265
Karl HoferTessiner Flusslandschaft mit Brücke Öl auf Leinwand. 63,5 x 89 cm. Gerahmt. Unten rechts
In Modern Art
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Beschreibung
Karl Hofer
Tessiner Flusslandschaft mit Brücke
Öl auf Leinwand. 63,5 x 89 cm. Gerahmt. Unten rechts grau monogrammiert und datiert 'CH39' (ligiert). - Mit wenigen Altretuschen.
Nicht bei Wohlert
Mit einer Foto-Expertise vom Karl Hofer Komitee, Köln, vom 2.11.2017
Das Werk wird in das Karl Hofer Werkverzeichnis aufgenommen und im Karl Hofer Archiv unter der Nummer N 13 geführt.
Provenienz
Ehemals Privatsammlung Nordrhein-Westfalen (1953 direkt vom Künstler erworben); seitdem Familienbesitz
Möglicherweise ist es dem Winterthurer Industriellen und Kunstsammler Theodor Reinhart zu verdanken, dass Karl Hofer das Tessin als Sommerrefugium und Inspirationsquelle für sich entdeckt. Reinhardt hatte Hofer bereits in jungen Jahren über seinen Sohn Hans kennen- und schätzengelernt und wurde bald zu seinem wichtigsten Förderer. Auf Reinharts Betreiben konnte Hofer während des I. Weltkriegs aus französischer Zivilinternierung in die Schweiz gelangen. Noch im selben Jahr, 1917, lernte Hofer auf einer Reise das Tessin kennen. Die südländisch anmutende Landschaft mit ihren alpinen Ausläufern sollte den seit 1919 wieder in Berlin lebenden Maler nicht mehr loslassen: Ab 1925 verbringt er jeden Sommer dort und erwirbt einige Jahre später sogar ein Haus am Luganer See, das er bis 1939 behält. In diesem Zeitraum entstehen zahlreiche panoramahafte Landschaftsgemälde, die gleichsam einen Ausgleich zu seinen im Berliner Atelier gemalten Figuren und Stillleben bilden.
Der Maler erfasst hier mit weitem Blick eine idyllische Szenerie. Wie vielfach in Hofers Landschaftsgemälden führt ein Flusslauf in das Bild hinein, vereinzelte Häuser und eine die Bildmitte horizontal durchschneidende, offenbar unvollendet gebliebene Brücke bleiben in der ansonsten menschenleeren Ansicht die einzigen Zeugnisse menschlicher Besiedelung. Die roten Hausdächer und Brückenelemente setzen leuchtende Farbakzente in der von Grün- und Brauntönen dominierten Tonigkeit. Ihren Abschluss findet die Komposition in den massiv aufragenden Bergrücken unter einem sommerlich zartblauen Himmel.
Das Entstehungsjahr unseres Gemäldes, 1939, markiert für Hofer gleichzeitig den Abschied aus seinem Paradies. Während der Kunstverein Winterthur ihn zu seinem 60. Geburtstag noch mit einer Ausstellung ehrt, ist er im nationalsozialistischen Deutschland bereits von der Preußischen Akademie der Künste ausgeschlossen und mit Berufsverbot geächtet.
Karl Hofer
Tessiner Flusslandschaft mit Brücke
Oil on canvas. 63.5 x 89 cm. Framed. Monogrammed and dated 'CH39' (joined) in grey lower right. - A few old retouches.
Not recorded by Wohlert
With a photo-certficate from the Karl Hofer Komitee, Cologne, dated 2 Nov. 2017
The work will be included in the Karl Hofer catalogue raisonné and is registered in the Karl Hofer Archive under the number N 13.
Provenance
Formerly private collection, North Rhine-Westphalia (acquired directly from the artist in 1953); in family possession since
It may be thanks to the Winterthur industrialist and art collector Theodor Reinhart that Karl Hofer discovered Ticino as a summer refuge and source of inspiration. Through his son Hans, Reinhardt had already met and developed an appreciation for Hofer at a young age and would soon become his most important patron. It was through Reinhart's efforts that, during the First World War, Hofer was released to Switzerland after his internment as a German civilian in France. That was the same year, 1917, that Hofer became acquainted with Ticino during a journey there. The seemingly southern European landscape, with its Alpine foothills, would never release its hold on the painter, who moved back to Berlin again in 1919: from 1925 he spent every summer there and, a few years later, he even purchased a house on Lake Lugano, which he kept until 1939. During this period he created numerous panoramic landscape paintings that served, so to speak, as a counterweight to the figures and still lifes he painted at his studio in Berlin.
