290
Max ErnstFemme (Madame)Silberplastik. Höhe 28 cm. Unter der Standfläche mit dem Stempel 'max
In Modern Art
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Beschreibung
Max Ernst
Femme (Madame)
Silberplastik. Höhe 28 cm. Unter der Standfläche mit dem Stempel 'max ernst' signiert. Dort mit der Marke François Hugos, dem Silberfeingehaltsstempel 950 "Minerva", der Referenznummer "8521522" und dem Stempel "EXEMPLAIRE D'ARTISTE" versehen. Künstlerexemplar neben der Auflage von 6 nummerierten Güssen. Guss Goldschmiede François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenienz
Nachlass des Künstlers, Familienbesitz Rheinland
Ausstellungen
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, Kat. Nr. 62 mit Abb.; Köln/Zürich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, Kat. Nr. 217, wohl dieses Exemplar
Literatur
U.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, o.S., mit ganzseitigen Abb.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, S. 95, 118, 119 mit ganzseitiger Farbabb.
Der Dada-Künstler und Surrealist Max Ernst, der sein Künstlerleben lang mit dem Prinzip der Collage arbeitet und so in der Kombination von Gefundenem neue Bildinhalte schafft, verfolgt dieses Prinzip nicht nur in seinen Papierarbeiten, sondern auch in seinem statuarischem Werk. Seine Plastiken entstehen durch Assemblage abgegossener Objekte aus dem täglichen Leben. Die in seinem Spätwerk in Huisme - einem französischen Ort, in dem Max Ernst mit seiner Frau, der Künstlerin Dorothea Tanning, seit 1955 lebt - entstandenen Plastiken „Femme“ und „Homme“ vereinen in vielfacher Hinsicht Max Ernsts Arbeitsweise und sein „künstlerisches Inventar“. So kennzeichnen die Muschelabdrücke auf liebevoll kecke Art Haar und Haarspange der „Madame“ und lassen ebenso wie der Vogel des „Monsieur“ geschlechtsspezifische Konnotationen zu. Der Vogel, der als „Loplop“ Ernsts künstlerisches Selbst widerspiegelt, und die Muschel sind schon früh fester Bestandteil im Ernstschen Oeuvre. Liebenswert, charmant und ein wenig schrullig kommen sie daher, „Femme“ und „Homme“, und wirken ob ihrer Unbeweglichkeit einem Totem verwandt.
Beide Gipse werden, obgleich sie recht großformatig sind, von François Hugo in Aix-en-Provence in Silber gegossen. Mit dem Goldschmied verbindet Max Ernst seit 1922 eine zeitweise enge Freundschaft - auch Dorothea Tanning läßt ihre Werke dort in Gold und Silber umsetzen. François Hugos Sohn Pierre zufolge, kommt Max Ernst die Idee einer Zusammenarbeit erstmalig 1957, und 1960 schafft der Künstler mit den amüsanten Gipsplastiken „Femme/Madame“ und „Homme/Monsieur“ Arbeiten, die direkt für die Umsetzung im Silberguss geplant sind (Claire Siaud/François Hugo 2001, op.cit., S. 96; s. Vergleichsabbildung). Diese liegen nun in den für Max Ernst gegossenen Künstlerexemplaren vor.
Max Ernst
Femme (Madame)
Silver sculpture. Height 28 cm. Signed 'max ernst' on the underside. There it bears the François Hugo mark, the 950 "Minerva" silver hallmark, the reference number "852 1522" and the "EXEMPLAIRE D'ARTISTE" stamp. Exemplaire d'artiste aside from the edition of 6 numbered casts. Cast Goldsmith François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenance
Artist's estate, in family possession since, Rhineland
Exhibitions
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, cat .no. 62 with illus.; Cologne/Zurich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, cat. no. 217, presumably this example
Literature
I.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, n. pag., with full-page illus.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, pp. 95, 118, 119 with full-page colour illus.
