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Paul Cezanne, Entrée de maison et arbres
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Description
Paul Cezanne, Entrée de maison et arbres
Watercolour and graphite on wove paper. 31.4 x 25/27.2 cm. Framed under glass. Unsigned. Inscribed indistinctly "no. 164 Gerard" in pencil verso.
FWN 1539
We would like to thank Walter Feilchenfeldt, Jayne Warman, David Nash and Fabienne Ruppen for kind confirmatory and additional information.
Provenance
Former private collection, Rhineland; thenceforth in family property
Literature
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), no. FWN 1539 (with col.ill.)
When Paul Cezanne created this enchanting watercolour landscape, he was probably in the countryside of the Île-de-France or already in his adopted homeland of Provence. Even at an advanced age he loved to hike through the landscapes around Aix-en-Provence to capture seemingly accidental views of them. Here, lines delicately drawn in pencil form a framework to which the watercolours have been attached in mostly parallel patches of blue, grey and green. Within this reduced range of colours, these convey the idea of a house’s elongated wall, which contains a door in dark shadows and trees – some of them tall – as well as the outline of a building behind it. This is consistent with Cezanne’s tendency to use architectonic elements to restrict our view of an expansive landscape space and to link the nearby with the distant. His deft composition introduces diagonal elements for this purpose: here the extending branches draw our gaze into the distance. In terms of subject matter, the watercolour belongs to a group of works on paper which link wooded landscapes with selected architectural elements, thus harmonising right-angled and vegetable forms.
Watercolours occupy an important place in Cezanne’s oeuvre. From around 1885 their influence on his oil painting is not to be underestimated and, on the other hand, he especially transferred his use of the watercolour technique to the creation of landscape images. After initially painting mostly wet in wet, he later transitioned to painting with superimposed colours featuring mutually overlapping areas. Over time he also began to allow the white ground of the paper to remain so that he could deliberately incorporate it into his compositions.
According to the authors of Cezanne’s catalogue raisonné, this watercolour sheet represents not a fragment but a standard format of drawing paper (31 x 24 cm) often used by Cezanne. As in the case of the 1900 watercolour “Pistachier dans la cour de Château Noir I” (no. 1449), it is assumed that he supplemented the sheet with a small strip of paper during the painting process to enable himself to extend the wall and strip of greenery. The watercolour loses none of its magic on account of this – on the contrary, this lends it greater authenticity. Accordingly this work, which has long been in private hands, was just recently added to his catalogue raisonné. Watercolours by Cezanne are extremely rare on the German art market.
Watercolour and graphite on wove paper. 31.4 x 25/27.2 cm. Framed under glass. Unsigned. Inscribed indistinctly "no. 164 Gerard" in pencil verso.
FWN 1539
We would like to thank Walter Feilchenfeldt, Jayne Warman, David Nash and Fabienne Ruppen for kind confirmatory and additional information.
Provenance
Former private collection, Rhineland; thenceforth in family property
Literature
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), no. FWN 1539 (with col.ill.)
When Paul Cezanne created this enchanting watercolour landscape, he was probably in the countryside of the Île-de-France or already in his adopted homeland of Provence. Even at an advanced age he loved to hike through the landscapes around Aix-en-Provence to capture seemingly accidental views of them. Here, lines delicately drawn in pencil form a framework to which the watercolours have been attached in mostly parallel patches of blue, grey and green. Within this reduced range of colours, these convey the idea of a house’s elongated wall, which contains a door in dark shadows and trees – some of them tall – as well as the outline of a building behind it. This is consistent with Cezanne’s tendency to use architectonic elements to restrict our view of an expansive landscape space and to link the nearby with the distant. His deft composition introduces diagonal elements for this purpose: here the extending branches draw our gaze into the distance. In terms of subject matter, the watercolour belongs to a group of works on paper which link wooded landscapes with selected architectural elements, thus harmonising right-angled and vegetable forms.
Watercolours occupy an important place in Cezanne’s oeuvre. From around 1885 their influence on his oil painting is not to be underestimated and, on the other hand, he especially transferred his use of the watercolour technique to the creation of landscape images. After initially painting mostly wet in wet, he later transitioned to painting with superimposed colours featuring mutually overlapping areas. Over time he also began to allow the white ground of the paper to remain so that he could deliberately incorporate it into his compositions.
