Los

2

Rudolf SchlichterScalaAquarell, Gouache und schwarze Kreide auf leichtem Karton mit

In Moderne und Zeitgenössische Kunst - Evening Sa...

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.
Rudolf SchlichterScalaAquarell, Gouache und schwarze Kreide auf leichtem Karton mit
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln

Rudolf Schlichter
Scala

Aquarell, Gouache und schwarze Kreide auf leichtem Karton mit Trockenstempel "SCHOELLERSHAMMER" 64,8 x 49,8 cm Unter Glas gerahmt. Unten rechts mit Bleistift signiert 'Rudolf Schlichter'. Rückseitig in Sütterlin betitelt 'Nutten' und von fremder Hand datiert "1920" sowie mit dem Nachlass-Stempel "NACHLASS R. SCHLICHTER" (nicht bei Lugt), dort handschriftlich nummeriert "B 179". - Das Papier gebräunt mit schmalem Lichtrand; die Darstellung farbfrisch erhalten.

Provenienz
Ehemals Sammlung Wolf Uecker, Nachlass

Ausstellungen
Stuttgart 1971 (Galerie Valentien), Rudolf Schlichter. Zeichnungen und Aquarelle, Kat.Nr. 9; Hamburg 1978 (Galerie Brockstedt), Rudolf Schlichter. Aquarelle, Zeichnungen und Grafiken der 20er Jahre, Kat.Nr. 16 mit Abb.; Berlin/Stuttgart 1984 (Staatliche Kunsthalle/Württembergischer Kunstverein), Rudolf Schlichter, Kat.Nr. 117 mit Abb. 81; Hamburg 1995 (Erotic Art Museum), Rudolf Schlichter, Kat.Nr. 8; Tübingen/Wuppertal/München 1997/1998 (Kunsthalle/Von der Heydt-Museum/Städtische Galerie im Lenbachhaus), Rudolf Schlichter. Gemälde, Aquarelle, Zeichnungen, Kat. Nr. 85 mit ganzseitiger Farbabb.

Literatur
Vgl. Ausst. Kat. Rudolf Schlichter, Eros und Apokalypse, Mittelrhein Museum Koblenz, 2015/2016, Kat. Nr. 24 mit Abb. S. 88, "Scala", 1926 (motivgleiche Bleistiftzeichnung in seitenverkehrtem Entwurf)

"Oft möchte man vor Schlichters Aquarellen sagen: Bilderbogen für Erwachsene! (...) Da es echte Bilderbogen sind, so kommt es vor allem auf den Schnitt der Modekleider an. So trug man sich also! Soll es einmal heißen. Das Kostüm ist wichtig: der Mensch darunter, selbst in solcher Zeit, nebensächlich. Wir sind alle Kleiderträger. Die Herrschaft der Uniformierten wird soeben erst beseitigt. Man gebe gut acht: Schuhe der Damen sind wichtig. Ein erotisches Moment." - dies ein treffender Kommentar Theodor Däublers zu den Arbeiten Schlichters im Jahr 1921 (zit. nach: Ausst. Kat. Rudolf Schlichter, Tübingen/Wuppertal/München 1997/1998, S. 22). Die 1920er Jahre in Berlin sollten für den Zeichner und Maler biographisch wie künstlerisch einen kumulativen Höhepunkt darstellen: Schlichter schloß sich der Kommunistischen Partei an, illustrierte für den Malik-Verlag, traf auf George Grosz, mit dem er sich sehr eng befreundete, in der Galerie Burchard eröffnete früh seine erste Einzelausstellung. Er mischte mit und auf, DADA, Politik und linker Intellektualismus erforderten in einer durch den verlorenen Krieg entfesselten Welt eine unablässige geistige wie physische Unruhe, ja viel mehr noch, die ständige Provokation. Mit sicherem Instinkt für alle existentiellen Ungereimtheiten spiegelte Rudolf Schlichter zwangsläufig die Phänomene aufeinander, Kunst und menschliche Gesellschaft waren für ihn die Seiten einer Medaille. Durch seine persönliche Psychopathologie war er allerdings propagandistisch kaum zu vereinnahmen. Stilistisch entwickelte er sich zu einem der führenden Protagonisten der "Neuen Sachlichkeit". Carl Einstein bezeichnete Schlichter schon 192

Full description on lot-tissimo.com
Rudolf Schlichter
Scala

Watercolour, gouache and black chalk on light card with blindstamp "SCHOELLERSHAMMER" 64.8 x 49.8 cm Framed under glass. Signed 'Rudolf Schlichter' in pencil lower right. Verso titled 'Nutten' in Sütterlin script and dated "1920" by an unknown hand as well as with the estate stamp "NACHLASS R. SCHLICHTER" (not recorded by Lugt), there numbered "B 179" in handwriting. - The paper browned with narrow light-stain; the depiction in fine condition with vibrant colours.