Throughout his career the Dada artist and Surrealist Max Ernst worked with the collage principle, creating new content in his images through the combination of found material; he followed this principle not just in his works on paper but also in his statuary oeuvre. His sculptures emerged through assemblages of casts of everyday objects. During his late work in Huisme - the French community where Max Ernst lived with his wife, the artist Dorothea Tanning, from 1955 - he created the sculptures “Femme” and “Homme”, which in many ways unite Max Ernst's way of working and his “artistic storehouse”. The imprints of shells, for example, denote the hair and hairslide of “Madame” in an affectionately teasing manner and, just like the bird of “Monsieur”, they permit gendered connotations. As “Loplop”, the bird mirrors Ernst's artistic self, and the shells had already been a fixed feature since early in Ernst's oeuvre. “Femme” and “Homme” thus appear endearing, charming and a bit eccentric, and their immobility makes them seem akin to a totem.
Although they are rather large, both plaster forms were poured in silver by François Hugo in Aix-en-Provence. Max Ernst had been linked to this goldsmith since 1922 by a - sometimes close - friendship, and Dorothea Tanning also had her work executed by him in gold and silver. According to François Hugo's son Pierre, Max Ernst first had the idea of collaborating together in 1957, and in 1960, with the amusing plaster sculptures “Femme/Madame” and “Homme/Monsieur”, the artist created works directly planned for realisation in cast silver (Claire Siaud/François Hugo 2001, op. cit., p. 96; see comparative illustration). These can now be found here in the artist's exemplar casts for Max Ernst.
Femme (Madame)
Silberplastik. Höhe 28 cm. Unter der Standfläche mit dem Stempel 'max ernst' signiert. Dort mit der Marke François Hugos, dem Silberfeingehaltsstempel 950 "Minerva", der Referenznummer "8521522" und dem Stempel "EXEMPLAIRE D'ARTISTE" versehen. Künstlerexemplar neben der Auflage von 6 nummerierten Güssen. Guss Goldschmiede François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenienz
Nachlass des Künstlers, Familienbesitz Rheinland
Ausstellungen
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, Kat. Nr. 62 mit Abb.; Köln/Zürich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, Kat. Nr. 217, wohl dieses Exemplar
Literatur
U.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, o.S., mit ganzseitigen Abb.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, S. 95, 118, 119 mit ganzseitiger Farbabb.
Der Dada-Künstler und Surrealist Max Ernst, der sein Künstlerleben lang mit dem Prinzip der Collage arbeitet und so in der Kombination von Gefundenem neue Bildinhalte schafft, verfolgt dieses Prinzip nicht nur in seinen Papierarbeiten, sondern auch in seinem statuarischem Werk. Seine Plastiken entstehen durch Assemblage abgegossener Objekte aus dem täglichen Leben. Die in seinem Spätwerk in Huisme - einem französischen Ort, in dem Max Ernst mit seiner Frau, der Künstlerin Dorothea Tanning, seit 1955 lebt - entstandenen Plastiken „Femme“ und „Homme“ vereinen in vielfacher Hinsicht Max Ernsts Arbeitsweise und sein „künstlerisches Inventar“. So kennzeichnen die Muschelabdrücke auf liebevoll kecke Art Haar und Haarspange der „Madame“ und lassen ebenso wie der Vogel des „Monsieur“ geschlechtsspezifische Konnotationen zu. Der Vogel, der als „Loplop“ Ernsts künstlerisches Selbst widerspiegelt, und die Muschel sind schon früh fester Bestandteil im Ernstschen Oeuvre. Liebenswert, charmant und ein wenig schrullig kommen sie daher, „Femme“ und „Homme“, und wirken ob ihrer Unbeweglichkeit einem Totem verwandt.
Beide Gipse werden, obgleich sie recht großformatig sind, von François Hugo in Aix-en-Provence in Silber gegossen. Mit dem Goldschmied verbindet Max Ernst seit 1922 eine zeitweise enge Freundschaft - auch Dorothea Tanning läßt ihre Werke dort in Gold und Silber umsetzen. François Hugos Sohn Pierre zufolge, kommt Max Ernst die Idee einer Zusammenarbeit erstmalig 1957, und 1960 schafft der Künstler mit den amüsanten Gipsplastiken „Femme/Madame“ und „Homme/Monsieur“ Arbeiten, die direkt für die Umsetzung im Silberguss geplant sind (Claire Siaud/François Hugo 2001, op.cit., S. 96; s. Vergleichsabbildung). Diese liegen nun in den für Max Ernst gegossenen Künstlerexemplaren vor.
