Los

239

Diese Auktion ist eine LIVE Auktion! Sie müssen für diese Auktion registriert und als Bieter freigeschaltet sein, um bieten zu können.
Sie wurden überboten. Um die größte Chance zu haben zu gewinnen, erhöhen Sie bitte Ihr Maximal Gebot.
Ihre Registrierung wurde noch nicht durch das Auktionshaus genehmigt. Bitte, prüfen Sie Ihr E-Mail Konto für mehr Details.
Leider wurde Ihre Registrierung durch das Auktionshaus abgelehnt. Sie können das Auktionshaus direkt kontaktieren über +49 (0)221 9257290 um mehr Informationen zu erhalten.
Sie sind zurzeit Höchstbieter! Um sicher zustellen, dass Sie das Los ersteigern, melden Sie sich zum Live Bieten an unter , oder erhöhen Sie ihr Maximalgebot.
Geben Sie jetzt ein Gebot ab! Ihre Registrierung war erfolgreich.
Entschuldigung, die Gebotsabgabephase ist leider beendet. Es erscheinen täglich 1000 neue Lose auf lot-tissimo.com, bitte starten Sie eine neue Anfrage.
Das Bieten auf dieser Auktion hat noch nicht begonnen. Bitte, registrieren Sie sich jetzt, so dass Sie zugelassen werden bis die Auktion startet.
Erich HeckelZirkusszene
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Erich Heckel
Zirkusszene

Tempera auf Leinwand. 96,8 x 120 cm. Gerahmt (Originalrahmung). Unten rechts rotbraun signiert und datiert 'Erich Heckel 46' sowie rückseitig auf der weiß getünchten Leinwand oben rechts zusätzlich schwarz signiert und datiert 'Erich Heckel 46' und auf der Keilrahmenleiste oben links signiert, datiert und betitelt: 'Erich Heckel: "Zirkus-Scene." 1946'. - Auf der oberen Leiste des Originalrahmens links mit dem Pinsel beschriftet 'Erich Heckel. Hemmenhofen'. - In gutem Erhaltungszustand.

Hüneke 1946-5; Vogt 1946/4

Provenienz
Erich Heckel, Hemmenhofen; Beim Künstler erworben, ehemals Franz Elles, Köln (1965), Nachlass

Ausstellungen
Darmstadt 1948 (Mathildenhöhe), Secession Darmstadt, Kat. Nr. 76; Freiburg im Breisgau/Mannheim 1950 (Kunstverein/Kunsthalle Mannheim), Erich Heckel, Kat. Nr. 38; Münster 1953 (Westfälisches Landesmuseum), Erich Heckel, Zur Vollendung des siebenten Lebensjahrzehntes, Kat.Nr. 87; Konstanz 1961 (Kunstverein), Erich Heckel, Kat. Nr. 20; Nürnberg/Pforzheim 1964 (Fränkische Galerie/ Kunst- und Kunstgewerbeverein), Erich Heckel, Kat. Nr. 28

Literatur
W. Kern, Erich Heckel, in: Internationale Bodenseezeitschrift 2, 1952, S. 40-44, insbesondere S. 43; Katharina Henkel, Dialog der Medien - Motive in Aquarell und Öl bei Heckel, Zirkuswelt, in: Magdalena M. Moeller (Hg.), Erich Heckel. Der Stille Expressionist. Aquarelle als Vorstudien zu Gemälden, Aust. Kat. (u.a.) Brücke-Museum Berlin, München 2009, S. 30, vgl. Kat. Nrn. 97, 98, jeweils mit Farbabb. des Gemäldes; Andreas Hüneke, Erich Heckel, Werkverzeichnis der Gemälde, Wandbilder und Skulpturen, Bd. II., Hemmenhofen 2017, S. 291 mit Farbabb. (unter Hinweis auf 7 Aquarell-Vorstudien, darunter Stiftungen von Siddi Heckel an das Brücke-Museum)

Künstler, Schauspieler, Artisten erscheinen oft als Seelenverwandte, sie folgen einer Berufung und einer Intuition, sie vollbringen wunderbare Kunststücke, sie scheinen stolz und frei den Naturgesetzen zu trotzen und sind doch stets gefährdet. Ihre Kunst, ihr wie spielerisches Können, sind ein Balanceakt über Abgründen. Zirkusartisten haben immer eine große Faszination auf ihr Publikum ausgeübt, weil sich mit ihnen Metaphysik und Tragik verbindet und ihr Bemühen in vieler Hinsicht als transparente Parabel auf die conditio humana begriffen werden kann. Nicht nur Farben, Atmosphäre, die Akrobatik und die Grotesken des Varietés und des Zirkus boten malerischen Stoff, das Spiel der Artisten und der Clowns vertrat inhaltlich reziproke Dualitäten. Heckel als Expressionist interessierte sich für diese subtilen Phänomene.