Provenance
Formerly Collection Wolf Uecker, estate

Exhibitions
Stuttgart 1971 (Galerie Valentien), Rudolf Schlichter. Zeichnungen und Aquarelle, cat. no. 9; Hamburg 1978 (Galerie Brockstedt), Rudolf Schlichter. Aquarelle, Zeichnungen und Grafiken der 20er Jahre, cat. no. 16 with illus.; Berlin/Stuttgart 1984 (Staatliche Kunsthalle/Württembergischer Kunstverein), Rudolf Schlichter, cat. no. 117, illus. 81; Hamburg 1995 (Erotic Art Museum), Rudolf Schlichter, cat. no. 8; Tübingen/Wuppertal/Munich 1997/98 (Kunsthalle/Von der Heydt-Museum/Städtische Galerie im Lenbachhaus), Rudolf Schlichter. Gemälde, Aquarelle, Zeichnungen, cat. no. 85 with full-page colour illus.

Literature
Cf. exhib. cat. Rudolf Schlichter, Eros und Apokalypse, Mittelrhein Museum Koblenz, 2015/2016, cat. no. 24 with illus. p. 88, "Scala", 1926 (same but inversed motif as pencil drawing)

“Standing before Schlichter's watercolours, one often wishes to say: illustrated picture stories for adults! […] Because they are actual illustrated picture stories, the primary concern is the cut of their fashionable dresses. So that is what people wore! Is first of all what they are supposed to mean. The outfit is important: the people underneath, even at such a time, secondary. We are all wearers of clothing. The reign of the uniformed is only just abolished. Pay close attention: the shoes of the ladies are important. An erotic element.” - this is Theodor Däubler's apt commentary on Schlichter's work from 1921 (cited in: exhib. cat., Rudolf Schlichter, Tübingen/Wuppertal/ München 1997/1998, p. 22). For the draughtsman and painter, the 1920s in Berlin represented a cumulative pinnacle biographically as well as artistically: Schlichter joined the Communist Party, created illustrations for the Malik publishing house and met George Grosz, with whom he became very close friends, and his first solo exhibition soon opened at the Galerie Burchard. In the mix and stirring things up: DADA, politics and leftist intellectualism demanded ceaseless mental as well as physical restlessness - indeed, even more, constant provocation - in the unfettered world following in the wake of the lost war. With a sure instinct for every existential inconsistency, Rudolf Schlichter inexorably caused phenomena to reflect on one another: for him, art and human society were two sides of one coin. However, on account of his personal psychopathology, he could scarcely be appropriated for propaganda purposes. Stylistically, he developed himself into one of the leading protagonists of the “New Objectivity”. Carl Einstein had already described Schlichter as a “Verist” in 1920 and felt that “many of his works are so objective they are reminiscent of cinema” (cited in Andreas Kühne, Von der Dada-Revolte zur Neuen Sachlichkeit, in: exhib. cat., 1997/1998, op. cit., p. 42). The artist's portraits and depictions of milieus from this period, including his likenesses of Bertolt Brecht and Helene Weigel, record the historical moment of this epoch in an exemplary manner.
Around 1924 he created his painting “Margot” (Stiftung Stadtmuseum Berlin), in which a significant scrap from a poster on the brick wall in the background features the inscription “CIRCUS BUSCH/QUO VADIS”. This individual portrait from the social context of prostitution, a milieu with which the artist was all too familiar, can also ultimately be grouped with the present watercolour, on the back of which Schlichter has written “Nutten” ["tarts"]. Thematic ambivalences unfold around this formally simplified street scene, and these in turn become laconically condensed in the sketched electric sign for the “SCALA”. This refers to what was surely Berlin's most famous cabaret theatre, which opened in 1920. And the ladies striding past, elegant and bourgeois in their hats and furs, but notably entirely unaccompanied, may find themselves on a pavement in front of the stage entrance at the side of the theatre. Do they really wish to amuse themselves or are they there to provide amusement? Schlichter's characterisations seem merciless: it is a male gaze at an ostensibly modern female self-assurance, in whose made-up face he has inscribed not

Full description on lot-tissimo.com

Rudolf Schlichter
Scala

Aquarell, Gouache und schwarze Kreide auf leichtem Karton mit Trockenstempel "SCHOELLERSHAMMER" 64,8 x 49,8 cm Unter Glas gerahmt. Unten rechts mit Bleistift signiert 'Rudolf Schlichter'. Rückseitig in Sütterlin betitelt 'Nutten' und von fremder Hand datiert "1920" sowie mit dem Nachlass-Stempel "NACHLASS R. SCHLICHTER" (nicht bei Lugt), dort handschriftlich nummeriert "B 179". - Das Papier gebräunt mit schmalem Lichtrand; die Darstellung farbfrisch erhalten.

