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Köln
Josef Albers, Beaker
Sandblasted opaque flashed glass 29 x 37 cm. Framed. Monogrammed and with dedication 'Für Eugen Gomringer JA' on paper adhesive label on back of frame verso. - Minor traces of age.

The present artwork is registered in The Josef Albers Foundation, Bethany, Connecticut. We would like to thank Jeannette Redensek for further information.

Provenance
Eugen Gomringer (gift from the artist, about 1955-1960); private collection, Switzerland (ca. 1960)

Exhibitions
Le Cateau-Cambrésis 2008 (Musée Matisse), Josef Albers, Vitraux, Dessins, Gravures, Typographies, Meubles, exhib.cat.no.30, p.149 with col. ill.
London 2006 (Tate Modern), Bielefeld (Kunsthalle), New York (Whitney Museum of American Art), Albers and Moholy-Nagy, From the Bauhaus to the New World, exhib.cat., p.42 with plate 53
New York 1994 (Solomon R. Guggenheim Museum), Josef Albers, Glass, Color, and Light, exhib.cat. no. 32, n.p. with col.ill.
Amsterdam 1961 (Stedelijk Museum), Josef Albers
Hagen 1957 (Karl-Ernst-Osthaus-Museum), Josef Albers, exhib.cat.no.19
Basel 1929 (Kunstgewerbemuseum), Dresden (Kunstgenossenschaft), Breslau (Sonderabteilung der Werkbundausstellung), Dessau 1929/1930 (Bauhaus), Essen 1930 (Folkwang Museum), Mannheim (Städtische Kunsthalle), Zurich (Kunsthalle und Kunstgewerbemuseum), Bauhaus Dessau, 10 Jahre Bauhaus

Literature
Irving Leonard Finkelstein, The Life and Art of Josef Albers, Ann Arbor 1979
Will Grohmann, Josef Albers, in: Museum Journal, Otterlo 1961, no. 9-10, p.212 ff., p.232f.

The medium of glass accompanied Josef Albers throughout his life and was the focus of his artistic oeuvre until his emigration to the USA. According to Albers, in glass staining, colour functions as direct light. Even during his childhood in a strict Catholic parental home, he was fascinated by the abundance of light in stained glass church windows. His father, a versatile master painter, taught him the technical skill of etching and staining glass as a youth. He took this foundation with him when he started studying at the Bauhaus in 1920; both aspects, the visual quality of colour and light and the appreciation of processes of craftsmanship, became determinant for his artistic work. At Bauhaus, he studied the medium of glass, teaching himself. While still an apprentice, he became a foreman in the stained-glass workshop, in 1923 he became a teacher for the compulsory preliminary course, and in 1926, he was appointed master by Walter Gropius.
Albers constantly strived to use a universal pictorial language free of subjective and emotional content in order to attain a superior cognitive expressiveness. Clarity and luminosity should dominate the art. The sandblasted glass works that he created in his Bauhaus period in Dessau from 1925 onwards met these requirements perfectly. With this innovative technique of his own devising, the artist created an entirely new type of glass staining.
For the realisation, he engages the skills of the master craftsmen of the Vereinigte Werkstätten für Mosaik und Glasmalerei Puhl & Wagner - Gottfried Heinersdorff, Berlin-Rixdorf.
A sandblasting tool was used to engrave the image prepared by stencils into opaque coloured cameo glass. By varying the duration and intensity of the sandblasting, the shiny coloured cameo glass was either entirely removed, bringing out the white frosted glass underneath, or the surface was only slightly tarnished.
‘By using opaque glass and only one pane, I have achieved the mobility of a small easel painting that can be hung on a wall or incorporated into a wall as a permanent architectural feature, indoors or out. [...] However, the unusual colour intensity, the purest white and deepest black, and the required precision and flatness of the design elements present an unusual and special material and form effect’, explains Josef Albers himself (Josef Albers, Interaction, exhib.cat. Villa Hügel, Essen 2018, p.88).
Of the sandblasting works from the late 1920’s that were defined mostly by grid structures and often additionally designed with stained multicoloured glass, the sandblasting work “Beaker” on offer here stands out due to its purist and harmonious colour and design. The cool blue and white colour contrast creates an extraordinary luminosity and crispness and brings out the curves of the stylized cup walls succinctly.
Josef Albers left this impressive stained-glass work behind in Germany when he and his wife emigrated to the USA in 1933. It was initially stored at Trunck & Co. in Berlin, the furniture workshop of Siegfried Fleischmann, Anni Albers’ father. Prior to Siegfried Fleischmann’s own emigration, it was moved in 1936-37 from Berlin to the Bottrop home of Lorenz Albers, the father of Josef Albers, together with other stored works. Following his death in 1944, the works were transferred to the Bottrop home of Elisabeth and Rudolf Marx, Albers’ sister and brother-in-law. The artist later transferred ownership to the writer Eugen Gomringer, with whom he had been friends since the mid-1950s and who, in 1968, published the extensive monograph „Josef Albers, Das Werk des Malers und Bauhausmeisters als Beitrag zur visuellen Gestaltung im 20. Jahrhundert“.
“Beaker” is the only preserved work with coloured cameo glass in the sandblasting technique that Albers otherwise only used during the period between 1929 and 1931 for works in glass in black, white, and grey.
Josef Albers, Becher (Beaker)
Sandgestrahltes Überfangglas 29 x 37 cm. Gerahmt. Rückseitig auf der Rahmenrückwand auf einem Papieraufkleber monogrammiert und gewidmet 'Für Eugen Gomringer JA'. - Mit geringfügigen Altersspuren.

