3427
ARMANDO (HERMAN DIRK VAN DODEWEERD)
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Description
ARMANDO (HERMAN DIRK VAN DODEWEERD)
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Oil and sand on canvas.
Signed, dated and titled on the stretcher: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenance: - Galerie Turske & Turske, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland. Exhibition: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13 January - 26 February, no. 5 (colour ill.)(verso with the label). Armando was born Herman Dirk von Dodeweerd in Amsterdam in 1929. The multi-talented artist was one of the most important Dutch artists within contemporary art. Armando spent his youth in Amersfoort, where he experienced the National Socialists and the concentration camp at close quarters. Although Armando studied art history and philosophy at the University of Amsterdam from 1949 to 1954, he was self-taught when it came to learning the basics as a painter, writer, poet, sculptor, musician, theatre and film maker. He gradually discovered a passion for drawing, painting and writing. From 1979, the artist lived in Berlin, his second home, creating large-format paintings with meaningful titles in black and white and soon achieved his international breakthrough as a painter. The cumulative experiences of death, suffering and pain, of good and evil, guilt and innocence, as well as the confrontation with the horrors of the Second World War run like a continuous thread through Armando’s award-winning artistic and literary oeuvre, which depicts the tragedy of man in all its facets. "I suddenly had a great interest in the perpetrators out of too much sympathy for the victims," Armando later recalled. "I had found my subject." The two abstracted and starkly contrasting works on offer from the "Flags" and "Battlefield" series hark back to Armando's youth. Where black and white collide, grey-looking clouds often form, as if there were a struggle for supremacy in the painting triggered by the expressive application of paint. The artist has deliberately painted the present works without colour, thereby lending them a pervasive visual power. By adding sand to the upper layers, he also obtains a dramatic effect. The flag is already a symbol in itself. Its threatening nature, historical significance and the triumph and defeat with which it is associated, prompt the artist to use the much-torn and frayed black flag flapping against a white background as a motif in his series of works.
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Oil and sand on canvas.
Signed, dated and titled on the stretcher: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenance: - Galerie Turske & Turske, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland. Exhibition: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13 January - 26 February, no. 5 (colour ill.)(verso with the label). Armando was born Herman Dirk von Dodeweerd in Amsterdam in 1929. The multi-talented artist was one of the most important Dutch artists within contemporary art. Armando spent his youth in Amersfoort, where he experienced the National Socialists and the concentration camp at close quarters. Although Armando studied art history and philosophy at the University of Amsterdam from 1949 to 1954, he was self-taught when it came to learning the basics as a painter, writer, poet, sculptor, musician, theatre and film maker. He gradually discovered a passion for drawing, painting and writing. From 1979, the artist lived in Berlin, his second home, creating large-format paintings with meaningful titles in black and white and soon achieved his international breakthrough as a painter. The cumulative experiences of death, suffering and pain, of good and evil, guilt and innocence, as well as the confrontation with the horrors of the Second World War run like a continuous thread through Armando’s award-winning artistic and literary oeuvre, which depicts the tragedy of man in all its facets. "I suddenly had a great interest in the perpetrators out of too much sympathy for the victims," Armando later recalled. "I had found my subject." The two abstracted and starkly contrasting works on offer from the "Flags" and "Battlefield" series hark back to Armando's youth. Where black and white collide, grey-looking clouds often form, as if there were a struggle for supremacy in the painting triggered by the expressive application of paint. The artist has deliberately painted the present works without colour, thereby lending them a pervasive visual power. By adding sand to the upper layers, he also obtains a dramatic effect. The flag is already a symbol in itself. Its threatening nature, historical significance and the triumph and defeat with which it is associated, prompt the artist to use the much-torn and frayed black flag flapping against a white background as a motif in his series of works.
ARMANDO (HERMAN DIRK VAN DODEWEERD)
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Öl und Sand auf Leinwand.
