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Wassily KandinskyLa forme tournéeAquarell und Gouache auf schwarzem Papier, auf cremefarbenem

In Modern Art

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Wassily KandinskyLa forme tournéeAquarell und Gouache auf schwarzem Papier, auf cremefarbenem
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Wassily Kandinsky
La forme tournée

Aquarell und Gouache auf schwarzem Papier, auf cremefarbenem Unterkarton. 49 x 30 cm. Unter Glas gerahmt. Unten links weiß monogrammiert und datiert 'K/38' sowie verso handschriftlich nummeriert, betitelt, datiert und bezeichnet '11819 - 21 - No 591 - "La forme tournée" - 1938 - 30 x 49,5 4.' - In schönem Erhaltungszustand.

Endicott Barnett 1225

Wir danken Vivian Endicott Barnett, New York, für bestätigende Auskünfte und wissenschaftliche Beratung.

Provenienz
Nina Kandinsky, Paris (bis 1974); Galerie Maeght, Paris (1974); Guy Loudmer, Paris, Auktion 27.10.1982, Lot 28; Sotheby's, London, Auktion 30.11.1988, Lot 510; Privatsammlung (bis 2006); Sotheby's, New York, Impressionist and Modern Art Day Sale 8.11.2006, Lot 430; Privatsammlung Schweiz

Ausstellungen
Paris 1947 (Galerie René Drouin), Kandinsky: gouaches, aquarelles, dessins, Kat. Nr. 42; Liège 1947 (Association pour le progrès intellectuel et artistique de la Wallonie), Kandinsky: gouaches & dessins, Kat. Nr. 41; London 1950 (Gimpel fils), Kandinsky, Kat. Nr. 21; Saint-Paul-de-Vence 1966 (Fondation Maeght), Kandinsky Centenaire 1866-1944, Kat. Nr. 99; Humlebaek 1971 (Louisiana Museum), Klee-Kandinsky, Kat. Nr. 67 (Louisiana-Revy Nr. 2, Oktober 1971); Zürich 1972 (Galerie Maeght), Kandinsky: Ölbilder, Gouachen, Zeichnungen, Kat. Nr. 57; Charleroi 1972 (Palais des Beaux-Arts), Wassily Kandinsky: rétrospective, Kat. Nr. 72; Madrid 1978 (Fondación Juan March), Kandinsky 1923-1944, Kat. Nr. 58; Tokio 1989 (Fuji Television Gallery), Wassily Kandinsky, mit Farbabb., o. Kat. Nr.

„Jede Form im Einzelnen ist erfunden, und doch ist das Ganze eine Realität; sie hat mit der gewohnten nichts mehr zu tun und fängt sie doch fast unerklärlich auf einer anderen Ebene wieder ein. Sternenhimmel ist nicht Sternenhimmel, Tier nicht Tier, Theater nicht Theater, es gibt keine Beziehung zu den Endformen der Natur, wohl aber Analogien zu ihren Wachstums- und Gestaltungsgesetzen.“ (Will Grohmann, Kandinsky, Köln 1961, S. 234) - so fasst Will Grohmann Wassily Kandinskys Werk der ausgehenden 1930er Jahre in Paris zusammen.
Mit seinem Entschluss zur Übersiedelung nach Frankreich wandelt sich das Werk des Künstlers. Mittlerweile Mitglied der Vereinigung "Abstraction-création", zeichnen sich seine Werke nun in vielerlei Hinsicht durch einen hybriden Charakter aus, der Konstruktion mit Intuition, biomorph-organisch mit naturwissenschaftlich-technisch anmutendem Formenvokabular verknüpft.
Sind viele von Kandinskys Gouachen der Pariser Zeit von einer musikalisch-leichten Zartheit, so wirkt die Komposition der „umgekehrten Form“ unverkennbar kühl. Wie schematisierte Kämme oder Rechen scheinen die weißen Formen herabzuregnen, überlagert von halbtransparenten farbigen Linsen, unterhalb derer sich ihre (Nicht-)Farbigkeit umkehrt. In dieser Gegenüberstellung scheinen die Wechselwirkungen von Farbe und Form ganz konkret greifbar, deren dynamisches Zusammenspiel als eines der zentralen Themen in Kandinskys Werk verstanden werden darf. Nicht frei von Dissonanzen ergibt die vielfarbige Gestaltung der Kreise über den weißen Formen ein komplexes Zusammenspiel unterschiedlichster Farbklänge - eine bemerkenswerte, fordernde Komposition in Jahren des Umbruchs.
Etwa fünfzehn Jahre sind vergangen, seit Kandinsky als Lehrer ans Bauhaus berufen wurde, etwa fünf seit dessen Schließung durch die Nationalsozialisten und Kandinskys Abschied aus Deutschland. Nun, im Jahr 1938, sieht die Welt der Katastrophe des II. Weltkriegs entgegen. War in München 1937 das utopische Projekt der Avantgarde mit der Ausstellung „Entartete Kunst“ diffamiert und für endgültig beendet erklärt worden, präsentieren Solomon R. Guggenheim und Hilla von Rebay in New York im Sommer 1939 zahlreiche Werke Kandinskys in ihrer epochemachenden Ausstellung „Art of Tomorrow“.