Die vorliegende Arbeit ist in The Anni and Josef Albers Foundation, Bethany, Connecticut, registriert. Wir danken Jeannette Redensek für weiterführende Informationen.

Provenienz
Eugen Gomringer (Geschenk des Künstler, ca. 1955-1960); Privatsammlung, Schweiz (ca. 1960)

Ausstellungen
Le Cateau-Cambrésis 2008 (Musée Matisse), Josef Albers, Vitraux, Dessins, Gravures, Typographies, Meubles, Ausst.Kat.Nr.30, S.149 mit Farbabb.
London 2006 (Tate Modern), Bielefeld (Kunsthalle), New York (Whitney Museum of American Art), Albers and Moholy-Nagy, From the Bauhaus to the New World, Ausst.Kat., S.42 mit Abb.53
New York 1994 (Solomon R. Guggenheim Museum), Josef Albers, Glass, Color, and Light, Ausst.Kat.Nr.32, o.S. mit Farbabb.
Amsterdam 1961 (Stedelijk Museum), Josef Albers
Hagen 1957 (Karl-Ernst-Osthaus-Museum), Josef Albers, Ausst.Kat.Nr.19
Basel 1929 (Kunstgewerbemuseum), Dresden (Kunstgenossenschaft), Breslau (Sonderabteilung der Werkbundausstellung), Dessau 1929/1930 (Bauhaus), Essen 1930 (Folkwang Museum), Mannheim (Städtische Kunsthalle), Zürich (Kunsthalle und Kunstgewerbemuseum), Bauhaus Dessau, 10 Jahre Bauhaus

Literatur
Irving Leonard Finkelstein, The Life and Art of Josef Albers, Ann Arbor 1979
Will Grohmann, Josef Albers, in: Museum Journal, Otterlo 1961, Nr. 9-10, S.212 ff., S.232f.

