Lot 328 
Raumbeispiel
328
Wilhelm Busch
Ein Bettler, um 1857.
Olio su tavola
Stima:
€ 6,000 / $ 6,420 Risultato:
€ 7,620 / $ 8,153 ( commissione inclusa)
Ein Bettler. um 1857.
Oil on panel.
Signature scratched into the moist paint in upper right. With numbered labels on the reverse, more hand-written numbers and the ownserhip note "Waldes". 26.5 x 16 cm (10.4 x 6.2 in).
PROVENANCE: Presumably Pastor Hermann Nöldeke, Wiedensahl (the artist's brother in law.
Sigmund Waldes Collection, Dresden (until 1939/1941).
Devisenstelle beim Oberfinanzpräsidenten Dresden (Foreign currency office at the Chief Finance President Dresden (confiscated from the possession of the above, 1939-1941).
"Linz art gallery“ (Linz no. 2612, acquired from above confiscation in 1942).
Altaussee, Depot (Altaussee number: 3142 issued by CCP Munich ).
Central Collecting Point, Munich (1945-1949, with th eMunich number 4493 on the reverse).
Central Collecting Point, Wiesbaden (1949-1951).
JRSO, Nuremberg (returned from the above in 1951).
National Museum Bezalel, Jerusalem (from the above in 1952, inv. no. M2007-11-52).
Ida Waldes, New York (returned from the museum in 1965).
Private collection Lower Saxony.
The work is free from restitution claims.
LITERATURE: Hans Georg Gmelin, Wilhelm Busch als Maler, Berlin 1998, addenda 3, no. 963, allocation number 629.
Dorotheum Vienna, November 14, 1994, lot 121.
ARCHIVE MATERIAL:
„Verzeichnis der gepfändeten Sachen“ (listz of items confiscated from Villa Sigmund Waldes), no. 24, Gemäldegalerie Dresden, GG no 10, vol. 28, year 1938.
CCP Munich, control number file no. 4493 (BArch Koblenz B323/612).
CCP Munich, Property Card no. 4493 (BArch Koblenz B323/732).
CCP Munich, Restitution file no. 4493 (BArch Koblenz B323/656).
„Verzeichnis der der Treuhandverwaltung von Kulturgut München bekanntgewordenen Restitutionen von 1945 bis 1962 IRSO“, Federal Archive Koblenz, B 323/581, fol. 24.
Oil on panel.
Signature scratched into the moist paint in upper right. With numbered labels on the reverse, more hand-written numbers and the ownserhip note "Waldes". 26.5 x 16 cm (10.4 x 6.2 in).
PROVENANCE: Presumably Pastor Hermann Nöldeke, Wiedensahl (the artist's brother in law.
Sigmund Waldes Collection, Dresden (until 1939/1941).
Devisenstelle beim Oberfinanzpräsidenten Dresden (Foreign currency office at the Chief Finance President Dresden (confiscated from the possession of the above, 1939-1941).
"Linz art gallery“ (Linz no. 2612, acquired from above confiscation in 1942).
Altaussee, Depot (Altaussee number: 3142 issued by CCP Munich ).
Central Collecting Point, Munich (1945-1949, with th eMunich number 4493 on the reverse).
Central Collecting Point, Wiesbaden (1949-1951).
JRSO, Nuremberg (returned from the above in 1951).
National Museum Bezalel, Jerusalem (from the above in 1952, inv. no. M2007-11-52).
Ida Waldes, New York (returned from the museum in 1965).
Private collection Lower Saxony.
The work is free from restitution claims.
LITERATURE: Hans Georg Gmelin, Wilhelm Busch als Maler, Berlin 1998, addenda 3, no. 963, allocation number 629.
Dorotheum Vienna, November 14, 1994, lot 121.
ARCHIVE MATERIAL:
„Verzeichnis der gepfändeten Sachen“ (listz of items confiscated from Villa Sigmund Waldes), no. 24, Gemäldegalerie Dresden, GG no 10, vol. 28, year 1938.
CCP Munich, control number file no. 4493 (BArch Koblenz B323/612).
CCP Munich, Property Card no. 4493 (BArch Koblenz B323/732).
CCP Munich, Restitution file no. 4493 (BArch Koblenz B323/656).
„Verzeichnis der der Treuhandverwaltung von Kulturgut München bekanntgewordenen Restitutionen von 1945 bis 1962 IRSO“, Federal Archive Koblenz, B 323/581, fol. 24.
Wilhelm Busch is probably best known to most people as a draftsman who explored the small weaknesses, idiosyncrasies and wickedness of human nature with a sharp pen. Throughout his life, Busch struggled with his own self-conception as a painter. In addition to numerous landscapes, he also created smaller genre-like scenes that reveal his admiration for the Dutch school. It is the rural environment that Busch makes the subject of his mostly small-format oil paintings. In his genre scenes, he shows the inspiration he got from Dutch 17th century artists like Adriaen van Ostade and Adriaen Brouwer. Such genre scenes allow a depiction of the simple things as a deeply human aspect. In Busch's graphic-narrative work, he explores the significance that lies in everyday life. The tonality of his painting and the spontaneous brushstroke result in a dense atmosphere that one would normally not expect from such a small format. The dark tonality in particular makes it clear that Busch is not using a pleasing or humorous aesthetic in his scenes, but is aiming to brig out what lies behind the motif, as it was also characteristic of the great Dutch masters. [KT]
328
Wilhelm Busch
Ein Bettler, um 1857.
Olio su tavola
Stima:
€ 6,000 / $ 6,420 Risultato:
€ 7,620 / $ 8,153 ( commissione inclusa)