65
Lesser Ury, Dame im gelben Kleid im Café (Café Bauer)
Bids do not include VAT, buyer’s premium or delivery.
By confirming your bid, you agree that you have read and accepted the-saleroom.com and the auctioneer's terms and conditions. Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.
Choose one of the quick bid options below:
Bids do not include VAT, buyer’s premium or delivery.
By confirming your bid, you agree that you have read and accepted the-saleroom.com and the auctioneer's terms and conditions. Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.
Oil on canvas. 32 x 25.3 cm. Framed. Signed 'L.Ury' lower left in black. Old adhesive label with estate number 290 verso. - In fine condition. Slight craquelure in the pastose areas.
With original expert report and appraisal by Sibylle Groß, Berlin, dated 11 January 2003; the painting is listed under number 290 in the inventory of Lesser Ury's artistic estate. It will be included in the forthcoming catalogue raisonné.
Provenance
Galerie Schwarzer, Düsseldorf (2002); private collection, North Rhine-Westphalia
The painting “Lesende Dame im Café” is unusual in terms of colour and composition, and it represents an early example of Lesser Ury’s popular series of cafe scenes. Its charm stems from the close-up image of the young woman in a luminously yellow jacket and skirt.
The establishment depicted here is probably the famous Café Bauer – prominently located at the corner of Friedrichstraße and Unter den Linden in Berlin and modelled after Vienna’s coffee houses, it was opened by Mathias Bauer in 1877. Furnished in the luxurious style of the belle époque, the cafe featured numerous paintings by Anton von Werner. In 1884 it became the first establishment of its kind to be provided with electric light. The fact that Ury shows the woman engrossed in reading her newspaper is probably not a coincidence either: after all, the Café Bauer presented its guests with around 300 European dailies. As a young man, Lesser Ury had himself been a regular visitor at Berlin’s cafes and, using a pen and charcoal, an attentive observer of the guests around him. But here, unlike previous scenes, he has depicted the young woman in a close-up view, placed right next to the lower edge of the picture. She is sitting at a table with a white tablecloth, and there is a silver tray containing a drink with a swirl of whipped cream as well as a white cup in front of her. A lady going to a cafe alone, reading there and perhaps even smoking was still unconventional in 1910. The woman’s short hair, her expansive pose and her yellow jacket and skirt are signs that she is a representative of the new, emancipated type of woman.
Öl auf Leinwand. 32 x 25,3 cm. Gerahmt. Unten links schwarz signiert 'L.Ury'. Auf der Rückseite ein altes Etikett mit der Nachlassnummer 290. - In schöner Erhaltung. Leichtes Craqulé und kleiner Farbausbruch unten.
Mit einer Original-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 11. Januar 2003; das Gemälde wird unter der Nummer 290 in der Inventarliste des künstlerischen Nachlasses von Lesser Ury geführt. Es wird in das in Arbeit befindliche Werkverzeichnis aufgenommen.
Provenienz
Galerie Schwarzer, Düsseldorf (2002); Privatsammlung Nordrhein-Westfalen
Dieses farblich und kompositorisch reizvolle Gemälde „Lesende Dame im Café“ ist eines der frühen Beispiele aus Lesser Urys beliebter Werkreihe der Kaffeehausszenen. Es gewinnt seinen Reiz durch die nahsichtige Aufnahme der jungen Frau in leuchtend gelbem Kostüm.
Bei dem dargestellten Lokal dürfte es sich um das berühmte Berliner Café Bauer an der Kreuzung Friedrichstraße/Unter den Linden handeln, das von Mathias Bauer nach dem Vorbild der Wiener Kaffeehäuser 1877 an prominentem Ort eröffnet wurde. Das Café war im luxuriösen Stil der Belle Epoque eingerichtet und mit zahlreichen Gemälden von Anton von Werner ausgestattet. Im Jahr 1884 war es das erste Lokal, das mit elektrischem Licht versorgt wurde. Dass Ury die Dame in die Zeitungslektüre vertieft zeigte, dürfte auch kein Zufall gewesen sein – bot das Café Bauer seinen Gästen doch an die 300 europäische Tageszeitungen. Lesser Ury war als junger Mann selbst ein regelmäßiger Besucher der Berliner Kaffeehäuser und mit Feder und Kohlestift ein aufmerksamer Beobachter der anwesenden Gäste. Doch anders als bei den vorausgegangenen Szenen platzierte er die junge Frau nahsichtig und dicht am unteren Bildrand. Sie sitzt an einem weiß gedeckten Tisch und vor ihr stehen ein silbernes Tablett mit einem Getränk mit Sahnehaube sowie eine weiße Tasse. Dass eine Dame allein ein Kaffeehaus besuchte, dort las, vielleicht sogar rauchte, war auch 1910 noch unkonventionell. Die Kurzhaarfrisur der Frau, ihre raumeinnehmende Körperhaltung und das gelbe Kostüm sind Zeichen dafür, dass es hier um eine Vertreterin des neuen emanzipierten Frauentyps handelt.
