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Gabriele Münter, Häuser am Wald
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Description
Gabriele Münter, Häuser am Wald
Oil on painting card, mounted on wooden board. 48.5 x 57 cm. Framed. Monogrammed signum and dated 'Mü. 11' in black lower right. Blue stamp "GABRIELE MÜNTER NACHLASS" verso. - Good, colour fresh condition in accordance with age. Two faint scratch marks in the area of the forest, professionally restored. A barely noticeable crease to upper right corner.
Provenance
Estate of Gabriele Münter; Galerie Aenne Abels, Cologne; private collection, Rhineland
Exhibitions
Cologne 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, cat. no 14 (two labels to wooden board verso)
In 1909 Gabriele Münter and Wassily Kandinsky moved to the area outside Munich, to the town of Murnau am Staffelsee, where Münter would purchase a house. Alexei von Jawlensky and Marianne von Werefkin followed them there.
This is where Münter created our landscape painting, which captivates us with the painter’s radicalism in liberating colour from the object. Houses, mountain and forest are abstracted into a bold shorthand. While the individual forms are layered in depth into a foreground, middle ground and background in the manner of a pictorial space, they exist autonomously within a framework of planes; the snow cap of the blue mountain can be read positively as well as negatively.
Münter found her way to this painterly freedom in the brief period of just two years with Kandinsky, Werefkin and Jawlensky at the so-called Russians’ House, where their living and working together had an extremely productive effect, resulting in expressive works of the highest quality, which have enriched the history of art and played a pioneering role for the art that followed.
Our painting was created in the founding year of the “Blaue Reiter” artists’ group, whose original members included Kandinsky and Münter, and it is from the best period of her oeuvre, before the outbreak of World War I tore everything apart and the world and art changed.
“In Murnau am Staffelsee, while working extremely energetically, [I found my way] to the manner of painting that suited me. I painted with […] Kandinsky, who slowly and logically developed on his own towards his early ideal – which he himself long found difficult to grasp – of an expression not restrained by the imitation of nature. From this point on, I no longer strove for the reconstructable, ‘correct’ form of things. And, nonetheless, I never wished to ‘overcome’ or shatter – much less ridicule – nature. I depicted the world the way it essentially appeared to me, how it took hold of me,” wrote Gabriele Münter about herself in 1948 (cited in: exh. cat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, p. 17).
Oil on painting card, mounted on wooden board. 48.5 x 57 cm. Framed. Monogrammed signum and dated 'Mü. 11' in black lower right. Blue stamp "GABRIELE MÜNTER NACHLASS" verso. - Good, colour fresh condition in accordance with age. Two faint scratch marks in the area of the forest, professionally restored. A barely noticeable crease to upper right corner.
Provenance
Estate of Gabriele Münter; Galerie Aenne Abels, Cologne; private collection, Rhineland
Exhibitions
Cologne 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, cat. no 14 (two labels to wooden board verso)
In 1909 Gabriele Münter and Wassily Kandinsky moved to the area outside Munich, to the town of Murnau am Staffelsee, where Münter would purchase a house. Alexei von Jawlensky and Marianne von Werefkin followed them there.
This is where Münter created our landscape painting, which captivates us with the painter’s radicalism in liberating colour from the object. Houses, mountain and forest are abstracted into a bold shorthand. While the individual forms are layered in depth into a foreground, middle ground and background in the manner of a pictorial space, they exist autonomously within a framework of planes; the snow cap of the blue mountain can be read positively as well as negatively.
Münter found her way to this painterly freedom in the brief period of just two years with Kandinsky, Werefkin and Jawlensky at the so-called Russians’ House, where their living and working together had an extremely productive effect, resulting in expressive works of the highest quality, which have enriched the history of art and played a pioneering role for the art that followed.
Our painting was created in the founding year of the “Blaue Reiter” artists’ group, whose original members included Kandinsky and Münter, and it is from the best period of her oeuvre, before the outbreak of World War I tore everything apart and the world and art changed.
“In Murnau am Staffelsee, while working extremely energetically, [I found my way] to the manner of painting that suited me. I painted with […] Kandinsky, who slowly and logically developed on his own towards his early ideal – which he himself long found difficult to grasp – of an expression not restrained by the imitation of nature. From this point on, I no longer strove for the reconstructable, ‘correct’ form of things. And, nonetheless, I never wished to ‘overcome’ or shatter – much less ridicule – nature. I depicted the world the way it essentially appeared to me, how it took hold of me,” wrote Gabriele Münter about herself in 1948 (cited in: exh. cat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, p. 17).
