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Ossias BeertStillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit k

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Ossias BeertStillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit k
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Ossias Beert
Stillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandie

Öl auf Kupfer. 25 x 35,5 cm.

Provenienz
1968 bis 1969 Kunsthandel P. de Boer, Amsterdam. - 1983 Privatsammlung, Paris. - 1996 bis 1997 Galerie Sanct Lucas, Wien (ausgestellt auf der TEFAF, Maastricht, März 1996 und 1997). - 1997 bis 1998 Kunsthandel Derek Johns, London (ausgestellt im
Salon des Beaux-Arts, Paris, September 1997, mit Abb. im Kat. S. 76. und ausgestellt auf der TEFAF, Maastricht, März 1998). - Auktion Sotheby's, New York, 28.1.1999, Lot 312. - Galerie Edel, Köln, 2002 (ausgestellt auf der TEFAF, Maastricht, März 2002, mit Abb. im Kat. S. 84).

Ausstellungen
Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-Sur-Seille, Musée départemental Georges de La Tour, 10.5.-4.9.2005.

Literatur
Edith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, S. 188, Nr. 28. - Gabriel Diss und Laurent Thurnherr (Hg.): Ausst.-Kat. "Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle", Vic-sur-Seille, Musée Départemental Georges de La Tour, Bremen 2005, S. 12-13.

"This is an excellent example of the work of Osias Beert I", schreibt Fred Meijer im Oktober 2020 in einer kurzen Stellungnahme zu dem uns vorliegenden Stillleben, welches er in die Zeit um 1610 datiert. Osias Beert ist neben Jan Brueghel d. Ä. (1568-1625) und Ambrosius Bosschaert d. Ä. (1573-1621) einer der bedeutendsten Stilllebenmaler des frühen 17. Jahrhunderts, der die Entwicklung dieses Genres maßgeblich geprägt hat. Nur wenige seiner Werke sind signiert, keines datiert.
Das uns vorliegende Stillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandierten Früchten zeigt sich, wie so häufig bei diesem Genre, als Gelegenheit gesellschaftlicher Repräsentation, Zeichen kultivierter Lebensart, Wohlstand und sozialer Stellung seines Auftraggebers. Zu den frühen Süßwaren, die bereits im mittelalterlichen Europa verzehrt wurden, gehörten auch in Zucker kandierte Früchte, die üblicherweise am Ende einer Mahlzeit gereicht wurden. Dabei handelt es sich keineswegs um eine Alltagsspeise, sondern sie demonstrieren den damals betriebenen Delikatessenkult der Oberschicht. Auch das dazugehörige, den lukullischen Genüssen würdige Essgeschirr in Form eines Zinntellers und eines feinen venezianischen Weinglases sind ein Zeichen von Opulenz und Prunk. Süßigkeiten, hier in Form von kandierten Früchten, symbolisieren die Hingabe an die Begierden und die Wollust und mahnen den Betrachter somit zur Bescheidenheit. Auch das Weinglas nimmt Bezug auf die irdischen Freuden.
Die Stillleben Osias Beerts d. Ä. sind trotz ihrer teils inhaltlichen Fülle immer von einer ausgesprochenen Klarheit und Ausgewogenheit ihrer Komposition gekennzeichnet. Auch das warme Kolorit und die Inszenierung der Objekte vor dunklem Hintergrund auf einer Tischplatte sind typische Charakteristika seiner Werke.
Gemälde von Osias Beert befinden sich in privaten und öffentlichen Sammlungen, unter anderem im Rijksmuseum in Amsterdam, in der Gemäldegalerie in Berlin, im Koninklijk Museum voor Schone Kunsten in Brüssel, im Wallraf-Richartz-Museum in Köln, im Museo Nacional del Prado in Madrid, im Musée du Louvre in Paris sowie in der National Gallery of Art in Washington.
Unser Gemälde ist im RKD, Den Haag, als ein eigenhändiges Werk Osias Beerts unter der Nr. 59323 archiviert.
Wir danken Dr. Fred G. Meijer für die Bestätigung der Authentizität anhand hochauflösender Fotografien.





Ossias Beert
Still Life of Sweets on a Pewter Plate and a Façon de Venise Wineglass, on a Wooden

Oil on panel. 25 x 35.5 cm.

Provenance
With P. de Boer, Amsterdam, 1968 -1969;
Private collection, Paris, 1983;
With Galerie Sanct Lucas, Vienna, 1996 -1997 (exhibited at TEFAF, Maastricht, March 1996 and 1997);
With Derek Johns, London, 1997-1998 (exhibited at Salon des Beaux-Arts, Paris, September 1997, with illustr. in cat. p. 76. and exhibited at TEFAF, Maastricht, March 1998);
Anonymous sale, Sotheby's, New York, 28 January 1999, lot 312;
With Galerie Edel, Cologne, 2002 (exhibited at TEFAF, Maastricht, March 2002, with illustr. in cat. p. 84).

Exhibitions
Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-sur-Seille, Musée départemental Georges de La Tour, 10 May - 4 September 2005.