According to the authors of Cezanne’s catalogue raisonné, this watercolour sheet represents not a fragment but a standard format of drawing paper (31 x 24 cm) often used by Cezanne. As in the case of the 1900 watercolour “Pistachier dans la cour de Château Noir I” (no. 1449), it is assumed that he supplemented the sheet with a small strip of paper during the painting process to enable himself to extend the wall and strip of greenery. The watercolour loses none of its magic on account of this – on the contrary, this lends it greater authenticity. Accordingly this work, which has long been in private hands, was just recently added to his catalogue raisonné. Watercolours by Cezanne are extremely rare on the German art market.
Paul Cezanne, Entrée de maison et arbres
Aquarell und Graphitstift auf Velin. 31,4 x 25/27,2 cm. Unter Glas gerahmt. Unbezeichnet. Rückseitig undeutlich mit Bleistift bezeichnet "no. 164 Gerard".
FWN 1539
Wir danken Walter Feilchenfeldt, Jayne Warman, David Nash und Fabienne Ruppen für freundliche bestätigende und ergänzende Informationen.
Provenienz
Ehem. Privatsammlung Rheinland; seitdem in Familienbesitz
Literatur
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), Nr. FWN 1539 (mit Farbabb.)
Paul Cezanne dürfte in den ländlichen Gegenden der Île de France oder schon in seiner Wahlheimat Provence gewesen sein, als dieses zauberhafte Landschaftsaquarell entstand. Bis ins hohe Alter liebte er es, die in der Nähe von Aix liegenden Landschaften zu durchwandern und scheinbar zufällige Ausschnitte festzuhalten. Zart gesetzte Bleistiftlinien bilden hier das Gerüst, an dem meist parallel gesetzte Aquarellflecken in Blau, Grau und Grün ansetzen. In dieser reduzierten Farbskala vermitteln sie die Vorstellung einer langgezogenen Hausmauer mit einer dunkel schattierten Tür, hinter der sich teils hochgewachsene Bäume und die Umrisse eines Gebäudes erheben. Dies entspricht seiner Neigung, den Blick auf weite Landschaftsräume durch architektonische Elemente einzuschränken, um Nahes mit Fernem zu verbinden. Kompositorisch geschickt führte er hierfür diagonal laufende Elemente ein, in diesem Fall die ausgreifenden Äste, die unseren Blick in die Tiefe ziehen. Thematisch gehört das Aquarell zu einer Werkgruppe von Papierarbeiten, die bewaldete Landschaften mit ausgewählten Architekturelementen verbinden und so rechtwinklige mit vegetabilen Formen in Einklang bringen.
Die Aquarellmalerei nimmt in Cezannes Gesamtschaffen einen bedeutenden Raum ein. Seit etwa 1885 hatte sie einen nicht zu unterschätzenden Einfluss auf seine Ölmalerei, und umgekehrt übertrug er die Technik des Aquarellierens vor allem auf seine Landschaftsbilder. Nachdem er anfangs meist Nass in Nass malte, ging er später zu einer Malweise mit übereinandergelegten Farben und wechselseitiger Überblendung über. Mit der Zeit ließ er auch das Grundweiß des Papiers stehen, um es bewusst in die Komposition einzubeziehen.
Den Autoren des Werkverzeichnisses zufolge handelt es sich bei dem Aquarell nicht um ein Fragment, sondern um ein reguläres und von Cezanne häufig verwendetes Zeichenpapierformat (31 x 24 cm). Wie auch im Falle des Aquarells „Pistachier dans la cour de Château Noir I“ von 1900 (Nr. 1449) wird angenommen, dass er noch während des Malprozesses einen schmalen Streifen ergänzte, um die Mauer und den Grünstreifen weiterführen zu können. Das Aquarell verliert dadurch nichts von seinem Zauber – im Gegenteil, es gewinnt an Authentizität. Dementsprechend wurde die lange im Privatbesitz befindliche Arbeit erst jüngst in das Verzeichnis aufgenommen. Aquarelle von Cezanne sind im deutschen Kunsthandel äußerst selten.