Provenienz
Ehemals Sammlung Wolf Uecker, Nachlass

Ausstellungen
Stuttgart 1971 (Galerie Valentien), Rudolf Schlichter. Zeichnungen und Aquarelle, Kat.Nr. 9; Hamburg 1978 (Galerie Brockstedt), Rudolf Schlichter. Aquarelle, Zeichnungen und Grafiken der 20er Jahre, Kat.Nr. 16 mit Abb.; Berlin/Stuttgart 1984 (Staatliche Kunsthalle/Württembergischer Kunstverein), Rudolf Schlichter, Kat.Nr. 117 mit Abb. 81; Hamburg 1995 (Erotic Art Museum), Rudolf Schlichter, Kat.Nr. 8; Tübingen/Wuppertal/München 1997/1998 (Kunsthalle/Von der Heydt-Museum/Städtische Galerie im Lenbachhaus), Rudolf Schlichter. Gemälde, Aquarelle, Zeichnungen, Kat. Nr. 85 mit ganzseitiger Farbabb.

Literatur
Vgl. Ausst. Kat. Rudolf Schlichter, Eros und Apokalypse, Mittelrhein Museum Koblenz, 2015/2016, Kat. Nr. 24 mit Abb. S. 88, "Scala", 1926 (motivgleiche Bleistiftzeichnung in seitenverkehrtem Entwurf)

"Oft möchte man vor Schlichters Aquarellen sagen: Bilderbogen für Erwachsene! (...) Da es echte Bilderbogen sind, so kommt es vor allem auf den Schnitt der Modekleider an. So trug man sich also! Soll es einmal heißen. Das Kostüm ist wichtig: der Mensch darunter, selbst in solcher Zeit, nebensächlich. Wir sind alle Kleiderträger. Die Herrschaft der Uniformierten wird soeben erst beseitigt. Man gebe gut acht: Schuhe der Damen sind wichtig. Ein erotisches Moment." - dies ein treffender Kommentar Theodor Däublers zu den Arbeiten Schlichters im Jahr 1921 (zit. nach: Ausst. Kat. Rudolf Schlichter, Tübingen/Wuppertal/München 1997/1998, S. 22). Die 1920er Jahre in Berlin sollten für den Zeichner und Maler biographisch wie künstlerisch einen kumulativen Höhepunkt darstellen: Schlichter schloß sich der Kommunistischen Partei an, illustrierte für den Malik-Verlag, traf auf George Grosz, mit dem er sich sehr eng befreundete, in der Galerie Burchard eröffnete früh seine erste Einzelausstellung. Er mischte mit und auf, DADA, Politik und linker Intellektualismus erforderten in einer durch den verlorenen Krieg entfesselten Welt eine unablässige geistige wie physische Unruhe, ja viel mehr noch, die ständige Provokation. Mit sicherem Instinkt für alle existentiellen Ungereimtheiten spiegelte Rudolf Schlichter zwangsläufig die Phänomene aufeinander, Kunst und menschliche Gesellschaft waren für ihn die Seiten einer Medaille. Durch seine persönliche Psychopathologie war er allerdings propagandistisch kaum zu vereinnahmen. Stilistisch entwickelte er sich zu einem der führenden Protagonisten der "Neuen Sachlichkeit". Carl Einstein bezeichnete Schlichter schon 192

Full description on lot-tissimo.com
Rudolf Schlichter
Scala

Watercolour, gouache and black chalk on light card with blindstamp "SCHOELLERSHAMMER" 64.8 x 49.8 cm Framed under glass. Signed 'Rudolf Schlichter' in pencil lower right. Verso titled 'Nutten' in Sütterlin script and dated "1920" by an unknown hand as well as with the estate stamp "NACHLASS R. SCHLICHTER" (not recorded by Lugt), there numbered "B 179" in handwriting. - The paper browned with narrow light-stain; the depiction in fine condition with vibrant colours.

