260
Lesser UryDame mit Hund im Tiergarten, BerlinKohle auf dünner Pappe mit dem Prägestempel "Prisma 5",
In Modern Art
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Beschreibung
Lesser Ury
Dame mit Hund im Tiergarten, Berlin
Kohle auf dünner Pappe mit dem Prägestempel "Prisma 5", auf festeren Karton aufgezogen. 52 x 35,6 cm. Unter Glas gerahmt. Unten links mit Kohle signiert 'L. Ury' sowie in Feder mit bräunlicher Tinte unten rechts datiert und gewidmet 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. - Insgesamt in schöner Erhaltung. Der Karton gleichmäßig gebräunt mit den alten Heftzweckspuren im Unterrand.
Mit einer Foto-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 12. Januar 2018
Provenienz
Ehemals Sammlung Wilhelm Kirschner, Berlin; Siegbert Eick, Kapstadt (in den frühen 1930er Jahren emigriert); Walter Katz, Kapstadt (von S. Eick um 1940-1950 erworben), danach Familienbesitz; Privatbesitz Nordrhein-Westfalen
Literatur
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, vgl. S. 138 sowie S. 53 und 115 mit Abb. (andere Abeiten von Lesser Ury im Besitz von Wilhelm Kirschner, Berlin)
Wohl direkt nach dem Krieg, in den Jahren um 1919/1920 entstanden, zeigt die schöne Kohlezeichnung eines der eleganten Berliner Stadtmotive von Lesser Ury, die bis heute faszinieren. Selbst in diesem fragilen und wie hingehauchtem Medium gelingt es dem Künstler meisterlich, eine impressionistische Atmosphäre zu schaffen, die fast "Farbe" evoziert, eine Illusion, die durch die Stilmittel und die erzielten Effekte in der Handhabung der Kohle und des Strichs entsteht. Die Gestaltung gewinnt zusätzlich ihren eigenen unwiderstehlichen Charme durch das Momenthafte und durch die empfundene Leichtigkeit des Motivs. Die Komposition öffent sich dem Blick und führt auf die winterliche Allee, man erkennt den etwas entfernteren Verkehr schwarzer Droschken und erlebt den Augenblick, der genutzt wird, die Straße mit kleinem Hund zu überqueren. Alles spiegelt sich in der Nässe des Boulevards, die hohe Baumkulisse des Tiergartens steht wie in feuchtem Nebel hingetuscht, und eine schlanke weibliche Figurine, eingehüllt in modischem Pelz, wechselt gerade die Straßenseite.
Das Blatt ist wohl nicht zufällig dem Berliner Fabrikanten Wilhelm Kirschner gewidmet, einem Miteigentümer der Firma Strelitzer & Kirschner, die Damenmäntel herstellte. Wie Sybille Groß in ihrem Gutachten ausführt, zählte Wilhelm Kirschner zum Kreis der Privatsammler um Lesser Ury. Wenn auch Art und Umfang seiner Kunstsammlung nicht mehr zu dokumentieren ist, konnte doch festgestellt werden, dass Kirschner eine Reihe weiterer Zeichnungen des Künstlers besaß, vielleicht ein Segment des Oeuvres, dem er eine besondere Aufmerksamkeit widmete.
Zeitgleich um 1920 entstand zu diesem Werk eine Lithographie (Rosenbach 49), zu der die Umdruckzeichnung des Künstlers sich heute im Tel Aviv Museum of Art befindet.
Lesser Ury
Dame mit Hund im Tiergarten, Berlin
Charcoal on thin card with embossed stamp "Prisma 5", laid down on firm card. 52 x 35.6 cm. Framed under glass. Signed 'L. Ury' in charcoal lower left and dated and dedicated 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. in brownish ink pen lower right. - Overall in fine condition. The card evenly browned with traces of former drawing pins in the lower margin.
With a photo-certificate and an expertise from Sibylle Groß, Berlin, dated 12 January 2018
Provenance
Formerly Wilhelm Kirschner Collection, Berlin; Siegbert Eick, Kapstadt; Walter Katz, Kapstadt (emigrated in the early 1930s), in family possession since; Private possession, North Rhine-Westphalia
Literature
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, cf. p. 138 and p. 53 and 115 with illus. (other works by Lesser Ury in the possession of Wilhelm Kirschner, Berlin)
Presumably created directly after the war, around 1919/1920, this charming charcoal drawing presents one of Lesser Ury's elegant street scenes from Berlin, which still continue to fascinate today. Even in this fragile medium that seems to have been breathed on to the page, the artist masterfully succeeds in generating an impressionistic atmosphere that nearly evokes “colour”: an illusion created by means of stylistic devices and the effects achieved through the handling of the charcoal and line. The drawing additionally takes on its own irresistible charm through its momentary quality and our sense of the motif's lightness. The composition opens itself up to our gaze and leads down the winterly boulevard; somewhat in the distance we recognise the traffic of the black carriages, and we experience the moment used to cross the street with the little dog. Everything is reflected on the damp boulevard, the setting of the Tiergarten's tall trees stands there as though it were inked into the damp fog, and a slender female figurine wrapped up in a fashionable fur is just crossing the street.
