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Andy Warhol, Mammy
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Beschreibung
Andy Warhol, Mammy
Farbserigraphie mit Diamantstaub auf Lenox Museum Board. 96,5 x 96,5 cm. Unter Plexiglas gerahmt. Signiert und nummeriert. Exemplar TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unikat einer Serie von 30 unterschiedlichen Farbvarianten. Edition Ronald Feldman Fine Arts, New York. Aus der 10-teiligen Folge: Myths. - Das Blatt fest auf die Unterlage montiert.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr.II.262
Provenienz
Martin + Lawrence Galleries, New York (mit rückseitigem Aufkleber); Privatsammlung, Bayern
Andy Warhol beginnt 1979 im Auftrag seines Galeristen Ron Feldman mit der Arbeit an der Folge „Myths“, die 1981 als zehnteiliges Portfolio herausgegeben wird. Sein Thema sind die modernen amerikanischen Mythen – populäre Darstellungen, die aus dem Alltag der USA zu dieser Zeit nicht wegzudenken sind. Mit Motiven wie Superman, Mickey Mouse und der Hexe aus dem Film „The Wizard of Oz“ wählt Warhol Figuren, die über Comics, Kino oder Fernsehen, den neuen Medien des 20. Jahrhunderts, sehr beliebt und bekannt geworden sind. Daneben finden sich Stereotype aus der amerikanischen Kulturgeschichte, die über die Werbung fest im Alltagsleben der USA verankert sind: Santa Claus, Uncle Sam und Mammy. Letztere ist eine Darstellung, die ihre Wurzeln in der ersten Hälfte des 19. Jahrhundert hat. Die schwarze Frau, als herzlicher, mütterlicher Typus ihren Arbeitgebern selbstlos ergeben, gilt über lange Zeit als Ideal einer Hausangestellten, die als Kindermädchen oder Köchin der bürgerlichen Gesellschaft dient. Dieser Stereotyp wird sehr populär durch den Film „Gone with the wind“ und als allgegenwärtige Werbefigur für diverse Küchenprodukte. Heutzutage wird sie kritisiert als rassistische, die historischen Lebensbedingungen schwarzer Frauen idealisierende Darstellung.
Auch Warhol ist sich dieser Problematik sehr bewusst, ihn interessiert gerade der Widerspruch zwischen der Herkunft des Stereotyps und seiner Verwendung als hochkommerzielles Markenbild. Er ändert die übliche Darstellung der Mammy maßgeblich - weg von der älteren, schlichten Hausangestellten, hin zu einer jüngeren, attraktiven Frau mit selbstbewusster Ausstrahlung. Make-up und Schmuck verleihen ihr eine glamouröse Präsenz, die der Künstler noch steigert durch die edlen Schwarz-, Rot- und Goldtöne seiner Farbvarianten. Fotomodell für die Siebdruckvorlage ist die New Yorker Club-Sängerin Sylvia Williams, sie nimmt begeistert Warhols Angebot an, das fragwürdige Rollenmodell zu unterlaufen.
In dieser Auktion können gleich zwei Exemplare dieses Siebdruckes angeboten werden. Die schwarze Variante zeigt das Gesicht in mysteriöser Verfremdung; vor dem monochromen, tiefschwarzen Farbgrund erhalten die farbigen Darstellungselemente eine intensive Signalwirkung. Bei der orangegelben Variante handelt es sich um ein Unikat. In dieser besonders kontrastreichen Zusammenstellung hinterfängt der warme Goldton das Porträt, der optische Fokus liegt auf dem verführerisch pink-rot geschminkten Mund.
