297
Walter GramattéCafé Öl auf Leinwand. 40,1 x 48,2 cm. Gerahmt. Unten links blaugrau doppelt
In Modern Art
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Beschreibung
Walter Gramatté
Café
Öl auf Leinwand. 40,1 x 48,2 cm. Gerahmt. Unten links blaugrau doppelt monogrammiert und datiert 'W.G. 18.'. - Einige alte Randretuschen, vornehmlich am Oberrand; kleine Farbausbrüche in der rechten Bildhälfte professionell lokal gefestigt und retuschiert.
Negendanck 48; Eckhardt B8
Provenienz
Ehemals Ferdinand Eckhardt; Privatsammlung Nordrhein-Westfalen
Ausstellungen
München 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, Kat. Nr. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, Kat. Nr. 4 mit Farbabb.
Geboren im Januar 1897 zieht Walter Gramatté im Jahr 1914 wie viele seiner Generation als Kriegsfreiwilliger an die Westfront. Mit gerade einmal 17 Jahren steht er zu diesem Zeitpunkt noch ganz am Anfang seiner künstlerischen Karriere, die wie sein gesamtes Leben von der Grunderfahrung des Krieges geprägt werden sollte. In „Die Horen“ schreibt Gramattés Freund, der Schriftsteller Hermann Kasack 1927: „Als Gramatté beginnt, herrscht Krieg. Das ist nicht ohne Bedeutung für das künstlerische und menschliche Erwachen des Ich. Am Anfang seines Lebens stehet nicht das Staunen vor der Welt, sondern das Entsetzen, das Grauen, die Angst. Das lastet und bestimmt den Grundton der Zeit.“ (Die Horen, Monatshefte für Kunst und Dichtung, Heft VI, Berlin 1927/1928). Nicht zufällig orientieren sich Walter Gramattés erste Zeichnungen aus den Jahren 1914 bis 1916 eng am Werk von Max Beckmann, den er als Maler früh bewunderte und in dessen Atelierhaus in Berlin-Hermsdorf er ab 1921 auch für einige Zeit lebt und arbeitet.
Verwundet und nahe dem völligen Zusammenbruch wird Gramatté 1917 vorläufig aus dem Kriegsdienst entlassen und bezieht sein erstes Atelier zunächst in Berlin-Wilmersdorf. Rasch entwickelt sich der Ort zu einem Treffpunkt junger Literaten, Maler und Journalisten. Erich Heckel, der gemeinsam mit Sidi bald in die unmittelbare Nachbarschaft zieht, wird zu einem engen, väterlichen Freund des Künstlers. Gramattés künstlerische Entwicklung zu dieser Zeit steht unter dem Eindruck der Kriegsteilnahme und es verwundert nicht, dass er in seinen Porträts, Selbstbildnissen aber auch Caféhausszenen voller Melancholie und Tragik immer wieder nach den Zuständen menschlicher Existenz forscht. Eindrucksvoll zeigt unser Gemälde mit den fahlen, maskenhaften Figuren im halbleeren Raum, wie Walter Gramatté mit virtuoser Expressivität die Schatten der Zeit auf die Leinwand zu bannen vermag.
Walter Gramatté
Café
Oil on canvas. 40.1 x 48.2 cm. Framed. Monogrammed and dated 'W.G. 18.' twice in blue grey lower left. - Some old retouches in the margins, mostly in upper margin; small losses of colour in right half of picture professionally stabilised and retouched in places.
Negendanck 48; Eckhardt B8
Provenance
Formerly Ferdinand Eckhardt; Private collection, North Rhine-Westphalia
Exhibitions
Munich 1989 (Staatsgalerie moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, cat. no. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, cat. no. 4 with colour illus.
Born in January of 1897, like many members of his generation Walter Gramatté went to Germany's Western Front as a volunteer in 1914. At that time, at the age of just 17, he was still at the very beginning of his artistic career, which - like his entire life - would be shaped by the fundamental experience of the war. In 1927 in the journal “Die Horen”, Gramatté's friend the writer Hermann Kasack wrote: “When Gramatté began, war reigned. That was not without significance for the artistic and human awakening of the self. At the beginning of his life stands not a marvelling at the world, but outrage, horror, fear. This burdened and defined the underlying tone of the period.” (Die Horen, Monatshefte für Kunst und Dichtung, no. VI, Berlin 1927/1928). It is no coincidence that Gramatté's early drawings from the years 1914 to 1916 are closely based on the work of Max Beckmann: he admired him as a painter early on, and he lived and worked in his studio home in Berlin-Hermsdorf for a period beginning in 1921.
