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Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
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Beschreibung
Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
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Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
Evening Sale - Moderne und Zeitgenössische Kunst
Auktionsdatum
Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.
Wichtige Informationen
Evening Sale - Modern and Contemporary Art
Evening Sale - Moderne und Zeitgenössische Kunst
AGB
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Commercial Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic. The used items are sold in public auction in which the bidder/buyer can participate in Person. The legal stipulations concerning the sale of consumer goods are not to be applied according to Art. 474 § 1.2 German Commercial Code (BGB).
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere due to violation of due dilligence according to §§ 41 ff. KGSG are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Lempertz reserves the right to approve bidders for the auction and especially the right to make this approval dependent upon successful identification in terms of § 1 para. 3 GWG. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of
long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid, 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.