Auf dem Keilrahmen signiert, datiert und betitelt: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenienz: - Galerie Turske & Turske, Zürich (verso mit dem Etikett). - Vom heutigen Besitzer bei obiger Galerie erworben, seitdem Privatsammlung Schweiz. Ausstellung: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13. Januar - 26. Februar, Nr. 5 (Farbabb.) (verso mit dem Etikett). Armando wird 1929 als Herman Dirk von Dodeweerd in Amsterdam geboren. Das Multitalent zählt zu den wichtigsten niederländischen Künstlern der Gegenwartskunst. Seine Jugend verbringt Armando in Amersfoort, wo er die Nationalsozialisten und das Konzentrationslager aus nächster Nähe erlebt. Zwar studiert Armando von 1949 bis 1954 Kunstgeschichte und Philosophie an der Universität von Amsterdam, eignet sich aber als Autodidakt die Grundlagen als Maler, Schriftsteller, Dichter, Bildhauer, Musiker, Theater- und Filmemacher an. Zunehmend entdeckt er seine Passion fürs Zeichnen, Malen und Schreiben. Seit 1979 wohnt der Künstler in Berlin, seiner zweiten Heimat, erstellt grossformatige Gemälde mit vielsagenden Titeln in den Farben Schwarz und Weiss und erzielt als Maler bald seinen internationalen Durchbruch. Die gesammelten Erfahrungen von Tod, Leid und Schmerz, von Gut und Böse, Schuld und Unschuld sowie die Konfrontation mit den Schrecken des Zweiten Weltkriegs ziehen sich wie ein roter Faden durch Armandos’ mehrfach ausgezeichnetes künstlerisches wie schriftstellerisches Œuvre, das die Tragik des Menschen in all seinen Facetten darstellt. «Ich hatte plötzlich ein grosses Interesse an den Tätern aus zu grosser Anteilnahme für die Opfer,“ erinnert sich Armando später. „Ich hatte mein Thema gefunden.“ Die beiden angebotenen abstrahierten und kontrastreichen Arbeiten der Serien «Fahnen» und «Gefechtsfeld» verweisen auf Armandos’ Jugendzeit. Wo Schwarz und Weiss aufeinanderstossen, bilden sich häufig grau erscheinende Wolken, als wäre es ein Ringen um die Übermacht im Bild, ausgelöst vom expressiven Farbauftrag. Bewusst malt der Künstler die vorliegenden Gemälde ohne Farbe und verleiht ihnen damit eine durchdringende visuelle Kraft. Unter Hinzufügung von Sand in den oberen Schichten erwirkt er zudem dramatische Effekte. Die Fahne ist schon von sich aus ein Symbol. Ihre Bedrohlichkeit, das Geschichtsträchtige, Triumph und Niederlage, mit denen sie in Verbindung gebracht wird, animieren den Künstler, die schwarz flatternde, vielfach zerrissen und ausgefranst erscheinende Fahne auf weissem Grund als Motiv seriell zu verwenden.
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Öl und Sand auf Leinwand.
Auf dem Keilrahmen signiert, datiert und betitelt: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenienz: - Galerie Turske & Turske, Zürich (verso mit dem Etikett). - Vom heutigen Besitzer bei obiger Galerie erworben, seitdem Privatsammlung Schweiz. Ausstellung: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13. Januar - 26. Februar, Nr. 5 (Farbabb.) (verso mit dem Etikett). Armando wird 1929 als Herman Dirk von Dodeweerd in Amsterdam geboren. Das Multitalent zählt zu den wichtigsten niederländischen Künstlern der Gegenwartskunst. Seine Jugend verbringt Armando in Amersfoort, wo er die Nationalsozialisten und das Konzentrationslager aus nächster Nähe erlebt. Zwar studiert Armando von 1949 bis 1954 Kunstgeschichte und Philosophie an der Universität von Amsterdam, eignet sich aber als Autodidakt die Grundlagen als Maler, Schriftsteller, Dichter, Bildhauer, Musiker, Theater- und Filmemacher an. Zunehmend entdeckt er seine Passion fürs Zeichnen, Malen und Schreiben. Seit 1979 wohnt der Künstler in Berlin, seiner zweiten Heimat, erstellt grossformatige Gemälde mit vielsagenden Titeln in den Farben Schwarz und Weiss und erzielt als Maler bald seinen internationalen Durchbruch. Die gesammelten Erfahrungen von Tod, Leid und Schmerz, von Gut und Böse, Schuld und Unschuld sowie die Konfrontation mit den Schrecken des Zweiten Weltkriegs ziehen sich wie ein roter Faden durch Armandos’ mehrfach ausgezeichnetes künstlerisches wie schriftstellerisches Œuvre, das die Tragik des Menschen in all seinen Facetten darstellt. «Ich hatte plötzlich ein grosses Interesse an den Tätern aus zu grosser Anteilnahme für die Opfer,“ erinnert sich Armando später. „Ich hatte mein Thema gefunden.