Wounded and close to a complete breakdown, Gramatté was provisionally released from military duty in 1917, and he moved into his first studio, located in Berlin-Wilmersdorf. This quickly developed into a meeting place for young authors, painters and journalists. Erich Heckel, who soon moved into the immediate neighbourhood with Sidi, became a close and father-like friend of the artist. Gramatté's artistic development in this period took place under the impression made by his involvement in the war, and it is no surprise that he repeatedly delves into the conditions of human existence in his portraits and self-portraits, but also in coffee-house scenes full of melancholy and tragedy. With its pallid, mask-like figures in a half-empty room, our painting strikingly demonstrates how Gramatté was able to capture the shadows of his time on canvas with an expressive virtuosity.
Café
Öl auf Leinwand. 40,1 x 48,2 cm. Gerahmt. Unten links blaugrau doppelt monogrammiert und datiert 'W.G. 18.'. - Einige alte Randretuschen, vornehmlich am Oberrand; kleine Farbausbrüche in der rechten Bildhälfte professionell lokal gefestigt und retuschiert.
Negendanck 48; Eckhardt B8
Provenienz
Ehemals Ferdinand Eckhardt; Privatsammlung Nordrhein-Westfalen
Ausstellungen
München 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, Kat. Nr. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, Kat. Nr. 4 mit Farbabb.
Geboren im Januar 1897 zieht Walter Gramatté im Jahr 1914 wie viele seiner Generation als Kriegsfreiwilliger an die Westfront. Mit gerade einmal 17 Jahren steht er zu diesem Zeitpunkt noch ganz am Anfang seiner künstlerischen Karriere, die wie sein gesamtes Leben von der Grunderfahrung des Krieges geprägt werden sollte. In „Die Horen“ schreibt Gramattés Freund, der Schriftsteller Hermann Kasack 1927: „Als Gramatté beginnt, herrscht Krieg. Das ist nicht ohne Bedeutung für das künstlerische und menschliche Erwachen des Ich. Am Anfang seines Lebens stehet nicht das Staunen vor der Welt, sondern das Entsetzen, das Grauen, die Angst. Das lastet und bestimmt den Grundton der Zeit.“ (Die Horen, Monatshefte für Kunst und Dichtung, Heft VI, Berlin 1927/1928). Nicht zufällig orientieren sich Walter Gramattés erste Zeichnungen aus den Jahren 1914 bis 1916 eng am Werk von Max Beckmann, den er als Maler früh bewunderte und in dessen Atelierhaus in Berlin-Hermsdorf er ab 1921 auch für einige Zeit lebt und arbeitet.
Verwundet und nahe dem völligen Zusammenbruch wird Gramatté 1917 vorläufig aus dem Kriegsdienst entlassen und bezieht sein erstes Atelier zunächst in Berlin-Wilmersdorf. Rasch entwickelt sich der Ort zu einem Treffpunkt junger Literaten, Maler und Journalisten. Erich Heckel, der gemeinsam mit Sidi bald in die unmittelbare Nachbarschaft zieht, wird zu einem engen, väterlichen Freund des Künstlers. Gramattés künstlerische Entwicklung zu dieser Zeit steht unter dem Eindruck der Kriegsteilnahme und es verwundert nicht, dass er in seinen Porträts, Selbstbildnissen aber auch Caféhausszenen voller Melancholie und Tragik immer wieder nach den Zuständen menschlicher Existenz forscht. Eindrucksvoll zeigt unser Gemälde mit den fahlen, maskenhaften Figuren im halbleeren Raum, wie Walter Gramatté mit virtuoser Expressivität die Schatten der Zeit auf die Leinwand zu bannen vermag.