Auch seine "Zirkusszene" von 1946 ist in dieser Hinsicht ein geheimnisvolles, fast surreales Geschehen. Erich Heckel spielt auf der Bedeutungsebene wie im Bildprogramm verschiedene

Full description on lot-tissimo.com



Erich Heckel
Zirkusszene

Tempera on canvas. 96,8 x 120 cm. Framed (original framing). Signed and dated 'Erich Heckel 46' in reddish brown lower right as well as additionally signed and dated 'Erich Heckel 46' in black verso upper right on the whitewashed canvas and signed, dated and titled 'Erich Heckel: "Zirkus-Scene." 1946' on the stretcher bar upper left. Inscribed 'Erich Heckel. Hemmenhofen' in brush on the upper bar of the original frame to the left. - In fine condition.

Hüneke 1946-5; Vogt 1946/4

Provenance
Erich Heckel, Hemmenhofen; acquired from the artist, formerly Franz Elles, Cologne (1965), estate

Exhibitions
Darmstadt 1948 (Mathildenhöhe), Secession Darmstadt, cat. no. 76; Freiburg im Breisgau/Mannheim 1950 (Kunstverein/Kunsthalle Mannheim), Erich Heckel, cat. no. 38; Münster 1953 (Westfälisches Landesmuseum), Erich Heckel, Zur Vollendung des siebenten Lebensjahrzehntes, cat. no. 87; Konstanz 1961 (Kunstverein), Erich Heckel, cat. no. 20; Nuremberg/Pforzheim 1964 (Fränkische Galerie/ Kunst- und Kunstgewerbeverein), Erich Heckel, cat. no. 28

Literature
W. Kern, Erich Heckel, in: Internationale Bodenseezeitschrift 2, 1952, p. 40-44, in particular p. 43; Katharina Henkel, Dialog der Medien - Motive in Aquarell und Öl bei Heckel, Zirkuswelt, in: Magdalena M. Moeller (ed.), Erich Heckel. Der Stille Expressionist. Aquarelle als Vorstudien zu Gemälden, exhib. cat. (i.a.) Brücke-Museum Berlin, Munich 2009, p.30, cf. cat. nos. 97, 98, each with colour illus. of the painting; Andreas Hüneke, Erich Heckel, Werkverzeichnis der Gemälde, Wandbilder und Skulpturen, vol. II., Hemmenhofen 2017, p. 291 with colour illus. (mentioning 7 watercolours as preliminary studies, some donated by Siddi Heckel to the Brücke-Museum)

Artists, actors and circus artistes often appear to be kindred spirits; they pursue a career and follow their intuition, they achieve wonderful feats, appear to be proud and unbound by the laws of nature and are nonetheless endangered. Their art, their skills that appear so playful are a balancing act over an abyss. Circus artistes have always exerted a huge fascination on their audience, because they are associated with metaphysics and tragedy and their striving can in many regards be seen as a transparent parable of the conditio humana. Not only colours, atmosphere, the acrobatics and the grotesque facets of variety theater and the circus provided artistic subjects, thematically, the performance of the artistes and the clown represented reciprocal dualities. As an Expressionist Heckel was intrigued by these subtle phenomena.

In this respect Erich Heckel's "Zirkusszene" dating from 1946 is also a mysterious, almost surreal event. He toys with various aspects in terms of meaning and pictorial program in this "finale" that makes you wish a fanfare would end everything, everything would turn out fine as if this had just been a somewhat macabre intermezzo. Indeed, the artist is not very explicit, not everything is visible... but things are serious. Who is the person lying there on the stretcher? What does this solemn mortal “departure” mean - we are familiar with the rituals -, here leaving the arena and in costume? Even the animal is suffering and mourns the death of the juggler, or was it a jester? Someone has been hit. The old, deeply moved clown seems to be an alter ego of the artist, a “wise man” and the comforting eternal light follows in the guise of a young, white Pierrot holding a burning candle. A central ringside seat is left vacant. Is it all theater? The spectators of the “Zirkusszene”, a betrayed “act”, have quietly remained in their seats.

Erich Heckel was the member of the Brücke artists considered to be a sensitive and melancholy observer. It is easy to forget the importance he assigned to artistes, clowns and the circus in his work as many of his paintings exploring these topics no longer exist today, were burned or lost. From 1909/1912 the theme runs like a red thread through all the decades of his active life as an artist and appears in all the techniques he used, was more frequent in the 1920s and early 1930s, in 1940 and finally in the years after the catastrophe of World War II. Parallel to this in the early 1910s it is already noticeable how often he addressed the topic of death in combination with the figure of Pierrot and the clown. Heckel was inspired by Dostojewsky and as late as 1917 by Jean Paul and he found scenic aspects of expression in silent films resp. movies that resounded with him. After the destruction of his major painting "Lon Chaney” from 1930 in World War II Heckel reproduced it from memory 1946 under the title “Clown vor dem Spiegel" (today in the Folkwang Museum, Essen), in the very same year of “Zirkusszene”. Heckel was a sensitive portraitist, his works featuring similar scenes, particularly the self-portraits, reflect artistically a quest of human identity.

