240
Leo PutzReigen 2. I. Öl auf Leinwand. 124 x 160,5 cm. Gerahmt. Unten rechts schwarz signiert 'Leo
In Modern Art
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Leo Putz
Reigen 2. I.
Öl auf Leinwand. 124 x 160,5 cm. Gerahmt. Unten rechts schwarz signiert 'Leo Putz'. Rückseitig mit altem Etikett, darauf handschriftlich mit Angaben zu Künstler, Titel und Jahr versehen. - Im mittleren Uferbereich in der unteren Bildpartie mit einer schmalen unauffälligen Retusche.
H. Putz II 650
Provenienz
Vom Vorbesitzer direkt beim Künstler erworben; seitdem Familienbesitz Süddeutschland
Das Werk entsteht wenige Jahre nach dem I. Weltkrieg. Der 60jährige Leo Putz lebt in München und erlebt unmittelbar Revolutionsunruhen. Es ist sicher kein Zufall, wenn ausgerechnet in dieser Zeit in seinen Werken der Symbolismus als Thema Raum einnimmt, also die Dinge in einer Verschlüsselung vorgetragen sind: zwischen Weltanschauung und freier Religion, zwischen traumhaftem Geschehen und freier Sexualität.
Der Reigen ist eine besondere Tanzform im Kreis oder in Kettenformation seit Menschengedenken. In der Renaissance etwa übten sich die Nymphen, die Grazien und Allegorien der Tugenden im Tanz, dokumentiert von Sandro Botticelli u.a.. Im Weiteren entwickelt sich der Reigen zu einem Volkstanz, der als gemeinschaftlicher Laientanz mit Kraft gepflegt, im Rausch um die Jahrhundertwende und im Rahmen der Reformbewegung sowie Körperkult zu eine Art ‚Rundtanz der Lebensfeier' mutiert. Die Körpersprache der Tänzer ist bei Putz unmittelbar greifbar im individuellen Stil des Künstlers voller farbintensiver, expressiver sinnlicher Nacktheit drehen sich die weiblichen und männlichen Tänzer; die ebenso sich in Ekstase spielende Geigenspielerin bildet den Kontrapost und Drehung mit unterschiedlicher Bewegung, Blickrichtung und Haltung des Kopfes: ein emotionales Wiegen in harmonischer Verbundenheit zu ihrem musikalischen Temperament. Die Tanzbegeisterung in Deutschland und in den angrenzenden Ländern seit der Jahrhundertwende mag Leo Putz anregen zu reizvoller Körperhaltung voller Ausdruck einer vitalen Lebenslust. Eine starke Metapher für eine ausgelassene Erotik als Gesellschaftsspiel, die der Künstler seismographisch als Ideal zwischen Anmut und Schönheit ausbreitet. Diese dionysische Entgrenzung und apollinische Formgebung (Friedrich Nietzsche) kann überführen zu Arthur Schnitzlers erotischem Theaterstück „Reigen“, 1900 geschrieben und im Dezember 1920 am Kleinen Schauspielhaus in Berlin uraufgeführt, begleitet von Claude Debussys „Frühlingsimpression“. Diese Rätselhaftigkeit und Vielgestaltigkeit des Symbolismus ist von den Künstlern, von Leo Putz gewollt, sie dient ihnen als Ausdrucksmittel dessen, was nur erfühlt und geglaubt werden kann: eine anti-positivistische Geisteshaltung, die über ein Interesse an der Esoterik und den Einsatz von Symbolen der Gefühlswelten einen gemeinsamen Stil kreiert. Insofern ein geradezu intimes, aber ebenso geheimnisvolles Traumgespinst: Leo Putz will sich bei aller symbolhafter Aufgeladenheit im Malprozess auf jeden Fall vergnügen.
Leo Putz
Reigen 2. I.
Oil on canvas. 124 x 160.5 cm. Framed. Signed 'Leo Putz' in black lower right. Old label verso, therein handwritten name of artist, title and year. - In the central bank area in the lower part of the picture with a narrow, unobtrusive retouch.