Wassily Kandinsky
La forme tournée

Watercolour and gouache on black paper, on cream-coloured support card. 49 x 30 cm. Framed under glass. Monogrammed and dated 'K/38' in white lower left and numbered, titled, dated and inscribed '11819 - 21 - No 591 - "La forme tournée" - 1938 - 30 x 49,5 4' by hand verso. - In fine condition.

Endicott Barnett 1225

We would like to thank Vivian Endicott Barnett, New York, for confirmatory information and scientific consultation.

Provenance
Nina Kandinsky, Paris (until 1974); Galerie Maeght, Paris (1974); Guy Loudmer, Paris, Auction 27 October 1982, lot 28; Sotheby's, London, auction 30 Nov. 1988, lot 510; Private collection (until 2006); Sotheby's, New York, Impressionist and Modern Art Day Sale 8 Nov. 2006, lot 430; Private collection, Switzerland

Exhibitions
Paris 1947 (Galerie René Drouin), Kandinsky: gouaches, aquarelles, dessins, cat. no. 42; Liège 1947 (Association pour le progrès intellectuel et artistique de la Wallonie), Kandinsky: gouaches & dessins, cat. no. 41; London 1950 (Gimpel fils), Kandinsky, cat. no. 21; Saint-Paul-de-Vence 1966 (Fondation Maeght), Kandinsky Centenaire 1866-1944, cat. no. 99; Humlebaek 1971 (Louisiana Museum), Klee-Kandinsky, cat. no. 67 (Louisiana-Revy no. 2, October 1971); Zurich 1972 (Galerie Maeght), Kandinsky: Ölbilder, Gouachen, Zeichnungen, cat. no. 57; Charleroi 1972 (Palais des Beaux-Arts), Wassily Kandinsky: rétrospective, cat. no. 72; Madrid 1978 (Fondación Juan March), Kandinsky 1923-1944, cat. no. 58; Tokyo 1989 (Fuji Television Gallery), Wassily Kandinsky, with colour illus., without cat. no.

“Individually, every form is invented, and nonetheless the whole is a reality; it no longer has anything to do with the familiar and, nonetheless, it almost inexplicably recaptures it on another level. The starry sky is not a starry sky, the animal not an animal, the theatre not a theatre, there is no connection to the final forms of nature; however, there certainly are analogies to its laws of growth and formation.” (Will Grohmann, Kandinsky, Cologne 1961, p. 234) - this is how Will Grohmann summarises Wassily Kandinsky's works of the late 1930s in Paris.
With his decision to relocate to France, there was a shift in the artist's work: Kandinsky joined the association "Abstraction-création" and in many respects his work became characterised by a hybrid character, linking construction with intuition, a biomorphic-organic formal vocabulary with a seemingly scientific-technical one.
While many of Kandinsky's gouaches from the Parisian period exhibit a musically light tenderness, the composition of the “forme tournée” produces an unmistakably cool impression. The white forms seem to rain down like schematic images of combs or rakes; their (achromatic) colour becomes inverted underneath the semi-transparent coloured lenses superimposed on top of them. In this juxtaposition, it seems possible to very concretely grasp the interactions between colour and form, whose dynamic interplay may be understood as one of the central themes in Kandinsky's work. Not without dissonances, the multicoloured composition of the circles over the white forms produces a complex interplay of extremely diverse chromatic combinations - a remarkable and challenging composition created during a tumultuous period.
Around fifteen years had passed since Kandinsky had been called to become a teacher at the Bauhaus, and around five since it had been closed by the Nazis and he had departed from Germany. At that time, in 1938, the world saw the catastrophe of World War II looming before it. While the utopian project of the avant-garde had been denounced and declared permanently terminated with the “Degenerate Art” exhibition in Munich in 1937, Solomon R. Guggenheim and Hilla von Rebay presented numerous works by Kandinsky in their epochal exhibition “Art of Tomorrow”, held in New York in the summer of 1939.
Wassily Kandinsky
La forme tournée

Aquarell und Gouache auf schwarzem Papier, auf cremefarbenem Unterkarton. 49 x 30 cm. Unter Glas gerahmt. Unten links weiß monogrammiert und datiert 'K/38' sowie verso handschriftlich nummeriert, betitelt, datiert und bezeichnet '11819 - 21 - No 591 - "La forme tournée" - 1938 - 30 x 49,5 4.' - In schönem Erhaltungszustand.

