14
Lovis Corinth, Meißener Schale mit Teerosen
1/3
Beschreibung
Lovis Corinth, Meißener Schale mit Teerosen
Öl auf Leinwand. 53,4 x 85,3 cm. Gerahmt. Oben rechts hellrosa signiert 'Lovis Corinth'. - In sehr gutem Erhaltungszustand.
Berend-Corinth 507
Provenienz
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Privatbesitz; Galerie Kunstsalon Abels, Köln (rückseitiges Etikett auf Keilrahmen); Georg Schäfer, Schweinfurt; Privatbesitz; Kunsthandlung Resch, Gauting; Privatbesitz; Galerie Dr. Bühler, München (1974); seitdem Privatsammlung Nordrhein-Westfalen
Ausstellungen
Berlin 1913, Berliner Sezession, Nr. 211; Berlin 1915 (Fritz Gurlitt), Nr. 33; Berlin 1918, Berliner Sezession, Nr. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, Nr. 16 (rückseitiges Etitkett auf Keilrahmen); Berlin 1923 (Nationalgalerie), Nr. 25; Berlin 1926 (Nationalgalerie), Nr. 207; Kassel 1926 (Kunstverein), Nr. 38
Blumenstillleben sind ein bevorzugtes Thema im Werk von Lovis Corinth. Im Jahr 1911 entstehen zudem vermehrt querformatige, breit angelegte Bouquets wie auch das hier angebotene (vgl. z.B. Cat. Rais. Berend-Corinth 480, 481, 503). Im Gegensatz zu diesen, ist auffällig, dass Corinth sich hier einer einzigen Blüte gewidmet hat, nämlich der Teerose. In Varianz und Üppigkeit breitet sie sich gleichsam hingegossen in grandioser Opulenz in ihrem Gefäß aus. Diese ovale Schale gibt dem kaum zu bändigenden Rosenstrauß die Form und ist bereits im Titel erwähnt. Es handelt sich um den „Meißner Korb“, eine Mitte des 18. Jahrhunderts konzipierte, durchbrochene Porzellanschale, hier in Blau- und Goldstaffierung. Diese Schale stand auf dem Tisch von Corinths Gastgeberin – einer Cousine der Galeristen Cassirer – , als der Maler diese laut seiner Frau, dort entzückt wahrnahm. Daraufhin erhielt er das Arrangement am folgenden Tag in sein Atelier geliefert, wo es umgehend gemalt wurde (s. dies., S. 131). Konventionell im Aufbau, präsentiert sich das Blumenstillleben auf einem drapierten Tuch, welches in schönster Manier Edouard Manets beinahe gegendstandsungebunden erscheint und besonderer Aufmerksamkeit bedarf. So löst es sich wie auch teils die verblühenden Rosenköpfe in seiner Form auf und zeigt bereits Corinths ungebändigten Willen zu reiner Malerei.
Auch Cathrin Klingsöhr-Leroy sieht noch in den „späte[n] Blumenbilder[n…] Beispiele einer Virtuosität, die den Bildgegenstand vernachlässigt, um ihm Realität zu verleihen. Corinths Pinselstrich, dessen Schnelligkeit man mit dem Auge kaum folgen kann, umreißt nicht die Form, sondern bezeichnet die Substanz. […] Corinths Blumen sind Vorwand für reine Malerei, für fast abstrakte Farbkompositionen […]. Sie bilden eine Struktur, ein Zeichensystem, das zugleich verfremdet und intensiviert. Die Blumen verlieren ihre Form, die Gefäße das Volumen, der Raum an Tiefe, aber alles gewinnt an Lebendigkeit, an Energie, die der Geste des Malers entspringt.“ (in: Ausst. Kat. Lovis Corinth. Blumenbilder. Köln/Paris/St. Moritz 2022. Galerie Karsten Greve, S. 32)
Öl auf Leinwand. 53,4 x 85,3 cm. Gerahmt. Oben rechts hellrosa signiert 'Lovis Corinth'. - In sehr gutem Erhaltungszustand.