H. Putz II 650
Provenance
Acquired directly from the artist by the former owner; in family possession since, South Germany
This work was created just a few years after the First World War. The 60-year-old Leo Putz lived in Munich and directly experienced the revolutionary unrest. It is surely no coincidence that precisely in this period the theme of Symbolism gained ground in his work - that is to say that he presented things in a cryptic manner: between world view and liberal religion, between dream-like events and sexual liberty.
The round dance is a special form of dancing in a circle or chain, and it is as old as human memory. In the Renaissance, for example, nymphs, the Graces and allegories of the virtues engaged in this dance, as documented by artists like Sandro Botticelli. The round subsequently developed into a folk dance; eagerly pursued as a dance for groups of amateurs, it mutated into a kind of “round dance in celebration of life” in the exhilarated atmosphere around the turn of the century and in the context of the reform movements. In Putz's work the dancers' body language is directly comprehensible in the artist's individual style full of boldly colourful and expressively sensual nudity, with the male and female dancers spinning round. The female fiddler also plays in a state of ecstasy and forms a contrapposto and serpentine through the contrary movement and positioning of her head and the direction of her gaze, swaying emotionally in harmonious affinity with her musical temperament. The enthusiasm for dance in Germany and neighbouring countries since the turn of the century may have inspired Putz to create this captivating pose full of expression and a vibrant lust for life. Unfurling a powerful metaphor for exuberant eroticism as a social pastime, the artist seismographically situates it as an ideal between grace and beauty. This Dionysian release and Apollonian establishment of form (Friedrich Nietzsche) can serve as a transition to Arthur Schnitzler's erotic play “Reigen”, written in 1900 and premiered in December of 1920 at Berlin's Kleines Schauspielhaus, accompanied by Claude Debussy's “Impression: Spring”. The enigmatic quality and ambiguity of Symbolism was deliberately sought by artists, including Putz. It served them as a means to express what can only be felt and believed: a mental attitude that was anti-positivist and created a shared style by way of an interest in esotericism and the use of symbols for emotional worlds. To this extent it forms a directly intimate, but equally mysterious dream apparition: in any case, regardless of all this symbolic loading with meaning, Putz sought pleasure in the process of painting.
Reigen 2. I.
Öl auf Leinwand. 124 x 160,5 cm. Gerahmt. Unten rechts schwarz signiert 'Leo Putz'. Rückseitig mit altem Etikett, darauf handschriftlich mit Angaben zu Künstler, Titel und Jahr versehen. - Im mittleren Uferbereich in der unteren Bildpartie mit einer schmalen unauffälligen Retusche.
H. Putz II 650
Provenienz
Vom Vorbesitzer direkt beim Künstler erworben; seitdem Familienbesitz Süddeutschland
Das Werk entsteht wenige Jahre nach dem I. Weltkrieg. Der 60jährige Leo Putz lebt in München und erlebt unmittelbar Revolutionsunruhen. Es ist sicher kein Zufall, wenn ausgerechnet in dieser Zeit in seinen Werken der Symbolismus als Thema Raum einnimmt, also die Dinge in einer Verschlüsselung vorgetragen sind: zwischen Weltanschauung und freier Religion, zwischen traumhaftem Geschehen und freier Sexualität.
