With more than 60 years of experience in auctioning art and collections, Neumeister is one of the leading German auction houses.
In more than ten auctions a year, we auction an extraordinary range of art: antique handicrafts, historical furniture, valuable paintings, fine drawings, top-class jewellery, rare watches as well as selected modern and contemporary art.
Our worldwide network with museums, foundations, archives, appraisers and of course collectors, enables us not only to provide a market-driven price assessment, but also a target-oriented mediation of your works of art to potential collectors and art lovers.
With the sale of Modern or Antique Art with Neumeister, research, provenance research, buyer acquisition, auction and accounting are all done from one source.
Simply contact us, we will be happy to advise and support you in the sale.
Frequently asked questions about selling Fine Art with Neumeister
Call us, visit us or e-mail us; you are welcome to send or bring photographs and lists of your items for consignment, with dimensions where possible. For paintings, we require photographs of the full work and of the signature; for porcelain and silver, a representative photograph of the item and its marks or stamps. We can make an initial free estimate without obligation on this basis.
Once we have photographs of your items, we arrange an appointment to examine the originals and discuss all further details with you in person. It is very important to make an appointment, as this ensures our specialists plan sufficient time to fully assess your works of art. Items can be consigned up to around eight weeks prior to the auction date.
Once you decide to consign your works of art to NEUMEISTER, we will provide estimates free of charge. Our specialists are naturally happy to examine extensive collections, outstanding works or estates in situ. We also provide formal valuations for notarised purposes, damage claims or insurance. All items consigned to our auction house are insured for the agreed estimated value.
Every consigned work is presented in our auction catalogue and at www.neumeister.com, giving its individual catalogue number, specialist description and estimated price. We agree the photographs for inclusion in the catalogue with you beforehand. Catalogues are sent out to clients and prospects around three weeks before the auction date. In addition, all works are displayed for preview before the auction, enabling prospective buyers to confirm the authenticity and condition of the works for themselves.
During the auction each lot is put up for sale under its catalogue number. We will be happy to inform you of the general schedule or the approximate time when your item will be called up. After the auction you receive an overview showing the sales results of your items.
All items unsold during auction are offered in the post-auction sale. Bids can be made here up to three weeks after the auction. The sale price is the reserve previously agreed by you as the consignor, minus the costs specified in the contract.*
On average, it can take until up to three weeks after the auction for all payments to be received. Once we have received payment from the buyer, this can be settled ad hoc and you will receive your money in accordance with the agreements made (bank transfer, cheque, cash).
You pay a commission for our services, which will help you to successfully sell your work:
- Very high-quality/high-resolution photos for publication in print and online
- Professional classification and cataloguing of your artwork from an art history perspective
- In some cases, gathering of supporting literary documents
- Authenticity checks with external experts and art specialists
- Checks against worldwide databases that list lost and stolen artworks – in some individual cases, this can entail very time-consuming research and correspondence
- Publication of the artworks on specialist online portals
- Exhibition set-up and dismantling
- Answering enquiries from potential buyers
- Bid management
- Auction-related requirements: calling bidders by telephone, broadcasting the auction live on the Internet (including obtaining online bids)
Art makes history...
The first...the second...the third consideration
Workshop of Pieter Brueghel the Younger (1564 Brussels - 1638 Antwerp) In the foreground farmers preparing the beds for planting in spring. On the right, vines are being pruned on a portico, behind it - in front of a farmhouse - sheep are being shorn. Left in the background a garden in front of a castle, in it lovers and musicians, on a small river two couples in a decorated barge.
The present painting is based on an engraving by Pieter van der Heyden / Hieronymus Cock after a drawing by Pieter Brueghel the Elder. This drawing is now in the possession of the Albertina, Vienna (Inv. No. 23750) and is dated 1565. The copper engraving depicting the scene in mirror image was published in 1570 and was part of a series of four depictions of the seasons.
The depiction of the different seasons - both in the form of pictures of the month and as cycles summarising the same - can be seen as a central theme in Flemish painting of the 16th and 17th centuries. Very often the depictions of the seasons are equated with the ages of mankind in terms of content. The counting of ages usually begins with spring, and each age is six years old. Ancient deities are assigned to the seasons as "patrons", according to Venus' traditional view of spring.
This reference to the goddess of love, Venus, is also found in the engraving after the drawing by Pieter Brueghel the Elder. In the title bar Euphorbius - a scholar of the late antique corpus of inscriptions "Carmina XII sapientum" - is quoted: " Vere Venus gaudet floentibus aurea sertis. - "In spring, golden Venus delights in garlands of flowers."
At the same time, the representation of spring in the title of the engraving is clearly equated with the period of youth: "Ver - puritae compar" - "Spring - equal to youth". And thus the various activities of the people in the painting of the workshop of Pieter Brueghel the Younger can also be brought into direct connection with the life of youth: The vine on the pergola is pruned (March), young plants are placed in beds to grow and flourish (April), and a cheerful company amuses itself in the castle garden (May).
These activities are equivalent to the education of the young person, whose virtues are thereby developed like delicate buds on plants and trees. The adolescent, on the other hand - devoting himself in the background to interpersonal pleasure - begins in his more mature youth, supported by the goddess of love, to ensure the survival of his own species...