Aquarell und Graphitstift auf Velin. 31,4 x 25/27,2 cm. Unter Glas gerahmt. Unbezeichnet. Rückseitig undeutlich mit Bleistift bezeichnet "no. 164 Gerard".
FWN 1539
Wir danken Walter Feilchenfeldt, Jayne Warman, David Nash und Fabienne Ruppen für freundliche bestätigende und ergänzende Informationen.
Provenienz
Ehem. Privatsammlung Rheinland; seitdem in Familienbesitz
Literatur
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), Nr. FWN 1539 (mit Farbabb.)
Paul Cezanne dürfte in den ländlichen Gegenden der Île de France oder schon in seiner Wahlheimat Provence gewesen sein, als dieses zauberhafte Landschaftsaquarell entstand. Bis ins hohe Alter liebte er es, die in der Nähe von Aix liegenden Landschaften zu durchwandern und scheinbar zufällige Ausschnitte festzuhalten. Zart gesetzte Bleistiftlinien bilden hier das Gerüst, an dem meist parallel gesetzte Aquarellflecken in Blau, Grau und Grün ansetzen. In dieser reduzierten Farbskala vermitteln sie die Vorstellung einer langgezogenen Hausmauer mit einer dunkel schattierten Tür, hinter der sich teils hochgewachsene Bäume und die Umrisse eines Gebäudes erheben. Dies entspricht seiner Neigung, den Blick auf weite Landschaftsräume durch architektonische Elemente einzuschränken, um Nahes mit Fernem zu verbinden. Kompositorisch geschickt führte er hierfür diagonal laufende Elemente ein, in diesem Fall die ausgreifenden Äste, die unseren Blick in die Tiefe ziehen. Thematisch gehört das Aquarell zu einer Werkgruppe von Papierarbeiten, die bewaldete Landschaften mit ausgewählten Architekturelementen verbinden und so rechtwinklige mit vegetabilen Formen in Einklang bringen.
Die Aquarellmalerei nimmt in Cezannes Gesamtschaffen einen bedeutenden Raum ein. Seit etwa 1885 hatte sie einen nicht zu unterschätzenden Einfluss auf seine Ölmalerei, und umgekehrt übertrug er die Technik des Aquarellierens vor allem auf seine Landschaftsbilder. Nachdem er anfangs meist Nass in Nass malte, ging er später zu einer Malweise mit übereinandergelegten Farben und wechselseitiger Überblendung über. Mit der Zeit ließ er auch das Grundweiß des Papiers stehen, um es bewusst in die Komposition einzubeziehen.
Den Autoren des Werkverzeichnisses zufolge handelt es sich bei dem Aquarell nicht um ein Fragment, sondern um ein reguläres und von Cezanne häufig verwendetes Zeichenpapierformat (31 x 24 cm). Wie auch im Falle des Aquarells „Pistachier dans la cour de Château Noir I“ von 1900 (Nr. 1449) wird angenommen, dass er noch während des Malprozesses einen schmalen Streifen ergänzte, um die Mauer und den Grünstreifen weiterführen zu können. Das Aquarell verliert dadurch nichts von seinem Zauber – im Gegenteil, es gewinnt an Authentizität. Dementsprechend wurde die lange im Privatbesitz befindliche Arbeit erst jüngst in das Verzeichnis aufgenommen. Aquarelle von Cezanne sind im deutschen Kunsthandel äußerst selten.
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Paul Cezanne, Entrée de maison et arbres
Watercolour and graphite on wove paper. 31.4 x 25/27.2 cm. Framed under glass. Unsigned. Inscribed indistinctly "no. 164 Gerard" in pencil verso.
FWN 1539
We would like to thank Walter Feilchenfeldt, Jayne Warman, David Nash and Fabienne Ruppen for kind confirmatory and additional information.
Provenance
Former private collection, Rhineland; thenceforth in family property
Literature
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), no. FWN 1539 (with col.ill.)