Der Reigen ist eine besondere Tanzform im Kreis oder in Kettenformation seit Menschengedenken. In der Renaissance etwa übten sich die Nymphen, die Grazien und Allegorien der Tugenden im Tanz, dokumentiert von Sandro Botticelli u.a.. Im Weiteren entwickelt sich der Reigen zu einem Volkstanz, der als gemeinschaftlicher Laientanz mit Kraft gepflegt, im Rausch um die Jahrhundertwende und im Rahmen der Reformbewegung sowie Körperkult zu eine Art ‚Rundtanz der Lebensfeier' mutiert. Die Körpersprache der Tänzer ist bei Putz unmittelbar greifbar im individuellen Stil des Künstlers voller farbintensiver, expressiver sinnlicher Nacktheit drehen sich die weiblichen und männlichen Tänzer; die ebenso sich in Ekstase spielende Geigenspielerin bildet den Kontrapost und Drehung mit unterschiedlicher Bewegung, Blickrichtung und Haltung des Kopfes: ein emotionales Wiegen in harmonischer Verbundenheit zu ihrem musikalischen Temperament. Die Tanzbegeisterung in Deutschland und in den angrenzenden Ländern seit der Jahrhundertwende mag Leo Putz anregen zu reizvoller Körperhaltung voller Ausdruck einer vitalen Lebenslust. Eine starke Metapher für eine ausgelassene Erotik als Gesellschaftsspiel, die der Künstler seismographisch als Ideal zwischen Anmut und Schönheit ausbreitet. Diese dionysische Entgrenzung und apollinische Formgebung (Friedrich Nietzsche) kann überführen zu Arthur Schnitzlers erotischem Theaterstück „Reigen“, 1900 geschrieben und im Dezember 1920 am Kleinen Schauspielhaus in Berlin uraufgeführt, begleitet von Claude Debussys „Frühlingsimpression“. Diese Rätselhaftigkeit und Vielgestaltigkeit des Symbolismus ist von den Künstlern, von Leo Putz gewollt, sie dient ihnen als Ausdrucksmittel dessen, was nur erfühlt und geglaubt werden kann: eine anti-positivistische Geisteshaltung, die über ein Interesse an der Esoterik und den Einsatz von Symbolen der Gefühlswelten einen gemeinsamen Stil kreiert. Insofern ein geradezu intimes, aber ebenso geheimnisvolles Traumgespinst: Leo Putz will sich bei aller symbolhafter Aufgeladenheit im Malprozess auf jeden Fall vergnügen.
Leo Putz
Reigen 2. I.
Oil on canvas. 124 x 160.5 cm. Framed. Signed 'Leo Putz' in black lower right. Old label verso, therein handwritten name of artist, title and year. - In the central bank area in the lower part of the picture with a narrow, unobtrusive retouch.
H. Putz II 650
Provenance
Acquired directly from the artist by the former owner; in family possession since, South Germany
This work was created just a few years after the First World War. The 60-year-old Leo Putz lived in Munich and directly experienced the revolutionary unrest. It is surely no coincidence that precisely in this period the theme of Symbolism gained ground in his work - that is to say that he presented things in a cryptic manner: between world view and liberal religion, between dream-like events and sexual liberty.
The round dance is a special form of dancing in a circle or chain, and it is as old as human memory. In the Renaissance, for example, nymphs, the Graces and allegories of the virtues engaged in this dance, as documented by artists like Sandro Botticelli. The round subsequently developed into a folk dance; eagerly pursued as a dance for groups of amateurs, it mutated into a kind of “round dance in celebration of life” in the exhilarated atmosphere around the turn of the century and in the context of the reform movements. In Putz's work the dancers' body language is directly comprehensible in the artist's individual style full of boldly colourful and expressively sensual nudity, with the male and female dancers spinning round. The female fiddler also plays in a state of ecstasy and forms a contrapposto and serpentine through the contrary movement and positioning of her head and the direction of her gaze, swaying emotionally in harmonious affinity with her musical temperament. The enthusiasm for dance in Germany and neighbouring countries since the turn of the century may have inspired Putz to create this captivating pose full of expression and a vibrant lust for life. Unfurling a powerful metaphor for exuberant eroticism as a social pastime, the artist seismographically situates it as an ideal between grace and beauty. This Dionysian release and Apollonian establishment of form (Friedrich Nietzsche) can serve as a transition to Arthur Schnitzler's erotic play “Reigen”, written in 1900 and premiered in December of 1920 at Berlin's Kleines Schauspielhaus, accompanied by Claude Debussy's “Impression: Spring”. The enigmatic quality and ambiguity of Symbolism was deliberately sought by artists, including Putz. It served them as a means to express what can only be felt and believed: a mental attitude that was anti-positivist and created a shared style by way of an interest in esotericism and the use of symbols for emotional worlds. To this extent it forms a directly intimate, but equally mysterious dream apparition: in any case, regardless of all this symbolic loading with meaning, Putz sought pleasure in the process of painting.
