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Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind

In Evening Sale - Moderne und Zeitgenössische Kun...

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Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind - Bild 1 aus 2
Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind - Bild 2 aus 2
Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind - Bild 1 aus 2
Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind - Bild 2 aus 2
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Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind
Öl auf Leinwand. 72 x 80 cm bzw. 80 x 72 cm (Sichtmaß). 89,4 x 78,4 cm (Gesamtmaß Leinwand). Beidansichtig gerahmt in Klapprahmen. Unten links blau signiert 'Muter'. Rückseitig unten links grau signiert 'Muter'. - In farbfrischer Erhaltung. Kleine Farbverluste in den Randbereichen.

Die rückseitige Ansicht ist im Fotoarchiv der Galerie Bargera, Köln, dokumentiert.

Provenienz
Galerie Bargera, Köln; Privatsammlung Rheinland

In diesem doppelansichtigen Gemälde vereinen sich die beiden Meisterdisziplinen Mela Muters: die Landschaft und das Bildnis.
1940 floh Mela Muter vor dem Krieg aus Paris nach Südfrankreich und lebte teils in Avignon, wo sie eindrucksvolle Ansichten der Stadt schuf. Dieses prachtvolle Panorama erfasst die räumliche Situation von einem erhöhten Standpunkt aus und zeigt die geschichtsträchtige Stadt in einer warmen, lichtdurchfluteten Atmosphäre. Olivenbäume und einfache Wohngebäude im Vordergrund leiten über zu den beiden Flussarmen der Rhône. Rechts im Mittelgrund ragt am diesseitigen Ufer die Silhouette des Tour Philippe-le-Bel auf, der einst die Grenze zwischen dem Königreich Frankreich und dem päpstlichen Territorium von Avignon kennzeichnete. Über dem zweiten Flussarm ist die Ruine der Pont Saint-Bénézet zu erkennen, dahinter erstreckt sich der mittelalterliche Stadtkern von Avignon, gekrönt von den monumentalen Mauern und Türmen des Papstpalastes. Muter beherrschte die Schilderung dieser komplexen, vielfach gestaffelten Landschaft meisterhaft, organische Naturformen und kubische Gebäudeumrisse gehen eine harmonische Einheit ein. Charakteristisch für ihre südfranzösischen Ansichten ist die Verwendung von warmen Weiß- und Ockertönen, die die Sonne zu reflektieren scheinen, akzentuiert von frischem Blau und Rot.
Die emotionale Verbundenheit der Künstlerin mit dem Thema der Mutterschaft wird in dem umseitigen Doppelporträt deutlich. Darstellungen von Frauen mit ihren Kindern, oft aus einfachsten Gesellschaftsschichten, gehören zu ihren häufigsten Sujets. Die sitzende Mutter bildet eine bildnerische Einheit mit dem Kleinkind auf ihrem Schoß, das kühle, vielfältig nuancierte Inkarnat und die Blautöne der Kleidung unterstreichen diese Verbundenheit noch. Das nach unten abgewandte Gesicht der Mutter und der ernste Blick ihres Kindes schließen jegliche Sentimentalität aus, darstellerische Details wie die Tupfen auf der Bluse und das durch die weißen Gardinen schimmernde Fensterkreuz verorten die Szenerie mitten im Leben.
Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind
Oil on canvas. 72 x 80 cm resp. 80 x 72 cm (visible dimensions). 89.4 x 78.4 cm (total canvas dimensions). Framed. Signed 'Muter' in blue lower left. Signed 'Muter' in grey lower left verso. - In fine condition with fresh colours. Small losses of paint in margin areas.

The verso view is documented in the Photographic Archive of Galeria Bargera, Cologne.

Provenance
Galerie Bargera, Cologne; Private collection, Rhineland

This double-sided painting unites two disciplines mastered by Mela Muter: landscape and portrait.
In 1940 the war drove Mela Muter to flee from Paris to southern France, where she lived in Avignon part of the time and created striking views of the city. This magnificent panorama captures its spatial context from an elevated vantage point and shows the historic city in a warm atmosphere flooded with light. The olive trees and simple residential buildings in the foreground lead us to the two arms of the Rhône. To the right in the middle ground, on the near riverbank, rises the silhouette of the Tour Philippe-le-Bel, which once marked the border between the Kingdom of France and the Papal Territory of Avignon. The ruin of the Pont Saint-Bénézet can be recognised above the second arm of the river; the town’s medieval core stretches out behind it, crowned by the monumental walls and towers of the papal palace. Muter mastered the depiction of this complex, many-layered landscape; organic natural forms and the cubic contours of buildings merge into a harmonious unity. The use of warm tones of white and ochre that seem to reflect the sun as well as the accents in fresh blue and red are characteristic of her views from southern France.
The artist’s emotional connection with the theme of motherhood becomes clear in the double portrait on the other side. Depictions of women with their children, often from the most modest social classes, are among her most common subjects. The seated mother forms a single compositional unit with the small child on her lap, and the cool, nuanced variety of flesh tones as well as the blue tones of the clothing further underscore this bond. The mother’s downturned face and the earnest gaze of her child exclude any kind of sentimentality; representational details like the dots on the blouse and the cross window shimmering through the white curtains situate the scene in the midst of life.
Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind
Öl auf Leinwand. 72 x 80 cm bzw. 80 x 72 cm (Sichtmaß). 89,4 x 78,4 cm (Gesamtmaß Leinwand). Beidansichtig gerahmt in Klapprahmen. Unten links blau signiert 'Muter'. Rückseitig unten links grau signiert 'Muter'. - In farbfrischer Erhaltung. Kleine Farbverluste in den Randbereichen.