Gabriele Münter, Häuser am Wald
Öl auf Malkarton, auf Holzplatte montiert. 48,5 x 57 cm. Gerahmt. Unten rechts mit dem Signum schwarz monogrammiert und datiert 'Mü. 11'. Rückseitig mit dem blauen Stempel "GABRIELE MÜNTER NACHLASS" versehen. - In altersgemäß guter, farbfrischer Erhaltung. Zwei schwache Kratzspuren im Bereich des Waldes professionell restauriert. Die obere rechte Ecke mit kaum wahrnehmbarem Knick.
Provenienz
Nachlass Gabriele Münter; Galerie Aenne Abels, Köln; Privatsammlung Rheinland
Ausstellungen
Köln 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, Kat. Nr. 14 (mit zwei Etiketten auf der Rückseite der Holzplatte)
1909 zieht es Gabriele Münter und Wassily Kandinsky in das Münchner Umland, nach Murnau am Staffelsee, wo die Malerin ein Haus erwerben wird. Alexej von Jawlensky und Marianne von Werefkin folgen.
Unser dort entstandenes Landschaftsgemälde besticht durch seine Radikalität, mit der Münter die Farbe vom Gegenstand befreit. Häuser, Berg und Wald werden kühn zu Kürzeln abstrahiert. Die einzelnen Formen sind zwar wie in einem Bildraum zu Vorder-, Mittel- und Hintergrund gestaffelt, stehen aber autonom in einem Flächengerüst; die Schneekuppe des blauen Berges lässt eine Positiv- wie Negativlesung zu.
Zu dieser malerischen Freiheit hat Münter in der kurzen Zeit von nur zwei Jahren mit Kandinsky, Werefkin und Jawlensky im sogenannten Russenhaus gefunden. Ihr Zusammenleben und -arbeiten wirkt sich äußerst produktiv aus: Es entstehen expressive Werke höchster Qualität, die die Kunstgeschichte bereichern und bahnbrechend für das weitere Kunstschaffen werden.
Unser Gemälde entsteht im Gründungsjahr der Künstlergruppe ‚Blauer Reiter‘, zu deren Gründungsmitgliedern Kandinsky und Münter zählen, und stammt aus ihrer besten Schaffenszeit, bevor sich bei Ausbruch des I. Weltkrieges alles auflöst, sich Welt und Kunst verändern.
„In Murnau am Staffelsee [fand ich] bei höchstem Arbeitsschwung zu der mir gemäßen Weise von Malerei. Ich malte mit […] Kandinsky, der sich langsam und folgerichtig aus sich selbst auf sein frühes, ihm lange schwer greifbares Ideal des reinen, von Naturnachahmung nicht gehemmten Ausdrucks hin entwickelte […]. Von nun an bemühte ich mich nicht mehr um die nachrechenbare ‚richtige‘ Form der Dinge. Und doch habe ich nie die Natur ‚überwinden‘, zerschlagen oder gar verhöhnen wollen. Ich stellte die Welt dar, wie sie mir wesentlich schien, wie sie mich packte,“ schreibt Gabriele Münter 1948 über sich. (zit. nach: Ausst. Kat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, S. 17).
Öl auf Malkarton, auf Holzplatte montiert. 48,5 x 57 cm. Gerahmt. Unten rechts mit dem Signum schwarz monogrammiert und datiert 'Mü. 11'. Rückseitig mit dem blauen Stempel "GABRIELE MÜNTER NACHLASS" versehen. - In altersgemäß guter, farbfrischer Erhaltung. Zwei schwache Kratzspuren im Bereich des Waldes professionell restauriert. Die obere rechte Ecke mit kaum wahrnehmbarem Knick.
Provenienz
Nachlass Gabriele Münter; Galerie Aenne Abels, Köln; Privatsammlung Rheinland
Ausstellungen
Köln 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, Kat. Nr. 14 (mit zwei Etiketten auf der Rückseite der Holzplatte)
1909 zieht es Gabriele Münter und Wassily Kandinsky in das Münchner Umland, nach Murnau am Staffelsee, wo die Malerin ein Haus erwerben wird. Alexej von Jawlensky und Marianne von Werefkin folgen.