Das Medium Glas begleitet Josef Albers Zeit seines Lebens und steht im Zentrum seines künstlerischen Schaffens bis zu seiner Emigration in die USA. Seiner Ansicht nach wirkt in der Glasmalerei die Farbe als direktes Licht. Bereits während seiner Kindheit in einem streng katholischen Elternhaus ist er fasziniert von der Lichtfülle farbiger Kirchenfenster. Von seinem Vater, einem vielseitig tätigen Malermeister, erlernt er als Jugendlicher die technische Fertigkeit, Glas zu ätzen und zu bemalen. Diese Grundlagen bringt Albers mit, als er 1920 Student des Bauhauses wird; beide Aspekte - die visuelle Qualität von Farbe und Licht und die Wertschätzung handwerklicher Prozesse – werden bestimmend für sein künstlerisches Schaffen. Am Bauhaus befasst er sich mit dem Medium Glas im Eigenstudium. Noch als Geselle wird er Werkmeister in der Glasmalereiwerkstatt, 1923 Lehrer für den obligatorischen Vorkurs und 1926 von Walter Gropius zum Meister berufen.
Albers strebt stets danach, eine universale, von subjektiven und emotionalen Gehalten befreite Bildsprache zu nutzen, um zu einer höheren geistigen Aussagekraft zu gelangen. Klarheit und Leuchtkraft sollen die Kunst beherrschen. Seine sandgestrahlten Glasarbeiten, die ab 1925 in der Dessauer Bauhaus-Zeit entstehen, entsprechen diesen Anforderungen vollkommen. Mit dieser innovativen, selbstentwickelten Technik schafft der Künstler einen völlig neuen Typus von Glasbildern.
Bei der Umsetzung greift Albers auf das Können der Meisterhandwerker der Vereinigten Werkstätten für Mosaik und Glasmalerei Puhl & Wagner – Gottfried Heinersdorff, Berlin-Rixdorf, zurück. Genutzt wird dabei ein Sandstrahlgerät als Werkzeug, um die durch Schablonen vorbereitete Darstellung in opakes farbiges Überfangglas einzugravieren. Durch die unterschiedliche Dauer und Intensität der Sandbestrahlung wird der glänzende farbige Glasüberfang entweder vollständig entfernt, so dass das darunterliegende weiße Milchglas zum Vorschein kommt, oder die Oberfläche nur leicht mattiert. „Durch die Verwendung von opakem Glas und nur einer Scheibe habe ich die Beweglichkeit eines kleinen Staffeleibildes erreicht, das man an eine Wand hängen oder als festen Bestandteil der Architektur in eine Wand, im Innen- wie im Außenraum, einbauen kann. […] Doch die ungewöhnliche Farbintensität, das reinste Weiß und tiefste Schwarz, und die erforderliche Präzision und die Flächigkeit der Gestaltungselemente bieten eine ungewöhnliche und besondere Material- und Formwirkung“, so erläutert Josef Albers selbst (zit. nach: Josef Albers, Interaction, Ausst.Kat. Villa Hügel, Essen 2018, S.88).
Aus den zumeist von Gitterstrukturen bestimmten Sandstrahlarbeiten der späten 1920er Jahre, die oft zusätzlich mit Glasmalfarbe mehrfarbig gestaltet sind, tritt das hier angebotene „Becher (Beaker)“ durch seine puristische und harmonische Farb- und Formgebung hervor. Der kühle Farbkontrast aus Blau und Weiß erzeugt eine außergewöhnliche Leuchtkraft und Frische und bringt die Rundungen der stilisiert dargestellten Becherwandungen prägnant zur Geltung.
Das eindrucksvolle Glasbild wird von Josef Albers in Deutschland zurückgelassen, als er gemeinsam mit seiner Frau 1933 in die USA emigriert, und zunächst bei Trunck & Co. in Berlin, der Möbelwerkstatt von Siegfried Fleischmann, dem Vater von Anni Albers, eingelagert. Vor Siegfried Fleischmanns eigener Emigration wird es zusammen mit anderen eingelagerten Werke 1936-37 von Berlin in das Bottroper Haus von Lorenz Albers, dem Vater von Josef Albers, gebracht. Nach dessen Tod im Jahr 1944 gelangen die Werke in das Bottroper Haus von Elisabeth und Rudolf Marx, Albers' Schwester und Schwager. Der Künstler übereignet es später dem Schriftsteller Eugen Gomringer, mit dem er seit Mitte der 1950er Jahre befreundet ist und der 1968 die umfangreiche Monographie „Josef Albers, Das Werk des Malers und Bauhausmeisters als Beitrag zur visuellen Gestaltung im 20. Jahrhundert“ veröffentlicht.
„Becher“ ist das einzige erhaltene Werk mit farbigem Überfangglas in der Sandstrahl-Technik, die Albers in der Zeit zwischen 1929 und 1931 ansonsten nur für Glasarbeiten in Schwarz, Weiß und Grau verwendete.
Josef Albers, Beaker
Sandblasted opaque flashed glass 29 x 37 cm. Framed. Monogrammed and with dedication 'Für Eugen Gomringer JA' on paper adhesive label on back of frame verso. - Minor traces of age.

The present artwork is registered in The Josef Albers Foundation, Bethany, Connecticut. We would like to thank Jeannette Redensek for further information.

