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Oskar Schlemmer, Abstrakte Figur, frontal

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Oskar Schlemmer, Abstrakte Figur, frontal
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Oskar Schlemmer, Abstrakte Figur, frontal
Tuschfederzeichnung auf dünnem bräunlichem Transparentpapier. 52,7 x 31,7 cm. Unbezeichnet. Am Unterrand rechts mit dem Fragment des roten Nachlass-Stempels von Carl Schlemmer versehen. - Im ehemaligen Passepartout-Ausschnitt dunkler gebräunt; die obere Blattecke rechts ausgerissen, die linke untere nach Abriss angestückt und mit braunem Papier hinterlegt. Mit professionell geschlossenem Riss rechts.

Grohmann ZT 137

Provenienz
Staatsgalerie Stuttgart, Depositum Schlemmer, Inv. Nr. GL 1907

Ausstellungen
Bern 1959 (Kunsthalle), Oskar Schlemmer, Kat. Nr. 135 Stuttgart 1959 (Württembergischer Kunstverein), Handzeichnungen von Oskar Schlemmer, Kat. Nr. 22; Hannover 1960 (Kestner-Gesellschaft), Oskar Schlemmer, Handzeichnungen, Aquarelle, Kat. Nr. 77; Berlin 1963 (Akademie der Künste), Oskar Schlemmer 1888-1943, Kat. Nr. 217 mit Abb. S. 44; Stuttgart 1977 (Staatsgalerie Stuttgart, im Württembergischen Kunstverein), Oskar Schlemmer, Kat. Nr. 261 mit Abb. S. 123 (v. Maur führt das Blatt unter "Plastik-Entwürfe" auf); Krefeld 1978 (Museum Haus Lange), Oskar Schlemmer, Aquarelle und Handzeichnungen 1919-1936, Kat. Nr. 7 mit Abb. S. 6; Baltimore/New York/San Francisco/Minneapolis 1986/1987 (The Baltimore Museum of Art/IBM Gallery of Science and Art New York/San Francisco Museum of Modern Art/Walker Art Center Minneapolis), Oskar Schlemmer, Kat. Nr. 102 mit Abb. S. 109 (Fig. 102)

Literatur
Karin v. Maur, Oskar Schlemmer, Das plastische Werk, Stuttgart 1972, S. 17 ff. mit Abb. S. 17 ("Aufgeteilte Figur, Reliefentwurf 1919"); Karin v. Maur, Oskar Schlemmer, München 1982, Nr. 261 mit Abb.

Der Nachlass Oskar Schlemmers
Nach einer gerichtlichen Einigung im langen Rechtsstreit um den Nachlass des Bauhaus-Meisters Oskar Schlemmer (1888-1943) kommen nun zentrale Werke des Künstlers bei Lempertz zur Auktion. Der im Dezember 2024 geschlossene, gerichtliche Vergleich regelt, wie zahlreiche Gemälde, Aquarelle und Zeichnungen aus dem Bestand der Witwe Tut Schlemmers verteilt werden. Es ging am Ende der Verhandlungen nicht mehr nur um 65 Werke, die damals zu einem Teil im Depot der Stuttgarter Staatsgalerie verwahrt wurden, sondern um den gesamten Nachlass. Teil der Vereinbarung sind auch Schenkungen an ausgewählte Museen.
Im November 2024 hatte das Kunsthaus Lempertz als erstes Werk aus dem Nachlass schon die „Freiplastik G“, die wichtigste Plastik aus Schlemmers Bauhaus-Zeit, versteigert. Für die Auktion Ende Mai werden nun zunächst 21 Werke aus dem Schlemmer-Nachlass aufgerufen. Die beiden Toplose sind die großformatige „Komposition auf Rosa“ und der zum malerischen Spätwerk gehörende „Sechs-Köpfe-Fries“. Hinzu kommen achtzehn überwiegend frühe Arbeiten auf Papier. Abgesehen von Aquarellen mit charakteristischen Köpfen und perspektivisch angelegten Tischgesellschaften, gehört auch eine Vorzeichnung zu dem vielleicht bekanntesten Werk Schlemmers, dem Gemälde „Bauhaustreppe“ von 1932 (Museum of Modern Art, New York), zum Schlemmer-Nachlass.
Das Kunsthaus Lempertz freut sich, diese Werke versteigern zu dürfen. Der Auktionator Henrik Hanstein war vom Oberlandesgericht zum Sequester bestellt.
Oskar Schlemmer, Abstract Figure, frontal
Pen and ink on thin, brownish tracing paper. 52.7 x 31.7 cm. Unsigned. With a fragment of Carl Schlemmer's red estate stamp in the lower margin at right. - The sheet slightly browned within a former mat opening; the upper right corner with a loss, the lower left corner torn off and re-attached with brown paper backing. With isolated very tiny specks of foxing.