“ Die beiden angebotenen abstrahierten und kontrastreichen Arbeiten der Serien «Fahnen» und «Gefechtsfeld» verweisen auf Armandos’ Jugendzeit. Wo Schwarz und Weiss aufeinanderstossen, bilden sich häufig grau erscheinende Wolken, als wäre es ein Ringen um die Übermacht im Bild, ausgelöst vom expressiven Farbauftrag. Bewusst malt der Künstler die vorliegenden Gemälde ohne Farbe und verleiht ihnen damit eine durchdringende visuelle Kraft. Unter Hinzufügung von Sand in den oberen Schichten erwirkt er zudem dramatische Effekte. Die Fahne ist schon von sich aus ein Symbol. Ihre Bedrohlichkeit, das Geschichtsträchtige, Triumph und Niederlage, mit denen sie in Verbindung gebracht wird, animieren den Künstler, die schwarz flatternde, vielfach zerrissen und ausgefranst erscheinende Fahne auf weissem Grund als Motiv seriell zu verwenden.
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ARMANDO (HERMAN DIRK VAN DODEWEERD)
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Oil and sand on canvas.
Signed, dated and titled on the stretcher: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenance: - Galerie Turske & Turske, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland. Exhibition: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13 January - 26 February, no. 5 (colour ill.)(verso with the label). Armando was born Herman Dirk von Dodeweerd in Amsterdam in 1929. The multi-talented artist was one of the most important Dutch artists within contemporary art. Armando spent his youth in Amersfoort, where he experienced the National Socialists and the concentration camp at close quarters. Although Armando studied art history and philosophy at the University of Amsterdam from 1949 to 1954, he was self-taught when it came to learning the basics as a painter, writer, poet, sculptor, musician, theatre and film maker. He gradually discovered a passion for drawing, painting and writing. From 1979, the artist lived in Berlin, his second home, creating large-format paintings with meaningful titles in black and white and soon achieved his international breakthrough as a painter. The cumulative experiences of death, suffering and pain, of good and evil, guilt and innocence, as well as the confrontation with the horrors of the Second World War run like a continuous thread through Armando’s award-winning artistic and literary oeuvre, which depicts the tragedy of man in all its facets. "I suddenly had a great interest in the perpetrators out of too much sympathy for the victims," Armando later recalled. "I had found my subject." The two abstracted and starkly contrasting works on offer from the "Flags" and "Battlefield" series hark back to Armando's youth. Where black and white collide, grey-looking clouds often form, as if there were a struggle for supremacy in the painting triggered by the expressive application of paint. The artist has deliberately painted the present works without colour, thereby lending them a pervasive visual power. By adding sand to the upper layers, he also obtains a dramatic effect. The flag is already a symbol in itself. Its threatening nature, historical significance and the triumph and defeat with which it is associated, prompt the artist to use the much-torn and frayed black flag flapping against a white background as a motif in his series of works.
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Oil and sand on canvas.