Max Ernst
Femme (Madame)
Silver sculpture. Height 28 cm. Signed 'max ernst' on the underside. There it bears the François Hugo mark, the 950 "Minerva" silver hallmark, the reference number "852 1522" and the "EXEMPLAIRE D'ARTISTE" stamp. Exemplaire d'artiste aside from the edition of 6 numbered casts. Cast Goldsmith François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenance
Artist's estate, in family possession since, Rhineland
Exhibitions
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, cat .no. 62 with illus.; Cologne/Zurich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, cat. no. 217, presumably this example
Literature
I.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, n. pag., with full-page illus.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, pp. 95, 118, 119 with full-page colour illus.
Throughout his career the Dada artist and Surrealist Max Ernst worked with the collage principle, creating new content in his images through the combination of found material; he followed this principle not just in his works on paper but also in his statuary oeuvre. His sculptures emerged through assemblages of casts of everyday objects. During his late work in Huisme - the French community where Max Ernst lived with his wife, the artist Dorothea Tanning, from 1955 - he created the sculptures “Femme” and “Homme”, which in many ways unite Max Ernst's way of working and his “artistic storehouse”. The imprints of shells, for example, denote the hair and hairslide of “Madame” in an affectionately teasing manner and, just like the bird of “Monsieur”, they permit gendered connotations. As “Loplop”, the bird mirrors Ernst's artistic self, and the shells had already been a fixed feature since early in Ernst's oeuvre. “Femme” and “Homme” thus appear endearing, charming and a bit eccentric, and their immobility makes them seem akin to a totem.
Although they are rather large, both plaster forms were poured in silver by François Hugo in Aix-en-Provence. Max Ernst had been linked to this goldsmith since 1922 by a - sometimes close - friendship, and Dorothea Tanning also had her work executed by him in gold and silver. According to François Hugo's son Pierre, Max Ernst first had the idea of collaborating together in 1957, and in 1960, with the amusing plaster sculptures “Femme/Madame” and “Homme/Monsieur”, the artist created works directly planned for realisation in cast silver (Claire Siaud/François Hugo 2001, op. cit., p. 96; see comparative illustration). These can now be found here in the artist's exemplar casts for Max Ernst.
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Max Ernst
Femme (Madame)
Silberplastik. Höhe 28 cm. Unter der Standfläche mit dem Stempel 'max ernst' signiert. Dort mit der Marke François Hugos, dem Silberfeingehaltsstempel 950 "Minerva", der Referenznummer "8521522" und dem Stempel "EXEMPLAIRE D'ARTISTE" versehen. Künstlerexemplar neben der Auflage von 6 nummerierten Güssen. Guss Goldschmiede François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenienz
Nachlass des Künstlers, Familienbesitz Rheinland
Ausstellungen
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, Kat. Nr. 62 mit Abb.; Köln/Zürich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, Kat. Nr. 217, wohl dieses Exemplar
Literatur
U.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, o.S., mit ganzseitigen Abb.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, S. 95, 118, 119 mit ganzseitiger Farbabb.
Der Dada-Künstler und Surrealist Max Ernst, der sein Künstlerleben lang mit dem Prinzip der Collage arbeitet und so in der Kombination von Gefundenem neue Bildinhalte schafft, verfolgt dieses Prinzip nicht nur in seinen Papierarbeiten, sondern auch in seinem statuarischem Werk. Seine Plastiken entstehen durch Assemblage abgegossener Objekte aus dem täglichen Leben. Die in seinem Spätwerk in Huisme - einem französischen Ort, in dem Max Ernst mit seiner Frau, der Künstlerin Dorothea Tanning, seit 1955 lebt - entstandenen Plastiken „Femme“ und „Homme“ vereinen in vielfacher Hinsicht Max Ernsts Arbeitsweise und sein „künstlerisches Inventar“. So kennzeichnen die Muschelabdrücke auf liebevoll kecke Art Haar und Haarspange der „Madame“ und lassen ebenso wie der Vogel des „Monsieur“ geschlechtsspezifische Konnotationen zu. Der Vogel, der als „Loplop“ Ernsts künstlerisches Selbst widerspiegelt, und die Muschel sind schon früh fester Bestandteil im Ernstschen Oeuvre. Liebenswert, charmant und ein wenig schrullig kommen sie daher, „Femme“ und „Homme“, und wirken ob ihrer Unbeweglichkeit einem Totem verwandt.