Erich Heckel
Zirkusszene

Tempera auf Leinwand. 96,8 x 120 cm. Gerahmt (Originalrahmung). Unten rechts rotbraun signiert und datiert 'Erich Heckel 46' sowie rückseitig auf der weiß getünchten Leinwand oben rechts zusätzlich schwarz signiert und datiert 'Erich Heckel 46' und auf der Keilrahmenleiste oben links signiert, datiert und betitelt: 'Erich Heckel: "Zirkus-Scene." 1946'. - Auf der oberen Leiste des Originalrahmens links mit dem Pinsel beschriftet 'Erich Heckel. Hemmenhofen'. - In gutem Erhaltungszustand.

Hüneke 1946-5; Vogt 1946/4

Provenienz
Erich Heckel, Hemmenhofen; Beim Künstler erworben, ehemals Franz Elles, Köln (1965), Nachlass

Ausstellungen
Darmstadt 1948 (Mathildenhöhe), Secession Darmstadt, Kat. Nr. 76; Freiburg im Breisgau/Mannheim 1950 (Kunstverein/Kunsthalle Mannheim), Erich Heckel, Kat. Nr. 38; Münster 1953 (Westfälisches Landesmuseum), Erich Heckel, Zur Vollendung des siebenten Lebensjahrzehntes, Kat.Nr. 87; Konstanz 1961 (Kunstverein), Erich Heckel, Kat. Nr. 20; Nürnberg/Pforzheim 1964 (Fränkische Galerie/ Kunst- und Kunstgewerbeverein), Erich Heckel, Kat. Nr. 28

Literatur
W. Kern, Erich Heckel, in: Internationale Bodenseezeitschrift 2, 1952, S. 40-44, insbesondere S. 43; Katharina Henkel, Dialog der Medien - Motive in Aquarell und Öl bei Heckel, Zirkuswelt, in: Magdalena M. Moeller (Hg.), Erich Heckel. Der Stille Expressionist. Aquarelle als Vorstudien zu Gemälden, Aust. Kat. (u.a.) Brücke-Museum Berlin, München 2009, S. 30, vgl. Kat. Nrn. 97, 98, jeweils mit Farbabb. des Gemäldes; Andreas Hüneke, Erich Heckel, Werkverzeichnis der Gemälde, Wandbilder und Skulpturen, Bd. II., Hemmenhofen 2017, S. 291 mit Farbabb. (unter Hinweis auf 7 Aquarell-Vorstudien, darunter Stiftungen von Siddi Heckel an das Brücke-Museum)

Künstler, Schauspieler, Artisten erscheinen oft als Seelenverwandte, sie folgen einer Berufung und einer Intuition, sie vollbringen wunderbare Kunststücke, sie scheinen stolz und frei den Naturgesetzen zu trotzen und sind doch stets gefährdet. Ihre Kunst, ihr wie spielerisches Können, sind ein Balanceakt über Abgründen. Zirkusartisten haben immer eine große Faszination auf ihr Publikum ausgeübt, weil sich mit ihnen Metaphysik und Tragik verbindet und ihr Bemühen in vieler Hinsicht als transparente Parabel auf die conditio humana begriffen werden kann. Nicht nur Farben, Atmosphäre, die Akrobatik und die Grotesken des Varietés und des Zirkus boten malerischen Stoff, das Spiel der Artisten und der Clowns vertrat inhaltlich reziproke Dualitäten. Heckel als Expressionist interessierte sich für diese subtilen Phänomene.

Auch seine "Zirkusszene" von 1946 ist in dieser Hinsicht ein geheimnisvolles, fast surreales Geschehen. Erich Heckel spielt auf der Bedeutungsebene wie im Bildprogramm verschiedene

Full description on lot-tissimo.com



Erich Heckel
Zirkusszene

Tempera on canvas. 96,8 x 120 cm. Framed (original framing). Signed and dated 'Erich Heckel 46' in reddish brown lower right as well as additionally signed and dated 'Erich Heckel 46' in black verso upper right on the whitewashed canvas and signed, dated and titled 'Erich Heckel: "Zirkus-Scene." 1946' on the stretcher bar upper left. Inscribed 'Erich Heckel. Hemmenhofen' in brush on the upper bar of the original frame to the left. - In fine condition.