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Leo Putz
Reigen 2. I.
Öl auf Leinwand. 124 x 160,5 cm. Gerahmt. Unten rechts schwarz signiert 'Leo Putz'. Rückseitig mit altem Etikett, darauf handschriftlich mit Angaben zu Künstler, Titel und Jahr versehen. - Im mittleren Uferbereich in der unteren Bildpartie mit einer schmalen unauffälligen Retusche.
H. Putz II 650
Provenienz
Vom Vorbesitzer direkt beim Künstler erworben; seitdem Familienbesitz Süddeutschland
Das Werk entsteht wenige Jahre nach dem I. Weltkrieg. Der 60jährige Leo Putz lebt in München und erlebt unmittelbar Revolutionsunruhen. Es ist sicher kein Zufall, wenn ausgerechnet in dieser Zeit in seinen Werken der Symbolismus als Thema Raum einnimmt, also die Dinge in einer Verschlüsselung vorgetragen sind: zwischen Weltanschauung und freier Religion, zwischen traumhaftem Geschehen und freier Sexualität.
Der Reigen ist eine besondere Tanzform im Kreis oder in Kettenformation seit Menschengedenken. In der Renaissance etwa übten sich die Nymphen, die Grazien und Allegorien der Tugenden im Tanz, dokumentiert von Sandro Botticelli u.a.. Im Weiteren entwickelt sich der Reigen zu einem Volkstanz, der als gemeinschaftlicher Laientanz mit Kraft gepflegt, im Rausch um die Jahrhundertwende und im Rahmen der Reformbewegung sowie Körperkult zu eine Art ‚Rundtanz der Lebensfeier' mutiert. Die Körpersprache der Tänzer ist bei Putz unmittelbar greifbar im individuellen Stil des Künstlers voller farbintensiver, expressiver sinnlicher Nacktheit drehen sich die weiblichen und männlichen Tänzer; die ebenso sich in Ekstase spielende Geigenspielerin bildet den Kontrapost und Drehung mit unterschiedlicher Bewegung, Blickrichtung und Haltung des Kopfes: ein emotionales Wiegen in harmonischer Verbundenheit zu ihrem musikalischen Temperament. Die Tanzbegeisterung in Deutschland und in den angrenzenden Ländern seit der Jahrhundertwende mag Leo Putz anregen zu reizvoller Körperhaltung voller Ausdruck einer vitalen Lebenslust. Eine starke Metapher für eine ausgelassene Erotik als Gesellschaftsspiel, die der Künstler seismographisch als Ideal zwischen Anmut und Schönheit ausbreitet. Diese dionysische Entgrenzung und apollinische Formgebung (Friedrich Nietzsche) kann überführen zu Arthur Schnitzlers erotischem Theaterstück „Reigen“, 1900 geschrieben und im Dezember 1920 am Kleinen Schauspielhaus in Berlin uraufgeführt, begleitet von Claude Debussys „Frühlingsimpression“. Diese Rätselhaftigkeit und Vielgestaltigkeit des Symbolismus ist von den Künstlern, von Leo Putz gewollt, sie dient ihnen als Ausdrucksmittel dessen, was nur erfühlt und geglaubt werden kann: eine anti-positivistische Geisteshaltung, die über ein Interesse an der Esoterik und den Einsatz von Symbolen der Gefühlswelten einen gemeinsamen Stil kreiert. Insofern ein geradezu intimes, aber ebenso geheimnisvolles Traumgespinst: Leo Putz will sich bei aller symbolhafter Aufgeladenheit im Malprozess auf jeden Fall vergnügen.
Leo Putz
Reigen 2. I.
Oil on canvas. 124 x 160.5 cm. Framed. Signed 'Leo Putz' in black lower right. Old label verso, therein handwritten name of artist, title and year. - In the central bank area in the lower part of the picture with a narrow, unobtrusive retouch.