Grohmann ZT 137

Provenance
Staatsgalerie Stuttgart, Depositum Schlemmer, inv. no. GL 1907

Exhibitions
Bern 1959 (Kunsthalle), Oskar Schlemmer, cat. no. 135 Stuttgart 1959 (Württembergischer Kunstverein), Handzeichnungen von Oskar Schlemmer, cat. no. 22; Hanover 1960 (Kestner-Gesellschaft), Oskar Schlemmer, Handzeichnungen, Aquarelle, cat. no. 77; Berlin 1963 (Akademie der Künste), Oskar Schlemmer 1888-1943, cat. no. 217 with ill. p. 44; Stuttgart 1977 (Staatsgalerie Stuttgart, in Württembergischer Kunstverein), Oskar Schlemmer, cat. no. 261 with ill. p. 123 (v. Maur lists the sheet as "Plastik-Entwürfe"); Krefeld 1978 (Museum Haus Lange), Oskar Schlemmer, Aquarelle und Handzeichnungen 1919-1936, cat. no. 7 with ill. p. 6; Baltimore/New York/San Francisco/Minneapolis 1986/1987 (The Baltimore Museum of Art/IBM Gallery of Science and Art New York/San Francisco Museum of Modern Art/Walker Art Center Minneapolis), Oskar Schlemmer, cat. no. 102 with ill. p. 109 (pl. 102)

Literature
Karin v. Maur, Oskar Schlemmer, Das plastische Werk, Stuttgart 1972, p. 17 ff. with ill. p. 17 ("Aufgeteilte Figur, Reliefentwurf 1919"); Karin v. Maur, Oskar Schlemmer, Munich 1982, no. 261 with ill.

The Estate of Oskar Schlemmer
Following an agreement reached in court regarding the long legal battle over the estate of Bauhaus master Oskar Schlemmer (1888-1943), two central works by the artist are now coming up for auction at Lempertz. Finalised in December 2024, the court settlement regulates the allocation of numerous paintings, watercolours and drawings formerly owned by the artist’s widow, Tut Schlemmer. At the end of the proceedings, it was no longer only about 65 works (some of which were in storage at the Stuttgarter Staatsgalerie at that time) but the complete estate. Donations to selected museums are also part of the agreement.
Kunsthaus Lempertz had already auctioned off the first work from the estate in November 2024: “Freiplastik G”, the most important sculpture from Schlemmer’s Bauhaus period. Now, at the auction at the end of May, 21 works from the Schlemmer estate will initially be put up for sale. The top two lots are the large-format “Komposition auf Rosa” and the “Sechs-Köpfe-Fries”, which belongs to the artist’s late work as a painter. These are joined by eighteen, primarily early works on paper. Besides watercolours featuring characteristic heads and groups of diners arranged in perspective, the Schlemmer estate also includes a preliminary drawing for what may be Schlemmer’s best-known work, the painting “Bauhaustreppe” (Museum of Modern Art, New York).
Kunsthaus Lempertz is pleased to be able to auction these works. The auctioneer Henrik Hanstein was appointed as trustee by the higher regional court.
Oskar Schlemmer, Abstrakte Figur, frontal
Tuschfederzeichnung auf dünnem bräunlichem Transparentpapier. 52,7 x 31,7 cm. Unbezeichnet. Am Unterrand rechts mit dem Fragment des roten Nachlass-Stempels von Carl Schlemmer versehen. - Im ehemaligen Passepartout-Ausschnitt dunkler gebräunt; die obere Blattecke rechts ausgerissen, die linke untere nach Abriss angestückt und mit braunem Papier hinterlegt. Mit professionell geschlossenem Riss rechts.

Grohmann ZT 137

Provenienz
Staatsgalerie Stuttgart, Depositum Schlemmer, Inv. Nr. GL 1907

Ausstellungen
Bern 1959 (Kunsthalle), Oskar Schlemmer, Kat. Nr. 135 Stuttgart 1959 (Württembergischer Kunstverein), Handzeichnungen von Oskar Schlemmer, Kat. Nr. 22; Hannover 1960 (Kestner-Gesellschaft), Oskar Schlemmer, Handzeichnungen, Aquarelle, Kat. Nr. 77; Berlin 1963 (Akademie der Künste), Oskar Schlemmer 1888-1943, Kat. Nr. 217 mit Abb. S. 44; Stuttgart 1977 (Staatsgalerie Stuttgart, im Württembergischen Kunstverein), Oskar Schlemmer, Kat. Nr. 261 mit Abb. S. 123 (v. Maur führt das Blatt unter "Plastik-Entwürfe" auf); Krefeld 1978 (Museum Haus Lange), Oskar Schlemmer, Aquarelle und Handzeichnungen 1919-1936, Kat. Nr. 7 mit Abb. S. 6; Baltimore/New York/San Francisco/Minneapolis 1986/1987 (The Baltimore Museum of Art/IBM Gallery of Science and Art New York/San Francisco Museum of Modern Art/Walker Art Center Minneapolis), Oskar Schlemmer, Kat. Nr. 102 mit Abb. S. 109 (Fig. 102)