Unser dort entstandenes Landschaftsgemälde besticht durch seine Radikalität, mit der Münter die Farbe vom Gegenstand befreit. Häuser, Berg und Wald werden kühn zu Kürzeln abstrahiert. Die einzelnen Formen sind zwar wie in einem Bildraum zu Vorder-, Mittel- und Hintergrund gestaffelt, stehen aber autonom in einem Flächengerüst; die Schneekuppe des blauen Berges lässt eine Positiv- wie Negativlesung zu.
Zu dieser malerischen Freiheit hat Münter in der kurzen Zeit von nur zwei Jahren mit Kandinsky, Werefkin und Jawlensky im sogenannten Russenhaus gefunden. Ihr Zusammenleben und -arbeiten wirkt sich äußerst produktiv aus: Es entstehen expressive Werke höchster Qualität, die die Kunstgeschichte bereichern und bahnbrechend für das weitere Kunstschaffen werden.
Unser Gemälde entsteht im Gründungsjahr der Künstlergruppe ‚Blauer Reiter‘, zu deren Gründungsmitgliedern Kandinsky und Münter zählen, und stammt aus ihrer besten Schaffenszeit, bevor sich bei Ausbruch des I. Weltkrieges alles auflöst, sich Welt und Kunst verändern.
„In Murnau am Staffelsee [fand ich] bei höchstem Arbeitsschwung zu der mir gemäßen Weise von Malerei. Ich malte mit […] Kandinsky, der sich langsam und folgerichtig aus sich selbst auf sein frühes, ihm lange schwer greifbares Ideal des reinen, von Naturnachahmung nicht gehemmten Ausdrucks hin entwickelte […]. Von nun an bemühte ich mich nicht mehr um die nachrechenbare ‚richtige‘ Form der Dinge. Und doch habe ich nie die Natur ‚überwinden‘, zerschlagen oder gar verhöhnen wollen. Ich stellte die Welt dar, wie sie mir wesentlich schien, wie sie mich packte,“ schreibt Gabriele Münter 1948 über sich. (zit. nach: Ausst. Kat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, S. 17).
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Gabriele Münter, Häuser am Wald
Oil on painting card, mounted on wooden board. 48.5 x 57 cm. Framed. Monogrammed signum and dated 'Mü. 11' in black lower right. Blue stamp "GABRIELE MÜNTER NACHLASS" verso. - Good, colour fresh condition in accordance with age. Two faint scratch marks in the area of the forest, professionally restored. A barely noticeable crease to upper right corner.
Provenance
Estate of Gabriele Münter; Galerie Aenne Abels, Cologne; private collection, Rhineland
Exhibitions
Cologne 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, cat. no 14 (two labels to wooden board verso)
In 1909 Gabriele Münter and Wassily Kandinsky moved to the area outside Munich, to the town of Murnau am Staffelsee, where Münter would purchase a house. Alexei von Jawlensky and Marianne von Werefkin followed them there.
This is where Münter created our landscape painting, which captivates us with the painter’s radicalism in liberating colour from the object. Houses, mountain and forest are abstracted into a bold shorthand. While the individual forms are layered in depth into a foreground, middle ground and background in the manner of a pictorial space, they exist autonomously within a framework of planes; the snow cap of the blue mountain can be read positively as well as negatively.
Münter found her way to this painterly freedom in the brief period of just two years with Kandinsky, Werefkin and Jawlensky at the so-called Russians’ House, where their living and working together had an extremely productive effect, resulting in expressive works of the highest quality, which have enriched the history of art and played a pioneering role for the art that followed.
Our painting was created in the founding year of the “Blaue Reiter” artists’ group, whose original members included Kandinsky and Münter, and it is from the best period of her oeuvre, before the outbreak of World War I tore everything apart and the world and art changed.
“In Murnau am Staffelsee, while working extremely energetically, [I found my way] to the manner of painting that suited me. I painted with […] Kandinsky, who slowly and logically developed on his own towards his early ideal – which he himself long found difficult to grasp – of an expression not restrained by the imitation of nature. From this point on, I no longer strove for the reconstructable, ‘correct’ form of things. And, nonetheless, I never wished to ‘overcome’ or shatter – much less ridicule – nature. I depicted the world the way it essentially appeared to me, how it took hold of me,” wrote Gabriele Münter about herself in 1948 (cited in: exh. cat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, p. 17).