H. Putz II 650
Provenance
Acquired directly from the artist by the former owner; in family possession since, South Germany
This work was created just a few years after the First World War. The 60-year-old Leo Putz lived in Munich and directly experienced the revolutionary unrest. It is surely no coincidence that precisely in this period the theme of Symbolism gained ground in his work - that is to say that he presented things in a cryptic manner: between world view and liberal religion, between dream-like events and sexual liberty.
The round dance is a special form of dancing in a circle or chain, and it is as old as human memory. In the Renaissance, for example, nymphs, the Graces and allegories of the virtues engaged in this dance, as documented by artists like Sandro Botticelli. The round subsequently developed into a folk dance; eagerly pursued as a dance for groups of amateurs, it mutated into a kind of “round dance in celebration of life” in the exhilarated atmosphere around the turn of the century and in the context of the reform movements. In Putz's work the dancers' body language is directly comprehensible in the artist's individual style full of boldly colourful and expressively sensual nudity, with the male and female dancers spinning round. The female fiddler also plays in a state of ecstasy and forms a contrapposto and serpentine through the contrary movement and positioning of her head and the direction of her gaze, swaying emotionally in harmonious affinity with her musical temperament. The enthusiasm for dance in Germany and neighbouring countries since the turn of the century may have inspired Putz to create this captivating pose full of expression and a vibrant lust for life. Unfurling a powerful metaphor for exuberant eroticism as a social pastime, the artist seismographically situates it as an ideal between grace and beauty. This Dionysian release and Apollonian establishment of form (Friedrich Nietzsche) can serve as a transition to Arthur Schnitzler's erotic play “Reigen”, written in 1900 and premiered in December of 1920 at Berlin's Kleines Schauspielhaus, accompanied by Claude Debussy's “Impression: Spring”. The enigmatic quality and ambiguity of Symbolism was deliberately sought by artists, including Putz. It served them as a means to express what can only be felt and believed: a mental attitude that was anti-positivist and created a shared style by way of an interest in esotericism and the use of symbols for emotional worlds. To this extent it forms a directly intimate, but equally mysterious dream apparition: in any case, regardless of all this symbolic loading with meaning, Putz sought pleasure in the process of painting.
Reigen 2. I.
Öl auf Leinwand. 124 x 160,5 cm. Gerahmt. Unten rechts schwarz signiert 'Leo Putz'. Rückseitig mit altem Etikett, darauf handschriftlich mit Angaben zu Künstler, Titel und Jahr versehen. - Im mittleren Uferbereich in der unteren Bildpartie mit einer schmalen unauffälligen Retusche.
H. Putz II 650
Provenienz
Vom Vorbesitzer direkt beim Künstler erworben; seitdem Familienbesitz Süddeutschland
Das Werk entsteht wenige Jahre nach dem I. Weltkrieg. Der 60jährige Leo Putz lebt in München und erlebt unmittelbar Revolutionsunruhen. Es ist sicher kein Zufall, wenn ausgerechnet in dieser Zeit in seinen Werken der Symbolismus als Thema Raum einnimmt, also die Dinge in einer Verschlüsselung vorgetragen sind: zwischen Weltanschauung und freier Religion, zwischen traumhaftem Geschehen und freier Sexualität.
