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Hermann Max Pechstein, Blühendes Kornfeld

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Hermann Max Pechstein, Blühendes Kornfeld
Öl auf Leinwand. 53,3 x 63,5 cm. Gerahmt. Unten rechts schwarz signiert und datiert 'HMPechstein 1928'. Rückseitig signiert, betitelt und mit Adresse versehen 'Blühendes Korn/ HMPechstein/ Berlin W.62./ Kurfürstenstr. 126'. - In sehr guter, farbfrischer Erhaltung.

Soika 1928/12 (Schwarz-Weiß-Abbildung, Standort unbekannt)

Provenienz
Privatsammlung Baden-Württemberg; Math. Lempertz'sche Kunstversteigerung 491, Köln, 8./9.12.1966, Lot 542; Privatsammlung Nordrhein-Westfalen

Das Gemälde „Blühendes Kornfeld“ gehört zu einer Serie später Landschaftsbilder, die der Brücke-Maler Max Pechstein in den 1920er Jahren während seiner Sommeraufenthalte in Pommern schuf. Nachdem er aus politischen Gründen nicht mehr ins geliebte Nidden fahren konnte, fand er anfangs in Leba und später in Rowe am Garder See im Kreis Stolp eine neue und ruhige Umgebung, die nicht, wie er schrieb, „von Malern, Touristen und Badegästen überlaufen“ war (zit. nach Soika 2011, S. 72). In den Jahren von 1921 bis etwa 1933 wurden diese ursprünglichen Orte zu Pechsteins zweitem Zuhause und inspirierten ihn zu einer Vielzahl von Landschaften, Seestücken und Bildern von Menschen bei ihren einfachen Tätigkeiten.
Als Pechstein 1928 plante, zum Malen erneut nach Rowe zu gehen, lud er seinen Freund, den Maler Alexander Gerbig, dorthin ein und schwärmte: „Es ist ein ganz abgelegenes Nest, aber herrliche Landschaft und vor Allem kann man da herumlaufen, wie es einem Spaß macht, ganz ungeniert“ (ebenda, S. 79). In diesem Sommer schuf er auch zwei Bilder von blühenden Kornfeldern. Pechstein dürfte seine Leinwand unmittelbar vor dem Feld aufgestellt haben, denn die hochgewachsenen Halme verstellen den Blick und lassen nur einen schmalen Himmelsstreifen erkennen. Mit sicheren Pinselzügen skizzierte er die saftig grünen Kornähren, die zum Horizont hin zu einem Meer von reifen Blüten verschwimmen.
Hermann Max Pechstein, Blühendes Kornfeld
Oil on canvas. 53.3 x 63.5 cm. Framed. Signed and dated 'HMPechstein 1928' in black lower right. Verso signed, titled and with address 'Blühendes Korn/ HMPechstein/ Berlin W.62./ Kurfürstenstr. 126'.

Soika 1928/12 (black and white illustration, location unknown)

Provenance
Private collection, Baden-Württemberg; Math. Lempertz'sche Kunstversteigerung 491, Cologne, 8/9.12.1966, lot 542; private collection, North Rhine-Westphalia

The painting “Blühendes Kornfeld” belongs to a series of later landscape paintings created by the Brücke painter Max Pechstein during the summer holidays he spent in Pomerania in the 1920s. After becoming unable to travel to his beloved Nida for political reasons, he initially found new and peaceful surroundings in Łeba and then later in Rowy on Lake Gardno in the district of Słupsk – both of which were not, as he wrote, “overrun with painters, tourists and bathers” (cited in Soika 2011, p. 72). From 1921 until around 1933 these pristine places became a home away from home for Pechstein and inspired him to create numerous landscapes, seascapes and pictures of people working at their simple occupations.
In 1928, when Pechstein was planning to once again go to Rowy to paint, he invited friend and fellow painter Alexander Gerbig to come there, enthusiastically raving: “It is an entirely secluded backwater, but a magnificent landscape and, above all, you can walk around there however you please, without any inhibitions” (ibid., p. 79). That summer he also created two pictures of flowering wheat fields. Pechstein presumably set up his canvas directly in front of the field, because the high stalks block our view and permit us to see only a narrow strip of sky. With confident brushstrokes, he has sketched the lushly green ears of wheat, which merge into a sea of ripe flowers stretching back towards the horizon.
Hermann Max Pechstein, Blühendes Kornfeld
Öl auf Leinwand. 53,3 x 63,5 cm. Gerahmt. Unten rechts schwarz signiert und datiert 'HMPechstein 1928'. Rückseitig signiert, betitelt und mit Adresse versehen 'Blühendes Korn/ HMPechstein/ Berlin W.62./ Kurfürstenstr. 126'. - In sehr guter, farbfrischer Erhaltung.