Oil on painting card, mounted on wooden board. 48.5 x 57 cm. Framed. Monogrammed signum and dated 'Mü. 11' in black lower right. Blue stamp "GABRIELE MÜNTER NACHLASS" verso. - Good, colour fresh condition in accordance with age. Two faint scratch marks in the area of the forest, professionally restored. A barely noticeable crease to upper right corner.
Provenance
Estate of Gabriele Münter; Galerie Aenne Abels, Cologne; private collection, Rhineland
Exhibitions
Cologne 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, cat. no 14 (two labels to wooden board verso)
In 1909 Gabriele Münter and Wassily Kandinsky moved to the area outside Munich, to the town of Murnau am Staffelsee, where Münter would purchase a house. Alexei von Jawlensky and Marianne von Werefkin followed them there.
This is where Münter created our landscape painting, which captivates us with the painter’s radicalism in liberating colour from the object. Houses, mountain and forest are abstracted into a bold shorthand. While the individual forms are layered in depth into a foreground, middle ground and background in the manner of a pictorial space, they exist autonomously within a framework of planes; the snow cap of the blue mountain can be read positively as well as negatively.
Münter found her way to this painterly freedom in the brief period of just two years with Kandinsky, Werefkin and Jawlensky at the so-called Russians’ House, where their living and working together had an extremely productive effect, resulting in expressive works of the highest quality, which have enriched the history of art and played a pioneering role for the art that followed.
Our painting was created in the founding year of the “Blaue Reiter” artists’ group, whose original members included Kandinsky and Münter, and it is from the best period of her oeuvre, before the outbreak of World War I tore everything apart and the world and art changed.
“In Murnau am Staffelsee, while working extremely energetically, [I found my way] to the manner of painting that suited me. I painted with […] Kandinsky, who slowly and logically developed on his own towards his early ideal – which he himself long found difficult to grasp – of an expression not restrained by the imitation of nature. From this point on, I no longer strove for the reconstructable, ‘correct’ form of things. And, nonetheless, I never wished to ‘overcome’ or shatter – much less ridicule – nature. I depicted the world the way it essentially appeared to me, how it took hold of me,” wrote Gabriele Münter about herself in 1948 (cited in: exh. cat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, p. 17).
Gabriele Münter, Häuser am Wald
Öl auf Malkarton, auf Holzplatte montiert. 48,5 x 57 cm. Gerahmt. Unten rechts mit dem Signum schwarz monogrammiert und datiert 'Mü. 11'. Rückseitig mit dem blauen Stempel "GABRIELE MÜNTER NACHLASS" versehen. - In altersgemäß guter, farbfrischer Erhaltung. Zwei schwache Kratzspuren im Bereich des Waldes professionell restauriert. Die obere rechte Ecke mit kaum wahrnehmbarem Knick.
Provenienz
Nachlass Gabriele Münter; Galerie Aenne Abels, Köln; Privatsammlung Rheinland
Ausstellungen
Köln 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, Kat. Nr. 14 (mit zwei Etiketten auf der Rückseite der Holzplatte)
1909 zieht es Gabriele Münter und Wassily Kandinsky in das Münchner Umland, nach Murnau am Staffelsee, wo die Malerin ein Haus erwerben wird. Alexej von Jawlensky und Marianne von Werefkin folgen.
Unser dort entstandenes Landschaftsgemälde besticht durch seine Radikalität, mit der Münter die Farbe vom Gegenstand befreit. Häuser, Berg und Wald werden kühn zu Kürzeln abstrahiert. Die einzelnen Formen sind zwar wie in einem Bildraum zu Vorder-, Mittel- und Hintergrund gestaffelt, stehen aber autonom in einem Flächengerüst; die Schneekuppe des blauen Berges lässt eine Positiv- wie Negativlesung zu.
Zu dieser malerischen Freiheit hat Münter in der kurzen Zeit von nur zwei Jahren mit Kandinsky, Werefkin und Jawlensky im sogenannten Russenhaus gefunden. Ihr Zusammenleben und -arbeiten wirkt sich äußerst produktiv aus: Es entstehen expressive Werke höchster Qualität, die die Kunstgeschichte bereichern und bahnbrechend für das weitere Kunstschaffen werden.
Unser Gemälde entsteht im Gründungsjahr der Künstlergruppe ‚Blauer Reiter‘, zu deren Gründungsmitgliedern Kandinsky und Münter zählen, und stammt aus ihrer besten Schaffenszeit, bevor sich bei Ausbruch des I. Weltkrieges alles auflöst, sich Welt und Kunst verändern.