Walter Gramatté
Café
Oil on canvas. 40.1 x 48.2 cm. Framed. Monogrammed and dated 'W.G. 18.' twice in blue grey lower left. - Some old retouches in the margins, mostly in upper margin; small losses of colour in right half of picture professionally stabilised and retouched in places.
Negendanck 48; Eckhardt B8
Provenance
Formerly Ferdinand Eckhardt; Private collection, North Rhine-Westphalia
Exhibitions
Munich 1989 (Staatsgalerie moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, cat. no. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, cat. no. 4 with colour illus.
Born in January of 1897, like many members of his generation Walter Gramatté went to Germany's Western Front as a volunteer in 1914. At that time, at the age of just 17, he was still at the very beginning of his artistic career, which - like his entire life - would be shaped by the fundamental experience of the war. In 1927 in the journal “Die Horen”, Gramatté's friend the writer Hermann Kasack wrote: “When Gramatté began, war reigned. That was not without significance for the artistic and human awakening of the self. At the beginning of his life stands not a marvelling at the world, but outrage, horror, fear. This burdened and defined the underlying tone of the period.” (Die Horen, Monatshefte für Kunst und Dichtung, no. VI, Berlin 1927/1928). It is no coincidence that Gramatté's early drawings from the years 1914 to 1916 are closely based on the work of Max Beckmann: he admired him as a painter early on, and he lived and worked in his studio home in Berlin-Hermsdorf for a period beginning in 1921.
Wounded and close to a complete breakdown, Gramatté was provisionally released from military duty in 1917, and he moved into his first studio, located in Berlin-Wilmersdorf. This quickly developed into a meeting place for young authors, painters and journalists. Erich Heckel, who soon moved into the immediate neighbourhood with Sidi, became a close and father-like friend of the artist. Gramatté's artistic development in this period took place under the impression made by his involvement in the war, and it is no surprise that he repeatedly delves into the conditions of human existence in his portraits and self-portraits, but also in coffee-house scenes full of melancholy and tragedy. With its pallid, mask-like figures in a half-empty room, our painting strikingly demonstrates how Gramatté was able to capture the shadows of his time on canvas with an expressive virtuosity.
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Walter Gramatté
Café
Öl auf Leinwand. 40,1 x 48,2 cm. Gerahmt. Unten links blaugrau doppelt monogrammiert und datiert 'W.G. 18.'. - Einige alte Randretuschen, vornehmlich am Oberrand; kleine Farbausbrüche in der rechten Bildhälfte professionell lokal gefestigt und retuschiert.
Negendanck 48; Eckhardt B8
Provenienz
Ehemals Ferdinand Eckhardt; Privatsammlung Nordrhein-Westfalen
Ausstellungen
München 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, Kat. Nr. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, Kat. Nr. 4 mit Farbabb.
Geboren im Januar 1897 zieht Walter Gramatté im Jahr 1914 wie viele seiner Generation als Kriegsfreiwilliger an die Westfront. Mit gerade einmal 17 Jahren steht er zu diesem Zeitpunkt noch ganz am Anfang seiner künstlerischen Karriere, die wie sein gesamtes Leben von der Grunderfahrung des Krieges geprägt werden sollte. In „Die Horen“ schreibt Gramattés Freund, der Schriftsteller Hermann Kasack 1927: „Als Gramatté beginnt, herrscht Krieg. Das ist nicht ohne Bedeutung für das künstlerische und menschliche Erwachen des Ich. Am Anfang seines Lebens stehet nicht das Staunen vor der Welt, sondern das Entsetzen, das Grauen, die Angst. Das lastet und bestimmt den Grundton der Zeit.“ (Die Horen, Monatshefte für Kunst und Dichtung, Heft VI, Berlin 1927/1928). Nicht zufällig orientieren sich Walter Gramattés erste Zeichnungen aus den Jahren 1914 bis 1916 eng am Werk von Max Beckmann, den er als Maler früh bewunderte und in dessen Atelierhaus in Berlin-Hermsdorf er ab 1921 auch für einige Zeit lebt und arbeitet.