Literatur
Karin v. Maur, Oskar Schlemmer, Das plastische Werk, Stuttgart 1972, S. 17 ff. mit Abb. S. 17 ("Aufgeteilte Figur, Reliefentwurf 1919"); Karin v. Maur, Oskar Schlemmer, München 1982, Nr. 261 mit Abb.

Der Nachlass Oskar Schlemmers
Nach einer gerichtlichen Einigung im langen Rechtsstreit um den Nachlass des Bauhaus-Meisters Oskar Schlemmer (1888-1943) kommen nun zentrale Werke des Künstlers bei Lempertz zur Auktion. Der im Dezember 2024 geschlossene, gerichtliche Vergleich regelt, wie zahlreiche Gemälde, Aquarelle und Zeichnungen aus dem Bestand der Witwe Tut Schlemmers verteilt werden. Es ging am Ende der Verhandlungen nicht mehr nur um 65 Werke, die damals zu einem Teil im Depot der Stuttgarter Staatsgalerie verwahrt wurden, sondern um den gesamten Nachlass. Teil der Vereinbarung sind auch Schenkungen an ausgewählte Museen.
Im November 2024 hatte das Kunsthaus Lempertz als erstes Werk aus dem Nachlass schon die „Freiplastik G“, die wichtigste Plastik aus Schlemmers Bauhaus-Zeit, versteigert. Für die Auktion Ende Mai werden nun zunächst 21 Werke aus dem Schlemmer-Nachlass aufgerufen. Die beiden Toplose sind die großformatige „Komposition auf Rosa“ und der zum malerischen Spätwerk gehörende „Sechs-Köpfe-Fries“. Hinzu kommen achtzehn überwiegend frühe Arbeiten auf Papier. Abgesehen von Aquarellen mit charakteristischen Köpfen und perspektivisch angelegten Tischgesellschaften, gehört auch eine Vorzeichnung zu dem vielleicht bekanntesten Werk Schlemmers, dem Gemälde „Bauhaustreppe“ von 1932 (Museum of Modern Art, New York), zum Schlemmer-Nachlass.
Das Kunsthaus Lempertz freut sich, diese Werke versteigern zu dürfen. Der Auktionator Henrik Hanstein war vom Oberlandesgericht zum Sequester bestellt.
Oskar Schlemmer, Abstract Figure, frontal
Pen and ink on thin, brownish tracing paper. 52.7 x 31.7 cm. Unsigned. With a fragment of Carl Schlemmer's red estate stamp in the lower margin at right. - The sheet slightly browned within a former mat opening; the upper right corner with a loss, the lower left corner torn off and re-attached with brown paper backing. With isolated very tiny specks of foxing.

Grohmann ZT 137

Provenance
Staatsgalerie Stuttgart, Depositum Schlemmer, inv. no. GL 1907

Exhibitions
Bern 1959 (Kunsthalle), Oskar Schlemmer, cat. no. 135 Stuttgart 1959 (Württembergischer Kunstverein), Handzeichnungen von Oskar Schlemmer, cat. no. 22; Hanover 1960 (Kestner-Gesellschaft), Oskar Schlemmer, Handzeichnungen, Aquarelle, cat. no. 77; Berlin 1963 (Akademie der Künste), Oskar Schlemmer 1888-1943, cat. no. 217 with ill. p. 44; Stuttgart 1977 (Staatsgalerie Stuttgart, in Württembergischer Kunstverein), Oskar Schlemmer, cat. no. 261 with ill. p. 123 (v. Maur lists the sheet as "Plastik-Entwürfe"); Krefeld 1978 (Museum Haus Lange), Oskar Schlemmer, Aquarelle und Handzeichnungen 1919-1936, cat. no. 7 with ill. p. 6; Baltimore/New York/San Francisco/Minneapolis 1986/1987 (The Baltimore Museum of Art/IBM Gallery of Science and Art New York/San Francisco Museum of Modern Art/Walker Art Center Minneapolis), Oskar Schlemmer, cat. no. 102 with ill. p. 109 (pl. 102)

Literature
Karin v. Maur, Oskar Schlemmer, Das plastische Werk, Stuttgart 1972, p. 17 ff. with ill. p. 17 ("Aufgeteilte Figur, Reliefentwurf 1919"); Karin v. Maur, Oskar Schlemmer, Munich 1982, no. 261 with ill.