Berend-Corinth 507
Provenienz
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Privatbesitz; Galerie Kunstsalon Abels, Köln (rückseitiges Etikett auf Keilrahmen); Georg Schäfer, Schweinfurt; Privatbesitz; Kunsthandlung Resch, Gauting; Privatbesitz; Galerie Dr. Bühler, München (1974); seitdem Privatsammlung Nordrhein-Westfalen
Ausstellungen
Berlin 1913, Berliner Sezession, Nr. 211; Berlin 1915 (Fritz Gurlitt), Nr. 33; Berlin 1918, Berliner Sezession, Nr. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, Nr. 16 (rückseitiges Etitkett auf Keilrahmen); Berlin 1923 (Nationalgalerie), Nr. 25; Berlin 1926 (Nationalgalerie), Nr. 207; Kassel 1926 (Kunstverein), Nr. 38
Blumenstillleben sind ein bevorzugtes Thema im Werk von Lovis Corinth. Im Jahr 1911 entstehen zudem vermehrt querformatige, breit angelegte Bouquets wie auch das hier angebotene (vgl. z.B. Cat. Rais. Berend-Corinth 480, 481, 503). Im Gegensatz zu diesen, ist auffällig, dass Corinth sich hier einer einzigen Blüte gewidmet hat, nämlich der Teerose. In Varianz und Üppigkeit breitet sie sich gleichsam hingegossen in grandioser Opulenz in ihrem Gefäß aus. Diese ovale Schale gibt dem kaum zu bändigenden Rosenstrauß die Form und ist bereits im Titel erwähnt. Es handelt sich um den „Meißner Korb“, eine Mitte des 18. Jahrhunderts konzipierte, durchbrochene Porzellanschale, hier in Blau- und Goldstaffierung. Diese Schale stand auf dem Tisch von Corinths Gastgeberin – einer Cousine der Galeristen Cassirer – , als der Maler diese laut seiner Frau, dort entzückt wahrnahm. Daraufhin erhielt er das Arrangement am folgenden Tag in sein Atelier geliefert, wo es umgehend gemalt wurde (s. dies., S. 131). Konventionell im Aufbau, präsentiert sich das Blumenstillleben auf einem drapierten Tuch, welches in schönster Manier Edouard Manets beinahe gegendstandsungebunden erscheint und besonderer Aufmerksamkeit bedarf. So löst es sich wie auch teils die verblühenden Rosenköpfe in seiner Form auf und zeigt bereits Corinths ungebändigten Willen zu reiner Malerei.
Auch Cathrin Klingsöhr-Leroy sieht noch in den „späte[n] Blumenbilder[n…] Beispiele einer Virtuosität, die den Bildgegenstand vernachlässigt, um ihm Realität zu verleihen. Corinths Pinselstrich, dessen Schnelligkeit man mit dem Auge kaum folgen kann, umreißt nicht die Form, sondern bezeichnet die Substanz. […] Corinths Blumen sind Vorwand für reine Malerei, für fast abstrakte Farbkompositionen […]. Sie bilden eine Struktur, ein Zeichensystem, das zugleich verfremdet und intensiviert. Die Blumen verlieren ihre Form, die Gefäße das Volumen, der Raum an Tiefe, aber alles gewinnt an Lebendigkeit, an Energie, die der Geste des Malers entspringt.“ (in: Ausst. Kat. Lovis Corinth. Blumenbilder. Köln/Paris/St. Moritz 2022. Galerie Karsten Greve, S. 32)
Lovis Corinth, Meißener Schale mit Teerosen
Oil on canvas. 53.4 x 85.3 cm. Framed. Signed 'Lovis Corinth' in light pink upper right. - In very good condition.
Berend-Corinth 507
Provenance
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Private property; Galerie Kunstsalon Abels, Cologne (label verso on stretcher); Georg Schäfer, Schweinfurt; Private property; Kunsthandlung Resch, Gauting; Private property; Galerie Dr. Bühler, Munich (1974); since then Private collection, North Rhine-Westphalia
Exhibitions
Berlin 1913, Berliner Sezession, no. 211; Berlin 1915 (Fritz Gurlitt), no. 33; Berlin 1918, Berliner Sezession, no. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, no. 16 (label verso on stretcher); Berlin 1923 (Nationalgalerie), no. 25; Berlin 1926 (Nationalgalerie), no. 207; Kassel 1926 (Kunstverein), no. 38
Floral still lifes were a favoured subject in the work of Lovis Corinth. In 1911 he also began creating an increasing number of wide arrangements of flowers on horizontal canvases, such as the one offered here (see e.g. Cat. Rais. Berend-Corinth 480, 481, 503). In contrast to these works it is striking that, here, Corinth has devoted his attention to a single type of flower, namely, the tea rose. In its variety and abundance it spreads through the container in grandiose opulence, as though it had been poured out into it. This oval bowl provides the scarcely restrainable bouquet of roses with its form and is even mentioned in the title. It is the “Meissen Basket”, a type of perforated porcelain bowl developed in the mid 18th century and seen here decorated in blue and gold. This bowl was standing on the table of Corinth’s hostess – a cousin of the gallerist Cassirer – when, according to his wife, the painter noticed it with delight. He then received this arrangement delivered to his studio the next day, where he immediately painted it (see ibid., p. 131).