Beide Gipse werden, obgleich sie recht großformatig sind, von François Hugo in Aix-en-Provence in Silber gegossen. Mit dem Goldschmied verbindet Max Ernst seit 1922 eine zeitweise enge Freundschaft - auch Dorothea Tanning läßt ihre Werke dort in Gold und Silber umsetzen. François Hugos Sohn Pierre zufolge, kommt Max Ernst die Idee einer Zusammenarbeit erstmalig 1957, und 1960 schafft der Künstler mit den amüsanten Gipsplastiken „Femme/Madame“ und „Homme/Monsieur“ Arbeiten, die direkt für die Umsetzung im Silberguss geplant sind (Claire Siaud/François Hugo 2001, op.cit., S. 96; s. Vergleichsabbildung). Diese liegen nun in den für Max Ernst gegossenen Künstlerexemplaren vor.
Max Ernst
Femme (Madame)
Silver sculpture. Height 28 cm. Signed 'max ernst' on the underside. There it bears the François Hugo mark, the 950 "Minerva" silver hallmark, the reference number "852 1522" and the "EXEMPLAIRE D'ARTISTE" stamp. Exemplaire d'artiste aside from the edition of 6 numbered casts. Cast Goldsmith François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenance
Artist's estate, in family possession since, Rhineland
Exhibitions
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, cat .no. 62 with illus.; Cologne/Zurich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, cat. no. 217, presumably this example
Literature
I.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, n. pag., with full-page illus.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, pp. 95, 118, 119 with full-page colour illus.
Throughout his career the Dada artist and Surrealist Max Ernst worked with the collage principle, creating new content in his images through the combination of found material; he followed this principle not just in his works on paper but also in his statuary oeuvre. His sculptures emerged through assemblages of casts of everyday objects. During his late work in Huisme - the French community where Max Ernst lived with his wife, the artist Dorothea Tanning, from 1955 - he created the sculptures “Femme” and “Homme”, which in many ways unite Max Ernst's way of working and his “artistic storehouse”. The imprints of shells, for example, denote the hair and hairslide of “Madame” in an affectionately teasing manner and, just like the bird of “Monsieur”, they permit gendered connotations. As “Loplop”, the bird mirrors Ernst's artistic self, and the shells had already been a fixed feature since early in Ernst's oeuvre. “Femme” and “Homme” thus appear endearing, charming and a bit eccentric, and their immobility makes them seem akin to a totem.
Although they are rather large, both plaster forms were poured in silver by François Hugo in Aix-en-Provence. Max Ernst had been linked to this goldsmith since 1922 by a - sometimes close - friendship, and Dorothea Tanning also had her work executed by him in gold and silver. According to François Hugo's son Pierre, Max Ernst first had the idea of collaborating together in 1957, and in 1960, with the amusing plaster sculptures “Femme/Madame” and “Homme/Monsieur”, the artist created works directly planned for realisation in cast silver (Claire Siaud/François Hugo 2001, op. cit., p. 96; see comparative illustration). These can now be found here in the artist's exemplar casts for Max Ernst.
Femme (Madame)
Silberplastik. Höhe 28 cm. Unter der Standfläche mit dem Stempel 'max ernst' signiert. Dort mit der Marke François Hugos, dem Silberfeingehaltsstempel 950 "Minerva", der Referenznummer "8521522" und dem Stempel "EXEMPLAIRE D'ARTISTE" versehen. Künstlerexemplar neben der Auflage von 6 nummerierten Güssen. Guss Goldschmiede François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenienz
Nachlass des Künstlers, Familienbesitz Rheinland
Ausstellungen
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, Kat. Nr. 62 mit Abb.; Köln/Zürich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, Kat. Nr. 217, wohl dieses Exemplar
Literatur
U.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, o.S., mit ganzseitigen Abb.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, S. 95, 118, 119 mit ganzseitiger Farbabb.