Here the painter has captured an idyllic scene stretching far into the distance. As is often the case in Hofer's landscape paintings, the course of a river leads into the image; a few houses and an - apparently unfinished - bridge running horizontally through the middle of the image remain the only signs of a human presence in this otherwise uninhabited view. The red roofs and elements of the bridge establish luminous chromatic accents in a colour scheme dominated by tones of green and brown. The composition concludes with the massive mountain ridge that towers up beneath a summery, gently blue sky.
Our painting was created in 1939, a year that also marked Hofert's departure from his paradise. While the Kunstverein Winterthur would still honour him with an exhibition to celebrate his 60th birthday, in Nazi Germany he had already been expelled from the Prussian Academy of Arts and ostracised through his prohibition from working as a painter.
Tessiner Flusslandschaft mit Brücke
Öl auf Leinwand. 63,5 x 89 cm. Gerahmt. Unten rechts grau monogrammiert und datiert 'CH39' (ligiert). - Mit wenigen Altretuschen.
Nicht bei Wohlert
Mit einer Foto-Expertise vom Karl Hofer Komitee, Köln, vom 2.11.2017
Das Werk wird in das Karl Hofer Werkverzeichnis aufgenommen und im Karl Hofer Archiv unter der Nummer N 13 geführt.
Provenienz
Ehemals Privatsammlung Nordrhein-Westfalen (1953 direkt vom Künstler erworben); seitdem Familienbesitz
Möglicherweise ist es dem Winterthurer Industriellen und Kunstsammler Theodor Reinhart zu verdanken, dass Karl Hofer das Tessin als Sommerrefugium und Inspirationsquelle für sich entdeckt. Reinhardt hatte Hofer bereits in jungen Jahren über seinen Sohn Hans kennen- und schätzengelernt und wurde bald zu seinem wichtigsten Förderer. Auf Reinharts Betreiben konnte Hofer während des I. Weltkriegs aus französischer Zivilinternierung in die Schweiz gelangen. Noch im selben Jahr, 1917, lernte Hofer auf einer Reise das Tessin kennen. Die südländisch anmutende Landschaft mit ihren alpinen Ausläufern sollte den seit 1919 wieder in Berlin lebenden Maler nicht mehr loslassen: Ab 1925 verbringt er jeden Sommer dort und erwirbt einige Jahre später sogar ein Haus am Luganer See, das er bis 1939 behält. In diesem Zeitraum entstehen zahlreiche panoramahafte Landschaftsgemälde, die gleichsam einen Ausgleich zu seinen im Berliner Atelier gemalten Figuren und Stillleben bilden.
Der Maler erfasst hier mit weitem Blick eine idyllische Szenerie. Wie vielfach in Hofers Landschaftsgemälden führt ein Flusslauf in das Bild hinein, vereinzelte Häuser und eine die Bildmitte horizontal durchschneidende, offenbar unvollendet gebliebene Brücke bleiben in der ansonsten menschenleeren Ansicht die einzigen Zeugnisse menschlicher Besiedelung. Die roten Hausdächer und Brückenelemente setzen leuchtende Farbakzente in der von Grün- und Brauntönen dominierten Tonigkeit. Ihren Abschluss findet die Komposition in den massiv aufragenden Bergrücken unter einem sommerlich zartblauen Himmel.
Das Entstehungsjahr unseres Gemäldes, 1939, markiert für Hofer gleichzeitig den Abschied aus seinem Paradies. Während der Kunstverein Winterthur ihn zu seinem 60. Geburtstag noch mit einer Ausstellung ehrt, ist er im nationalsozialistischen Deutschland bereits von der Preußischen Akademie der Künste ausgeschlossen und mit Berufsverbot geächtet.
Karl Hofer
Tessiner Flusslandschaft mit Brücke
Oil on canvas. 63.5 x 89 cm. Framed. Monogrammed and dated 'CH39' (joined) in grey lower right. - A few old retouches.