Endicott Barnett 1225

Wir danken Vivian Endicott Barnett, New York, für bestätigende Auskünfte und wissenschaftliche Beratung.

Provenienz
Nina Kandinsky, Paris (bis 1974); Galerie Maeght, Paris (1974); Guy Loudmer, Paris, Auktion 27.10.1982, Lot 28; Sotheby's, London, Auktion 30.11.1988, Lot 510; Privatsammlung (bis 2006); Sotheby's, New York, Impressionist and Modern Art Day Sale 8.11.2006, Lot 430; Privatsammlung Schweiz

Ausstellungen
Paris 1947 (Galerie René Drouin), Kandinsky: gouaches, aquarelles, dessins, Kat. Nr. 42; Liège 1947 (Association pour le progrès intellectuel et artistique de la Wallonie), Kandinsky: gouaches & dessins, Kat. Nr. 41; London 1950 (Gimpel fils), Kandinsky, Kat. Nr. 21; Saint-Paul-de-Vence 1966 (Fondation Maeght), Kandinsky Centenaire 1866-1944, Kat. Nr. 99; Humlebaek 1971 (Louisiana Museum), Klee-Kandinsky, Kat. Nr. 67 (Louisiana-Revy Nr. 2, Oktober 1971); Zürich 1972 (Galerie Maeght), Kandinsky: Ölbilder, Gouachen, Zeichnungen, Kat. Nr. 57; Charleroi 1972 (Palais des Beaux-Arts), Wassily Kandinsky: rétrospective, Kat. Nr. 72; Madrid 1978 (Fondación Juan March), Kandinsky 1923-1944, Kat. Nr. 58; Tokio 1989 (Fuji Television Gallery), Wassily Kandinsky, mit Farbabb., o. Kat. Nr.

„Jede Form im Einzelnen ist erfunden, und doch ist das Ganze eine Realität; sie hat mit der gewohnten nichts mehr zu tun und fängt sie doch fast unerklärlich auf einer anderen Ebene wieder ein. Sternenhimmel ist nicht Sternenhimmel, Tier nicht Tier, Theater nicht Theater, es gibt keine Beziehung zu den Endformen der Natur, wohl aber Analogien zu ihren Wachstums- und Gestaltungsgesetzen.“ (Will Grohmann, Kandinsky, Köln 1961, S. 234) - so fasst Will Grohmann Wassily Kandinskys Werk der ausgehenden 1930er Jahre in Paris zusammen.
Mit seinem Entschluss zur Übersiedelung nach Frankreich wandelt sich das Werk des Künstlers. Mittlerweile Mitglied der Vereinigung "Abstraction-création", zeichnen sich seine Werke nun in vielerlei Hinsicht durch einen hybriden Charakter aus, der Konstruktion mit Intuition, biomorph-organisch mit naturwissenschaftlich-technisch anmutendem Formenvokabular verknüpft.
Sind viele von Kandinskys Gouachen der Pariser Zeit von einer musikalisch-leichten Zartheit, so wirkt die Komposition der „umgekehrten Form“ unverkennbar kühl. Wie schematisierte Kämme oder Rechen scheinen die weißen Formen herabzuregnen, überlagert von halbtransparenten farbigen Linsen, unterhalb derer sich ihre (Nicht-)Farbigkeit umkehrt. In dieser Gegenüberstellung scheinen die Wechselwirkungen von Farbe und Form ganz konkret greifbar, deren dynamisches Zusammenspiel als eines der zentralen Themen in Kandinskys Werk verstanden werden darf. Nicht frei von Dissonanzen ergibt die vielfarbige Gestaltung der Kreise über den weißen Formen ein komplexes Zusammenspiel unterschiedlichster Farbklänge - eine bemerkenswerte, fordernde Komposition in Jahren des Umbruchs.
Etwa fünfzehn Jahre sind vergangen, seit Kandinsky als Lehrer ans Bauhaus berufen wurde, etwa fünf seit dessen Schließung durch die Nationalsozialisten und Kandinskys Abschied aus Deutschland. Nun, im Jahr 1938, sieht die Welt der Katastrophe des II. Weltkriegs entgegen. War in München 1937 das utopische Projekt der Avantgarde mit der Ausstellung „Entartete Kunst“ diffamiert und für endgültig beendet erklärt worden, präsentieren Solomon R. Guggenheim und Hilla von Rebay in New York im Sommer 1939 zahlreiche Werke Kandinskys in ihrer epochemachenden Ausstellung „Art of Tomorrow“.