Farbserigraphie mit Diamantstaub auf Lenox Museum Board. 96,5 x 96,5 cm. Unter Plexiglas gerahmt. Signiert und nummeriert. Exemplar TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unikat einer Serie von 30 unterschiedlichen Farbvarianten. Edition Ronald Feldman Fine Arts, New York. Aus der 10-teiligen Folge: Myths. - Das Blatt fest auf die Unterlage montiert.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr.II.262
Provenienz
Martin + Lawrence Galleries, New York (mit rückseitigem Aufkleber); Privatsammlung, Bayern
Andy Warhol beginnt 1979 im Auftrag seines Galeristen Ron Feldman mit der Arbeit an der Folge „Myths“, die 1981 als zehnteiliges Portfolio herausgegeben wird. Sein Thema sind die modernen amerikanischen Mythen – populäre Darstellungen, die aus dem Alltag der USA zu dieser Zeit nicht wegzudenken sind. Mit Motiven wie Superman, Mickey Mouse und der Hexe aus dem Film „The Wizard of Oz“ wählt Warhol Figuren, die über Comics, Kino oder Fernsehen, den neuen Medien des 20. Jahrhunderts, sehr beliebt und bekannt geworden sind. Daneben finden sich Stereotype aus der amerikanischen Kulturgeschichte, die über die Werbung fest im Alltagsleben der USA verankert sind: Santa Claus, Uncle Sam und Mammy. Letztere ist eine Darstellung, die ihre Wurzeln in der ersten Hälfte des 19. Jahrhundert hat. Die schwarze Frau, als herzlicher, mütterlicher Typus ihren Arbeitgebern selbstlos ergeben, gilt über lange Zeit als Ideal einer Hausangestellten, die als Kindermädchen oder Köchin der bürgerlichen Gesellschaft dient. Dieser Stereotyp wird sehr populär durch den Film „Gone with the wind“ und als allgegenwärtige Werbefigur für diverse Küchenprodukte. Heutzutage wird sie kritisiert als rassistische, die historischen Lebensbedingungen schwarzer Frauen idealisierende Darstellung.
Auch Warhol ist sich dieser Problematik sehr bewusst, ihn interessiert gerade der Widerspruch zwischen der Herkunft des Stereotyps und seiner Verwendung als hochkommerzielles Markenbild. Er ändert die übliche Darstellung der Mammy maßgeblich - weg von der älteren, schlichten Hausangestellten, hin zu einer jüngeren, attraktiven Frau mit selbstbewusster Ausstrahlung. Make-up und Schmuck verleihen ihr eine glamouröse Präsenz, die der Künstler noch steigert durch die edlen Schwarz-, Rot- und Goldtöne seiner Farbvarianten. Fotomodell für die Siebdruckvorlage ist die New Yorker Club-Sängerin Sylvia Williams, sie nimmt begeistert Warhols Angebot an, das fragwürdige Rollenmodell zu unterlaufen.
In dieser Auktion können gleich zwei Exemplare dieses Siebdruckes angeboten werden. Die schwarze Variante zeigt das Gesicht in mysteriöser Verfremdung; vor dem monochromen, tiefschwarzen Farbgrund erhalten die farbigen Darstellungselemente eine intensive Signalwirkung. Bei der orangegelben Variante handelt es sich um ein Unikat. In dieser besonders kontrastreichen Zusammenstellung hinterfängt der warme Goldton das Porträt, der optische Fokus liegt auf dem verführerisch pink-rot geschminkten Mund.
Andy Warhol, Mammy
Colour screenprint with diamond dust on Lenox Museum Board 96.5 x 96.5 cm. Framed under plexiglass. Signed and numbered. Proof TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unique proof from a series of 30 differing colour variations. Edition Ronald Feldman Fine Arts, New York. From the ten part series: Myths. - The sheet mounted firmly to the backing.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no.II.262
Provenance
Martin + Lawrence Galleries, New York (adhesive label verso); private collection, Bavaria
In 1979, Andy Warhol commenced the commission work for his gallerist Ron Feldman with the series “Myths” which was published as a ten-piece portfolio in 1981. His theme was modern American myths – popular illustrations which were an integral part of everyday life in the USA at that time. By using motifs such as Superman, Mickey Mouse and the witch from the movie “The Wizard of Oz,“ Warhol chose figures that achieved great popularity and fame through comics, cinema, or television – the new 20th century media. In addition, there were stereotypes from American cultural history that were firmly anchored in American daily life: Santa Claus, Uncle Sam, and Mammy. The latter is a depiction that has its roots in the first half of the 19th century. The black woman, a warm, maternal type, selflessly devoted to her employers, has long been regarded as the ideal of a domestic servant, serving bourgeois society as a nanny or cook. This stereotype became very popular through the movie „Gone with the Wind“ and as an omnipresent advertising figure for various kitchen products. Today the depiction is criticised as being racist as well as idealising the historical living conditions of black women.