The Estate of Oskar Schlemmer
Following an agreement reached in court regarding the long legal battle over the estate of Bauhaus master Oskar Schlemmer (1888-1943), two central works by the artist are now coming up for auction at Lempertz. Finalised in December 2024, the court settlement regulates the allocation of numerous paintings, watercolours and drawings formerly owned by the artist’s widow, Tut Schlemmer. At the end of the proceedings, it was no longer only about 65 works (some of which were in storage at the Stuttgarter Staatsgalerie at that time) but the complete estate. Donations to selected museums are also part of the agreement.
Kunsthaus Lempertz had already auctioned off the first work from the estate in November 2024: “Freiplastik G”, the most important sculpture from Schlemmer’s Bauhaus period. Now, at the auction at the end of May, 21 works from the Schlemmer estate will initially be put up for sale. The top two lots are the large-format “Komposition auf Rosa” and the “Sechs-Köpfe-Fries”, which belongs to the artist’s late work as a painter. These are joined by eighteen, primarily early works on paper. Besides watercolours featuring characteristic heads and groups of diners arranged in perspective, the Schlemmer estate also includes a preliminary drawing for what may be Schlemmer’s best-known work, the painting “Bauhaustreppe” (Museum of Modern Art, New York).
Kunsthaus Lempertz is pleased to be able to auction these works. The auctioneer Henrik Hanstein was appointed as trustee by the higher regional court.

Day Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 100-307
Lose: 400-585
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

Vorbesichtigung
KÖLN
Samstag 24. Mai | 10 – 16 Uhr
Sonntag 25. Mai | 11 – 16 Uhr
Montag 26. Mai – Mittwoch 28. Mai
10 – 17.30 Uhr
Donnerstag 29. Mai | 11 – 15 Uhr

Matinée
Samstag 24. Mai | 11 Uhr
Sebastian Preuss trifft Henrik Hanstein und Isabel Apiarius-Hanstein zum Gespräch über das Erbe Oskar Schlemmers
________________________________________________
MÜNCHEN
In Auswahl
St.-Anna-Platz 3, 80538 München

Dienstag 6. Mai und Mittwoch 7. Mai
jeweils 10 – 17 Uhr
____________________________________________________
BRÜSSEL
In Auswahl
Grote Hertstraat 6, Rue du Grand Cerf, 1000 Brussels

Vernissage | Samstag 26. April, 11 – 17.00 Uhr

Sonntag 27. April | 11 – 17.00 Uhr
Montag 28. April und Dienstag 29. April
jeweils 10 – 17.30 Uhr
__________________________________________________
BERLIN
In Auswahl
Poststr. 22, 10178 Berlin-Mitte

Vernissage Montag 12. Mai | 18 – 21 Uhr

Dienstag 13. Mai und Mittwoch 14. Mai
jeweils 10 – 17 Uhr

AGB

1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 para. 3 sentence 1 of the Handelsgesetzbuch (the Commercial Code). as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auction- eering 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 con- tractually 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 in- formation 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 certifica- tions from artists, their estates or experts relevant to each case only form a con- tractual 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 and are sold as seen.

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 pe- riod 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 partic- ipate in Person. The legal stipulations concerning the sale of consumer goods are not to be applied according to § 474 para. 1 sentence 2 of the Bürgerliches Gesetzbuch (the Civil Code, „BGB“).

5. Claims for compensation as the result of a fault or defect in the object auc- tioned 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. of the Kulturgutschutzgesetz (the Cultural Property Protection Act) 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 success- ful identification in terms of § 1 para. 3 of the Geldwäschegesetz (the Money Laundering Act, “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 writ- ing 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 BGB) 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 re- cording 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 be- comes 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 abso- lute 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 https://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 29 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 23 % (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 characterised by an R, the buyer shall pay the statutory VAT of 19% on the hammer price and the buyer’s premium, from 1 January 2025 the statutory VAT of 7% on works of art and collector's items and 19% on all other objects (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 of the Umsatzsteuergesetz (VAT-Act).

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 of the Urheberrechtsgesetz (Act on Copyright and Related Rights), 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 accord- ing to §3 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 in- voice will be send by email unless the buyer asks Lempertz to send them by mail. 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. Additional fees may apply for the alteration. The transfer is subject to successful identification (§ 1 para. 3 GWG) of the bidder and of the person to whom the invoice is trans- ferred. Invoices will only be issued to those persons actually responsible for set- tling the invoices.

11. In the case of payment default, Lempertz will charge 1% interest on the out- standing 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 auc- tion 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 Co- logne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the In- ternational 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. 

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