When Paul Cezanne created this enchanting watercolour landscape, he was probably in the countryside of the Île-de-France or already in his adopted homeland of Provence. Even at an advanced age he loved to hike through the landscapes around Aix-en-Provence to capture seemingly accidental views of them. Here, lines delicately drawn in pencil form a framework to which the watercolours have been attached in mostly parallel patches of blue, grey and green. Within this reduced range of colours, these convey the idea of a house’s elongated wall, which contains a door in dark shadows and trees – some of them tall – as well as the outline of a building behind it. This is consistent with Cezanne’s tendency to use architectonic elements to restrict our view of an expansive landscape space and to link the nearby with the distant. His deft composition introduces diagonal elements for this purpose: here the extending branches draw our gaze into the distance. In terms of subject matter, the watercolour belongs to a group of works on paper which link wooded landscapes with selected architectural elements, thus harmonising right-angled and vegetable forms.
Watercolours occupy an important place in Cezanne’s oeuvre. From around 1885 their influence on his oil painting is not to be underestimated and, on the other hand, he especially transferred his use of the watercolour technique to the creation of landscape images. After initially painting mostly wet in wet, he later transitioned to painting with superimposed colours featuring mutually overlapping areas. Over time he also began to allow the white ground of the paper to remain so that he could deliberately incorporate it into his compositions.
According to the authors of Cezanne’s catalogue raisonné, this watercolour sheet represents not a fragment but a standard format of drawing paper (31 x 24 cm) often used by Cezanne. As in the case of the 1900 watercolour “Pistachier dans la cour de Château Noir I” (no. 1449), it is assumed that he supplemented the sheet with a small strip of paper during the painting process to enable himself to extend the wall and strip of greenery. The watercolour loses none of its magic on account of this – on the contrary, this lends it greater authenticity. Accordingly this work, which has long been in private hands, was just recently added to his catalogue raisonné. Watercolours by Cezanne are extremely rare on the German art market.
Watercolour and graphite on wove paper. 31.4 x 25/27.2 cm. Framed under glass. Unsigned. Inscribed indistinctly "no. 164 Gerard" in pencil verso.
FWN 1539
We would like to thank Walter Feilchenfeldt, Jayne Warman, David Nash and Fabienne Ruppen for kind confirmatory and additional information.
Provenance
Former private collection, Rhineland; thenceforth in family property
Literature
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), no. FWN 1539 (with col.ill.)
When Paul Cezanne created this enchanting watercolour landscape, he was probably in the countryside of the Île-de-France or already in his adopted homeland of Provence. Even at an advanced age he loved to hike through the landscapes around Aix-en-Provence to capture seemingly accidental views of them. Here, lines delicately drawn in pencil form a framework to which the watercolours have been attached in mostly parallel patches of blue, grey and green. Within this reduced range of colours, these convey the idea of a house’s elongated wall, which contains a door in dark shadows and trees – some of them tall – as well as the outline of a building behind it. This is consistent with Cezanne’s tendency to use architectonic elements to restrict our view of an expansive landscape space and to link the nearby with the distant. His deft composition introduces diagonal elements for this purpose: here the extending branches draw our gaze into the distance. In terms of subject matter, the watercolour belongs to a group of works on paper which link wooded landscapes with selected architectural elements, thus harmonising right-angled and vegetable forms.
Watercolours occupy an important place in Cezanne’s oeuvre. From around 1885 their influence on his oil painting is not to be underestimated and, on the other hand, he especially transferred his use of the watercolour technique to the creation of landscape images. After initially painting mostly wet in wet, he later transitioned to painting with superimposed colours featuring mutually overlapping areas. Over time he also began to allow the white ground of the paper to remain so that he could deliberately incorporate it into his compositions.
According to the authors of Cezanne’s catalogue raisonné, this watercolour sheet represents not a fragment but a standard format of drawing paper (31 x 24 cm) often used by Cezanne. As in the case of the 1900 watercolour “Pistachier dans la cour de Château Noir I” (no. 1449), it is assumed that he supplemented the sheet with a small strip of paper during the painting process to enable himself to extend the wall and strip of greenery. The watercolour loses none of its magic on account of this – on the contrary, this lends it greater authenticity. Accordingly this work, which has long been in private hands, was just recently added to his catalogue raisonné. Watercolours by Cezanne are extremely rare on the German art market.
Paul Cezanne, Entrée de maison et arbres
Aquarell und Graphitstift auf Velin. 31,4 x 25/27,2 cm. Unter Glas gerahmt. Unbezeichnet. Rückseitig undeutlich mit Bleistift bezeichnet "no. 164 Gerard".