Not recorded by Wohlert
With a photo-certficate from the Karl Hofer Komitee, Cologne, dated 2 Nov. 2017
The work will be included in the Karl Hofer catalogue raisonné and is registered in the Karl Hofer Archive under the number N 13.
Provenance
Formerly private collection, North Rhine-Westphalia (acquired directly from the artist in 1953); in family possession since
It may be thanks to the Winterthur industrialist and art collector Theodor Reinhart that Karl Hofer discovered Ticino as a summer refuge and source of inspiration. Through his son Hans, Reinhardt had already met and developed an appreciation for Hofer at a young age and would soon become his most important patron. It was through Reinhart's efforts that, during the First World War, Hofer was released to Switzerland after his internment as a German civilian in France. That was the same year, 1917, that Hofer became acquainted with Ticino during a journey there. The seemingly southern European landscape, with its Alpine foothills, would never release its hold on the painter, who moved back to Berlin again in 1919: from 1925 he spent every summer there and, a few years later, he even purchased a house on Lake Lugano, which he kept until 1939. During this period he created numerous panoramic landscape paintings that served, so to speak, as a counterweight to the figures and still lifes he painted at his studio in Berlin.
Here the painter has captured an idyllic scene stretching far into the distance. As is often the case in Hofer's landscape paintings, the course of a river leads into the image; a few houses and an - apparently unfinished - bridge running horizontally through the middle of the image remain the only signs of a human presence in this otherwise uninhabited view. The red roofs and elements of the bridge establish luminous chromatic accents in a colour scheme dominated by tones of green and brown. The composition concludes with the massive mountain ridge that towers up beneath a summery, gently blue sky.
Our painting was created in 1939, a year that also marked Hofert's departure from his paradise. While the Kunstverein Winterthur would still honour him with an exhibition to celebrate his 60th birthday, in Nazi Germany he had already been expelled from the Prussian Academy of Arts and ostracised through his prohibition from working as a painter.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Karl Hofer
Tessiner Flusslandschaft mit Brücke
Öl auf Leinwand. 63,5 x 89 cm. Gerahmt. Unten rechts grau monogrammiert und datiert 'CH39' (ligiert). - Mit wenigen Altretuschen.
Nicht bei Wohlert
Mit einer Foto-Expertise vom Karl Hofer Komitee, Köln, vom 2.11.2017
Das Werk wird in das Karl Hofer Werkverzeichnis aufgenommen und im Karl Hofer Archiv unter der Nummer N 13 geführt.
Provenienz
Ehemals Privatsammlung Nordrhein-Westfalen (1953 direkt vom Künstler erworben); seitdem Familienbesitz
Möglicherweise ist es dem Winterthurer Industriellen und Kunstsammler Theodor Reinhart zu verdanken, dass Karl Hofer das Tessin als Sommerrefugium und Inspirationsquelle für sich entdeckt. Reinhardt hatte Hofer bereits in jungen Jahren über seinen Sohn Hans kennen- und schätzengelernt und wurde bald zu seinem wichtigsten Förderer. Auf Reinharts Betreiben konnte Hofer während des I. Weltkriegs aus französischer Zivilinternierung in die Schweiz gelangen. Noch im selben Jahr, 1917, lernte Hofer auf einer Reise das Tessin kennen. Die südländisch anmutende Landschaft mit ihren alpinen Ausläufern sollte den seit 1919 wieder in Berlin lebenden Maler nicht mehr loslassen: Ab 1925 verbringt er jeden Sommer dort und erwirbt einige Jahre später sogar ein Haus am Luganer See, das er bis 1939 behält. In diesem Zeitraum entstehen zahlreiche panoramahafte Landschaftsgemälde, die gleichsam einen Ausgleich zu seinen im Berliner Atelier gemalten Figuren und Stillleben bilden.
Der Maler erfasst hier mit weitem Blick eine idyllische Szenerie. Wie vielfach in Hofers Landschaftsgemälden führt ein Flusslauf in das Bild hinein, vereinzelte Häuser und eine die Bildmitte horizontal durchschneidende, offenbar unvollendet gebliebene Brücke bleiben in der ansonsten menschenleeren Ansicht die einzigen Zeugnisse menschlicher Besiedelung. Die roten Hausdächer und Brückenelemente setzen leuchtende Farbakzente in der von Grün- und Brauntönen dominierten Tonigkeit. Ihren Abschluss findet die Komposition in den massiv aufragenden Bergrücken unter einem sommerlich zartblauen Himmel.