Warhol was well aware of this issue; however, it was the contradiction between the origin of the stereotype and its implementation as a highly commercial brand image that interested him in particular. He altered the standard image of the Mammy significantly – away from the older, plain domestic servant, to a younger, attractive woman with self-confident charisma. Make-up and jewellery lent her a glamorous presence which the artist increased even further by the classy black, red, and gold tones of its colour variants. The New York club singer Sylvia Williams was the model for the silkscreen template who enthusiastically accepted Warhol’s offer to subvert the questionable role model.
There are not one but two versions of the silkscreen on offer in this auction. The black variant shows the face in mysterious alienation; in front of the monochrome, deep black background the coloured illustrative elements acquire an intensive signal effect. The orange yellow variant is a unique piece. In this particularly high-contrast composition, the warm golden tone backdrops the portrait; the optical focus is on the seductive pink-red lipstick of the mouth.
Colour screenprint with diamond dust on Lenox Museum Board 96.5 x 96.5 cm. Framed under plexiglass. Signed and numbered. Proof TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unique proof from a series of 30 differing colour variations. Edition Ronald Feldman Fine Arts, New York. From the ten part series: Myths. - The sheet mounted firmly to the backing.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no.II.262
Provenance
Martin + Lawrence Galleries, New York (adhesive label verso); private collection, Bavaria
In 1979, Andy Warhol commenced the commission work for his gallerist Ron Feldman with the series “Myths” which was published as a ten-piece portfolio in 1981. His theme was modern American myths – popular illustrations which were an integral part of everyday life in the USA at that time. By using motifs such as Superman, Mickey Mouse and the witch from the movie “The Wizard of Oz,“ Warhol chose figures that achieved great popularity and fame through comics, cinema, or television – the new 20th century media. In addition, there were stereotypes from American cultural history that were firmly anchored in American daily life: Santa Claus, Uncle Sam, and Mammy. The latter is a depiction that has its roots in the first half of the 19th century. The black woman, a warm, maternal type, selflessly devoted to her employers, has long been regarded as the ideal of a domestic servant, serving bourgeois society as a nanny or cook. This stereotype became very popular through the movie „Gone with the Wind“ and as an omnipresent advertising figure for various kitchen products. Today the depiction is criticised as being racist as well as idealising the historical living conditions of black women.
Warhol was well aware of this issue; however, it was the contradiction between the origin of the stereotype and its implementation as a highly commercial brand image that interested him in particular. He altered the standard image of the Mammy significantly – away from the older, plain domestic servant, to a younger, attractive woman with self-confident charisma. Make-up and jewellery lent her a glamorous presence which the artist increased even further by the classy black, red, and gold tones of its colour variants. The New York club singer Sylvia Williams was the model for the silkscreen template who enthusiastically accepted Warhol’s offer to subvert the questionable role model.
There are not one but two versions of the silkscreen on offer in this auction. The black variant shows the face in mysterious alienation; in front of the monochrome, deep black background the coloured illustrative elements acquire an intensive signal effect. The orange yellow variant is a unique piece. In this particularly high-contrast composition, the warm golden tone backdrops the portrait; the optical focus is on the seductive pink-red lipstick of the mouth.