Provenance
Formerly Collection Wolf Uecker, estate

Exhibitions
Stuttgart 1971 (Galerie Valentien), Rudolf Schlichter. Zeichnungen und Aquarelle, cat. no. 9; Hamburg 1978 (Galerie Brockstedt), Rudolf Schlichter. Aquarelle, Zeichnungen und Grafiken der 20er Jahre, cat. no. 16 with illus.; Berlin/Stuttgart 1984 (Staatliche Kunsthalle/Württembergischer Kunstverein), Rudolf Schlichter, cat. no. 117, illus. 81; Hamburg 1995 (Erotic Art Museum), Rudolf Schlichter, cat. no. 8; Tübingen/Wuppertal/Munich 1997/98 (Kunsthalle/Von der Heydt-Museum/Städtische Galerie im Lenbachhaus), Rudolf Schlichter. Gemälde, Aquarelle, Zeichnungen, cat. no. 85 with full-page colour illus.

Literature
Cf. exhib. cat. Rudolf Schlichter, Eros und Apokalypse, Mittelrhein Museum Koblenz, 2015/2016, cat. no. 24 with illus. p. 88, "Scala", 1926 (same but inversed motif as pencil drawing)

“Standing before Schlichter's watercolours, one often wishes to say: illustrated picture stories for adults! […] Because they are actual illustrated picture stories, the primary concern is the cut of their fashionable dresses. So that is what people wore! Is first of all what they are supposed to mean. The outfit is important: the people underneath, even at such a time, secondary. We are all wearers of clothing. The reign of the uniformed is only just abolished. Pay close attention: the shoes of the ladies are important. An erotic element.” - this is Theodor Däubler's apt commentary on Schlichter's work from 1921 (cited in: exhib. cat., Rudolf Schlichter, Tübingen/Wuppertal/ München 1997/1998, p. 22). For the draughtsman and painter, the 1920s in Berlin represented a cumulative pinnacle biographically as well as artistically: Schlichter joined the Communist Party, created illustrations for the Malik publishing house and met George Grosz, with whom he became very close friends, and his first solo exhibition soon opened at the Galerie Burchard. In the mix and stirring things up: DADA, politics and leftist intellectualism demanded ceaseless mental as well as physical restlessness - indeed, even more, constant provocation - in the unfettered world following in the wake of the lost war. With a sure instinct for every existential inconsistency, Rudolf Schlichter inexorably caused phenomena to reflect on one another: for him, art and human society were two sides of one coin. However, on account of his personal psychopathology, he could scarcely be appropriated for propaganda purposes. Stylistically, he developed himself into one of the leading protagonists of the “New Objectivity”. Carl Einstein had already described Schlichter as a “Verist” in 1920 and felt that “many of his works are so objective they are reminiscent of cinema” (cited in Andreas Kühne, Von der Dada-Revolte zur Neuen Sachlichkeit, in: exhib. cat., 1997/1998, op. cit., p. 42). The artist's portraits and depictions of milieus from this period, including his likenesses of Bertolt Brecht and Helene Weigel, record the historical moment of this epoch in an exemplary manner.
Around 1924 he created his painting “Margot” (Stiftung Stadtmuseum Berlin), in which a significant scrap from a poster on the brick wall in the background features the inscription “CIRCUS BUSCH/QUO VADIS”. This individual portrait from the social context of prostitution, a milieu with which the artist was all too familiar, can also ultimately be grouped with the present watercolour, on the back of which Schlichter has written “Nutten” ["tarts"]. Thematic ambivalences unfold around this formally simplified street scene, and these in turn become laconically condensed in the sketched electric sign for the “SCALA”. This refers to what was surely Berlin's most famous cabaret theatre, which opened in 1920. And the ladies striding past, elegant and bourgeois in their hats and furs, but notably entirely unaccompanied, may find themselves on a pavement in front of the stage entrance at the side of the theatre. Do they really wish to amuse themselves or are they there to provide amusement? Schlichter's characterisations seem merciless: it is a male gaze at an ostensibly modern female self-assurance, in whose made-up face he has inscribed not

Full description on lot-tissimo.com

Moderne und Zeitgenössische Kunst - Evening Sale

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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

Wichtige Informationen

Nothing important.

AGB

standard | standard



Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (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.

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 three 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 the lot number and item description. In the event of ambiguities, the listed lot 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. Telephone 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. Written 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 (VAT) calculated on the premium 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 N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the 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 authors are either still alive or died after 31.12.1948, a charge of 1.8 % 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 reserves the right to refuse such a request if it is deemed appropriate.

11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per 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 German law for the protection of cultural goods 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, Kilian Jay von Seldeneck, auctioneers

Vollständige AGBs