It is presumably no coincidence that the sheet is dedicated to the Berlin factory-owner Wilhelm Kirschner, co-owner of the Strelitzer & Kirschner company, which produced women's coats. As Sybille Groß explains in her expert report, Wilhelm Kirschner was part of Lesser Ury's circle of private collectors. Even if the nature and extent of his art collection can no longer be documented, it was possible to determine that Kirschner owned a number of other drawings by the artist - perhaps a segment of his oeuvre to which he devoted particular attention.
At the same time as this work, around 1920, the artist created a lithograph (Rosenbach 49): the drawing used to transfer it to the lithographic stone can now be found in the Tel Aviv Museum of Art.
Dame mit Hund im Tiergarten, Berlin
Kohle auf dünner Pappe mit dem Prägestempel "Prisma 5", auf festeren Karton aufgezogen. 52 x 35,6 cm. Unter Glas gerahmt. Unten links mit Kohle signiert 'L. Ury' sowie in Feder mit bräunlicher Tinte unten rechts datiert und gewidmet 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. - Insgesamt in schöner Erhaltung. Der Karton gleichmäßig gebräunt mit den alten Heftzweckspuren im Unterrand.
Mit einer Foto-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 12. Januar 2018
Provenienz
Ehemals Sammlung Wilhelm Kirschner, Berlin; Siegbert Eick, Kapstadt (in den frühen 1930er Jahren emigriert); Walter Katz, Kapstadt (von S. Eick um 1940-1950 erworben), danach Familienbesitz; Privatbesitz Nordrhein-Westfalen
Literatur
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, vgl. S. 138 sowie S. 53 und 115 mit Abb. (andere Abeiten von Lesser Ury im Besitz von Wilhelm Kirschner, Berlin)
Wohl direkt nach dem Krieg, in den Jahren um 1919/1920 entstanden, zeigt die schöne Kohlezeichnung eines der eleganten Berliner Stadtmotive von Lesser Ury, die bis heute faszinieren. Selbst in diesem fragilen und wie hingehauchtem Medium gelingt es dem Künstler meisterlich, eine impressionistische Atmosphäre zu schaffen, die fast "Farbe" evoziert, eine Illusion, die durch die Stilmittel und die erzielten Effekte in der Handhabung der Kohle und des Strichs entsteht. Die Gestaltung gewinnt zusätzlich ihren eigenen unwiderstehlichen Charme durch das Momenthafte und durch die empfundene Leichtigkeit des Motivs. Die Komposition öffent sich dem Blick und führt auf die winterliche Allee, man erkennt den etwas entfernteren Verkehr schwarzer Droschken und erlebt den Augenblick, der genutzt wird, die Straße mit kleinem Hund zu überqueren. Alles spiegelt sich in der Nässe des Boulevards, die hohe Baumkulisse des Tiergartens steht wie in feuchtem Nebel hingetuscht, und eine schlanke weibliche Figurine, eingehüllt in modischem Pelz, wechselt gerade die Straßenseite.
Das Blatt ist wohl nicht zufällig dem Berliner Fabrikanten Wilhelm Kirschner gewidmet, einem Miteigentümer der Firma Strelitzer & Kirschner, die Damenmäntel herstellte. Wie Sybille Groß in ihrem Gutachten ausführt, zählte Wilhelm Kirschner zum Kreis der Privatsammler um Lesser Ury. Wenn auch Art und Umfang seiner Kunstsammlung nicht mehr zu dokumentieren ist, konnte doch festgestellt werden, dass Kirschner eine Reihe weiterer Zeichnungen des Künstlers besaß, vielleicht ein Segment des Oeuvres, dem er eine besondere Aufmerksamkeit widmete.
Zeitgleich um 1920 entstand zu diesem Werk eine Lithographie (Rosenbach 49), zu der die Umdruckzeichnung des Künstlers sich heute im Tel Aviv Museum of Art befindet.
Lesser Ury
Dame mit Hund im Tiergarten, Berlin
Charcoal on thin card with embossed stamp "Prisma 5", laid down on firm card. 52 x 35.6 cm. Framed under glass. Signed 'L. Ury' in charcoal lower left and dated and dedicated 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. in brownish ink pen lower right. - Overall in fine condition. The card evenly browned with traces of former drawing pins in the lower margin.