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Andy Warhol, Mammy
Farbserigraphie mit Diamantstaub auf Lenox Museum Board. 96,5 x 96,5 cm. Unter Plexiglas gerahmt. Signiert und nummeriert. Exemplar TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unikat einer Serie von 30 unterschiedlichen Farbvarianten. Edition Ronald Feldman Fine Arts, New York. Aus der 10-teiligen Folge: Myths. - Das Blatt fest auf die Unterlage montiert.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr.II.262
Provenienz
Martin + Lawrence Galleries, New York (mit rückseitigem Aufkleber); Privatsammlung, Bayern
Andy Warhol beginnt 1979 im Auftrag seines Galeristen Ron Feldman mit der Arbeit an der Folge „Myths“, die 1981 als zehnteiliges Portfolio herausgegeben wird. Sein Thema sind die modernen amerikanischen Mythen – populäre Darstellungen, die aus dem Alltag der USA zu dieser Zeit nicht wegzudenken sind. Mit Motiven wie Superman, Mickey Mouse und der Hexe aus dem Film „The Wizard of Oz“ wählt Warhol Figuren, die über Comics, Kino oder Fernsehen, den neuen Medien des 20. Jahrhunderts, sehr beliebt und bekannt geworden sind. Daneben finden sich Stereotype aus der amerikanischen Kulturgeschichte, die über die Werbung fest im Alltagsleben der USA verankert sind: Santa Claus, Uncle Sam und Mammy. Letztere ist eine Darstellung, die ihre Wurzeln in der ersten Hälfte des 19. Jahrhundert hat. Die schwarze Frau, als herzlicher, mütterlicher Typus ihren Arbeitgebern selbstlos ergeben, gilt über lange Zeit als Ideal einer Hausangestellten, die als Kindermädchen oder Köchin der bürgerlichen Gesellschaft dient. Dieser Stereotyp wird sehr populär durch den Film „Gone with the wind“ und als allgegenwärtige Werbefigur für diverse Küchenprodukte. Heutzutage wird sie kritisiert als rassistische, die historischen Lebensbedingungen schwarzer Frauen idealisierende Darstellung.
Auch Warhol ist sich dieser Problematik sehr bewusst, ihn interessiert gerade der Widerspruch zwischen der Herkunft des Stereotyps und seiner Verwendung als hochkommerzielles Markenbild. Er ändert die übliche Darstellung der Mammy maßgeblich - weg von der älteren, schlichten Hausangestellten, hin zu einer jüngeren, attraktiven Frau mit selbstbewusster Ausstrahlung. Make-up und Schmuck verleihen ihr eine glamouröse Präsenz, die der Künstler noch steigert durch die edlen Schwarz-, Rot- und Goldtöne seiner Farbvarianten. Fotomodell für die Siebdruckvorlage ist die New Yorker Club-Sängerin Sylvia Williams, sie nimmt begeistert Warhols Angebot an, das fragwürdige Rollenmodell zu unterlaufen.
In dieser Auktion können gleich zwei Exemplare dieses Siebdruckes angeboten werden. Die schwarze Variante zeigt das Gesicht in mysteriöser Verfremdung; vor dem monochromen, tiefschwarzen Farbgrund erhalten die farbigen Darstellungselemente eine intensive Signalwirkung. Bei der orangegelben Variante handelt es sich um ein Unikat. In dieser besonders kontrastreichen Zusammenstellung hinterfängt der warme Goldton das Porträt, der optische Fokus liegt auf dem verführerisch pink-rot geschminkten Mund.