Soika 1928/12 (Schwarz-Weiß-Abbildung, Standort unbekannt)

Provenienz
Privatsammlung Baden-Württemberg; Math. Lempertz'sche Kunstversteigerung 491, Köln, 8./9.12.1966, Lot 542; Privatsammlung Nordrhein-Westfalen

Das Gemälde „Blühendes Kornfeld“ gehört zu einer Serie später Landschaftsbilder, die der Brücke-Maler Max Pechstein in den 1920er Jahren während seiner Sommeraufenthalte in Pommern schuf. Nachdem er aus politischen Gründen nicht mehr ins geliebte Nidden fahren konnte, fand er anfangs in Leba und später in Rowe am Garder See im Kreis Stolp eine neue und ruhige Umgebung, die nicht, wie er schrieb, „von Malern, Touristen und Badegästen überlaufen“ war (zit. nach Soika 2011, S. 72). In den Jahren von 1921 bis etwa 1933 wurden diese ursprünglichen Orte zu Pechsteins zweitem Zuhause und inspirierten ihn zu einer Vielzahl von Landschaften, Seestücken und Bildern von Menschen bei ihren einfachen Tätigkeiten.
Als Pechstein 1928 plante, zum Malen erneut nach Rowe zu gehen, lud er seinen Freund, den Maler Alexander Gerbig, dorthin ein und schwärmte: „Es ist ein ganz abgelegenes Nest, aber herrliche Landschaft und vor Allem kann man da herumlaufen, wie es einem Spaß macht, ganz ungeniert“ (ebenda, S. 79). In diesem Sommer schuf er auch zwei Bilder von blühenden Kornfeldern. Pechstein dürfte seine Leinwand unmittelbar vor dem Feld aufgestellt haben, denn die hochgewachsenen Halme verstellen den Blick und lassen nur einen schmalen Himmelsstreifen erkennen. Mit sicheren Pinselzügen skizzierte er die saftig grünen Kornähren, die zum Horizont hin zu einem Meer von reifen Blüten verschwimmen.
Hermann Max Pechstein, Blühendes Kornfeld
Oil on canvas. 53.3 x 63.5 cm. Framed. Signed and dated 'HMPechstein 1928' in black lower right. Verso signed, titled and with address 'Blühendes Korn/ HMPechstein/ Berlin W.62./ Kurfürstenstr. 126'.

Soika 1928/12 (black and white illustration, location unknown)

Provenance
Private collection, Baden-Württemberg; Math. Lempertz'sche Kunstversteigerung 491, Cologne, 8/9.12.1966, lot 542; private collection, North Rhine-Westphalia

The painting “Blühendes Kornfeld” belongs to a series of later landscape paintings created by the Brücke painter Max Pechstein during the summer holidays he spent in Pomerania in the 1920s. After becoming unable to travel to his beloved Nida for political reasons, he initially found new and peaceful surroundings in Łeba and then later in Rowy on Lake Gardno in the district of Słupsk – both of which were not, as he wrote, “overrun with painters, tourists and bathers” (cited in Soika 2011, p. 72). From 1921 until around 1933 these pristine places became a home away from home for Pechstein and inspired him to create numerous landscapes, seascapes and pictures of people working at their simple occupations.
In 1928, when Pechstein was planning to once again go to Rowy to paint, he invited friend and fellow painter Alexander Gerbig to come there, enthusiastically raving: “It is an entirely secluded backwater, but a magnificent landscape and, above all, you can walk around there however you please, without any inhibitions” (ibid., p. 79). That summer he also created two pictures of flowering wheat fields. Pechstein presumably set up his canvas directly in front of the field, because the high stalks block our view and permit us to see only a narrow strip of sky. With confident brushstrokes, he has sketched the lushly green ears of wheat, which merge into a sea of ripe flowers stretching back towards the horizon.

Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

AGB

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. The used items are sold in public auction in which the bidder/buyer can participate in Person. The legal stipulations concerning the sale of consumer goods are not to be applied according to Art. 474 § 1.2 German Commercial Code (BGB).

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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 € 600,000 a premium of 26 % 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 € 600,000 (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 19 % on the hammer price and the buyer’s premium (regular scheme). To lots characterized by an R which are sold and send to a private person in another EU member state, the VAT legislation of this member state is applied, § 3c UStG. 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. For payments which amount to € 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 € 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. We accept payment by cryptocurrencies. The request for an alteration of an auction invoice, e.g. 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.

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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.

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