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Aristide Maillol, Pomone à la Tunique
1/2
Beschreibung
Aristide Maillol, Pomone à la Tunique
Bronze. Höhe 89,5 cm. Rechts an der Plinthe mit der Signatur 'A. MAILLOL' und der Exemplarnummer, rückseitig an der Plinthe mit dem Gießervermerk ".Alexis Rudier. .Fondeur Paris.". Exemplar 1/6. Guss 1950er Jahr. - Mit grünlicher, stellenweise goldbrauner Patina.
Wir danken Olivier Lorquin, Paris, und Ursel Berger, Berlin, für ergänzende Informationen.
Provenienz
Christie's New York, Auktion 8. November 2000, Lot 46; Privatbesitz; Christie's New York, Impressionist And Modern Art Day Sale, 7. November 2007, Lot 335; Kunsthaus Bühler, Stuttgart, dort 2011 erworben; Privatsammlung Baden-Württemberg; seitdem in Familienbesitz
Ausstellungen
Vgl. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, Kat.Nr. 62 mit Abb. o.S.
Die Statue der „Pomona“, der römischen Göttin der Baumfrüchte und des Erntesegens, war eine der ersten aufrechtstehenden Figuren des französischen Bildhauers Aristide Maillol. Um 1908/09 entstanden, ist die anfangs unbekleidete „Pomona“ durch ihre weich modellierten, fülligen Formen und die dargebotenen Äpfel die unmittelbare Verkörperung von Fruchtbarkeit und Reife. Inspiriert von griechischen Statuen, die Maillol auf seiner Reise 1908 mit seinem Mäzen Harry Graf Kessler nach Athen, Delphi und Olympia gesehen hatte, konzipierte er die „Pomona“ im klassischen Kontrapost, mit einem angewinkelten und einem gestreckten Bein. Ein Blütenkranz auf dem Haupt ergänzt ihre herrschaftliche Erscheinung.
Die Entstehung der „Pomona“ ist eng verknüpft mit dem ersten renommierten Auftrag Maillols, der Ausstattung des neo-klassischen Musiksalons des berühmten russischen Sammlers Iwan Abramowitsch Morosow. Dieser ließ sich von Maillols Malerfreund Maurice Denis einen Gemäldezyklus mit der Geschichte der Psyche malen und wünschte sich von dem aufstrebenden Bildhauer in Ergänzung dazu die vier Statuen der „Pomona“ und „Flora“ sowie des „Frühlings“ und „Sommers“. Wie eine alte Photographie des Musiksalons zeigt, waren die Statuen um 1912 vollendet. Maillol stellte die „Pomona“ aber auch als Einzelfigur aus, etwa 1910 auf dem Pariser Salon d’Automne, wo sie begeisterte Aufnahme fand und seine Karriere zu einem der führenden Bildhauer Frankreichs einleitete.
Zu Beginn der 1920er Jahre nahm Maillol - seiner üblichen Arbeitspraxis folgend – auch das Modell der „Pomona“ wieder auf und variierte es. Er interpretierte sie entweder mit gesenkten Armen oder in eine weichfallende Tunika gekleidet, wie es bei der vorliegenden Fassung der Fall ist. Ungeachtet ihrer Attribute schuf Maillol mit der „Pomona“ eine im Hinblick auf ihre Proportionen ausgesprochen ausgewogene, harmonische Statue von zeitloser Schönheit.
Bronze. Höhe 89,5 cm. Rechts an der Plinthe mit der Signatur 'A. MAILLOL' und der Exemplarnummer, rückseitig an der Plinthe mit dem Gießervermerk ".Alexis Rudier. .Fondeur Paris.". Exemplar 1/6. Guss 1950er Jahr. - Mit grünlicher, stellenweise goldbrauner Patina.
Wir danken Olivier Lorquin, Paris, und Ursel Berger, Berlin, für ergänzende Informationen.
Provenienz
Christie's New York, Auktion 8. November 2000, Lot 46; Privatbesitz; Christie's New York, Impressionist And Modern Art Day Sale, 7. November 2007, Lot 335; Kunsthaus Bühler, Stuttgart, dort 2011 erworben; Privatsammlung Baden-Württemberg; seitdem in Familienbesitz
Ausstellungen
Vgl. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, Kat.Nr. 62 mit Abb. o.S.