With a photo-certificate and an expertise from Sibylle Groß, Berlin, dated 12 January 2018
Provenance
Formerly Wilhelm Kirschner Collection, Berlin; Siegbert Eick, Kapstadt; Walter Katz, Kapstadt (emigrated in the early 1930s), in family possession since; Private possession, North Rhine-Westphalia
Literature
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, cf. p. 138 and p. 53 and 115 with illus. (other works by Lesser Ury in the possession of Wilhelm Kirschner, Berlin)
Presumably created directly after the war, around 1919/1920, this charming charcoal drawing presents one of Lesser Ury's elegant street scenes from Berlin, which still continue to fascinate today. Even in this fragile medium that seems to have been breathed on to the page, the artist masterfully succeeds in generating an impressionistic atmosphere that nearly evokes “colour”: an illusion created by means of stylistic devices and the effects achieved through the handling of the charcoal and line. The drawing additionally takes on its own irresistible charm through its momentary quality and our sense of the motif's lightness. The composition opens itself up to our gaze and leads down the winterly boulevard; somewhat in the distance we recognise the traffic of the black carriages, and we experience the moment used to cross the street with the little dog. Everything is reflected on the damp boulevard, the setting of the Tiergarten's tall trees stands there as though it were inked into the damp fog, and a slender female figurine wrapped up in a fashionable fur is just crossing the street.
It is presumably no coincidence that the sheet is dedicated to the Berlin factory-owner Wilhelm Kirschner, co-owner of the Strelitzer & Kirschner company, which produced women's coats. As Sybille Groß explains in her expert report, Wilhelm Kirschner was part of Lesser Ury's circle of private collectors. Even if the nature and extent of his art collection can no longer be documented, it was possible to determine that Kirschner owned a number of other drawings by the artist - perhaps a segment of his oeuvre to which he devoted particular attention.
At the same time as this work, around 1920, the artist created a lithograph (Rosenbach 49): the drawing used to transfer it to the lithographic stone can now be found in the Tel Aviv Museum of Art.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Lesser Ury
Dame mit Hund im Tiergarten, Berlin
Kohle auf dünner Pappe mit dem Prägestempel "Prisma 5", auf festeren Karton aufgezogen. 52 x 35,6 cm. Unter Glas gerahmt. Unten links mit Kohle signiert 'L. Ury' sowie in Feder mit bräunlicher Tinte unten rechts datiert und gewidmet 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. - Insgesamt in schöner Erhaltung. Der Karton gleichmäßig gebräunt mit den alten Heftzweckspuren im Unterrand.
Mit einer Foto-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 12. Januar 2018
Provenienz
Ehemals Sammlung Wilhelm Kirschner, Berlin; Siegbert Eick, Kapstadt (in den frühen 1930er Jahren emigriert); Walter Katz, Kapstadt (von S. Eick um 1940-1950 erworben), danach Familienbesitz; Privatbesitz Nordrhein-Westfalen
Literatur
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, vgl. S. 138 sowie S. 53 und 115 mit Abb. (andere Abeiten von Lesser Ury im Besitz von Wilhelm Kirschner, Berlin)
Wohl direkt nach dem Krieg, in den Jahren um 1919/1920 entstanden, zeigt die schöne Kohlezeichnung eines der eleganten Berliner Stadtmotive von Lesser Ury, die bis heute faszinieren. Selbst in diesem fragilen und wie hingehauchtem Medium gelingt es dem Künstler meisterlich, eine impressionistische Atmosphäre zu schaffen, die fast "Farbe" evoziert, eine Illusion, die durch die Stilmittel und die erzielten Effekte in der Handhabung der Kohle und des Strichs entsteht. Die Gestaltung gewinnt zusätzlich ihren eigenen unwiderstehlichen Charme durch das Momenthafte und durch die empfundene Leichtigkeit des Motivs. Die Komposition öffent sich dem Blick und führt auf die winterliche Allee, man erkennt den etwas entfernteren Verkehr schwarzer Droschken und erlebt den Augenblick, der genutzt wird, die Straße mit kleinem Hund zu überqueren. Alles spiegelt sich in der Nässe des Boulevards, die hohe Baumkulisse des Tiergartens steht wie in feuchtem Nebel hingetuscht, und eine schlanke weibliche Figurine, eingehüllt in modischem Pelz, wechselt gerade die Straßenseite.
