und Illustrator auch ein begnadeter Schreiber, der seine Sujets intellektuell durchdrang und dem vor dem Hintergrund umfassender Bildung und weitgespannter Interessen unzählige Bonmots gelangen, die sofort einleuchten, etwa: „Das menschliche Wissen wurde ja nie mehr gefördert als durch folgerichtigen Ausbau von persönlich Einseitigem“. (Alfred Kubin 1927 in einem Artikel zu Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst, Wiederabdruck in: Alfred Kubin, Aus Meiner Werkstatt, Gesammelte Prosa, München 1973, S. 186).





Alfred Kubin
Radfahr-Klub Stahlrad

Pen and ink drawing on laid paper with watermark "GR. ULLERSDORF" 25.5 x 35 cm Signed 'AKubin' (joined) in ink lower right, titled 'Radfahr Klub Stahlrad.' in pencil lower left. - In fine condition. Minimal marginal rubbing.

Raabe 159 and 194 (hatched etching after the drawing); illus. p. 102

Provenance
Galerie Kornfeld 16 June 2006, Auction 237, Lot 97; Private collection, Westphalia

Literature
Simplicissimus, vol. 26, Munich 1921/1922, with illus. no. 12; Alfred Kubin, Fünfzig Zeichnungen, Munich, Verlag Albert Lange 1923, plate 17 with full-page color illus.

Kubin combines graphic and anecdotal genius in this sheet, which was reproduced for the first time in 1921/1922 in Simplicissimus: every aspect and facet of that enthusiasm - particularly rampant around the turn of the century - for riding bicycles and for cycling as a sport seems to have been taken into account. The creation of the first sports clubs began in 1870. “All Heil!” in the sense of “all hail”, as one needs to know today, was the greeting and battle cry of the “velocipedists” back then - comparable to “fair winds and following seas” among sailors. With low-key irony, Kubin has a circus-worthy parade ride past his viewers: an aging gentleman, a balancing penny-farthing and - leading the way - a somewhat conceited, emancipated lady. The latter seems to have still been rather unheard of on a bicycle. However, masculine vanities are ridiculed in the same way, whether it is the zealous speedster on his “92nd kilometre”, the group on the steep mountain slope or the fallen rider in the smartly spotted shirt at the edge. Graphic abbreviations are used to characterise the alcohol-fuelled cheering of the fans on the club's raised terrace as well as a largely indifferent nonchalance and calm over a refreshing drink under the sunshade. People and the club movement, people and technical equipment: the draughtsman brings both together in a composition that radiates a maximum of atmosphere and mood within its narrow dimensions.
As a draughtsman and illustrator, Kubin was also a gifted writer who fully grasped his subject matter intellectually and who, based on the background of his extensive education and wide-ranging interests, succeeded in creating countless witty and immediately illuminating remarks, such as: “Nothing, after all, has ever advanced human knowledge more than the rigorous elaboration of the personally one-sided.” (Alfred Kubin, 1927, in an article on Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst, reprinted in: Alfred Kubin, Aus Meiner Werkstatt, Gesammelte Prosa, Munich 1973, p. 186).





Alfred Kubin
Radfahr-Klub Stahlrad

Tuschfederzeichnung auf Bütten mit Wasserzeichen "GR. ULLERSDORF" 25,5 x 35 cm Unten rechts mit Tinte signiert 'AKubin' (ligiert), unten links mit Bleistift betitelt 'Radfahr Klub Stahlrad.'. - In guter Erhaltung. Im Rand teils minimal berieben.

Raabe 159 und 194 (die nach dieser Zeichnung entstandene Strichätzung); Abb. S. 102

Provenienz
Galerie Kornfeld 16. Juni 2006, Auktion 237, Lot 97; Privatsammlung, Westfalen

Literatur
Simplicissimus, Jahrgang 26, München 1921/1922, mit Abb. Nr. 12; Alfred Kubin, Fünfzig Zeichnungen, München, Verlag Albert Langen 1923, Tafel 17 mit ganzseitiger Farbabb.

