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Adriaen van StalbemtBockmühle am Ufer eines Flusses

In Alte Kunst / Old Masters

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Adriaen van StalbemtBockmühle am Ufer eines Flusses
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Adriaen van Stalbemt
Bockmühle am Ufer eines Flusses

Öl auf Holz (parkettiert). 53,3 x 73,7 cm.

Provenienz
Mariano Bello, Puebla, Mexico. - Privatsammlung USA bis 2013. - Belgische Privatsammlung.

Literatur
K. Ertz / Ch. Nitze-Ertz: Adriaen van Stalbemt 1580-1662. Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik, Lingen 2018, S. 298, Nr. 103.

Adriaen van Stalbemt wird 1580 in Antwerpen geboren - zwölf Jahre nach Jan Brueghel d. Ä, dessen Malerei ihn nachhaltig prägt. Als Sohn reformierter Eltern verlässt er 1585 die von Spanien eroberte Geburtsstadt und zieht nach Middelburg, dem Zentrum der nichtkatholischen Künstler Flanderns. 1609 kehrt er nach Antwerpen zurück, wird Mitglied der Lukas-Gilde und gehört damit zum Kreis der bedeutenden, dort tätigen Maler, wie Jan und Pieter Brueghel, Frans Francken, Gillis van Coninxloo, aber auch Peter Paul Rubens.
Stalbemt widmet sich vor allem der Landschaftsmalerei mit reichhaltiger Staffage und Architekturelementen. Dabei schildert er das Leben und Treiben der Menschen seiner Zeit, verwebt darin aber auch historische und soziologisch-politische Anspielungen, die seinen Bildern ein besonderes Interesse verleihen. In dem vorliegenden Gemälde breitet er am Fuße einer hohen, alles überragenden Bockmühle eine vielfigurige Szenerie aus, deren zentrales Motiv ein Raubüberfall auf eine Karawane von Planwagen ist. Während links die Beute bereits verteilt wird, sind auf der rechten Seite Raub und Plünderung noch im vollen Gange.
Ertz und Nitze-Ertz datieren dieses Gemälde um 1610-1620, d.h. ins zweite Jahrzehnt des 17. Jahrhunderts.





Adriaen van Stalbemt
Post Mill on a Riverbank

Oil on panel (parquetted). 53.3 x 73.7 cm.

Provenance
Mariano Bello, Puebla, Mexico. - Private collection, USA until 2013. - Koller Zurich, 19.09.2014, lot 3035. - Belgian private collection.

Literature
Mariano Bello, Puebla, Mexico. - Private collection, USA until 2013. - Koller Zurich, 19.09.2014, lot 3035. - Belgian private collection.

Adriaen van Stalbemt was born in Antwerp in 1580, twelve years after Jan Brueghel the Elder left his artistic mark on the city. Stalbemt's parents were members of the Reformed church, so they left their son's home town of Antwerp in 1585 when it was conquered by Spain. They moved to Middelburg, which was the artistic centre for non-Catholic artists in Flanders at the time. Stalbemt returned to Antwerp in 1609 and joined the Guild of Saint Luke, thus becoming a member of the influential circle of artists active in the city. They included Jan and Pieter Brueghel, Frans Francken, Gillis van Coninxloo, but also Peter Paul Rubens.
The majority of Stalbemt's works consist of landscapes enlivened with numerous figures and architecture. They depict the daily lives and business of people at the time, often weaving in veiled historical, political or sociological allusions, which make his pictures particularly fascinating. The present work depicts a scene taking place at the foot of a towering post mill. We see a group of thieves carrying out an attack on a caravan of covered wagons. On the left, the bandits are already dividing up the spoils whilst their comrades continue their violent work on the right.
Ertz and Nitze-Ertz both date this work to around 1610-1620, the second decade of the 17th century.





Adriaen van Stalbemt
Bockmühle am Ufer eines Flusses

Öl auf Holz (parkettiert). 53,3 x 73,7 cm.

Provenienz
Mariano Bello, Puebla, Mexico. - Privatsammlung USA bis 2013. - Belgische Privatsammlung.

Literatur
K. Ertz / Ch. Nitze-Ertz: Adriaen van Stalbemt 1580-1662. Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik, Lingen 2018, S. 298, Nr. 103.

Adriaen van Stalbemt wird 1580 in Antwerpen geboren - zwölf Jahre nach Jan Brueghel d. Ä, dessen Malerei ihn nachhaltig prägt. Als Sohn reformierter Eltern verlässt er 1585 die von Spanien eroberte Geburtsstadt und zieht nach Middelburg, dem Zentrum der nichtkatholischen Künstler Flanderns. 1609 kehrt er nach Antwerpen zurück, wird Mitglied der Lukas-Gilde und gehört damit zum Kreis der bedeutenden, dort tätigen Maler, wie Jan und Pieter Brueghel, Frans Francken, Gillis van Coninxloo, aber auch Peter Paul Rubens.
Stalbemt widmet sich vor allem der Landschaftsmalerei mit reichhaltiger Staffage und Architekturelementen. Dabei schildert er das Leben und Treiben der Menschen seiner Zeit, verwebt darin aber auch historische und soziologisch-politische Anspielungen, die seinen Bildern ein besonderes Interesse verleihen. In dem vorliegenden Gemälde breitet er am Fuße einer hohen, alles überragenden Bockmühle eine vielfigurige Szenerie aus, deren zentrales Motiv ein Raubüberfall auf eine Karawane von Planwagen ist. Während links die Beute bereits verteilt wird, sind auf der rechten Seite Raub und Plünderung noch im vollen Gange.
Ertz und Nitze-Ertz datieren dieses Gemälde um 1610-1620, d.h. ins zweite Jahrzehnt des 17. Jahrhunderts.





Adriaen van Stalbemt
Post Mill on a Riverbank

Oil on panel (parquetted). 53.3 x 73.7 cm.

Provenance
Mariano Bello, Puebla, Mexico. - Private collection, USA until 2013. - Koller Zurich, 19.09.2014, lot 3035. - Belgian private collection.

Literature
Mariano Bello, Puebla, Mexico. - Private collection, USA until 2013. - Koller Zurich, 19.09.2014, lot 3035. - Belgian private collection.

Adriaen van Stalbemt was born in Antwerp in 1580, twelve years after Jan Brueghel the Elder left his artistic mark on the city. Stalbemt's parents were members of the Reformed church, so they left their son's home town of Antwerp in 1585 when it was conquered by Spain. They moved to Middelburg, which was the artistic centre for non-Catholic artists in Flanders at the time. Stalbemt returned to Antwerp in 1609 and joined the Guild of Saint Luke, thus becoming a member of the influential circle of artists active in the city. They included Jan and Pieter Brueghel, Frans Francken, Gillis van Coninxloo, but also Peter Paul Rubens.
The majority of Stalbemt's works consist of landscapes enlivened with numerous figures and architecture. They depict the daily lives and business of people at the time, often weaving in veiled historical, political or sociological allusions, which make his pictures particularly fascinating. The present work depicts a scene taking place at the foot of a towering post mill. We see a group of thieves carrying out an attack on a caravan of covered wagons. On the left, the bandits are already dividing up the spoils whilst their comrades continue their violent work on the right.
Ertz and Nitze-Ertz both date this work to around 1610-1620, the second decade of the 17th century.




Alte Kunst / Old Masters

Auktionsdatum
Lose: 2000 - 2155
Ort der Versteigerung
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Köln
50667
Germany

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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 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.

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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.

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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 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.

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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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