Signed, dated and titled on the stretcher: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenance: - Galerie Turske & Turske, Zurich (verso with the label). - Purchased from the above by the present owner, since then private collection Switzerland. Exhibition: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13 January - 26 February, no. 5 (colour ill.)(verso with the label). Armando was born Herman Dirk von Dodeweerd in Amsterdam in 1929. The multi-talented artist was one of the most important Dutch artists within contemporary art. Armando spent his youth in Amersfoort, where he experienced the National Socialists and the concentration camp at close quarters. Although Armando studied art history and philosophy at the University of Amsterdam from 1949 to 1954, he was self-taught when it came to learning the basics as a painter, writer, poet, sculptor, musician, theatre and film maker. He gradually discovered a passion for drawing, painting and writing. From 1979, the artist lived in Berlin, his second home, creating large-format paintings with meaningful titles in black and white and soon achieved his international breakthrough as a painter. The cumulative experiences of death, suffering and pain, of good and evil, guilt and innocence, as well as the confrontation with the horrors of the Second World War run like a continuous thread through Armando’s award-winning artistic and literary oeuvre, which depicts the tragedy of man in all its facets. "I suddenly had a great interest in the perpetrators out of too much sympathy for the victims," Armando later recalled. "I had found my subject." The two abstracted and starkly contrasting works on offer from the "Flags" and "Battlefield" series hark back to Armando's youth. Where black and white collide, grey-looking clouds often form, as if there were a struggle for supremacy in the painting triggered by the expressive application of paint. The artist has deliberately painted the present works without colour, thereby lending them a pervasive visual power. By adding sand to the upper layers, he also obtains a dramatic effect. The flag is already a symbol in itself. Its threatening nature, historical significance and the triumph and defeat with which it is associated, prompt the artist to use the much-torn and frayed black flag flapping against a white background as a motif in his series of works.
ARMANDO (HERMAN DIRK VAN DODEWEERD)
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Öl und Sand auf Leinwand.
Auf dem Keilrahmen signiert, datiert und betitelt: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenienz: - Galerie Turske & Turske, Zürich (verso mit dem Etikett). - Vom heutigen Besitzer bei obiger Galerie erworben, seitdem Privatsammlung Schweiz. Ausstellung: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13. Januar - 26. Februar, Nr. 5 (Farbabb.) (verso mit dem Etikett). Armando wird 1929 als Herman Dirk von Dodeweerd in Amsterdam geboren. Das Multitalent zählt zu den wichtigsten niederländischen Künstlern der Gegenwartskunst. Seine Jugend verbringt Armando in Amersfoort, wo er die Nationalsozialisten und das Konzentrationslager aus nächster Nähe erlebt. Zwar studiert Armando von 1949 bis 1954 Kunstgeschichte und Philosophie an der Universität von Amsterdam, eignet sich aber als Autodidakt die Grundlagen als Maler, Schriftsteller, Dichter, Bildhauer, Musiker, Theater- und Filmemacher an. Zunehmend entdeckt er seine Passion fürs Zeichnen, Malen und Schreiben. Seit 1979 wohnt der Künstler in Berlin, seiner zweiten Heimat, erstellt grossformatige Gemälde mit vielsagenden Titeln in den Farben Schwarz und Weiss und erzielt als Maler bald seinen internationalen Durchbruch. Die gesammelten Erfahrungen von Tod, Leid und Schmerz, von Gut und Böse, Schuld und Unschuld sowie die Konfrontation mit den Schrecken des Zweiten Weltkriegs ziehen sich wie ein roter Faden durch Armandos’ mehrfach ausgezeichnetes künstlerisches wie schriftstellerisches Œuvre, das die Tragik des Menschen in all seinen Facetten darstellt. «Ich hatte plötzlich ein grosses Interesse an den Tätern aus zu grosser Anteilnahme für die Opfer,“ erinnert sich Armando später. „Ich hatte mein Thema gefunden.“ Die beiden angebotenen abstrahierten und kontrastreichen Arbeiten der Serien «Fahnen» und «Gefechtsfeld» verweisen auf Armandos’ Jugendzeit. Wo Schwarz und Weiss aufeinanderstossen, bilden sich häufig grau erscheinende Wolken, als wäre es ein Ringen um die Übermacht im Bild, ausgelöst vom expressiven Farbauftrag. Bewusst malt der Künstler die vorliegenden Gemälde ohne Farbe und verleiht ihnen damit eine durchdringende visuelle Kraft. Unter Hinzufügung von Sand in den oberen Schichten erwirkt er zudem dramatische Effekte. Die Fahne ist schon von sich aus ein Symbol. Ihre Bedrohlichkeit, das Geschichtsträchtige, Triumph und Niederlage, mit denen sie in Verbindung gebracht wird, animieren den Künstler, die schwarz flatternde, vielfach zerrissen und ausgefranst erscheinende Fahne auf weissem Grund als Motiv seriell zu verwenden.