Die Statue der „Pomona“, der römischen Göttin der Baumfrüchte und des Erntesegens, war eine der ersten aufrechtstehenden Figuren des französischen Bildhauers Aristide Maillol. Um 1908/09 entstanden, ist die anfangs unbekleidete „Pomona“ durch ihre weich modellierten, fülligen Formen und die dargebotenen Äpfel die unmittelbare Verkörperung von Fruchtbarkeit und Reife. Inspiriert von griechischen Statuen, die Maillol auf seiner Reise 1908 mit seinem Mäzen Harry Graf Kessler nach Athen, Delphi und Olympia gesehen hatte, konzipierte er die „Pomona“ im klassischen Kontrapost, mit einem angewinkelten und einem gestreckten Bein. Ein Blütenkranz auf dem Haupt ergänzt ihre herrschaftliche Erscheinung.
Die Entstehung der „Pomona“ ist eng verknüpft mit dem ersten renommierten Auftrag Maillols, der Ausstattung des neo-klassischen Musiksalons des berühmten russischen Sammlers Iwan Abramowitsch Morosow. Dieser ließ sich von Maillols Malerfreund Maurice Denis einen Gemäldezyklus mit der Geschichte der Psyche malen und wünschte sich von dem aufstrebenden Bildhauer in Ergänzung dazu die vier Statuen der „Pomona“ und „Flora“ sowie des „Frühlings“ und „Sommers“. Wie eine alte Photographie des Musiksalons zeigt, waren die Statuen um 1912 vollendet. Maillol stellte die „Pomona“ aber auch als Einzelfigur aus, etwa 1910 auf dem Pariser Salon d’Automne, wo sie begeisterte Aufnahme fand und seine Karriere zu einem der führenden Bildhauer Frankreichs einleitete.
Zu Beginn der 1920er Jahre nahm Maillol - seiner üblichen Arbeitspraxis folgend – auch das Modell der „Pomona“ wieder auf und variierte es. Er interpretierte sie entweder mit gesenkten Armen oder in eine weichfallende Tunika gekleidet, wie es bei der vorliegenden Fassung der Fall ist. Ungeachtet ihrer Attribute schuf Maillol mit der „Pomona“ eine im Hinblick auf ihre Proportionen ausgesprochen ausgewogene, harmonische Statue von zeitloser Schönheit.
Aristide Maillol, Pomone à la Tunique
Bronze. Height 89.5 cm. Signature 'A. MAILLOL' and numbered on right side of plinth, foundry notation ".Alexis Rudier. .Fondeur Paris." on back side of plinth. Number 1/6. Cast 1950s. - Greenish, partially golden-brown patina.
We would like to thank Olivier Lorquin, Paris, and Ursel Berger, Berlin, for additional information.
Provenance
Christie's New York, 8 November 2000, Lot 46; Private property; Christie's New York, Impressionist And Modern Art Day Sale, 7 Nov. 2007, lot 335; Kunsthaus Bühler, Stuttgart, acquired there in 2011; private collection, Baden-Württemberg; thenceforth property of a family
Exhibitions
Cf. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, cat. no. 62 with ill. n.p.
This statue of “Pomona”, the Roman goddess of orchard fruit and the bountiful harvest, was one of the first standing figures by the French sculptor Aristide Maillol. Created around 1908/09, the initially nude “Pomona” is made a direct embodiment of fertility and ripeness through her softly modelled, ample forms and the apples she offers. Inspired by Greek statues Maillol had seen during his 1908 journey to Athens, Delphi and Olympia with his patron Harry Graf Kessler, he envisioned his “Pomona” in a classical contrapposto, with one leg bent at the knee and the other extended upright. A crown of flowers on her head completes her majestic appearance.
The creation of “Pomona” is closely connected with Maillol’s first prestigious commission: the decoration of the famous Russian collector Ivan Abramovich Morozov’s neo-classical music salon. Morozov had the painter Maurice Denis, a friend of Maillol’s, create a cycle of paintings featuring the story of Psyche. To complement them, he asked the up-and-coming sculptor for the four statues: “Pomona” and “Flora” as well as “Spring” and “Summer”. As an old photograph of the music salon demonstrates, the statues were complete around 1912. However, Maillol also exhibited the “Pomona” as an individual figure, for example, at Paris’s 1910 Salon d’Automne, where it received an enthusiastic reception and launched his career as one of France’s leading sculptors.
In the early 1920s Maillol – in keeping with his normal working practice – also returned to the model of “Pomona” to create variations on it. He interpreted it either with lowered arms or dressed in the gentle folds of a tunic, as in the case of the present version. Whatever her attributes, with his “Pomona”, Maillol has created a statue of timeless beauty that is exceptionally balanced and harmonious with regard to its proportions.
Bronze. Height 89.5 cm. Signature 'A. MAILLOL' and numbered on right side of plinth, foundry notation ".Alexis Rudier. .Fondeur Paris." on back side of plinth. Number 1/6. Cast 1950s. - Greenish, partially golden-brown patina.