Conventional in structure, this floral still life presented on a draped cloth – which appears nearly unconnected with the represented object, in the finest manner of Édouard Manet – demands our special attention. Like some of the blooming flowers of the roses, its form dissolves and already reveals Corinth’s unbridled will to achieve pure painting.
Cathrin Klingsöhr-Leroy also sees, in the “late floral paintings, examples of a virtuosity that neglects the depiction of the object in order to invest it with reality. Corinth’s brushstroke, whose rapidity we can scarcely follow with our eyes, does not outline the form, it denotes the substance. […] Corinth’s flowers are a pretext for pure painting, for almost abstract compositions of colours […]. They form a structure, a system of signs, that simultaneously denaturalises and intensifies. The flowers lose their form, the containers their volume and the space its depth, but they all gain in the vitality and energy emanating from the painter’s gesture” (in: exh. cat. Lovis Corinth. Blumenbilder. Cologne/Paris/St. Moritz 2022. Galerie Karsten Greve, p. 32).
Oil on canvas. 53.4 x 85.3 cm. Framed. Signed 'Lovis Corinth' in light pink upper right. - In very good condition.
Berend-Corinth 507
Provenance
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Private property; Galerie Kunstsalon Abels, Cologne (label verso on stretcher); Georg Schäfer, Schweinfurt; Private property; Kunsthandlung Resch, Gauting; Private property; Galerie Dr. Bühler, Munich (1974); since then Private collection, North Rhine-Westphalia
Exhibitions
Berlin 1913, Berliner Sezession, no. 211; Berlin 1915 (Fritz Gurlitt), no. 33; Berlin 1918, Berliner Sezession, no. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, no. 16 (label verso on stretcher); Berlin 1923 (Nationalgalerie), no. 25; Berlin 1926 (Nationalgalerie), no. 207; Kassel 1926 (Kunstverein), no. 38
Floral still lifes were a favoured subject in the work of Lovis Corinth. In 1911 he also began creating an increasing number of wide arrangements of flowers on horizontal canvases, such as the one offered here (see e.g. Cat. Rais. Berend-Corinth 480, 481, 503). In contrast to these works it is striking that, here, Corinth has devoted his attention to a single type of flower, namely, the tea rose. In its variety and abundance it spreads through the container in grandiose opulence, as though it had been poured out into it. This oval bowl provides the scarcely restrainable bouquet of roses with its form and is even mentioned in the title. It is the “Meissen Basket”, a type of perforated porcelain bowl developed in the mid 18th century and seen here decorated in blue and gold. This bowl was standing on the table of Corinth’s hostess – a cousin of the gallerist Cassirer – when, according to his wife, the painter noticed it with delight. He then received this arrangement delivered to his studio the next day, where he immediately painted it (see ibid., p. 131).
Conventional in structure, this floral still life presented on a draped cloth – which appears nearly unconnected with the represented object, in the finest manner of Édouard Manet – demands our special attention. Like some of the blooming flowers of the roses, its form dissolves and already reveals Corinth’s unbridled will to achieve pure painting.
Cathrin Klingsöhr-Leroy also sees, in the “late floral paintings, examples of a virtuosity that neglects the depiction of the object in order to invest it with reality. Corinth’s brushstroke, whose rapidity we can scarcely follow with our eyes, does not outline the form, it denotes the substance. […] Corinth’s flowers are a pretext for pure painting, for almost abstract compositions of colours […]. They form a structure, a system of signs, that simultaneously denaturalises and intensifies. The flowers lose their form, the containers their volume and the space its depth, but they all gain in the vitality and energy emanating from the painter’s gesture” (in: exh. cat. Lovis Corinth. Blumenbilder. Cologne/Paris/St. Moritz 2022. Galerie Karsten Greve, p. 32).