Zeichnerisches und erzählerisches Genie verbindet Kubin in diesem Blatt, das erstmals 1921/1922 im Simplicissimus reproduziert wurde: Alle Aspekte und Facetten der insbesondere um die Jahrhundertwende grassierenden Begeisterung für das Fahrradfahren und für den Radsport sind scheinbar berücksichtigt. Seit 1870 entstanden die ersten sportiven Klubs. „All Heil!“ war (das muß man heute wissen), vergleichbar dem „Mast- und Schotbruch“ für die Wassersportler, der Gruß- und Schlachtruf der „Velocipedisten“. Mit leichter Ironie lässt Kubin eine zirkusreife Parade von betagter Herrschaft, balanciertem Hochrad und - vorneweg - einer etwas hochnäsigen, emanzipierten Dame vorfahren. Letztere schien auf dem Rad immer noch relativ unerhört. Aber männliche Eitelkeiten werden genauso aufs Korn genommen, sei es der verbissene Raser im „92. Kilometer“, die Gruppe im steilen Berganstieg, der Gestürzte im fesch gepunkteten Hemd am Rande. In zeichnerischen Kürzeln wird der alkoholisierte Jubel der Fans auf der erhöhten Vereinsterrasse charakterisiert wie die eher unbeteiligte Nonchalance und Ruhe einer Erfrischung unter dem Sonnenschirm. Mensch und Vereinsbewegung, Mensch und technische Gerätschaft, beides zieht der Zeichner in einer Komposition zusammen, die in ihrem engen Geviert ein Maximum an Atmosphäre und Laune verströmt.
Kubin war als Zeichner und Illustrator auch ein begnadeter Schreiber, der seine Sujets intellektuell durchdrang und dem vor dem Hintergrund umfassender Bildung und weitgespannter Interessen unzählige Bonmots gelangen, die sofort einleuchten, etwa: „Das menschliche Wissen wurde ja nie mehr gefördert als durch folgerichtigen Ausbau von persönlich Einseitigem“. (Alfred Kubin 1927 in einem Artikel zu Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst, Wiederabdruck in: Alfred Kubin, Aus Meiner Werkstatt, Gesammelte Prosa, München 1973, S. 186).





Alfred Kubin
Radfahr-Klub Stahlrad

Pen and ink drawing on laid paper with watermark "GR. ULLERSDORF" 25.5 x 35 cm Signed 'AKubin' (joined) in ink lower right, titled 'Radfahr Klub Stahlrad.' in pencil lower left. - In fine condition. Minimal marginal rubbing.

Raabe 159 and 194 (hatched etching after the drawing); illus. p. 102

Provenance
Galerie Kornfeld 16 June 2006, Auction 237, Lot 97; Private collection, Westphalia

Literature
Simplicissimus, vol. 26, Munich 1921/1922, with illus. no. 12; Alfred Kubin, Fünfzig Zeichnungen, Munich, Verlag Albert Lange 1923, plate 17 with full-page color illus.

Kubin combines graphic and anecdotal genius in this sheet, which was reproduced for the first time in 1921/1922 in Simplicissimus: every aspect and facet of that enthusiasm - particularly rampant around the turn of the century - for riding bicycles and for cycling as a sport seems to have been taken into account. The creation of the first sports clubs began in 1870. “All Heil!” in the sense of “all hail”, as one needs to know today, was the greeting and battle cry of the “velocipedists” back then - comparable to “fair winds and following seas” among sailors. With low-key irony, Kubin has a circus-worthy parade ride past his viewers: an aging gentleman, a balancing penny-farthing and - leading the way - a somewhat conceited, emancipated lady. The latter seems to have still been rather unheard of on a bicycle. However, masculine vanities are ridiculed in the same way, whether it is the zealous speedster on his “92nd kilometre”, the group on the steep mountain slope or the fallen rider in the smartly spotted shirt at the edge. Graphic abbreviations are used to characterise the alcohol-fuelled cheering of the fans on the club's raised terrace as well as a largely indifferent nonchalance and calm over a refreshing drink under the sunshade. People and the club movement, people and technical equipment: the draughtsman brings both together in a composition that radiates a maximum of atmosphere and mood within its narrow dimensions.
As a draughtsman and illustrator, Kubin was also a gifted writer who fully grasped his subject matter intellectually and who, based on the background of his extensive education and wide-ranging interests, succeeded in creating countless witty and immediately illuminating remarks, such as: “Nothing, after all, has ever advanced human knowledge more than the rigorous elaboration of the personally one-sided.” (Alfred Kubin, 1927, in an article on Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst, reprinted in: Alfred Kubin, Aus Meiner Werkstatt, Gesammelte Prosa, Munich 1973, p. 186).




Evening Sale - Moderne und Zeitgenössische Kunst

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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 Commercial 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.
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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, especially when the bidder cannot be successfully identified in terms of § 1 para. 3 GWG. 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. Further information can be found in our privacy policy at www.lempertz.com/ datenschutzerklärung.html
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 25 % calculated on the hammer price plus 16 % 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 R, the buyer shall pay the statutory VAT of 16 % on the hammer price and the buyer’s premium (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 deceased for less than 70 years (§ 64 UrhG), a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. For payments which amount to EUR 10,000.00 or more, Lempertz is obliged to make a copy of the photo ID of the buyer according to §3 of the German Money Laundry Act (GWG). This applies also to cases in which payments of EUR 10,000.00 or more are being made for more than one invoice. 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.
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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 instead of 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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