We would like to thank Olivier Lorquin, Paris, and Ursel Berger, Berlin, for additional information.
Provenance
Christie's New York, 8 November 2000, Lot 46; Private property; Christie's New York, Impressionist And Modern Art Day Sale, 7 Nov. 2007, lot 335; Kunsthaus Bühler, Stuttgart, acquired there in 2011; private collection, Baden-Württemberg; thenceforth property of a family
Exhibitions
Cf. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, cat. no. 62 with ill. n.p.
This statue of “Pomona”, the Roman goddess of orchard fruit and the bountiful harvest, was one of the first standing figures by the French sculptor Aristide Maillol. Created around 1908/09, the initially nude “Pomona” is made a direct embodiment of fertility and ripeness through her softly modelled, ample forms and the apples she offers. Inspired by Greek statues Maillol had seen during his 1908 journey to Athens, Delphi and Olympia with his patron Harry Graf Kessler, he envisioned his “Pomona” in a classical contrapposto, with one leg bent at the knee and the other extended upright. A crown of flowers on her head completes her majestic appearance.
The creation of “Pomona” is closely connected with Maillol’s first prestigious commission: the decoration of the famous Russian collector Ivan Abramovich Morozov’s neo-classical music salon. Morozov had the painter Maurice Denis, a friend of Maillol’s, create a cycle of paintings featuring the story of Psyche. To complement them, he asked the up-and-coming sculptor for the four statues: “Pomona” and “Flora” as well as “Spring” and “Summer”. As an old photograph of the music salon demonstrates, the statues were complete around 1912. However, Maillol also exhibited the “Pomona” as an individual figure, for example, at Paris’s 1910 Salon d’Automne, where it received an enthusiastic reception and launched his career as one of France’s leading sculptors.
In the early 1920s Maillol – in keeping with his normal working practice – also returned to the model of “Pomona” to create variations on it. He interpreted it either with lowered arms or dressed in the gentle folds of a tunic, as in the case of the present version. Whatever her attributes, with his “Pomona”, Maillol has created a statue of timeless beauty that is exceptionally balanced and harmonious with regard to its proportions.
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Aristide Maillol, Pomone à la Tunique
Bronze. Höhe 89,5 cm. Rechts an der Plinthe mit der Signatur 'A. MAILLOL' und der Exemplarnummer, rückseitig an der Plinthe mit dem Gießervermerk ".Alexis Rudier. .Fondeur Paris.". Exemplar 1/6. Guss 1950er Jahr. - Mit grünlicher, stellenweise goldbrauner Patina.
Wir danken Olivier Lorquin, Paris, und Ursel Berger, Berlin, für ergänzende Informationen.
Provenienz
Christie's New York, Auktion 8. November 2000, Lot 46; Privatbesitz; Christie's New York, Impressionist And Modern Art Day Sale, 7. November 2007, Lot 335; Kunsthaus Bühler, Stuttgart, dort 2011 erworben; Privatsammlung Baden-Württemberg; seitdem in Familienbesitz
Ausstellungen
Vgl. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, Kat.Nr. 62 mit Abb. o.S.
Die Statue der „Pomona“, der römischen Göttin der Baumfrüchte und des Erntesegens, war eine der ersten aufrechtstehenden Figuren des französischen Bildhauers Aristide Maillol. Um 1908/09 entstanden, ist die anfangs unbekleidete „Pomona“ durch ihre weich modellierten, fülligen Formen und die dargebotenen Äpfel die unmittelbare Verkörperung von Fruchtbarkeit und Reife. Inspiriert von griechischen Statuen, die Maillol auf seiner Reise 1908 mit seinem Mäzen Harry Graf Kessler nach Athen, Delphi und Olympia gesehen hatte, konzipierte er die „Pomona“ im klassischen Kontrapost, mit einem angewinkelten und einem gestreckten Bein. Ein Blütenkranz auf dem Haupt ergänzt ihre herrschaftliche Erscheinung.
Die Entstehung der „Pomona“ ist eng verknüpft mit dem ersten renommierten Auftrag Maillols, der Ausstattung des neo-klassischen Musiksalons des berühmten russischen Sammlers Iwan Abramowitsch Morosow. Dieser ließ sich von Maillols Malerfreund Maurice Denis einen Gemäldezyklus mit der Geschichte der Psyche malen und wünschte sich von dem aufstrebenden Bildhauer in Ergänzung dazu die vier Statuen der „Pomona“ und „Flora“ sowie des „Frühlings“ und „Sommers“. Wie eine alte Photographie des Musiksalons zeigt, waren die Statuen um 1912 vollendet. Maillol stellte die „Pomona“ aber auch als Einzelfigur aus, etwa 1910 auf dem Pariser Salon d’Automne, wo sie begeisterte Aufnahme fand und seine Karriere zu einem der führenden Bildhauer Frankreichs einleitete.