(Amsterdam 1929 – 2018 Potsdam)
Fahne. 1980/81.
Öl und Sand auf Leinwand.
Auf dem Keilrahmen signiert, datiert und betitelt: ARMANDO FAHNE 1980-81.
226 × 175 cm.
Provenienz: - Galerie Turske & Turske, Zürich (verso mit dem Etikett). - Vom heutigen Besitzer bei obiger Galerie erworben, seitdem Privatsammlung Schweiz. Ausstellung: Berlin 1984, Armando. Fahnen. Nationalgalerie Berlin, 13. Januar - 26. Februar, Nr. 5 (Farbabb.) (verso mit dem Etikett). Armando wird 1929 als Herman Dirk von Dodeweerd in Amsterdam geboren. Das Multitalent zählt zu den wichtigsten niederländischen Künstlern der Gegenwartskunst. Seine Jugend verbringt Armando in Amersfoort, wo er die Nationalsozialisten und das Konzentrationslager aus nächster Nähe erlebt. Zwar studiert Armando von 1949 bis 1954 Kunstgeschichte und Philosophie an der Universität von Amsterdam, eignet sich aber als Autodidakt die Grundlagen als Maler, Schriftsteller, Dichter, Bildhauer, Musiker, Theater- und Filmemacher an. Zunehmend entdeckt er seine Passion fürs Zeichnen, Malen und Schreiben. Seit 1979 wohnt der Künstler in Berlin, seiner zweiten Heimat, erstellt grossformatige Gemälde mit vielsagenden Titeln in den Farben Schwarz und Weiss und erzielt als Maler bald seinen internationalen Durchbruch. Die gesammelten Erfahrungen von Tod, Leid und Schmerz, von Gut und Böse, Schuld und Unschuld sowie die Konfrontation mit den Schrecken des Zweiten Weltkriegs ziehen sich wie ein roter Faden durch Armandos’ mehrfach ausgezeichnetes künstlerisches wie schriftstellerisches Œuvre, das die Tragik des Menschen in all seinen Facetten darstellt. «Ich hatte plötzlich ein grosses Interesse an den Tätern aus zu grosser Anteilnahme für die Opfer,“ erinnert sich Armando später. „Ich hatte mein Thema gefunden.“ Die beiden angebotenen abstrahierten und kontrastreichen Arbeiten der Serien «Fahnen» und «Gefechtsfeld» verweisen auf Armandos’ Jugendzeit. Wo Schwarz und Weiss aufeinanderstossen, bilden sich häufig grau erscheinende Wolken, als wäre es ein Ringen um die Übermacht im Bild, ausgelöst vom expressiven Farbauftrag. Bewusst malt der Künstler die vorliegenden Gemälde ohne Farbe und verleiht ihnen damit eine durchdringende visuelle Kraft. Unter Hinzufügung von Sand in den oberen Schichten erwirkt er zudem dramatische Effekte. Die Fahne ist schon von sich aus ein Symbol. Ihre Bedrohlichkeit, das Geschichtsträchtige, Triumph und Niederlage, mit denen sie in Verbindung gebracht wird, animieren den Künstler, die schwarz flatternde, vielfach zerrissen und ausgefranst erscheinende Fahne auf weissem Grund als Motiv seriell zu verwenden.
PostWar & Contemporary (A197)
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(iii) the forgery (in Koller’s careful view) was produced before 1880; or
(iv) the purchase item is a painting, watercolour, a drawing or sculpture which according to the details set out in the auction catalogue should have been created prior to 1880.