Verwundet und nahe dem völligen Zusammenbruch wird Gramatté 1917 vorläufig aus dem Kriegsdienst entlassen und bezieht sein erstes Atelier zunächst in Berlin-Wilmersdorf. Rasch entwickelt sich der Ort zu einem Treffpunkt junger Literaten, Maler und Journalisten. Erich Heckel, der gemeinsam mit Sidi bald in die unmittelbare Nachbarschaft zieht, wird zu einem engen, väterlichen Freund des Künstlers. Gramattés künstlerische Entwicklung zu dieser Zeit steht unter dem Eindruck der Kriegsteilnahme und es verwundert nicht, dass er in seinen Porträts, Selbstbildnissen aber auch Caféhausszenen voller Melancholie und Tragik immer wieder nach den Zuständen menschlicher Existenz forscht. Eindrucksvoll zeigt unser Gemälde mit den fahlen, maskenhaften Figuren im halbleeren Raum, wie Walter Gramatté mit virtuoser Expressivität die Schatten der Zeit auf die Leinwand zu bannen vermag.
Walter Gramatté
Café
Oil on canvas. 40.1 x 48.2 cm. Framed. Monogrammed and dated 'W.G. 18.' twice in blue grey lower left. - Some old retouches in the margins, mostly in upper margin; small losses of colour in right half of picture professionally stabilised and retouched in places.
Negendanck 48; Eckhardt B8
Provenance
Formerly Ferdinand Eckhardt; Private collection, North Rhine-Westphalia
Exhibitions
Munich 1989 (Staatsgalerie moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, cat. no. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, cat. no. 4 with colour illus.
Born in January of 1897, like many members of his generation Walter Gramatté went to Germany's Western Front as a volunteer in 1914. At that time, at the age of just 17, he was still at the very beginning of his artistic career, which - like his entire life - would be shaped by the fundamental experience of the war. In 1927 in the journal “Die Horen”, Gramatté's friend the writer Hermann Kasack wrote: “When Gramatté began, war reigned. That was not without significance for the artistic and human awakening of the self. At the beginning of his life stands not a marvelling at the world, but outrage, horror, fear. This burdened and defined the underlying tone of the period.” (Die Horen, Monatshefte für Kunst und Dichtung, no. VI, Berlin 1927/1928). It is no coincidence that Gramatté's early drawings from the years 1914 to 1916 are closely based on the work of Max Beckmann: he admired him as a painter early on, and he lived and worked in his studio home in Berlin-Hermsdorf for a period beginning in 1921.
Wounded and close to a complete breakdown, Gramatté was provisionally released from military duty in 1917, and he moved into his first studio, located in Berlin-Wilmersdorf. This quickly developed into a meeting place for young authors, painters and journalists. Erich Heckel, who soon moved into the immediate neighbourhood with Sidi, became a close and father-like friend of the artist. Gramatté's artistic development in this period took place under the impression made by his involvement in the war, and it is no surprise that he repeatedly delves into the conditions of human existence in his portraits and self-portraits, but also in coffee-house scenes full of melancholy and tragedy. With its pallid, mask-like figures in a half-empty room, our painting strikingly demonstrates how Gramatté was able to capture the shadows of his time on canvas with an expressive virtuosity.
Café
Öl auf Leinwand. 40,1 x 48,2 cm. Gerahmt. Unten links blaugrau doppelt monogrammiert und datiert 'W.G. 18.'. - Einige alte Randretuschen, vornehmlich am Oberrand; kleine Farbausbrüche in der rechten Bildhälfte professionell lokal gefestigt und retuschiert.
Negendanck 48; Eckhardt B8
Provenienz
Ehemals Ferdinand Eckhardt; Privatsammlung Nordrhein-Westfalen
Ausstellungen
München 1989 (Staatsgalerie Moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, Kat. Nr. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, Kat. Nr. 4 mit Farbabb.