Hüneke 1946-5; Vogt 1946/4

Provenance
Erich Heckel, Hemmenhofen; acquired from the artist, formerly Franz Elles, Cologne (1965), estate

Exhibitions
Darmstadt 1948 (Mathildenhöhe), Secession Darmstadt, cat. no. 76; Freiburg im Breisgau/Mannheim 1950 (Kunstverein/Kunsthalle Mannheim), Erich Heckel, cat. no. 38; Münster 1953 (Westfälisches Landesmuseum), Erich Heckel, Zur Vollendung des siebenten Lebensjahrzehntes, cat. no. 87; Konstanz 1961 (Kunstverein), Erich Heckel, cat. no. 20; Nuremberg/Pforzheim 1964 (Fränkische Galerie/ Kunst- und Kunstgewerbeverein), Erich Heckel, cat. no. 28

Literature
W. Kern, Erich Heckel, in: Internationale Bodenseezeitschrift 2, 1952, p. 40-44, in particular p. 43; Katharina Henkel, Dialog der Medien - Motive in Aquarell und Öl bei Heckel, Zirkuswelt, in: Magdalena M. Moeller (ed.), Erich Heckel. Der Stille Expressionist. Aquarelle als Vorstudien zu Gemälden, exhib. cat. (i.a.) Brücke-Museum Berlin, Munich 2009, p.30, cf. cat. nos. 97, 98, each with colour illus. of the painting; Andreas Hüneke, Erich Heckel, Werkverzeichnis der Gemälde, Wandbilder und Skulpturen, vol. II., Hemmenhofen 2017, p. 291 with colour illus. (mentioning 7 watercolours as preliminary studies, some donated by Siddi Heckel to the Brücke-Museum)

Artists, actors and circus artistes often appear to be kindred spirits; they pursue a career and follow their intuition, they achieve wonderful feats, appear to be proud and unbound by the laws of nature and are nonetheless endangered. Their art, their skills that appear so playful are a balancing act over an abyss. Circus artistes have always exerted a huge fascination on their audience, because they are associated with metaphysics and tragedy and their striving can in many regards be seen as a transparent parable of the conditio humana. Not only colours, atmosphere, the acrobatics and the grotesque facets of variety theater and the circus provided artistic subjects, thematically, the performance of the artistes and the clown represented reciprocal dualities. As an Expressionist Heckel was intrigued by these subtle phenomena.

In this respect Erich Heckel's "Zirkusszene" dating from 1946 is also a mysterious, almost surreal event. He toys with various aspects in terms of meaning and pictorial program in this "finale" that makes you wish a fanfare would end everything, everything would turn out fine as if this had just been a somewhat macabre intermezzo. Indeed, the artist is not very explicit, not everything is visible... but things are serious. Who is the person lying there on the stretcher? What does this solemn mortal “departure” mean - we are familiar with the rituals -, here leaving the arena and in costume? Even the animal is suffering and mourns the death of the juggler, or was it a jester? Someone has been hit. The old, deeply moved clown seems to be an alter ego of the artist, a “wise man” and the comforting eternal light follows in the guise of a young, white Pierrot holding a burning candle. A central ringside seat is left vacant. Is it all theater? The spectators of the “Zirkusszene”, a betrayed “act”, have quietly remained in their seats.

Erich Heckel was the member of the Brücke artists considered to be a sensitive and melancholy observer. It is easy to forget the importance he assigned to artistes, clowns and the circus in his work as many of his paintings exploring these topics no longer exist today, were burned or lost. From 1909/1912 the theme runs like a red thread through all the decades of his active life as an artist and appears in all the techniques he used, was more frequent in the 1920s and early 1930s, in 1940 and finally in the years after the catastrophe of World War II. Parallel to this in the early 1910s it is already noticeable how often he addressed the topic of death in combination with the figure of Pierrot and the clown. Heckel was inspired by Dostojewsky and as late as 1917 by Jean Paul and he found scenic aspects of expression in silent films resp. movies that resounded with him. After the destruction of his major painting "Lon Chaney” from 1930 in World War II Heckel reproduced it from memory 1946 under the title “Clown vor dem Spiegel" (today in the Folkwang Museum, Essen), in the very same year of “Zirkusszene”. Heckel was a sensitive portraitist, his works featuring similar scenes, particularly the self-portraits, reflect artistically a quest of human identity.

Modern Art Catalogue Paul Baum Collection Gemmer / Modern Art Part I and II

Auktionsdatum
Lose: 200 - 269
Lose: 1 - 61
Lose: 270 - 509
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

Various premiums. Check premium on lot level!

3 % live surcharge plus VAT

 

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

 

Vollständige AGBs