Das Entstehungsjahr unseres Gemäldes, 1939, markiert für Hofer gleichzeitig den Abschied aus seinem Paradies. Während der Kunstverein Winterthur ihn zu seinem 60. Geburtstag noch mit einer Ausstellung ehrt, ist er im nationalsozialistischen Deutschland bereits von der Preußischen Akademie der Künste ausgeschlossen und mit Berufsverbot geächtet.
Karl Hofer
Tessiner Flusslandschaft mit Brücke
Oil on canvas. 63.5 x 89 cm. Framed. Monogrammed and dated 'CH39' (joined) in grey lower right. - A few old retouches.
Not recorded by Wohlert
With a photo-certficate from the Karl Hofer Komitee, Cologne, dated 2 Nov. 2017
The work will be included in the Karl Hofer catalogue raisonné and is registered in the Karl Hofer Archive under the number N 13.
Provenance
Formerly private collection, North Rhine-Westphalia (acquired directly from the artist in 1953); in family possession since
It may be thanks to the Winterthur industrialist and art collector Theodor Reinhart that Karl Hofer discovered Ticino as a summer refuge and source of inspiration. Through his son Hans, Reinhardt had already met and developed an appreciation for Hofer at a young age and would soon become his most important patron. It was through Reinhart's efforts that, during the First World War, Hofer was released to Switzerland after his internment as a German civilian in France. That was the same year, 1917, that Hofer became acquainted with Ticino during a journey there. The seemingly southern European landscape, with its Alpine foothills, would never release its hold on the painter, who moved back to Berlin again in 1919: from 1925 he spent every summer there and, a few years later, he even purchased a house on Lake Lugano, which he kept until 1939. During this period he created numerous panoramic landscape paintings that served, so to speak, as a counterweight to the figures and still lifes he painted at his studio in Berlin.
Here the painter has captured an idyllic scene stretching far into the distance. As is often the case in Hofer's landscape paintings, the course of a river leads into the image; a few houses and an - apparently unfinished - bridge running horizontally through the middle of the image remain the only signs of a human presence in this otherwise uninhabited view. The red roofs and elements of the bridge establish luminous chromatic accents in a colour scheme dominated by tones of green and brown. The composition concludes with the massive mountain ridge that towers up beneath a summery, gently blue sky.
Our painting was created in 1939, a year that also marked Hofert's departure from his paradise. While the Kunstverein Winterthur would still honour him with an exhibition to celebrate his 60th birthday, in Nazi Germany he had already been expelled from the Prussian Academy of Arts and ostracised through his prohibition from working as a painter.
Tessiner Flusslandschaft mit Brücke
Öl auf Leinwand. 63,5 x 89 cm. Gerahmt. Unten rechts grau monogrammiert und datiert 'CH39' (ligiert). - Mit wenigen Altretuschen.
Nicht bei Wohlert
Mit einer Foto-Expertise vom Karl Hofer Komitee, Köln, vom 2.11.2017
Das Werk wird in das Karl Hofer Werkverzeichnis aufgenommen und im Karl Hofer Archiv unter der Nummer N 13 geführt.
Provenienz
Ehemals Privatsammlung Nordrhein-Westfalen (1953 direkt vom Künstler erworben); seitdem Familienbesitz
Möglicherweise ist es dem Winterthurer Industriellen und Kunstsammler Theodor Reinhart zu verdanken, dass Karl Hofer das Tessin als Sommerrefugium und Inspirationsquelle für sich entdeckt. Reinhardt hatte Hofer bereits in jungen Jahren über seinen Sohn Hans kennen- und schätzengelernt und wurde bald zu seinem wichtigsten Förderer. Auf Reinharts Betreiben konnte Hofer während des I. Weltkriegs aus französischer Zivilinternierung in die Schweiz gelangen. Noch im selben Jahr, 1917, lernte Hofer auf einer Reise das Tessin kennen. Die südländisch anmutende Landschaft mit ihren alpinen Ausläufern sollte den seit 1919 wieder in Berlin lebenden Maler nicht mehr loslassen: Ab 1925 verbringt er jeden Sommer dort und erwirbt einige Jahre später sogar ein Haus am Luganer See, das er bis 1939 behält. In diesem Zeitraum entstehen zahlreiche panoramahafte Landschaftsgemälde, die gleichsam einen Ausgleich zu seinen im Berliner Atelier gemalten Figuren und Stillleben bilden.