FWN 1539
Wir danken Walter Feilchenfeldt, Jayne Warman, David Nash und Fabienne Ruppen für freundliche bestätigende und ergänzende Informationen.
Provenienz
Ehem. Privatsammlung Rheinland; seitdem in Familienbesitz
Literatur
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), Nr. FWN 1539 (mit Farbabb.)
Paul Cezanne dürfte in den ländlichen Gegenden der Île de France oder schon in seiner Wahlheimat Provence gewesen sein, als dieses zauberhafte Landschaftsaquarell entstand. Bis ins hohe Alter liebte er es, die in der Nähe von Aix liegenden Landschaften zu durchwandern und scheinbar zufällige Ausschnitte festzuhalten. Zart gesetzte Bleistiftlinien bilden hier das Gerüst, an dem meist parallel gesetzte Aquarellflecken in Blau, Grau und Grün ansetzen. In dieser reduzierten Farbskala vermitteln sie die Vorstellung einer langgezogenen Hausmauer mit einer dunkel schattierten Tür, hinter der sich teils hochgewachsene Bäume und die Umrisse eines Gebäudes erheben. Dies entspricht seiner Neigung, den Blick auf weite Landschaftsräume durch architektonische Elemente einzuschränken, um Nahes mit Fernem zu verbinden. Kompositorisch geschickt führte er hierfür diagonal laufende Elemente ein, in diesem Fall die ausgreifenden Äste, die unseren Blick in die Tiefe ziehen. Thematisch gehört das Aquarell zu einer Werkgruppe von Papierarbeiten, die bewaldete Landschaften mit ausgewählten Architekturelementen verbinden und so rechtwinklige mit vegetabilen Formen in Einklang bringen.
Die Aquarellmalerei nimmt in Cezannes Gesamtschaffen einen bedeutenden Raum ein. Seit etwa 1885 hatte sie einen nicht zu unterschätzenden Einfluss auf seine Ölmalerei, und umgekehrt übertrug er die Technik des Aquarellierens vor allem auf seine Landschaftsbilder. Nachdem er anfangs meist Nass in Nass malte, ging er später zu einer Malweise mit übereinandergelegten Farben und wechselseitiger Überblendung über. Mit der Zeit ließ er auch das Grundweiß des Papiers stehen, um es bewusst in die Komposition einzubeziehen.
Den Autoren des Werkverzeichnisses zufolge handelt es sich bei dem Aquarell nicht um ein Fragment, sondern um ein reguläres und von Cezanne häufig verwendetes Zeichenpapierformat (31 x 24 cm). Wie auch im Falle des Aquarells „Pistachier dans la cour de Château Noir I“ von 1900 (Nr. 1449) wird angenommen, dass er noch während des Malprozesses einen schmalen Streifen ergänzte, um die Mauer und den Grünstreifen weiterführen zu können. Das Aquarell verliert dadurch nichts von seinem Zauber – im Gegenteil, es gewinnt an Authentizität. Dementsprechend wurde die lange im Privatbesitz befindliche Arbeit erst jüngst in das Verzeichnis aufgenommen. Aquarelle von Cezanne sind im deutschen Kunsthandel äußerst selten.
Aquarell und Graphitstift auf Velin. 31,4 x 25/27,2 cm. Unter Glas gerahmt. Unbezeichnet. Rückseitig undeutlich mit Bleistift bezeichnet "no. 164 Gerard".
FWN 1539
Wir danken Walter Feilchenfeldt, Jayne Warman, David Nash und Fabienne Ruppen für freundliche bestätigende und ergänzende Informationen.
Provenienz
Ehem. Privatsammlung Rheinland; seitdem in Familienbesitz
Literatur
Walter Feilchenfeldt, Jayne Warman and David Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), Nr. FWN 1539 (mit Farbabb.)