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Lovis Corinth, Meißener Schale mit Teerosen
Öl auf Leinwand. 53,4 x 85,3 cm. Gerahmt. Oben rechts hellrosa signiert 'Lovis Corinth'. - In sehr gutem Erhaltungszustand.
Berend-Corinth 507
Provenienz
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Privatbesitz; Galerie Kunstsalon Abels, Köln (rückseitiges Etikett auf Keilrahmen); Georg Schäfer, Schweinfurt; Privatbesitz; Kunsthandlung Resch, Gauting; Privatbesitz; Galerie Dr. Bühler, München (1974); seitdem Privatsammlung Nordrhein-Westfalen
Ausstellungen
Berlin 1913, Berliner Sezession, Nr. 211; Berlin 1915 (Fritz Gurlitt), Nr. 33; Berlin 1918, Berliner Sezession, Nr. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, Nr. 16 (rückseitiges Etitkett auf Keilrahmen); Berlin 1923 (Nationalgalerie), Nr. 25; Berlin 1926 (Nationalgalerie), Nr. 207; Kassel 1926 (Kunstverein), Nr. 38
Blumenstillleben sind ein bevorzugtes Thema im Werk von Lovis Corinth. Im Jahr 1911 entstehen zudem vermehrt querformatige, breit angelegte Bouquets wie auch das hier angebotene (vgl. z.B. Cat. Rais. Berend-Corinth 480, 481, 503). Im Gegensatz zu diesen, ist auffällig, dass Corinth sich hier einer einzigen Blüte gewidmet hat, nämlich der Teerose. In Varianz und Üppigkeit breitet sie sich gleichsam hingegossen in grandioser Opulenz in ihrem Gefäß aus. Diese ovale Schale gibt dem kaum zu bändigenden Rosenstrauß die Form und ist bereits im Titel erwähnt. Es handelt sich um den „Meißner Korb“, eine Mitte des 18. Jahrhunderts konzipierte, durchbrochene Porzellanschale, hier in Blau- und Goldstaffierung. Diese Schale stand auf dem Tisch von Corinths Gastgeberin – einer Cousine der Galeristen Cassirer – , als der Maler diese laut seiner Frau, dort entzückt wahrnahm. Daraufhin erhielt er das Arrangement am folgenden Tag in sein Atelier geliefert, wo es umgehend gemalt wurde (s. dies., S. 131). Konventionell im Aufbau, präsentiert sich das Blumenstillleben auf einem drapierten Tuch, welches in schönster Manier Edouard Manets beinahe gegendstandsungebunden erscheint und besonderer Aufmerksamkeit bedarf. So löst es sich wie auch teils die verblühenden Rosenköpfe in seiner Form auf und zeigt bereits Corinths ungebändigten Willen zu reiner Malerei.
Auch Cathrin Klingsöhr-Leroy sieht noch in den „späte[n] Blumenbilder[n…] Beispiele einer Virtuosität, die den Bildgegenstand vernachlässigt, um ihm Realität zu verleihen. Corinths Pinselstrich, dessen Schnelligkeit man mit dem Auge kaum folgen kann, umreißt nicht die Form, sondern bezeichnet die Substanz. […] Corinths Blumen sind Vorwand für reine Malerei, für fast abstrakte Farbkompositionen […]. Sie bilden eine Struktur, ein Zeichensystem, das zugleich verfremdet und intensiviert. Die Blumen verlieren ihre Form, die Gefäße das Volumen, der Raum an Tiefe, aber alles gewinnt an Lebendigkeit, an Energie, die der Geste des Malers entspringt.“ (in: Ausst. Kat. Lovis Corinth. Blumenbilder. Köln/Paris/St. Moritz 2022. Galerie Karsten Greve, S. 32)
Öl auf Leinwand. 53,4 x 85,3 cm. Gerahmt. Oben rechts hellrosa signiert 'Lovis Corinth'. - In sehr gutem Erhaltungszustand.