Oil on canvas. 32 x 25.3 cm. Framed. Signed 'L.Ury' lower left in black. Old adhesive label with estate number 290 verso. - In fine condition. Slight craquelure in the pastose areas.
With original expert report and appraisal by Sibylle Groß, Berlin, dated 11 January 2003; the painting is listed under number 290 in the inventory of Lesser Ury's artistic estate. It will be included in the forthcoming catalogue raisonné.
Provenance
Galerie Schwarzer, Düsseldorf (2002); private collection, North Rhine-Westphalia
The painting “Lesende Dame im Café” is unusual in terms of colour and composition, and it represents an early example of Lesser Ury’s popular series of cafe scenes. Its charm stems from the close-up image of the young woman in a luminously yellow jacket and skirt.
The establishment depicted here is probably the famous Café Bauer – prominently located at the corner of Friedrichstraße and Unter den Linden in Berlin and modelled after Vienna’s coffee houses, it was opened by Mathias Bauer in 1877. Furnished in the luxurious style of the belle époque, the cafe featured numerous paintings by Anton von Werner. In 1884 it became the first establishment of its kind to be provided with electric light. The fact that Ury shows the woman engrossed in reading her newspaper is probably not a coincidence either: after all, the Café Bauer presented its guests with around 300 European dailies. As a young man, Lesser Ury had himself been a regular visitor at Berlin’s cafes and, using a pen and charcoal, an attentive observer of the guests around him. But here, unlike previous scenes, he has depicted the young woman in a close-up view, placed right next to the lower edge of the picture. She is sitting at a table with a white tablecloth, and there is a silver tray containing a drink with a swirl of whipped cream as well as a white cup in front of her. A lady going to a cafe alone, reading there and perhaps even smoking was still unconventional in 1910. The woman’s short hair, her expansive pose and her yellow jacket and skirt are signs that she is a representative of the new, emancipated type of woman.
Öl auf Leinwand. 32 x 25,3 cm. Gerahmt. Unten links schwarz signiert 'L.Ury'. Auf der Rückseite ein altes Etikett mit der Nachlassnummer 290. - In schöner Erhaltung. Leichtes Craqulé und kleiner Farbausbruch unten.
Mit einer Original-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 11. Januar 2003; das Gemälde wird unter der Nummer 290 in der Inventarliste des künstlerischen Nachlasses von Lesser Ury geführt. Es wird in das in Arbeit befindliche Werkverzeichnis aufgenommen.
Provenienz
Galerie Schwarzer, Düsseldorf (2002); Privatsammlung Nordrhein-Westfalen
Dieses farblich und kompositorisch reizvolle Gemälde „Lesende Dame im Café“ ist eines der frühen Beispiele aus Lesser Urys beliebter Werkreihe der Kaffeehausszenen. Es gewinnt seinen Reiz durch die nahsichtige Aufnahme der jungen Frau in leuchtend gelbem Kostüm.