Der Maler erfasst hier mit weitem Blick eine idyllische Szenerie. Wie vielfach in Hofers Landschaftsgemälden führt ein Flusslauf in das Bild hinein, vereinzelte Häuser und eine die Bildmitte horizontal durchschneidende, offenbar unvollendet gebliebene Brücke bleiben in der ansonsten menschenleeren Ansicht die einzigen Zeugnisse menschlicher Besiedelung. Die roten Hausdächer und Brückenelemente setzen leuchtende Farbakzente in der von Grün- und Brauntönen dominierten Tonigkeit. Ihren Abschluss findet die Komposition in den massiv aufragenden Bergrücken unter einem sommerlich zartblauen Himmel.
Das Entstehungsjahr unseres Gemäldes, 1939, markiert für Hofer gleichzeitig den Abschied aus seinem Paradies. Während der Kunstverein Winterthur ihn zu seinem 60. Geburtstag noch mit einer Ausstellung ehrt, ist er im nationalsozialistischen Deutschland bereits von der Preußischen Akademie der Künste ausgeschlossen und mit Berufsverbot geächtet.
Karl Hofer
Tessiner Flusslandschaft mit Brücke
Oil on canvas. 63.5 x 89 cm. Framed. Monogrammed and dated 'CH39' (joined) in grey lower right. - A few old retouches.
Not recorded by Wohlert
With a photo-certficate from the Karl Hofer Komitee, Cologne, dated 2 Nov. 2017
The work will be included in the Karl Hofer catalogue raisonné and is registered in the Karl Hofer Archive under the number N 13.
Provenance
Formerly private collection, North Rhine-Westphalia (acquired directly from the artist in 1953); in family possession since
It may be thanks to the Winterthur industrialist and art collector Theodor Reinhart that Karl Hofer discovered Ticino as a summer refuge and source of inspiration. Through his son Hans, Reinhardt had already met and developed an appreciation for Hofer at a young age and would soon become his most important patron. It was through Reinhart's efforts that, during the First World War, Hofer was released to Switzerland after his internment as a German civilian in France. That was the same year, 1917, that Hofer became acquainted with Ticino during a journey there. The seemingly southern European landscape, with its Alpine foothills, would never release its hold on the painter, who moved back to Berlin again in 1919: from 1925 he spent every summer there and, a few years later, he even purchased a house on Lake Lugano, which he kept until 1939. During this period he created numerous panoramic landscape paintings that served, so to speak, as a counterweight to the figures and still lifes he painted at his studio in Berlin.
Here the painter has captured an idyllic scene stretching far into the distance. As is often the case in Hofer's landscape paintings, the course of a river leads into the image; a few houses and an - apparently unfinished - bridge running horizontally through the middle of the image remain the only signs of a human presence in this otherwise uninhabited view. The red roofs and elements of the bridge establish luminous chromatic accents in a colour scheme dominated by tones of green and brown. The composition concludes with the massive mountain ridge that towers up beneath a summery, gently blue sky.
Our painting was created in 1939, a year that also marked Hofert's departure from his paradise. While the Kunstverein Winterthur would still honour him with an exhibition to celebrate his 60th birthday, in Nazi Germany he had already been expelled from the Prussian Academy of Arts and ostracised through his prohibition from working as a painter.
Modern Art
Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.
Wichtige Informationen
3 % internet surcharge plus VAT
Different lot terms:
24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
or:
24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
or:
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR
AGB
Conditions of Sale
1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil 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.
The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
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 two years after the date of the sale if the object in question proves not to be authentic.
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 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. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. 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 ticket number and item description. In the event of ambiguities, the listed ticket 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. Telephonic 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. 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. 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.
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 € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). 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 author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. 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 attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part 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 for non-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 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.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