Berend-Corinth 507
Provenienz
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Privatbesitz; Galerie Kunstsalon Abels, Köln (rückseitiges Etikett auf Keilrahmen); Georg Schäfer, Schweinfurt; Privatbesitz; Kunsthandlung Resch, Gauting; Privatbesitz; Galerie Dr. Bühler, München (1974); seitdem Privatsammlung Nordrhein-Westfalen
Ausstellungen
Berlin 1913, Berliner Sezession, Nr. 211; Berlin 1915 (Fritz Gurlitt), Nr. 33; Berlin 1918, Berliner Sezession, Nr. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, Nr. 16 (rückseitiges Etitkett auf Keilrahmen); Berlin 1923 (Nationalgalerie), Nr. 25; Berlin 1926 (Nationalgalerie), Nr. 207; Kassel 1926 (Kunstverein), Nr. 38
Blumenstillleben sind ein bevorzugtes Thema im Werk von Lovis Corinth. Im Jahr 1911 entstehen zudem vermehrt querformatige, breit angelegte Bouquets wie auch das hier angebotene (vgl. z.B. Cat. Rais. Berend-Corinth 480, 481, 503). Im Gegensatz zu diesen, ist auffällig, dass Corinth sich hier einer einzigen Blüte gewidmet hat, nämlich der Teerose. In Varianz und Üppigkeit breitet sie sich gleichsam hingegossen in grandioser Opulenz in ihrem Gefäß aus. Diese ovale Schale gibt dem kaum zu bändigenden Rosenstrauß die Form und ist bereits im Titel erwähnt. Es handelt sich um den „Meißner Korb“, eine Mitte des 18. Jahrhunderts konzipierte, durchbrochene Porzellanschale, hier in Blau- und Goldstaffierung. Diese Schale stand auf dem Tisch von Corinths Gastgeberin – einer Cousine der Galeristen Cassirer – , als der Maler diese laut seiner Frau, dort entzückt wahrnahm. Daraufhin erhielt er das Arrangement am folgenden Tag in sein Atelier geliefert, wo es umgehend gemalt wurde (s. dies., S. 131). Konventionell im Aufbau, präsentiert sich das Blumenstillleben auf einem drapierten Tuch, welches in schönster Manier Edouard Manets beinahe gegendstandsungebunden erscheint und besonderer Aufmerksamkeit bedarf. So löst es sich wie auch teils die verblühenden Rosenköpfe in seiner Form auf und zeigt bereits Corinths ungebändigten Willen zu reiner Malerei.
Auch Cathrin Klingsöhr-Leroy sieht noch in den „späte[n] Blumenbilder[n…] Beispiele einer Virtuosität, die den Bildgegenstand vernachlässigt, um ihm Realität zu verleihen. Corinths Pinselstrich, dessen Schnelligkeit man mit dem Auge kaum folgen kann, umreißt nicht die Form, sondern bezeichnet die Substanz. […] Corinths Blumen sind Vorwand für reine Malerei, für fast abstrakte Farbkompositionen […]. Sie bilden eine Struktur, ein Zeichensystem, das zugleich verfremdet und intensiviert. Die Blumen verlieren ihre Form, die Gefäße das Volumen, der Raum an Tiefe, aber alles gewinnt an Lebendigkeit, an Energie, die der Geste des Malers entspringt.“ (in: Ausst. Kat. Lovis Corinth. Blumenbilder. Köln/Paris/St. Moritz 2022. Galerie Karsten Greve, S. 32)
Lovis Corinth, Meißener Schale mit Teerosen
Oil on canvas. 53.4 x 85.3 cm. Framed. Signed 'Lovis Corinth' in light pink upper right. - In very good condition.
Berend-Corinth 507
Provenance
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Private property; Galerie Kunstsalon Abels, Cologne (label verso on stretcher); Georg Schäfer, Schweinfurt; Private property; Kunsthandlung Resch, Gauting; Private property; Galerie Dr. Bühler, Munich (1974); since then Private collection, North Rhine-Westphalia
Exhibitions
Berlin 1913, Berliner Sezession, no. 211; Berlin 1915 (Fritz Gurlitt), no. 33; Berlin 1918, Berliner Sezession, no. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, no. 16 (label verso on stretcher); Berlin 1923 (Nationalgalerie), no. 25; Berlin 1926 (Nationalgalerie), no. 207; Kassel 1926 (Kunstverein), no. 38
Floral still lifes were a favoured subject in the work of Lovis Corinth. In 1911 he also began creating an increasing number of wide arrangements of flowers on horizontal canvases, such as the one offered here (see e.g. Cat. Rais. Berend-Corinth 480, 481, 503). In contrast to these works it is striking that, here, Corinth has devoted his attention to a single type of flower, namely, the tea rose. In its variety and abundance it spreads through the container in grandiose opulence, as though it had been poured out into it. This oval bowl provides the scarcely restrainable bouquet of roses with its form and is even mentioned in the title. It is the “Meissen Basket”, a type of perforated porcelain bowl developed in the mid 18th century and seen here decorated in blue and gold. This bowl was standing on the table of Corinth’s hostess – a cousin of the gallerist Cassirer – when, according to his wife, the painter noticed it with delight. He then received this arrangement delivered to his studio the next day, where he immediately painted it (see ibid., p. 131).