Bei dem dargestellten Lokal dürfte es sich um das berühmte Berliner Café Bauer an der Kreuzung Friedrichstraße/Unter den Linden handeln, das von Mathias Bauer nach dem Vorbild der Wiener Kaffeehäuser 1877 an prominentem Ort eröffnet wurde. Das Café war im luxuriösen Stil der Belle Epoque eingerichtet und mit zahlreichen Gemälden von Anton von Werner ausgestattet. Im Jahr 1884 war es das erste Lokal, das mit elektrischem Licht versorgt wurde. Dass Ury die Dame in die Zeitungslektüre vertieft zeigte, dürfte auch kein Zufall gewesen sein – bot das Café Bauer seinen Gästen doch an die 300 europäische Tageszeitungen. Lesser Ury war als junger Mann selbst ein regelmäßiger Besucher der Berliner Kaffeehäuser und mit Feder und Kohlestift ein aufmerksamer Beobachter der anwesenden Gäste. Doch anders als bei den vorausgegangenen Szenen platzierte er die junge Frau nahsichtig und dicht am unteren Bildrand. Sie sitzt an einem weiß gedeckten Tisch und vor ihr stehen ein silbernes Tablett mit einem Getränk mit Sahnehaube sowie eine weiße Tasse. Dass eine Dame allein ein Kaffeehaus besuchte, dort las, vielleicht sogar rauchte, war auch 1910 noch unkonventionell. Die Kurzhaarfrisur der Frau, ihre raumeinnehmende Körperhaltung und das gelbe Kostüm sind Zeichen dafür, dass es hier um eine Vertreterin des neuen emanzipierten Frauentyps handelt.
Evening Sale - Modern and Contemporary Art
Sale Date(s)
Venue Address
Versandinformationen noch nicht verfügbar.
Shipping information not yet available.
Important Information
Vorbesichtigung
KÖLN
Samstag 24. Mai | 10 – 16 Uhr
Sonntag 25. Mai | 11 – 16 Uhr
Montag 26. Mai – Mittwoch 28. Mai
10 – 17.30 Uhr
Donnerstag 29. Mai | 11 – 15 Uhr
Matinée
Samstag 24. Mai | 12 Uhr
Isabel Apiarius-Hanstein und Henrik Hanstein treffen Sebastian Preuss
(Senior Editor WELTKUNST) zum Gespräch über das Erbe
Oskar Schlemmers
________________________________________________
MÜNCHEN
In Auswahl
St.-Anna-Platz 3, 80538 München
Dienstag 6. Mai und Mittwoch 7. Mai
jeweils 10 – 17 Uhr
________________________________________________
BRÜSSEL
In Auswahl
Grote Hertstraat 6, Rue du Grand Cerf, 1000 Brüssel
Vernissage | Samstag 26. April
11 – 17.00 Uhr
Sonntag 27. April 11 – 17.00 Uhr
Montag 28. April und Dienstag 29. April
jeweils 10 – 17.30 Uhr
________________________________________________
BERLIN
In Auswahl
Poststr. 22, 10178 Berlin-Mitte
Vernissage | Montag 12. Mai
18 – 21 Uhr
Dienstag 13. Mai und Mittwoch 14. Mai
jeweils 10 – 17 Uhr
Terms & Conditions
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 para. 3 sentence 1 of the Handelsgesetzbuch (the Commercial Code). as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auction- eering 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 con- tractually 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 in- formation 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 certifica- tions from artists, their estates or experts relevant to each case only form a con- tractual 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 and are sold as seen.
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 pe- riod 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 partic- ipate in Person. The legal stipulations concerning the sale of consumer goods are not to be applied according to § 474 para. 1 sentence 2 of the Bürgerliches Gesetzbuch (the Civil Code, „BGB“).
5. Claims for compensation as the result of a fault or defect in the object auc- tioned 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. of the Kulturgutschutzgesetz (the Cultural Property Protection Act) 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 success- ful identification in terms of § 1 para. 3 of the Geldwäschegesetz (the Money Laundering Act, “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 writ- ing 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 BGB) 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 re- cording 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 be- comes 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 abso- lute 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 https://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 29 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 23 % (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 characterised by an R, the buyer shall pay the statutory VAT of 19% on the hammer price and the buyer’s premium, from 1 January 2025 the statutory VAT of 7% on works of art and collector's items and 19% on all other objects (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 of the Umsatzsteuergesetz (VAT-Act).
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 of the Urheberrechtsgesetz (Act on Copyright and Related Rights), 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 accord- ing to §3 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 in- voice will be send by email unless the buyer asks Lempertz to send them by mail. 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. Additional fees may apply for the alteration. The transfer is subject to successful identification (§ 1 para. 3 GWG) of the bidder and of the person to whom the invoice is trans- ferred. Invoices will only be issued to those persons actually responsible for set- tling the invoices.
11. In the case of payment default, Lempertz will charge 1% interest on the out- standing 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 auc- tion 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 Co- logne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the In- ternational 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.