Der Reigen ist eine besondere Tanzform im Kreis oder in Kettenformation seit Menschengedenken. In der Renaissance etwa übten sich die Nymphen, die Grazien und Allegorien der Tugenden im Tanz, dokumentiert von Sandro Botticelli u.a.. Im Weiteren entwickelt sich der Reigen zu einem Volkstanz, der als gemeinschaftlicher Laientanz mit Kraft gepflegt, im Rausch um die Jahrhundertwende und im Rahmen der Reformbewegung sowie Körperkult zu eine Art ‚Rundtanz der Lebensfeier' mutiert. Die Körpersprache der Tänzer ist bei Putz unmittelbar greifbar im individuellen Stil des Künstlers voller farbintensiver, expressiver sinnlicher Nacktheit drehen sich die weiblichen und männlichen Tänzer; die ebenso sich in Ekstase spielende Geigenspielerin bildet den Kontrapost und Drehung mit unterschiedlicher Bewegung, Blickrichtung und Haltung des Kopfes: ein emotionales Wiegen in harmonischer Verbundenheit zu ihrem musikalischen Temperament. Die Tanzbegeisterung in Deutschland und in den angrenzenden Ländern seit der Jahrhundertwende mag Leo Putz anregen zu reizvoller Körperhaltung voller Ausdruck einer vitalen Lebenslust. Eine starke Metapher für eine ausgelassene Erotik als Gesellschaftsspiel, die der Künstler seismographisch als Ideal zwischen Anmut und Schönheit ausbreitet. Diese dionysische Entgrenzung und apollinische Formgebung (Friedrich Nietzsche) kann überführen zu Arthur Schnitzlers erotischem Theaterstück „Reigen“, 1900 geschrieben und im Dezember 1920 am Kleinen Schauspielhaus in Berlin uraufgeführt, begleitet von Claude Debussys „Frühlingsimpression“. Diese Rätselhaftigkeit und Vielgestaltigkeit des Symbolismus ist von den Künstlern, von Leo Putz gewollt, sie dient ihnen als Ausdrucksmittel dessen, was nur erfühlt und geglaubt werden kann: eine anti-positivistische Geisteshaltung, die über ein Interesse an der Esoterik und den Einsatz von Symbolen der Gefühlswelten einen gemeinsamen Stil kreiert. Insofern ein geradezu intimes, aber ebenso geheimnisvolles Traumgespinst: Leo Putz will sich bei aller symbolhafter Aufgeladenheit im Malprozess auf jeden Fall vergnügen.
Leo Putz
Reigen 2. I.
Oil on canvas. 124 x 160.5 cm. Framed. Signed 'Leo Putz' in black lower right. Old label verso, therein handwritten name of artist, title and year. - In the central bank area in the lower part of the picture with a narrow, unobtrusive retouch.
H. Putz II 650
Provenance
Acquired directly from the artist by the former owner; in family possession since, South Germany
This work was created just a few years after the First World War. The 60-year-old Leo Putz lived in Munich and directly experienced the revolutionary unrest. It is surely no coincidence that precisely in this period the theme of Symbolism gained ground in his work - that is to say that he presented things in a cryptic manner: between world view and liberal religion, between dream-like events and sexual liberty.
The round dance is a special form of dancing in a circle or chain, and it is as old as human memory. In the Renaissance, for example, nymphs, the Graces and allegories of the virtues engaged in this dance, as documented by artists like Sandro Botticelli. The round subsequently developed into a folk dance; eagerly pursued as a dance for groups of amateurs, it mutated into a kind of “round dance in celebration of life” in the exhilarated atmosphere around the turn of the century and in the context of the reform movements. In Putz's work the dancers' body language is directly comprehensible in the artist's individual style full of boldly colourful and expressively sensual nudity, with the male and female dancers spinning round. The female fiddler also plays in a state of ecstasy and forms a contrapposto and serpentine through the contrary movement and positioning of her head and the direction of her gaze, swaying emotionally in harmonious affinity with her musical temperament. The enthusiasm for dance in Germany and neighbouring countries since the turn of the century may have inspired Putz to create this captivating pose full of expression and a vibrant lust for life. Unfurling a powerful metaphor for exuberant eroticism as a social pastime, the artist seismographically situates it as an ideal between grace and beauty. This Dionysian release and Apollonian establishment of form (Friedrich Nietzsche) can serve as a transition to Arthur Schnitzler's erotic play “Reigen”, written in 1900 and premiered in December of 1920 at Berlin's Kleines Schauspielhaus, accompanied by Claude Debussy's “Impression: Spring”. The enigmatic quality and ambiguity of Symbolism was deliberately sought by artists, including Putz. It served them as a means to express what can only be felt and believed: a mental attitude that was anti-positivist and created a shared style by way of an interest in esotericism and the use of symbols for emotional worlds. To this extent it forms a directly intimate, but equally mysterious dream apparition: in any case, regardless of all this symbolic loading with meaning, Putz sought pleasure in the process of painting.
Modern Art
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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