There are several known variants of paintings by the hand of Pieter Brueghel the Younger based on the above-mentioned engraving.
See Ertz, Klaus, Pieter Brueghel der Jüngere (1564 - 1637/38). Die Gemälde - Mit kritischem Oeuvrekatalog. Bd. II. Lingen 1998/2000, S. 589 ff., WVZ-Nr. 603-626 (tlw. mit Abb.).
In these, the older composition is taken over with variations (for example, the beds are decorated with plants already in bloom), but what is most striking about all these paintings is that the younger Brueghel replaces the palace garden in the background with the representation of a busy village street.
Abel Grimmer (1570/73 Antwerp - 1610/30 ibid.) also created several paintings based on the idea of Pieter Brueghel the Elder Grimmer, dispensing with his own variations and retaining the motif of the palace garden.
See Bertier de Sauvigny, Reine de, Jacob et Abel Grimmer. Catalogue raisonné. Brüssel 1991, S. 226, WVZ-Nr. LV (mit Farbtafel 70): eine Darstellung des "Frühlings" aus einer Serie der Vier Jahreszeiten.
The relatively large format of this painting distinguishes it from both the well-known depictions of spring by Pieter Brueghel the Younger and Abel Grimmer.
Expert opinion Dr. Walther Bernt, Munich, 1 June 1959: "The present version belongs to the workshop of P. Brueghel the Younger and was produced around 1600.
Art documents history...
His contemporaries considered Carl Friedrich Moritz Müller an outstanding artistic talent. Thus G. K. Nagler's "Neues allgmeines Künstler-Lexicon" (New General Artist's Lexicon) reports in 1840 that his paintings "betrayed an eminent talent, especially in that peculiar way of Schalcken [the Dutch artist Godfried Schalcken, 1643-1706], who painted the light and its phenomena so excellently. Like that master, Müller also knows how to achieve the most striking effect by illuminating night scenes, which appears all the more brilliant, since the characters are characterized in the most excellent way, and are drawn and painted completely correctly. Fire is the dominant element for him, and he knows how to use its powers to such an extent that his works can be compared in every respect to those of a shawl. Because of his peculiar virtuosity, his friends jokingly call him the Fire-Müller, and really no one has ever reached him in this way before".
The described abilities of Carl Friedrich Moritz Müller can be understood by looking at the present painting. The artist, who moved to Munich in 1830 after completing his training at the Dresden Academy, preferred to devote himself to genre scenes from the Alpine region. Since 1834 several paintings can be traced back to the Tyrolean popular uprising of 1809. In that year, King Ludwig I of Bavaria acquired a "Scene from the Tyrolean War of 1809" from the Munich Kunstverein (Munich, Neue Pinakothek, Inv. No. WAF 691).
After the defeat of Austria against France in the Third Coalition War, Tyrol was subordinated to the Kingdom of Bavaria in 1805/06. In 1809 the Tyrolean population rose up against the foreign occupation. Andreas Hofer (1767-1810) played a decisive role in liberating Tyrol from the Bavarian-French occupation in the spring of that year. It was possible to defend Tyrol until the autumn. After the Peace of Schönbrunn and the lost fourth Battle of Bergisel on 1 November the allied troops were able to occupy Tyrol once again and consolidate their rule.
"Love for the fatherland, enthusiasm for independence, hatred of all foreign tyranny, sublime awareness of one's own worth, living feeling of our strength, genuine old Austrian sense gives the Landwehr its existence. The whole of Europe is amazed how it took only one word from our beloved Emperor to transform the nation into an army, and the army into a nation."
from a daily order of Archduke Johannsan the Landwehr; quoted after Magenschab, p. 188
"... these enemies [...] threaten to incinerate the noble house of Austria's well-balanced Tyrolean over his head and rob him of his goods and life if he does not want to forget Austria..."
from Andreas Hofer's last letter to Archduke Johann, 26 January 1810 Haus-, Hof- und Staatsarchiv Wien StK Lectures 184, mixed lot 1810 March, fol. 127 b
"Trusting in God and my just cause, I hereby declare with My faithful County of Tyrol, including Vorarlberg, that it shall never again be separated from the body of the Austrian imperial state [...] As soon as possible My dear brother, Archduke Johann, will go to Tyrol to be the leader and protector of My faithful Tyroleans until all dangers are removed from the borders of the County of Tyrol".
from the so-called Wolkersdorf Proclamation of Emperor Franz I of Austria.29 May 1809; quoted after Magenschab, p. 200
"Tyrol must never belong to the House of Austria, because it separates Germany and Italy and borders on Switzerland.
I will never allow this country to be taken from my influence."
Napoléon Bonaparte after receiving news of the uprising in Tyrol and Salzburg; quoted from Magenschab, p. 201
Literature:Stomach scrape, Hans, Archduke Johann - Habsburg's green rebel.2. Graz et al. 1982.
"Write to me whoever you wish to have in officers, so that I can send you those who the Tyroleans like and trust - otherwise, whatever you need."
Archduke Johann to Andreas Hofer; quoted from Magenschab, p. 201
*The details given here are intended as examples only. NEUMEISTER’s conditions of sale represent the sole legally binding terms. Feel free to contact us for further information – we are always happy to assist.