Farbserigraphie mit Diamantstaub auf Lenox Museum Board. 96,5 x 96,5 cm. Unter Plexiglas gerahmt. Signiert und nummeriert. Exemplar TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unikat einer Serie von 30 unterschiedlichen Farbvarianten. Edition Ronald Feldman Fine Arts, New York. Aus der 10-teiligen Folge: Myths. - Das Blatt fest auf die Unterlage montiert.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr.II.262
Provenienz
Martin + Lawrence Galleries, New York (mit rückseitigem Aufkleber); Privatsammlung, Bayern
Andy Warhol beginnt 1979 im Auftrag seines Galeristen Ron Feldman mit der Arbeit an der Folge „Myths“, die 1981 als zehnteiliges Portfolio herausgegeben wird. Sein Thema sind die modernen amerikanischen Mythen – populäre Darstellungen, die aus dem Alltag der USA zu dieser Zeit nicht wegzudenken sind. Mit Motiven wie Superman, Mickey Mouse und der Hexe aus dem Film „The Wizard of Oz“ wählt Warhol Figuren, die über Comics, Kino oder Fernsehen, den neuen Medien des 20. Jahrhunderts, sehr beliebt und bekannt geworden sind. Daneben finden sich Stereotype aus der amerikanischen Kulturgeschichte, die über die Werbung fest im Alltagsleben der USA verankert sind: Santa Claus, Uncle Sam und Mammy. Letztere ist eine Darstellung, die ihre Wurzeln in der ersten Hälfte des 19. Jahrhundert hat. Die schwarze Frau, als herzlicher, mütterlicher Typus ihren Arbeitgebern selbstlos ergeben, gilt über lange Zeit als Ideal einer Hausangestellten, die als Kindermädchen oder Köchin der bürgerlichen Gesellschaft dient. Dieser Stereotyp wird sehr populär durch den Film „Gone with the wind“ und als allgegenwärtige Werbefigur für diverse Küchenprodukte. Heutzutage wird sie kritisiert als rassistische, die historischen Lebensbedingungen schwarzer Frauen idealisierende Darstellung.
Auch Warhol ist sich dieser Problematik sehr bewusst, ihn interessiert gerade der Widerspruch zwischen der Herkunft des Stereotyps und seiner Verwendung als hochkommerzielles Markenbild. Er ändert die übliche Darstellung der Mammy maßgeblich - weg von der älteren, schlichten Hausangestellten, hin zu einer jüngeren, attraktiven Frau mit selbstbewusster Ausstrahlung. Make-up und Schmuck verleihen ihr eine glamouröse Präsenz, die der Künstler noch steigert durch die edlen Schwarz-, Rot- und Goldtöne seiner Farbvarianten. Fotomodell für die Siebdruckvorlage ist die New Yorker Club-Sängerin Sylvia Williams, sie nimmt begeistert Warhols Angebot an, das fragwürdige Rollenmodell zu unterlaufen.
In dieser Auktion können gleich zwei Exemplare dieses Siebdruckes angeboten werden. Die schwarze Variante zeigt das Gesicht in mysteriöser Verfremdung; vor dem monochromen, tiefschwarzen Farbgrund erhalten die farbigen Darstellungselemente eine intensive Signalwirkung. Bei der orangegelben Variante handelt es sich um ein Unikat. In dieser besonders kontrastreichen Zusammenstellung hinterfängt der warme Goldton das Porträt, der optische Fokus liegt auf dem verführerisch pink-rot geschminkten Mund.
Andy Warhol, Mammy
Colour screenprint with diamond dust on Lenox Museum Board 96.5 x 96.5 cm. Framed under plexiglass. Signed and numbered. Proof TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unique proof from a series of 30 differing colour variations. Edition Ronald Feldman Fine Arts, New York. From the ten part series: Myths. - The sheet mounted firmly to the backing.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no.II.262
Provenance
Martin + Lawrence Galleries, New York (adhesive label verso); private collection, Bavaria
In 1979, Andy Warhol commenced the commission work for his gallerist Ron Feldman with the series “Myths” which was published as a ten-piece portfolio in 1981. His theme was modern American myths – popular illustrations which were an integral part of everyday life in the USA at that time. By using motifs such as Superman, Mickey Mouse and the witch from the movie “The Wizard of Oz,“ Warhol chose figures that achieved great popularity and fame through comics, cinema, or television – the new 20th century media. In addition, there were stereotypes from American cultural history that were firmly anchored in American daily life: Santa Claus, Uncle Sam, and Mammy. The latter is a depiction that has its roots in the first half of the 19th century. The black woman, a warm, maternal type, selflessly devoted to her employers, has long been regarded as the ideal of a domestic servant, serving bourgeois society as a nanny or cook. This stereotype became very popular through the movie „Gone with the Wind“ and as an omnipresent advertising figure for various kitchen products. Today the depiction is criticised as being racist as well as idealising the historical living conditions of black women.