Das Blatt ist wohl nicht zufällig dem Berliner Fabrikanten Wilhelm Kirschner gewidmet, einem Miteigentümer der Firma Strelitzer & Kirschner, die Damenmäntel herstellte. Wie Sybille Groß in ihrem Gutachten ausführt, zählte Wilhelm Kirschner zum Kreis der Privatsammler um Lesser Ury. Wenn auch Art und Umfang seiner Kunstsammlung nicht mehr zu dokumentieren ist, konnte doch festgestellt werden, dass Kirschner eine Reihe weiterer Zeichnungen des Künstlers besaß, vielleicht ein Segment des Oeuvres, dem er eine besondere Aufmerksamkeit widmete.
Zeitgleich um 1920 entstand zu diesem Werk eine Lithographie (Rosenbach 49), zu der die Umdruckzeichnung des Künstlers sich heute im Tel Aviv Museum of Art befindet.
Lesser Ury
Dame mit Hund im Tiergarten, Berlin
Charcoal on thin card with embossed stamp "Prisma 5", laid down on firm card. 52 x 35.6 cm. Framed under glass. Signed 'L. Ury' in charcoal lower left and dated and dedicated 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. in brownish ink pen lower right. - Overall in fine condition. The card evenly browned with traces of former drawing pins in the lower margin.
With a photo-certificate and an expertise from Sibylle Groß, Berlin, dated 12 January 2018
Provenance
Formerly Wilhelm Kirschner Collection, Berlin; Siegbert Eick, Kapstadt; Walter Katz, Kapstadt (emigrated in the early 1930s), in family possession since; Private possession, North Rhine-Westphalia
Literature
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, cf. p. 138 and p. 53 and 115 with illus. (other works by Lesser Ury in the possession of Wilhelm Kirschner, Berlin)
Presumably created directly after the war, around 1919/1920, this charming charcoal drawing presents one of Lesser Ury's elegant street scenes from Berlin, which still continue to fascinate today. Even in this fragile medium that seems to have been breathed on to the page, the artist masterfully succeeds in generating an impressionistic atmosphere that nearly evokes “colour”: an illusion created by means of stylistic devices and the effects achieved through the handling of the charcoal and line. The drawing additionally takes on its own irresistible charm through its momentary quality and our sense of the motif's lightness. The composition opens itself up to our gaze and leads down the winterly boulevard; somewhat in the distance we recognise the traffic of the black carriages, and we experience the moment used to cross the street with the little dog. Everything is reflected on the damp boulevard, the setting of the Tiergarten's tall trees stands there as though it were inked into the damp fog, and a slender female figurine wrapped up in a fashionable fur is just crossing the street.
It is presumably no coincidence that the sheet is dedicated to the Berlin factory-owner Wilhelm Kirschner, co-owner of the Strelitzer & Kirschner company, which produced women's coats. As Sybille Groß explains in her expert report, Wilhelm Kirschner was part of Lesser Ury's circle of private collectors. Even if the nature and extent of his art collection can no longer be documented, it was possible to determine that Kirschner owned a number of other drawings by the artist - perhaps a segment of his oeuvre to which he devoted particular attention.
At the same time as this work, around 1920, the artist created a lithograph (Rosenbach 49): the drawing used to transfer it to the lithographic stone can now be found in the Tel Aviv Museum of Art.
Dame mit Hund im Tiergarten, Berlin
Kohle auf dünner Pappe mit dem Prägestempel "Prisma 5", auf festeren Karton aufgezogen. 52 x 35,6 cm. Unter Glas gerahmt. Unten links mit Kohle signiert 'L. Ury' sowie in Feder mit bräunlicher Tinte unten rechts datiert und gewidmet 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. - Insgesamt in schöner Erhaltung. Der Karton gleichmäßig gebräunt mit den alten Heftzweckspuren im Unterrand.