Zu Beginn der 1920er Jahre nahm Maillol - seiner üblichen Arbeitspraxis folgend – auch das Modell der „Pomona“ wieder auf und variierte es. Er interpretierte sie entweder mit gesenkten Armen oder in eine weichfallende Tunika gekleidet, wie es bei der vorliegenden Fassung der Fall ist. Ungeachtet ihrer Attribute schuf Maillol mit der „Pomona“ eine im Hinblick auf ihre Proportionen ausgesprochen ausgewogene, harmonische Statue von zeitloser Schönheit.
Bronze. Höhe 89,5 cm. Rechts an der Plinthe mit der Signatur 'A. MAILLOL' und der Exemplarnummer, rückseitig an der Plinthe mit dem Gießervermerk ".Alexis Rudier. .Fondeur Paris.". Exemplar 1/6. Guss 1950er Jahr. - Mit grünlicher, stellenweise goldbrauner Patina.
Wir danken Olivier Lorquin, Paris, und Ursel Berger, Berlin, für ergänzende Informationen.
Provenienz
Christie's New York, Auktion 8. November 2000, Lot 46; Privatbesitz; Christie's New York, Impressionist And Modern Art Day Sale, 7. November 2007, Lot 335; Kunsthaus Bühler, Stuttgart, dort 2011 erworben; Privatsammlung Baden-Württemberg; seitdem in Familienbesitz
Ausstellungen
Vgl. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, Kat.Nr. 62 mit Abb. o.S.
Die Statue der „Pomona“, der römischen Göttin der Baumfrüchte und des Erntesegens, war eine der ersten aufrechtstehenden Figuren des französischen Bildhauers Aristide Maillol. Um 1908/09 entstanden, ist die anfangs unbekleidete „Pomona“ durch ihre weich modellierten, fülligen Formen und die dargebotenen Äpfel die unmittelbare Verkörperung von Fruchtbarkeit und Reife. Inspiriert von griechischen Statuen, die Maillol auf seiner Reise 1908 mit seinem Mäzen Harry Graf Kessler nach Athen, Delphi und Olympia gesehen hatte, konzipierte er die „Pomona“ im klassischen Kontrapost, mit einem angewinkelten und einem gestreckten Bein. Ein Blütenkranz auf dem Haupt ergänzt ihre herrschaftliche Erscheinung.
Die Entstehung der „Pomona“ ist eng verknüpft mit dem ersten renommierten Auftrag Maillols, der Ausstattung des neo-klassischen Musiksalons des berühmten russischen Sammlers Iwan Abramowitsch Morosow. Dieser ließ sich von Maillols Malerfreund Maurice Denis einen Gemäldezyklus mit der Geschichte der Psyche malen und wünschte sich von dem aufstrebenden Bildhauer in Ergänzung dazu die vier Statuen der „Pomona“ und „Flora“ sowie des „Frühlings“ und „Sommers“. Wie eine alte Photographie des Musiksalons zeigt, waren die Statuen um 1912 vollendet. Maillol stellte die „Pomona“ aber auch als Einzelfigur aus, etwa 1910 auf dem Pariser Salon d’Automne, wo sie begeisterte Aufnahme fand und seine Karriere zu einem der führenden Bildhauer Frankreichs einleitete.
Zu Beginn der 1920er Jahre nahm Maillol - seiner üblichen Arbeitspraxis folgend – auch das Modell der „Pomona“ wieder auf und variierte es. Er interpretierte sie entweder mit gesenkten Armen oder in eine weichfallende Tunika gekleidet, wie es bei der vorliegenden Fassung der Fall ist. Ungeachtet ihrer Attribute schuf Maillol mit der „Pomona“ eine im Hinblick auf ihre Proportionen ausgesprochen ausgewogene, harmonische Statue von zeitloser Schönheit.
Aristide Maillol, Pomone à la Tunique
Bronze. Height 89.5 cm. Signature 'A. MAILLOL' and numbered on right side of plinth, foundry notation ".Alexis Rudier. .Fondeur Paris." on back side of plinth. Number 1/6. Cast 1950s. - Greenish, partially golden-brown patina.
We would like to thank Olivier Lorquin, Paris, and Ursel Berger, Berlin, for additional information.