„In Murnau am Staffelsee [fand ich] bei höchstem Arbeitsschwung zu der mir gemäßen Weise von Malerei. Ich malte mit […] Kandinsky, der sich langsam und folgerichtig aus sich selbst auf sein frühes, ihm lange schwer greifbares Ideal des reinen, von Naturnachahmung nicht gehemmten Ausdrucks hin entwickelte […]. Von nun an bemühte ich mich nicht mehr um die nachrechenbare ‚richtige‘ Form der Dinge. Und doch habe ich nie die Natur ‚überwinden‘, zerschlagen oder gar verhöhnen wollen. Ich stellte die Welt dar, wie sie mir wesentlich schien, wie sie mich packte,“ schreibt Gabriele Münter 1948 über sich. (zit. nach: Ausst. Kat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, S. 17).
Öl auf Malkarton, auf Holzplatte montiert. 48,5 x 57 cm. Gerahmt. Unten rechts mit dem Signum schwarz monogrammiert und datiert 'Mü. 11'. Rückseitig mit dem blauen Stempel "GABRIELE MÜNTER NACHLASS" versehen. - In altersgemäß guter, farbfrischer Erhaltung. Zwei schwache Kratzspuren im Bereich des Waldes professionell restauriert. Die obere rechte Ecke mit kaum wahrnehmbarem Knick.
Provenienz
Nachlass Gabriele Münter; Galerie Aenne Abels, Köln; Privatsammlung Rheinland
Ausstellungen
Köln 1960/1961 (Galerie Aenne Abels), Gemälde von Gabriele Münter. Ausstellung 1908-1933, Kat. Nr. 14 (mit zwei Etiketten auf der Rückseite der Holzplatte)
1909 zieht es Gabriele Münter und Wassily Kandinsky in das Münchner Umland, nach Murnau am Staffelsee, wo die Malerin ein Haus erwerben wird. Alexej von Jawlensky und Marianne von Werefkin folgen.
Unser dort entstandenes Landschaftsgemälde besticht durch seine Radikalität, mit der Münter die Farbe vom Gegenstand befreit. Häuser, Berg und Wald werden kühn zu Kürzeln abstrahiert. Die einzelnen Formen sind zwar wie in einem Bildraum zu Vorder-, Mittel- und Hintergrund gestaffelt, stehen aber autonom in einem Flächengerüst; die Schneekuppe des blauen Berges lässt eine Positiv- wie Negativlesung zu.
Zu dieser malerischen Freiheit hat Münter in der kurzen Zeit von nur zwei Jahren mit Kandinsky, Werefkin und Jawlensky im sogenannten Russenhaus gefunden. Ihr Zusammenleben und -arbeiten wirkt sich äußerst produktiv aus: Es entstehen expressive Werke höchster Qualität, die die Kunstgeschichte bereichern und bahnbrechend für das weitere Kunstschaffen werden.
Unser Gemälde entsteht im Gründungsjahr der Künstlergruppe ‚Blauer Reiter‘, zu deren Gründungsmitgliedern Kandinsky und Münter zählen, und stammt aus ihrer besten Schaffenszeit, bevor sich bei Ausbruch des I. Weltkrieges alles auflöst, sich Welt und Kunst verändern.
„In Murnau am Staffelsee [fand ich] bei höchstem Arbeitsschwung zu der mir gemäßen Weise von Malerei. Ich malte mit […] Kandinsky, der sich langsam und folgerichtig aus sich selbst auf sein frühes, ihm lange schwer greifbares Ideal des reinen, von Naturnachahmung nicht gehemmten Ausdrucks hin entwickelte […]. Von nun an bemühte ich mich nicht mehr um die nachrechenbare ‚richtige‘ Form der Dinge. Und doch habe ich nie die Natur ‚überwinden‘, zerschlagen oder gar verhöhnen wollen. Ich stellte die Welt dar, wie sie mir wesentlich schien, wie sie mich packte,“ schreibt Gabriele Münter 1948 über sich. (zit. nach: Ausst. Kat. Bietigheim-Bissingen 1999, Gabriele Münter. Eine Malerin des Blauen Reiters, S. 17).
Evening Sale - Modern and Contemporary Art
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Lots: 98
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Evening Sale - Modern and Contemporary Art
Evening Sale - Moderne und Zeitgenössische Kunst
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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.