Mit einer Foto-Expertise und einem Gutachten von Sibylle Groß, Berlin, vom 12. Januar 2018
Provenienz
Ehemals Sammlung Wilhelm Kirschner, Berlin; Siegbert Eick, Kapstadt (in den frühen 1930er Jahren emigriert); Walter Katz, Kapstadt (von S. Eick um 1940-1950 erworben), danach Familienbesitz; Privatbesitz Nordrhein-Westfalen
Literatur
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, vgl. S. 138 sowie S. 53 und 115 mit Abb. (andere Abeiten von Lesser Ury im Besitz von Wilhelm Kirschner, Berlin)
Wohl direkt nach dem Krieg, in den Jahren um 1919/1920 entstanden, zeigt die schöne Kohlezeichnung eines der eleganten Berliner Stadtmotive von Lesser Ury, die bis heute faszinieren. Selbst in diesem fragilen und wie hingehauchtem Medium gelingt es dem Künstler meisterlich, eine impressionistische Atmosphäre zu schaffen, die fast "Farbe" evoziert, eine Illusion, die durch die Stilmittel und die erzielten Effekte in der Handhabung der Kohle und des Strichs entsteht. Die Gestaltung gewinnt zusätzlich ihren eigenen unwiderstehlichen Charme durch das Momenthafte und durch die empfundene Leichtigkeit des Motivs. Die Komposition öffent sich dem Blick und führt auf die winterliche Allee, man erkennt den etwas entfernteren Verkehr schwarzer Droschken und erlebt den Augenblick, der genutzt wird, die Straße mit kleinem Hund zu überqueren. Alles spiegelt sich in der Nässe des Boulevards, die hohe Baumkulisse des Tiergartens steht wie in feuchtem Nebel hingetuscht, und eine schlanke weibliche Figurine, eingehüllt in modischem Pelz, wechselt gerade die Straßenseite.
Das Blatt ist wohl nicht zufällig dem Berliner Fabrikanten Wilhelm Kirschner gewidmet, einem Miteigentümer der Firma Strelitzer & Kirschner, die Damenmäntel herstellte. Wie Sybille Groß in ihrem Gutachten ausführt, zählte Wilhelm Kirschner zum Kreis der Privatsammler um Lesser Ury. Wenn auch Art und Umfang seiner Kunstsammlung nicht mehr zu dokumentieren ist, konnte doch festgestellt werden, dass Kirschner eine Reihe weiterer Zeichnungen des Künstlers besaß, vielleicht ein Segment des Oeuvres, dem er eine besondere Aufmerksamkeit widmete.
Zeitgleich um 1920 entstand zu diesem Werk eine Lithographie (Rosenbach 49), zu der die Umdruckzeichnung des Künstlers sich heute im Tel Aviv Museum of Art befindet.
Lesser Ury
Dame mit Hund im Tiergarten, Berlin
Charcoal on thin card with embossed stamp "Prisma 5", laid down on firm card. 52 x 35.6 cm. Framed under glass. Signed 'L. Ury' in charcoal lower left and dated and dedicated 'Herrn Wilhelm Kirschner/ z. freundl. Erinnerung Lesser Ury/7 Nov. 1920'. in brownish ink pen lower right. - Overall in fine condition. The card evenly browned with traces of former drawing pins in the lower margin.
With a photo-certificate and an expertise from Sibylle Groß, Berlin, dated 12 January 2018
Provenance
Formerly Wilhelm Kirschner Collection, Berlin; Siegbert Eick, Kapstadt; Walter Katz, Kapstadt (emigrated in the early 1930s), in family possession since; Private possession, North Rhine-Westphalia
Literature
Adolph Donath, Lesser Ury, Seine Stellung in der modernen deutschen Malerei, Berlin 1921, cf. p. 138 and p. 53 and 115 with illus. (other works by Lesser Ury in the possession of Wilhelm Kirschner, Berlin)
Presumably created directly after the war, around 1919/1920, this charming charcoal drawing presents one of Lesser Ury's elegant street scenes from Berlin, which still continue to fascinate today. Even in this fragile medium that seems to have been breathed on to the page, the artist masterfully succeeds in generating an impressionistic atmosphere that nearly evokes “colour”: an illusion created by means of stylistic devices and the effects achieved through the handling of the charcoal and line. The drawing additionally takes on its own irresistible charm through its momentary quality and our sense of the motif's lightness. The composition opens itself up to our gaze and leads down the winterly boulevard; somewhat in the distance we recognise the traffic of the black carriages, and we experience the moment used to cross the street with the little dog. Everything is reflected on the damp boulevard, the setting of the Tiergarten's tall trees stands there as though it were inked into the damp fog, and a slender female figurine wrapped up in a fashionable fur is just crossing the street.
It is presumably no coincidence that the sheet is dedicated to the Berlin factory-owner Wilhelm Kirschner, co-owner of the Strelitzer & Kirschner company, which produced women's coats. As Sybille Groß explains in her expert report, Wilhelm Kirschner was part of Lesser Ury's circle of private collectors. Even if the nature and extent of his art collection can no longer be documented, it was possible to determine that Kirschner owned a number of other drawings by the artist - perhaps a segment of his oeuvre to which he devoted particular attention.
At the same time as this work, around 1920, the artist created a lithograph (Rosenbach 49): the drawing used to transfer it to the lithographic stone can now be found in the Tel Aviv Museum of Art.
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 % live surcharge plus 19 % VAT
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
Some lots:
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
Some lots:
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
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