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6.7 Koller refuses all liability for any kind of bids as well as advance notifications of telephone bidding which are not taken into consideration. Telephone bidders and persons giving written instructions are also subject to the provisions of Clause 5 relating to proof of identity and financial soundness. In the case of Purchasers who place bids in the course of an Online Auction via the internet, Clause 5 only applies with regards to financial soundness.
7. Transfer of title
Ownership of an auctioned item shall be transferred to the Purchaser as soon as the purchase price and the surcharge (incl. VAT) have been comprehensively paid and Koller has attributed these payments to the corresponding item.
8. Collection of the auctioned items
8.1 The auctioned items must be collected at the Purchaser's own expense within 7 days from the end of the auction during official opening hours. If time permits, the items may be handed over after each auction session. The handover shall be performed following comprehensive payment of the purchase price as well as the surcharge (incl. VAT) and the attribution of this sum to the auctioned item by Koller. Cheques offered as payment must be confirmed by the drawee bank before the auctioned item is handed over.
8.2 During the aforementioned period Koller shall be liable for loss, theft, damage or destruction of items which have been auctioned and paid for, but only up to the total of the auction price, surcharge and VAT. Koller ceases to have liability after the aforementioned period, and the Purchaser shall be responsible for ensuring adequate insurance cover for the auctioned item. No liability can be assumed for frames and glass. If the auctioned items are not collected within 7 days, Koller will store the works at a company of their choice at the purchaser’s own risk and expense or on their own premises at a daily rate of CHF 10 per object.
8.3 Transport orders may be sent to Koller in writing. Unless otherwise agreed in writing, transport insurance shall be taken out for the sold items at the expense of the Purchaser. Glazed pictures and fragile items shall not be sent by Koller.
9. Payment for the auctioned items
9.1 The invoice for a successful bid for an auctioned item is payable within 7 days from the end of the auction. Irrespective of the Purchaser's instructions, Koller may use any payments by the Purchaser as settlement for any debt owed by the Purchaser to Koller or the Seller and set off any debt which it owes to the Purchaser against its own claims. If the Purchaser defaults on a payment, default interest of 10 % p.a. shall be charged on top of the invoiced sum.
9.2 If the Purchaser does not pay or does not pay promptly, Koller may moreover in its own name and in the Seller's name optionally (i) insist on the fulfilment of the purchase agreement or (ii) without further notice withdraw from the purchase agreement and waive the subsequent performance of the Purchaser or assert a claim for compensation for non-performance; in the latter case Koller shall also be entitled, irrespective of a possible minimum sales price, to sell the item either directly or on the occasion of an auction, and may use the proceeds to reduce the debts of the Purchaser. Any possible sales price above the original hammer price shall be paid out to the Seller. The Purchaser is liable to Koller and the Seller for all prejudice caused by non-payment or late payment.
9.3 Koller retains a right of retention and a lien on all the Purchaser's items in its custody until full payment of all monies owed. Koller may exercise such liens in accordance with the legislation on the enforcement of debts or by private sale (including in its own name). The plea of prior lien exploitation pursuant to Art. 41 of the Swiss Debt Collection and Bankruptcy Act is excluded.
10. Representation
Each Purchaser shall be personally liable for the bid placed by him. Proof of the power of representation may be requested from persons bidding as agents for a third party or as an organ of a corporate body. The agent shall be jointly and severally liable with his principal for the fulfilment of all obligations.
11. Miscellaneous provisions
11.1 The auction shall be attended by an official from the city of Zurich. The attending official, the local authority and the state have no liability for the acts of Koller.
11.2 Koller reserves the right to publish illustrations and photographs of sold items in its own publications and the media and to publicise its services therewith.
11.3 The aforementioned provisions form part of each individual purchase agreement concluded at the auction. Amendments are binding only with Koller's written agreement.
11.4 The present Auction Conditions and all amendments thereof are governed by Swiss law.
11.5 The courts of the Canton of Zurich shall be exclusively responsible for settling disputes (including the assertion of offsetting and counterclaims) which arise out of or in conjunction with these Auction Conditions (including their validity, legal effect, interpretation or fulfilment). Koller may, however, initiate legal proceedings before any other competent court.