Conventional in structure, this floral still life presented on a draped cloth – which appears nearly unconnected with the represented object, in the finest manner of Édouard Manet – demands our special attention. Like some of the blooming flowers of the roses, its form dissolves and already reveals Corinth’s unbridled will to achieve pure painting.
Cathrin Klingsöhr-Leroy also sees, in the “late floral paintings, examples of a virtuosity that neglects the depiction of the object in order to invest it with reality. Corinth’s brushstroke, whose rapidity we can scarcely follow with our eyes, does not outline the form, it denotes the substance. […] Corinth’s flowers are a pretext for pure painting, for almost abstract compositions of colours […]. They form a structure, a system of signs, that simultaneously denaturalises and intensifies. The flowers lose their form, the containers their volume and the space its depth, but they all gain in the vitality and energy emanating from the painter’s gesture” (in: exh. cat. Lovis Corinth. Blumenbilder. Cologne/Paris/St. Moritz 2022. Galerie Karsten Greve, p. 32).
Oil on canvas. 53.4 x 85.3 cm. Framed. Signed 'Lovis Corinth' in light pink upper right. - In very good condition.
Berend-Corinth 507
Provenance
Dr. Mauthner, Berlin; Dr. A. Orgler, Berlin; Private property; Galerie Kunstsalon Abels, Cologne (label verso on stretcher); Georg Schäfer, Schweinfurt; Private property; Kunsthandlung Resch, Gauting; Private property; Galerie Dr. Bühler, Munich (1974); since then Private collection, North Rhine-Westphalia
Exhibitions
Berlin 1913, Berliner Sezession, no. 211; Berlin 1915 (Fritz Gurlitt), no. 33; Berlin 1918, Berliner Sezession, no. 71; Potsdam 1921 (Stadtschloß), Potsdamer Kunst-Sommer, no. 16 (label verso on stretcher); Berlin 1923 (Nationalgalerie), no. 25; Berlin 1926 (Nationalgalerie), no. 207; Kassel 1926 (Kunstverein), no. 38
Floral still lifes were a favoured subject in the work of Lovis Corinth. In 1911 he also began creating an increasing number of wide arrangements of flowers on horizontal canvases, such as the one offered here (see e.g. Cat. Rais. Berend-Corinth 480, 481, 503). In contrast to these works it is striking that, here, Corinth has devoted his attention to a single type of flower, namely, the tea rose. In its variety and abundance it spreads through the container in grandiose opulence, as though it had been poured out into it. This oval bowl provides the scarcely restrainable bouquet of roses with its form and is even mentioned in the title. It is the “Meissen Basket”, a type of perforated porcelain bowl developed in the mid 18th century and seen here decorated in blue and gold. This bowl was standing on the table of Corinth’s hostess – a cousin of the gallerist Cassirer – when, according to his wife, the painter noticed it with delight. He then received this arrangement delivered to his studio the next day, where he immediately painted it (see ibid., p. 131).
Conventional in structure, this floral still life presented on a draped cloth – which appears nearly unconnected with the represented object, in the finest manner of Édouard Manet – demands our special attention. Like some of the blooming flowers of the roses, its form dissolves and already reveals Corinth’s unbridled will to achieve pure painting.
Cathrin Klingsöhr-Leroy also sees, in the “late floral paintings, examples of a virtuosity that neglects the depiction of the object in order to invest it with reality. Corinth’s brushstroke, whose rapidity we can scarcely follow with our eyes, does not outline the form, it denotes the substance. […] Corinth’s flowers are a pretext for pure painting, for almost abstract compositions of colours […]. They form a structure, a system of signs, that simultaneously denaturalises and intensifies. The flowers lose their form, the containers their volume and the space its depth, but they all gain in the vitality and energy emanating from the painter’s gesture” (in: exh. cat. Lovis Corinth. Blumenbilder. Cologne/Paris/St. Moritz 2022. Galerie Karsten Greve, p. 32).
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.