Warhol was well aware of this issue; however, it was the contradiction between the origin of the stereotype and its implementation as a highly commercial brand image that interested him in particular. He altered the standard image of the Mammy significantly – away from the older, plain domestic servant, to a younger, attractive woman with self-confident charisma. Make-up and jewellery lent her a glamorous presence which the artist increased even further by the classy black, red, and gold tones of its colour variants. The New York club singer Sylvia Williams was the model for the silkscreen template who enthusiastically accepted Warhol’s offer to subvert the questionable role model.
There are not one but two versions of the silkscreen on offer in this auction. The black variant shows the face in mysterious alienation; in front of the monochrome, deep black background the coloured illustrative elements acquire an intensive signal effect. The orange yellow variant is a unique piece. In this particularly high-contrast composition, the warm golden tone backdrops the portrait; the optical focus is on the seductive pink-red lipstick of the mouth.
Colour screenprint with diamond dust on Lenox Museum Board 96.5 x 96.5 cm. Framed under plexiglass. Signed and numbered. Proof TP 5/30 (+200, +30 A.P., +5 P.P., +5 E.P., +4 H.C.). Unique proof from a series of 30 differing colour variations. Edition Ronald Feldman Fine Arts, New York. From the ten part series: Myths. - The sheet mounted firmly to the backing.
Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no.II.262
Provenance
Martin + Lawrence Galleries, New York (adhesive label verso); private collection, Bavaria
In 1979, Andy Warhol commenced the commission work for his gallerist Ron Feldman with the series “Myths” which was published as a ten-piece portfolio in 1981. His theme was modern American myths – popular illustrations which were an integral part of everyday life in the USA at that time. By using motifs such as Superman, Mickey Mouse and the witch from the movie “The Wizard of Oz,“ Warhol chose figures that achieved great popularity and fame through comics, cinema, or television – the new 20th century media. In addition, there were stereotypes from American cultural history that were firmly anchored in American daily life: Santa Claus, Uncle Sam, and Mammy. The latter is a depiction that has its roots in the first half of the 19th century. The black woman, a warm, maternal type, selflessly devoted to her employers, has long been regarded as the ideal of a domestic servant, serving bourgeois society as a nanny or cook. This stereotype became very popular through the movie „Gone with the Wind“ and as an omnipresent advertising figure for various kitchen products. Today the depiction is criticised as being racist as well as idealising the historical living conditions of black women.
Warhol was well aware of this issue; however, it was the contradiction between the origin of the stereotype and its implementation as a highly commercial brand image that interested him in particular. He altered the standard image of the Mammy significantly – away from the older, plain domestic servant, to a younger, attractive woman with self-confident charisma. Make-up and jewellery lent her a glamorous presence which the artist increased even further by the classy black, red, and gold tones of its colour variants. The New York club singer Sylvia Williams was the model for the silkscreen template who enthusiastically accepted Warhol’s offer to subvert the questionable role model.
There are not one but two versions of the silkscreen on offer in this auction. The black variant shows the face in mysterious alienation; in front of the monochrome, deep black background the coloured illustrative elements acquire an intensive signal effect. The orange yellow variant is a unique piece. In this particularly high-contrast composition, the warm golden tone backdrops the portrait; the optical focus is on the seductive pink-red lipstick of the mouth.
Evening Sale - Moderne und Zeitgenössische Kunst
Auktionsdatum
Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
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Wichtige Informationen
Evening Sale - Modern and Contemporary Art
Evening Sale - Moderne und Zeitgenössische Kunst
AGB
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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.
