| 中文版 English

具体要求

其它要求

-
关闭
Severin Roesen (American, 1805-1882). Still Life with Fruit and Flowers in a Landscape, 1850. Oil on c...
美国 北京时间
2022年05月11日 开拍 / 2022年05月09日 截止委托
拍品描述 翻译
Severin Roesen (American, 1805-1882)
Still Life with Fruit and Flowers in a Landscape, 1850
Oil on canvas
36 x 29 inches (91.4 x 73.7 cm)
Signed and dated lower right: S. Roesen / 1850
PROVENANCE:
The artist;
The Stern Family;
Estate of Kathleen Stern-Fischer, Monmouth County, New Jersey, 2004;
Private collection.
Opulent, majestic and strikingly theatrical, Severin Roesen's Still Life with Fruit and Flowers in a Landscape of 1850 is a superlative example of nineteenth-century still-life painting, and an exceedingly important work in the history of American art. Roesen, one of America's preeminent early still-life painters, created this masterwork in 1850, only two years after he arrived in the United States from Germany. Having descended through a single family since its original purchase directly from the artist, Still Life with Fruit and Flowers hung for generations in the family's estate in New Jersey, built around 1880 along the Neversink River.
Interestingly, relatively little is known about Roesen's biography. He was born in Germany around 1816 and exhibited in Cologne in 1847 before immigrating to America the following year, likely to escape the turmoil of the German revolutions of 1848. Trained in Düsseldorf as a porcelain painter, Roesen carried on this European tradition in his American canvases, imbuing his still lifes with a dazzling attention to naturalistic detail and bursts of brilliant color. Upon his first years in the U.S. between 1848 and 1852, Roesen sent eleven still-life paintings to the American Art Union, eight of which depicted flowers. Certainly, as a porcelain painter, Roesen would likely have been principally skilled in floral painting; however, mid-nineteenth-century American tastes favored paintings of fruit over flowers, which may have driven Roesen in this direction in his compositional choices.
In this dramatic vertical composition, Roesen depicts a luxurious floral bouquet and cornucopia of colorful fruit with naturalistic detail and brilliant illumination emphasizing the sculptural aspect of each object. The floral still life is arranged in a garden urn set atop a richly veined black-marble table top, which would have signified affluence to a nineteenth-century audience. Surrounding its base is an abundance of fruit piled so high as to almost obscure the vessel entirely, including an exotic pineapple on the left and a watermelon on the right, a combination seen rarely in Roesen's still lifes. Roesen's work during this period follows in the Dutch tradition of still-life composition popularized by Johann Wilhelm Preyer, the foremost painter in Düsseldorf at the time. Roesen was undoubtedly familiar with Preyer, who had visited Holland in 1835 and studied the works of Jan van Huysum and Rachel Ruysch and formulated his own carefully articulated style of still-life painting based on the Dutch masters. Preyer's influence resonated in the United States in the nineteenth century, due to both Roesen's canvases and the exhibition of Preyer's work at New York galleries, and an entire school of artists began to grow around these artists' compositional styles. (W. Gerdts and R. Burke, American Still Life Painting, New York, 1971, p. 61)
Roesen's lavish still lifes epitomized the upper-class tastes of the Victorian era. Capturing with abundant detail the most colorful and lush varieties of flowers and fruits, these canvases represented a joyous celebration of the splendor of earth's bounty. For Americans in the mid-nineteenth century, a sense of optimism, pride in the beauty and richness of their new nation, and thanksgiving for their newfound prosperity were all reflected in Roesen's still lifes. Just as the Hudson River School of landscape painters expressed their awe in the untouched picturesque wilderness by creating expansive, panoramic vistas, so did still-life painters, led by Roesen and others, render the bounty of flora and produce that the land had to offer its people.
The present work from Rosen's early period is distinctive in its use of a vertical format as well as the inclusion of a forest landscape in the background, painted in shadowy earth tones to offset the brilliant luminosity of the still life. According to Judith O'Toole, the leading Roesen scholar, the present work is only one of two known from the artist's ten-year stay in New York City employing a landscape as a backdrop for the central subject, a device Roesen would use with more frequency in his later years upon moving to the rural mountains of Pennsylvania. Further distinguishing Still Life with Fruit and Flowers from any other of his works is the white temple-like building or gazebo set in the distance, which further enhances the sense of grandeur and fantasy of the scene.
Severin Roesen worked and exhibited in New York until 1852 when he moved to Pennsylvania, settling permanently in Williamsport, a booming lumber town. There he found a strong network of patrons among the prosperous merchants, lumbermen, and German immigrants. These clientele purchased Roesen's extravagant canvases to adorn their newly built homes, taverns, restaurants, and hotels. The artist's brightly-colored and crisply-drawn cornucopias became a standard for dining-room decoration in the nineteenth century, while also creating a lasting legacy in American still-life painting for decades to come.
Still Life with Fruit and Flowers in a Landscape has been recognized as one of the finest known works by Severin Roesen. With its grand scale, luxurious props and setting, and meticulous focus on naturalistic detail, this work is a timeless masterpiece that continues to astound audiences. A testament to the excitement and promise of a new nation, as well as the embodiment of a time-honored legacy of Old Master painting, Still Life with Fruit and Flowers in a Landscape stands as an integral part of American cultural history and artistic tradition.
This lot is accompanied by a copy of the letter from Dr. Judith Hansen O'Toole confirming its authenticity.
Condition Report*: Lined canvas. Under UV exam, there are possibly a few spots of retouching along the top edge, and a 2 inch spotted area in the lower right corner, below the signature. A few finely applied dots and dashes of retouches in the still life, most notable a 1/2 inch spot in the melon in the lower right quadrat. Scattered craquelure. Mild frame abrasion, notable along the upper edge. Framed Dimensions 49.5 X 42.5 Inches

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1
10
2
50
5
100
10
200
20
500
50
1,000
100
2,000
200
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
200,000
20,000
500,000
25,000
1,000,000
50,000
2,000,000
100,000
10,000,000
200,000
+

价格信息

拍品估价:250,000 - 350,000 美元 起拍价格:250,000 美元  买家佣金:
落槌价 佣金比率
0 - 300,000 25.00% + VAT
300,000 - 3,000,000 20.00% + VAT
3,000,000 - 以上 15.00% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%

拍卖公司

Heritage Auctions
地址: 2801 W Airport Fwy Northwest corner of West Airport Freeway and, Valley View Ln, Dallas, TX 75261
邮编: 90212
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士