Literature
Edith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, p. 188, fig. 28;
Gabriel Diss and Laurent Turnherr (eds.): Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle: biographie des peintres de l'exposition, Musée départemental Georges de La Tour, Vic-sur-Seille, exh. cat., Bremen 2005, p. 12-13.

“This is an excellent example of the work of Osias Beert I”, wrote Fred G. Meijer in October 2020 in a short statement about the present still life, dating it around 1610. Alongside Jan Brueghel the Elder (1568-1625) and Ambrosius Bosschaert the Elder (1573-1621), Osias Beert is one of the leading still life painters of the early 17th century, who decisively influenced the development of this genre. Only a few of his works are signed and none are known to be dated.
As so often with this genre, the present still life with a wine glass à la façon de venise and a pewter plate with candied fruit can be seen as an opportunity for social representation, a symbol of the commissioning party's cultivated way of life, affluence and their social status. Among the early sweet goods that were consumed in medieval Europe were fruits candied in sugar, usually served at the end of a meal. They were in no means an everyday dish, but rather served as demonstration of refinement practiced at the time by the upper class. The accompanying dinnerware in the form of a pewter plate and a fine Venetian wine glass, suitably matched to the delights offered here, are also a sign of opulence and splendour. Sweet goods, in the form of candied fruits here, symbolise abandonment to desire and lust and thus admonish the viewer to remain modest. Even the wine glass refers to earthly pleasures.
Despite their sometimes rich content, Osias Beert's still lifes are always characterised by a pronounced clarity and balance in their composition. The warm colouring and the staging of the objects in front of a dark background on a tabletop are also characteristics of his works.
Paintings by Osias Beert can be found in private and public collections including the Rijksmuseum in Amsterdam, in the Gemäldegalerie in Berlin, in the Koninklijk Museum voor Schone Kunsten in Brussels, the Wallraf-Richartz-Museum in Cologne, Museo Nacional del Prado in Madrid, the Musée du Louvre in Paris and the National Gallery of Art in Washington.
The present painting is registered with the RKD, The Hague, as an authentic piece by Osias Beerts as no. 59323.
We are grateful to Dr Fred G. Meijer for his confirmation of the authenticity on the basis of high resolution photographies.





Ossias Beert
Stillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandie

Öl auf Kupfer. 25 x 35,5 cm.

Provenienz
1968 bis 1969 Kunsthandel P. de Boer, Amsterdam. - 1983 Privatsammlung, Paris. - 1996 bis 1997 Galerie Sanct Lucas, Wien (ausgestellt auf der TEFAF, Maastricht, März 1996 und 1997). - 1997 bis 1998 Kunsthandel Derek Johns, London (ausgestellt im
Salon des Beaux-Arts, Paris, September 1997, mit Abb. im Kat. S. 76. und ausgestellt auf der TEFAF, Maastricht, März 1998). - Auktion Sotheby's, New York, 28.1.1999, Lot 312. - Galerie Edel, Köln, 2002 (ausgestellt auf der TEFAF, Maastricht, März 2002, mit Abb. im Kat. S. 84).

Ausstellungen
Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-Sur-Seille, Musée départemental Georges de La Tour, 10.5.-4.9.2005.

Literatur
Edith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, S. 188, Nr. 28. - Gabriel Diss und Laurent Thurnherr (Hg.): Ausst.-Kat. "Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle", Vic-sur-Seille, Musée Départemental Georges de La Tour, Bremen 2005, S. 12-13.

"This is an excellent example of the work of Osias Beert I", schreibt Fred Meijer im Oktober 2020 in einer kurzen Stellungnahme zu dem uns vorliegenden Stillleben, welches er in die Zeit um 1610 datiert. Osias Beert ist neben Jan Brueghel d. Ä. (1568-1625) und Ambrosius Bosschaert d. Ä. (1573-1621) einer der bedeutendsten Stilllebenmaler des frühen 17. Jahrhunderts, der die Entwicklung dieses Genres maßgeblich geprägt hat. Nur wenige seiner Werke sind signiert, keines datiert.
Das uns vorliegende Stillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandierten Früchten zeigt sich, wie so häufig bei diesem Genre, als Gelegenheit gesellschaftlicher Repräsentation, Zeichen kultivierter Lebensart, Wohlstand und sozialer Stellung seines Auftraggebers. Zu den frühen Süßwaren, die bereits im mittelalterlichen Europa verzehrt wurden, gehörten auch in Zucker kandierte Früchte, die üblicherweise am Ende einer Mahlzeit gereicht wurden. Dabei handelt es sich keineswegs um eine Alltagsspeise, sondern sie demonstrieren den damals betriebenen Delikatessenkult der Oberschicht. Auch das dazugehörige, den lukullischen Genüssen würdige Essgeschirr in Form eines Zinntellers und eines feinen venezianischen Weinglases sind ein Zeichen von Opulenz und Prunk. Süßigkeiten, hier in Form von kandierten Früchten, symbolisieren die Hingabe an die Begierden und die Wollust und mahnen den Betrachter somit zur Bescheidenheit. Auch das Weinglas nimmt Bezug auf die irdischen Freuden.
Die Stillleben Osias Beerts d. Ä. sind trotz ihrer teils inhaltlichen Fülle immer von einer ausgesprochenen Klarheit und Ausgewogenheit ihrer Komposition gekennzeichnet. Auch das warme Kolorit und die Inszenierung der Objekte vor dunklem Hintergrund auf einer Tischplatte sind typische Charakteristika seiner Werke.
Gemälde von Osias Beert befinden sich in privaten und öffentlichen Sammlungen, unter anderem im Rijksmuseum in Amsterdam, in der Gemäldegalerie in Berlin, im Koninklijk Museum voor Schone Kunsten in Brüssel, im Wallraf-Richartz-Museum in Köln, im Museo Nacional del Prado in Madrid, im Musée du Louvre in Paris sowie in der National Gallery of Art in Washington.
Unser Gemälde ist im RKD, Den Haag, als ein eigenhändiges Werk Osias Beerts unter der Nr. 59323 archiviert.
Wir danken Dr. Fred G. Meijer für die Bestätigung der Authentizität anhand hochauflösender Fotografien.