Die rückseitige Ansicht ist im Fotoarchiv der Galerie Bargera, Köln, dokumentiert.

Provenienz
Galerie Bargera, Köln; Privatsammlung Rheinland

In diesem doppelansichtigen Gemälde vereinen sich die beiden Meisterdisziplinen Mela Muters: die Landschaft und das Bildnis.
1940 floh Mela Muter vor dem Krieg aus Paris nach Südfrankreich und lebte teils in Avignon, wo sie eindrucksvolle Ansichten der Stadt schuf. Dieses prachtvolle Panorama erfasst die räumliche Situation von einem erhöhten Standpunkt aus und zeigt die geschichtsträchtige Stadt in einer warmen, lichtdurchfluteten Atmosphäre. Olivenbäume und einfache Wohngebäude im Vordergrund leiten über zu den beiden Flussarmen der Rhône. Rechts im Mittelgrund ragt am diesseitigen Ufer die Silhouette des Tour Philippe-le-Bel auf, der einst die Grenze zwischen dem Königreich Frankreich und dem päpstlichen Territorium von Avignon kennzeichnete. Über dem zweiten Flussarm ist die Ruine der Pont Saint-Bénézet zu erkennen, dahinter erstreckt sich der mittelalterliche Stadtkern von Avignon, gekrönt von den monumentalen Mauern und Türmen des Papstpalastes. Muter beherrschte die Schilderung dieser komplexen, vielfach gestaffelten Landschaft meisterhaft, organische Naturformen und kubische Gebäudeumrisse gehen eine harmonische Einheit ein. Charakteristisch für ihre südfranzösischen Ansichten ist die Verwendung von warmen Weiß- und Ockertönen, die die Sonne zu reflektieren scheinen, akzentuiert von frischem Blau und Rot.
Die emotionale Verbundenheit der Künstlerin mit dem Thema der Mutterschaft wird in dem umseitigen Doppelporträt deutlich. Darstellungen von Frauen mit ihren Kindern, oft aus einfachsten Gesellschaftsschichten, gehören zu ihren häufigsten Sujets. Die sitzende Mutter bildet eine bildnerische Einheit mit dem Kleinkind auf ihrem Schoß, das kühle, vielfältig nuancierte Inkarnat und die Blautöne der Kleidung unterstreichen diese Verbundenheit noch. Das nach unten abgewandte Gesicht der Mutter und der ernste Blick ihres Kindes schließen jegliche Sentimentalität aus, darstellerische Details wie die Tupfen auf der Bluse und das durch die weißen Gardinen schimmernde Fensterkreuz verorten die Szenerie mitten im Leben.
Mela Muter (Maria Melania Mutermilch), Ansicht von Avignon. Verso: Mutter mit Kind
Oil on canvas. 72 x 80 cm resp. 80 x 72 cm (visible dimensions). 89.4 x 78.4 cm (total canvas dimensions). Framed. Signed 'Muter' in blue lower left. Signed 'Muter' in grey lower left verso. - In fine condition with fresh colours. Small losses of paint in margin areas.

The verso view is documented in the Photographic Archive of Galeria Bargera, Cologne.

Provenance
Galerie Bargera, Cologne; Private collection, Rhineland

This double-sided painting unites two disciplines mastered by Mela Muter: landscape and portrait.
In 1940 the war drove Mela Muter to flee from Paris to southern France, where she lived in Avignon part of the time and created striking views of the city. This magnificent panorama captures its spatial context from an elevated vantage point and shows the historic city in a warm atmosphere flooded with light. The olive trees and simple residential buildings in the foreground lead us to the two arms of the Rhône. To the right in the middle ground, on the near riverbank, rises the silhouette of the Tour Philippe-le-Bel, which once marked the border between the Kingdom of France and the Papal Territory of Avignon. The ruin of the Pont Saint-Bénézet can be recognised above the second arm of the river; the town’s medieval core stretches out behind it, crowned by the monumental walls and towers of the papal palace. Muter mastered the depiction of this complex, many-layered landscape; organic natural forms and the cubic contours of buildings merge into a harmonious unity. The use of warm tones of white and ochre that seem to reflect the sun as well as the accents in fresh blue and red are characteristic of her views from southern France.
The artist’s emotional connection with the theme of motherhood becomes clear in the double portrait on the other side. Depictions of women with their children, often from the most modest social classes, are among her most common subjects. The seated mother forms a single compositional unit with the small child on her lap, and the cool, nuanced variety of flesh tones as well as the blue tones of the clothing further underscore this bond. The mother’s downturned face and the earnest gaze of her child exclude any kind of sentimentality; representational details like the dots on the blouse and the cross window shimmering through the white curtains situate the scene in the midst of life.

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).

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 € 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.

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.

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