Provenance
Christie's New York, 8 November 2000, Lot 46; Private property; Christie's New York, Impressionist And Modern Art Day Sale, 7 Nov. 2007, lot 335; Kunsthaus Bühler, Stuttgart, acquired there in 2011; private collection, Baden-Württemberg; thenceforth property of a family
Exhibitions
Cf. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, cat. no. 62 with ill. n.p.
This statue of “Pomona”, the Roman goddess of orchard fruit and the bountiful harvest, was one of the first standing figures by the French sculptor Aristide Maillol. Created around 1908/09, the initially nude “Pomona” is made a direct embodiment of fertility and ripeness through her softly modelled, ample forms and the apples she offers. Inspired by Greek statues Maillol had seen during his 1908 journey to Athens, Delphi and Olympia with his patron Harry Graf Kessler, he envisioned his “Pomona” in a classical contrapposto, with one leg bent at the knee and the other extended upright. A crown of flowers on her head completes her majestic appearance.
The creation of “Pomona” is closely connected with Maillol’s first prestigious commission: the decoration of the famous Russian collector Ivan Abramovich Morozov’s neo-classical music salon. Morozov had the painter Maurice Denis, a friend of Maillol’s, create a cycle of paintings featuring the story of Psyche. To complement them, he asked the up-and-coming sculptor for the four statues: “Pomona” and “Flora” as well as “Spring” and “Summer”. As an old photograph of the music salon demonstrates, the statues were complete around 1912. However, Maillol also exhibited the “Pomona” as an individual figure, for example, at Paris’s 1910 Salon d’Automne, where it received an enthusiastic reception and launched his career as one of France’s leading sculptors.
In the early 1920s Maillol – in keeping with his normal working practice – also returned to the model of “Pomona” to create variations on it. He interpreted it either with lowered arms or dressed in the gentle folds of a tunic, as in the case of the present version. Whatever her attributes, with his “Pomona”, Maillol has created a statue of timeless beauty that is exceptionally balanced and harmonious with regard to its proportions.
Bronze. Height 89.5 cm. Signature 'A. MAILLOL' and numbered on right side of plinth, foundry notation ".Alexis Rudier. .Fondeur Paris." on back side of plinth. Number 1/6. Cast 1950s. - Greenish, partially golden-brown patina.
We would like to thank Olivier Lorquin, Paris, and Ursel Berger, Berlin, for additional information.
Provenance
Christie's New York, 8 November 2000, Lot 46; Private property; Christie's New York, Impressionist And Modern Art Day Sale, 7 Nov. 2007, lot 335; Kunsthaus Bühler, Stuttgart, acquired there in 2011; private collection, Baden-Württemberg; thenceforth property of a family
Exhibitions
Cf. Baden-Baden 1978 (Staatliche Kunsthalle), Maillol, cat. no. 62 with ill. n.p.
This statue of “Pomona”, the Roman goddess of orchard fruit and the bountiful harvest, was one of the first standing figures by the French sculptor Aristide Maillol. Created around 1908/09, the initially nude “Pomona” is made a direct embodiment of fertility and ripeness through her softly modelled, ample forms and the apples she offers. Inspired by Greek statues Maillol had seen during his 1908 journey to Athens, Delphi and Olympia with his patron Harry Graf Kessler, he envisioned his “Pomona” in a classical contrapposto, with one leg bent at the knee and the other extended upright. A crown of flowers on her head completes her majestic appearance.
The creation of “Pomona” is closely connected with Maillol’s first prestigious commission: the decoration of the famous Russian collector Ivan Abramovich Morozov’s neo-classical music salon. Morozov had the painter Maurice Denis, a friend of Maillol’s, create a cycle of paintings featuring the story of Psyche. To complement them, he asked the up-and-coming sculptor for the four statues: “Pomona” and “Flora” as well as “Spring” and “Summer”. As an old photograph of the music salon demonstrates, the statues were complete around 1912. However, Maillol also exhibited the “Pomona” as an individual figure, for example, at Paris’s 1910 Salon d’Automne, where it received an enthusiastic reception and launched his career as one of France’s leading sculptors.
In the early 1920s Maillol – in keeping with his normal working practice – also returned to the model of “Pomona” to create variations on it. He interpreted it either with lowered arms or dressed in the gentle folds of a tunic, as in the case of the present version. Whatever her attributes, with his “Pomona”, Maillol has created a statue of timeless beauty that is exceptionally balanced and harmonious with regard to its proportions.
Evening Sale - Moderne und Zeitgenössische Kunst
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Ort der Versteigerung
Neumarkt 3
Köln
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Germany
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Evening Sale - Modern and Contemporary Art
Evening Sale - Moderne und Zeitgenössische Kunst
AGB
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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.