Ossias Beert
Still Life of Sweets on a Pewter Plate and a Façon de Venise Wineglass, on a Wooden

Oil on panel. 25 x 35.5 cm.

Provenance
With P. de Boer, Amsterdam, 1968 -1969;
Private collection, Paris, 1983;
With Galerie Sanct Lucas, Vienna, 1996 -1997 (exhibited at TEFAF, Maastricht, March 1996 and 1997);
With Derek Johns, London, 1997-1998 (exhibited at Salon des Beaux-Arts, Paris, September 1997, with illustr. in cat. p. 76. and exhibited at TEFAF, Maastricht, March 1998);
Anonymous sale, Sotheby's, New York, 28 January 1999, lot 312;
With Galerie Edel, Cologne, 2002 (exhibited at TEFAF, Maastricht, March 2002, with illustr. in cat. p. 84).

Exhibitions
Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-sur-Seille, Musée départemental Georges de La Tour, 10 May - 4 September 2005.

Literature
Edith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, p. 188, fig. 28;
Gabriel Diss and Laurent Turnherr (eds.): Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle: biographie des peintres de l'exposition, Musée départemental Georges de La Tour, Vic-sur-Seille, exh. cat., Bremen 2005, p. 12-13.

“This is an excellent example of the work of Osias Beert I”, wrote Fred G. Meijer in October 2020 in a short statement about the present still life, dating it around 1610. Alongside Jan Brueghel the Elder (1568-1625) and Ambrosius Bosschaert the Elder (1573-1621), Osias Beert is one of the leading still life painters of the early 17th century, who decisively influenced the development of this genre. Only a few of his works are signed and none are known to be dated.
As so often with this genre, the present still life with a wine glass à la façon de venise and a pewter plate with candied fruit can be seen as an opportunity for social representation, a symbol of the commissioning party's cultivated way of life, affluence and their social status. Among the early sweet goods that were consumed in medieval Europe were fruits candied in sugar, usually served at the end of a meal. They were in no means an everyday dish, but rather served as demonstration of refinement practiced at the time by the upper class. The accompanying dinnerware in the form of a pewter plate and a fine Venetian wine glass, suitably matched to the delights offered here, are also a sign of opulence and splendour. Sweet goods, in the form of candied fruits here, symbolise abandonment to desire and lust and thus admonish the viewer to remain modest. Even the wine glass refers to earthly pleasures.
Despite their sometimes rich content, Osias Beert's still lifes are always characterised by a pronounced clarity and balance in their composition. The warm colouring and the staging of the objects in front of a dark background on a tabletop are also characteristics of his works.
Paintings by Osias Beert can be found in private and public collections including the Rijksmuseum in Amsterdam, in the Gemäldegalerie in Berlin, in the Koninklijk Museum voor Schone Kunsten in Brussels, the Wallraf-Richartz-Museum in Cologne, Museo Nacional del Prado in Madrid, the Musée du Louvre in Paris and the National Gallery of Art in Washington.
The present painting is registered with the RKD, The Hague, as an authentic piece by Osias Beerts as no. 59323.
We are grateful to Dr Fred G. Meijer for his confirmation of the authenticity on the basis of high resolution photographies.




Meisterwerke der Sammlung Bischoff / Masterpieces from the Bischoff Collection

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

25 % buyer's premium on the hammer price
(20 % on the part of the hammer price exceeding 400,001 EUR)

3 % live provision plus 16 % VAT

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 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.
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 due to violation of due dilligence according to §§ 41 ff. KGSG 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. Lempertz reserves the right to approve bidders for the auction and especially the right to make this approval dependent upon successful identification in terms of § 1 para. 3 GWG. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. 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, 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.
10. Successful bidders shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. 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. The transfer is subject to successful identification (§ 1 para. 3 GWG) of the bidder and of the person to whom the invoice is transferred. Invoices will only be issued to those persons actually responsible for settling the invoices.
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.
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.
Regarding the treatment of personal data, we would like to point out the data protection notice on our website.
Henrik Hanstein, sworn public auctioneer

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