Geboren im Januar 1897 zieht Walter Gramatté im Jahr 1914 wie viele seiner Generation als Kriegsfreiwilliger an die Westfront. Mit gerade einmal 17 Jahren steht er zu diesem Zeitpunkt noch ganz am Anfang seiner künstlerischen Karriere, die wie sein gesamtes Leben von der Grunderfahrung des Krieges geprägt werden sollte. In „Die Horen“ schreibt Gramattés Freund, der Schriftsteller Hermann Kasack 1927: „Als Gramatté beginnt, herrscht Krieg. Das ist nicht ohne Bedeutung für das künstlerische und menschliche Erwachen des Ich. Am Anfang seines Lebens stehet nicht das Staunen vor der Welt, sondern das Entsetzen, das Grauen, die Angst. Das lastet und bestimmt den Grundton der Zeit.“ (Die Horen, Monatshefte für Kunst und Dichtung, Heft VI, Berlin 1927/1928). Nicht zufällig orientieren sich Walter Gramattés erste Zeichnungen aus den Jahren 1914 bis 1916 eng am Werk von Max Beckmann, den er als Maler früh bewunderte und in dessen Atelierhaus in Berlin-Hermsdorf er ab 1921 auch für einige Zeit lebt und arbeitet.
Verwundet und nahe dem völligen Zusammenbruch wird Gramatté 1917 vorläufig aus dem Kriegsdienst entlassen und bezieht sein erstes Atelier zunächst in Berlin-Wilmersdorf. Rasch entwickelt sich der Ort zu einem Treffpunkt junger Literaten, Maler und Journalisten. Erich Heckel, der gemeinsam mit Sidi bald in die unmittelbare Nachbarschaft zieht, wird zu einem engen, väterlichen Freund des Künstlers. Gramattés künstlerische Entwicklung zu dieser Zeit steht unter dem Eindruck der Kriegsteilnahme und es verwundert nicht, dass er in seinen Porträts, Selbstbildnissen aber auch Caféhausszenen voller Melancholie und Tragik immer wieder nach den Zuständen menschlicher Existenz forscht. Eindrucksvoll zeigt unser Gemälde mit den fahlen, maskenhaften Figuren im halbleeren Raum, wie Walter Gramatté mit virtuoser Expressivität die Schatten der Zeit auf die Leinwand zu bannen vermag.
Walter Gramatté
Café
Oil on canvas. 40.1 x 48.2 cm. Framed. Monogrammed and dated 'W.G. 18.' twice in blue grey lower left. - Some old retouches in the margins, mostly in upper margin; small losses of colour in right half of picture professionally stabilised and retouched in places.
Negendanck 48; Eckhardt B8
Provenance
Formerly Ferdinand Eckhardt; Private collection, North Rhine-Westphalia
Exhibitions
Munich 1989 (Staatsgalerie moderne Kunst), Walter Gramatté 1897 - 1929. Gemälde und Arbeiten auf Papier, cat. no. 27; Düsseldorf 1992 (Galerie Remmert und Barth), Walter Gramatté 1897 - 1929. Gemälde, Aquarelle, Druckgraphiken, cat. no. 4 with colour illus.
Born in January of 1897, like many members of his generation Walter Gramatté went to Germany's Western Front as a volunteer in 1914. At that time, at the age of just 17, he was still at the very beginning of his artistic career, which - like his entire life - would be shaped by the fundamental experience of the war. In 1927 in the journal “Die Horen”, Gramatté's friend the writer Hermann Kasack wrote: “When Gramatté began, war reigned. That was not without significance for the artistic and human awakening of the self. At the beginning of his life stands not a marvelling at the world, but outrage, horror, fear. This burdened and defined the underlying tone of the period.” (Die Horen, Monatshefte für Kunst und Dichtung, no. VI, Berlin 1927/1928). It is no coincidence that Gramatté's early drawings from the years 1914 to 1916 are closely based on the work of Max Beckmann: he admired him as a painter early on, and he lived and worked in his studio home in Berlin-Hermsdorf for a period beginning in 1921.
Wounded and close to a complete breakdown, Gramatté was provisionally released from military duty in 1917, and he moved into his first studio, located in Berlin-Wilmersdorf. This quickly developed into a meeting place for young authors, painters and journalists. Erich Heckel, who soon moved into the immediate neighbourhood with Sidi, became a close and father-like friend of the artist. Gramatté's artistic development in this period took place under the impression made by his involvement in the war, and it is no surprise that he repeatedly delves into the conditions of human existence in his portraits and self-portraits, but also in coffee-house scenes full of melancholy and tragedy. With its pallid, mask-like figures in a half-empty room, our painting strikingly demonstrates how Gramatté was able to capture the shadows of his time on canvas with an expressive virtuosity.
Modern Art
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or:
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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