Der Dada-Künstler und Surrealist Max Ernst, der sein Künstlerleben lang mit dem Prinzip der Collage arbeitet und so in der Kombination von Gefundenem neue Bildinhalte schafft, verfolgt dieses Prinzip nicht nur in seinen Papierarbeiten, sondern auch in seinem statuarischem Werk. Seine Plastiken entstehen durch Assemblage abgegossener Objekte aus dem täglichen Leben. Die in seinem Spätwerk in Huisme - einem französischen Ort, in dem Max Ernst mit seiner Frau, der Künstlerin Dorothea Tanning, seit 1955 lebt - entstandenen Plastiken „Femme“ und „Homme“ vereinen in vielfacher Hinsicht Max Ernsts Arbeitsweise und sein „künstlerisches Inventar“. So kennzeichnen die Muschelabdrücke auf liebevoll kecke Art Haar und Haarspange der „Madame“ und lassen ebenso wie der Vogel des „Monsieur“ geschlechtsspezifische Konnotationen zu. Der Vogel, der als „Loplop“ Ernsts künstlerisches Selbst widerspiegelt, und die Muschel sind schon früh fester Bestandteil im Ernstschen Oeuvre. Liebenswert, charmant und ein wenig schrullig kommen sie daher, „Femme“ und „Homme“, und wirken ob ihrer Unbeweglichkeit einem Totem verwandt.
Beide Gipse werden, obgleich sie recht großformatig sind, von François Hugo in Aix-en-Provence in Silber gegossen. Mit dem Goldschmied verbindet Max Ernst seit 1922 eine zeitweise enge Freundschaft - auch Dorothea Tanning läßt ihre Werke dort in Gold und Silber umsetzen. François Hugos Sohn Pierre zufolge, kommt Max Ernst die Idee einer Zusammenarbeit erstmalig 1957, und 1960 schafft der Künstler mit den amüsanten Gipsplastiken „Femme/Madame“ und „Homme/Monsieur“ Arbeiten, die direkt für die Umsetzung im Silberguss geplant sind (Claire Siaud/François Hugo 2001, op.cit., S. 96; s. Vergleichsabbildung). Diese liegen nun in den für Max Ernst gegossenen Künstlerexemplaren vor.
Max Ernst
Femme (Madame)
Silver sculpture. Height 28 cm. Signed 'max ernst' on the underside. There it bears the François Hugo mark, the 950 "Minerva" silver hallmark, the reference number "852 1522" and the "EXEMPLAIRE D'ARTISTE" stamp. Exemplaire d'artiste aside from the edition of 6 numbered casts. Cast Goldsmith François Hugo, Aix-en-Provence.
Spies/Metken 3810,1
Provenance
Artist's estate, in family possession since, Rhineland
Exhibitions
Paris 1961 (Le Point Cardinal), Max Ernst. Oeuvre sculpté 1913-1961, cat .no. 62 with illus.; Cologne/Zurich 1963 (Wallraf-Richartz-Museum/Kunsthaus Zürich), Max Ernst, cat. no. 217, presumably this example
Literature
I.a. Gaëtan Picon, Atelier François Hugo, Paris 1967, n. pag., with full-page illus.; Claire Siaud/Pierre Hugo, Hommage à François Hugo/Tribute to François Hugo, Orfèvre/Goldsmith. Bijoux d'artistes/Artist's jewels, Aix-en-Provence 2001, pp. 95, 118, 119 with full-page colour illus.
Throughout his career the Dada artist and Surrealist Max Ernst worked with the collage principle, creating new content in his images through the combination of found material; he followed this principle not just in his works on paper but also in his statuary oeuvre. His sculptures emerged through assemblages of casts of everyday objects. During his late work in Huisme - the French community where Max Ernst lived with his wife, the artist Dorothea Tanning, from 1955 - he created the sculptures “Femme” and “Homme”, which in many ways unite Max Ernst's way of working and his “artistic storehouse”. The imprints of shells, for example, denote the hair and hairslide of “Madame” in an affectionately teasing manner and, just like the bird of “Monsieur”, they permit gendered connotations. As “Loplop”, the bird mirrors Ernst's artistic self, and the shells had already been a fixed feature since early in Ernst's oeuvre. “Femme” and “Homme” thus appear endearing, charming and a bit eccentric, and their immobility makes them seem akin to a totem.
Although they are rather large, both plaster forms were poured in silver by François Hugo in Aix-en-Provence. Max Ernst had been linked to this goldsmith since 1922 by a - sometimes close - friendship, and Dorothea Tanning also had her work executed by him in gold and silver. According to François Hugo's son Pierre, Max Ernst first had the idea of collaborating together in 1957, and in 1960, with the amusing plaster sculptures “Femme/Madame” and “Homme/Monsieur”, the artist created works directly planned for realisation in cast silver (Claire Siaud/François Hugo 2001, op. cit., p. 96; see comparative illustration). These can now be found here in the artist's exemplar casts for Max Ernst.
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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