Paul Cezanne dürfte in den ländlichen Gegenden der Île de France oder schon in seiner Wahlheimat Provence gewesen sein, als dieses zauberhafte Landschaftsaquarell entstand. Bis ins hohe Alter liebte er es, die in der Nähe von Aix liegenden Landschaften zu durchwandern und scheinbar zufällige Ausschnitte festzuhalten. Zart gesetzte Bleistiftlinien bilden hier das Gerüst, an dem meist parallel gesetzte Aquarellflecken in Blau, Grau und Grün ansetzen. In dieser reduzierten Farbskala vermitteln sie die Vorstellung einer langgezogenen Hausmauer mit einer dunkel schattierten Tür, hinter der sich teils hochgewachsene Bäume und die Umrisse eines Gebäudes erheben. Dies entspricht seiner Neigung, den Blick auf weite Landschaftsräume durch architektonische Elemente einzuschränken, um Nahes mit Fernem zu verbinden. Kompositorisch geschickt führte er hierfür diagonal laufende Elemente ein, in diesem Fall die ausgreifenden Äste, die unseren Blick in die Tiefe ziehen. Thematisch gehört das Aquarell zu einer Werkgruppe von Papierarbeiten, die bewaldete Landschaften mit ausgewählten Architekturelementen verbinden und so rechtwinklige mit vegetabilen Formen in Einklang bringen.
Die Aquarellmalerei nimmt in Cezannes Gesamtschaffen einen bedeutenden Raum ein. Seit etwa 1885 hatte sie einen nicht zu unterschätzenden Einfluss auf seine Ölmalerei, und umgekehrt übertrug er die Technik des Aquarellierens vor allem auf seine Landschaftsbilder. Nachdem er anfangs meist Nass in Nass malte, ging er später zu einer Malweise mit übereinandergelegten Farben und wechselseitiger Überblendung über. Mit der Zeit ließ er auch das Grundweiß des Papiers stehen, um es bewusst in die Komposition einzubeziehen.
Den Autoren des Werkverzeichnisses zufolge handelt es sich bei dem Aquarell nicht um ein Fragment, sondern um ein reguläres und von Cezanne häufig verwendetes Zeichenpapierformat (31 x 24 cm). Wie auch im Falle des Aquarells „Pistachier dans la cour de Château Noir I“ von 1900 (Nr. 1449) wird angenommen, dass er noch während des Malprozesses einen schmalen Streifen ergänzte, um die Mauer und den Grünstreifen weiterführen zu können. Das Aquarell verliert dadurch nichts von seinem Zauber – im Gegenteil, es gewinnt an Authentizität. Dementsprechend wurde die lange im Privatbesitz befindliche Arbeit erst jüngst in das Verzeichnis aufgenommen. Aquarelle von Cezanne sind im deutschen Kunsthandel äußerst selten.
Evening Sale - Modern and Contemporary Art
Sale Date(s)
Lots: 98
Venue Address
Neumarkt 3
Köln
50667
Germany
For Kunsthaus Lempertz delivery information please telephone +49 (0)221 9257290.
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Evening Sale - Modern and Contemporary Art
Evening Sale - Moderne und Zeitgenössische Kunst
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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, especially when the bidder cannot be successfully identified in terms of § 1 para. 3 GWG. 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. Further information can be found in our privacy policy at www.lempertz.com/datenschutzerklärung.html
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 € 600,000 a premium of 26 % 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 € 600,000 (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 R, the buyer shall pay the statutory VAT of 19 % on the hammer price and the buyer’s premium (regular scheme). To lots characterized by an R which are sold and send to a private person in another EU member state, the VAT legislation of this member state is applied, § 3c UStG. 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 deceased for less than 70 years (§ 64 UrhG), a charge of 1.8 % on the hammer price will be levied for the droit de suite. For payments which amount to € 10,000.00 or more, Lempertz is obliged to make a copy of the photo ID of the buyer according to §3 of the German Money Laundry Act (GWG). This applies also to cases in which payments of € 10,000.00 or more are being made for more than one invoice. 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 shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Bank transfers are to be exclusively in Euros. We accept payment by cryptocurrencies. The request for an alteration of an auction invoice, e.g. 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. The transfer is subject to successful identification (§ 1 para. 3 GWG) of the bidder and of the person to whom the invoice is transferred. Invoices will only be issued to those persons actually responsible for settling the invoices.
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 instead of 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. Regarding the treatment of personal data, we would like to point out the data protection
notice on our website.