Wassily Kandinsky
La forme tournée

Watercolour and gouache on black paper, on cream-coloured support card. 49 x 30 cm. Framed under glass. Monogrammed and dated 'K/38' in white lower left and numbered, titled, dated and inscribed '11819 - 21 - No 591 - "La forme tournée" - 1938 - 30 x 49,5 4' by hand verso. - In fine condition.

Endicott Barnett 1225

We would like to thank Vivian Endicott Barnett, New York, for confirmatory information and scientific consultation.

Provenance
Nina Kandinsky, Paris (until 1974); Galerie Maeght, Paris (1974); Guy Loudmer, Paris, Auction 27 October 1982, lot 28; Sotheby's, London, auction 30 Nov. 1988, lot 510; Private collection (until 2006); Sotheby's, New York, Impressionist and Modern Art Day Sale 8 Nov. 2006, lot 430; Private collection, Switzerland

Exhibitions
Paris 1947 (Galerie René Drouin), Kandinsky: gouaches, aquarelles, dessins, cat. no. 42; Liège 1947 (Association pour le progrès intellectuel et artistique de la Wallonie), Kandinsky: gouaches & dessins, cat. no. 41; London 1950 (Gimpel fils), Kandinsky, cat. no. 21; Saint-Paul-de-Vence 1966 (Fondation Maeght), Kandinsky Centenaire 1866-1944, cat. no. 99; Humlebaek 1971 (Louisiana Museum), Klee-Kandinsky, cat. no. 67 (Louisiana-Revy no. 2, October 1971); Zurich 1972 (Galerie Maeght), Kandinsky: Ölbilder, Gouachen, Zeichnungen, cat. no. 57; Charleroi 1972 (Palais des Beaux-Arts), Wassily Kandinsky: rétrospective, cat. no. 72; Madrid 1978 (Fondación Juan March), Kandinsky 1923-1944, cat. no. 58; Tokyo 1989 (Fuji Television Gallery), Wassily Kandinsky, with colour illus., without cat. no.

“Individually, every form is invented, and nonetheless the whole is a reality; it no longer has anything to do with the familiar and, nonetheless, it almost inexplicably recaptures it on another level. The starry sky is not a starry sky, the animal not an animal, the theatre not a theatre, there is no connection to the final forms of nature; however, there certainly are analogies to its laws of growth and formation.” (Will Grohmann, Kandinsky, Cologne 1961, p. 234) - this is how Will Grohmann summarises Wassily Kandinsky's works of the late 1930s in Paris.
With his decision to relocate to France, there was a shift in the artist's work: Kandinsky joined the association "Abstraction-création" and in many respects his work became characterised by a hybrid character, linking construction with intuition, a biomorphic-organic formal vocabulary with a seemingly scientific-technical one.
While many of Kandinsky's gouaches from the Parisian period exhibit a musically light tenderness, the composition of the “forme tournée” produces an unmistakably cool impression. The white forms seem to rain down like schematic images of combs or rakes; their (achromatic) colour becomes inverted underneath the semi-transparent coloured lenses superimposed on top of them. In this juxtaposition, it seems possible to very concretely grasp the interactions between colour and form, whose dynamic interplay may be understood as one of the central themes in Kandinsky's work. Not without dissonances, the multicoloured composition of the circles over the white forms produces a complex interplay of extremely diverse chromatic combinations - a remarkable and challenging composition created during a tumultuous period.
Around fifteen years had passed since Kandinsky had been called to become a teacher at the Bauhaus, and around five since it had been closed by the Nazis and he had departed from Germany. At that time, in 1938, the world saw the catastrophe of World War II looming before it. While the utopian project of the avant-garde had been denounced and declared permanently terminated with the “Degenerate Art” exhibition in Munich in 1937, Solomon R. Guggenheim and Hilla von Rebay presented numerous works by Kandinsky in their epochal exhibition “Art of Tomorrow”, held in New York in the summer of 1939.

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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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)
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.

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

 

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