Provenance
Eugen Gomringer (gift from the artist, about 1955-1960); private collection, Switzerland (ca. 1960)

Exhibitions
Le Cateau-Cambrésis 2008 (Musée Matisse), Josef Albers, Vitraux, Dessins, Gravures, Typographies, Meubles, exhib.cat.no.30, p.149 with col. ill.
London 2006 (Tate Modern), Bielefeld (Kunsthalle), New York (Whitney Museum of American Art), Albers and Moholy-Nagy, From the Bauhaus to the New World, exhib.cat., p.42 with plate 53
New York 1994 (Solomon R. Guggenheim Museum), Josef Albers, Glass, Color, and Light, exhib.cat. no. 32, n.p. with col.ill.
Amsterdam 1961 (Stedelijk Museum), Josef Albers
Hagen 1957 (Karl-Ernst-Osthaus-Museum), Josef Albers, exhib.cat.no.19
Basel 1929 (Kunstgewerbemuseum), Dresden (Kunstgenossenschaft), Breslau (Sonderabteilung der Werkbundausstellung), Dessau 1929/1930 (Bauhaus), Essen 1930 (Folkwang Museum), Mannheim (Städtische Kunsthalle), Zurich (Kunsthalle und Kunstgewerbemuseum), Bauhaus Dessau, 10 Jahre Bauhaus

Literature
Irving Leonard Finkelstein, The Life and Art of Josef Albers, Ann Arbor 1979
Will Grohmann, Josef Albers, in: Museum Journal, Otterlo 1961, no. 9-10, p.212 ff., p.232f.

The medium of glass accompanied Josef Albers throughout his life and was the focus of his artistic oeuvre until his emigration to the USA. According to Albers, in glass staining, colour functions as direct light. Even during his childhood in a strict Catholic parental home, he was fascinated by the abundance of light in stained glass church windows. His father, a versatile master painter, taught him the technical skill of etching and staining glass as a youth. He took this foundation with him when he started studying at the Bauhaus in 1920; both aspects, the visual quality of colour and light and the appreciation of processes of craftsmanship, became determinant for his artistic work. At Bauhaus, he studied the medium of glass, teaching himself. While still an apprentice, he became a foreman in the stained-glass workshop, in 1923 he became a teacher for the compulsory preliminary course, and in 1926, he was appointed master by Walter Gropius.
Albers constantly strived to use a universal pictorial language free of subjective and emotional content in order to attain a superior cognitive expressiveness. Clarity and luminosity should dominate the art. The sandblasted glass works that he created in his Bauhaus period in Dessau from 1925 onwards met these requirements perfectly. With this innovative technique of his own devising, the artist created an entirely new type of glass staining.
For the realisation, he engages the skills of the master craftsmen of the Vereinigte Werkstätten für Mosaik und Glasmalerei Puhl & Wagner - Gottfried Heinersdorff, Berlin-Rixdorf.
A sandblasting tool was used to engrave the image prepared by stencils into opaque coloured cameo glass. By varying the duration and intensity of the sandblasting, the shiny coloured cameo glass was either entirely removed, bringing out the white frosted glass underneath, or the surface was only slightly tarnished.
‘By using opaque glass and only one pane, I have achieved the mobility of a small easel painting that can be hung on a wall or incorporated into a wall as a permanent architectural feature, indoors or out. [...] However, the unusual colour intensity, the purest white and deepest black, and the required precision and flatness of the design elements present an unusual and special material and form effect’, explains Josef Albers himself (Josef Albers, Interaction, exhib.cat. Villa Hügel, Essen 2018, p.88).
Of the sandblasting works from the late 1920’s that were defined mostly by grid structures and often additionally designed with stained multicoloured glass, the sandblasting work “Beaker” on offer here stands out due to its purist and harmonious colour and design. The cool blue and white colour contrast creates an extraordinary luminosity and crispness and brings out the curves of the stylized cup walls succinctly.
Josef Albers left this impressive stained-glass work behind in Germany when he and his wife emigrated to the USA in 1933. It was initially stored at Trunck & Co. in Berlin, the furniture workshop of Siegfried Fleischmann, Anni Albers’ father. Prior to Siegfried Fleischmann’s own emigration, it was moved in 1936-37 from Berlin to the Bottrop home of Lorenz Albers, the father of Josef Albers, together with other stored works. Following his death in 1944, the works were transferred to the Bottrop home of Elisabeth and Rudolf Marx, Albers’ sister and brother-in-law. The artist later transferred ownership to the writer Eugen Gomringer, with whom he had been friends since the mid-1950s and who, in 1968, published the extensive monograph „Josef Albers, Das Werk des Malers und Bauhausmeisters als Beitrag zur visuellen Gestaltung im 20. Jahrhundert“.
“Beaker” is the only preserved work with coloured cameo glass in the sandblasting technique that Albers otherwise only used during the period between 1929 and 1931 for works in glass in black, white, and grey.
Josef Albers, Becher (Beaker)
Sandgestrahltes Überfangglas 29 x 37 cm. Gerahmt. Rückseitig auf der Rahmenrückwand auf einem Papieraufkleber monogrammiert und gewidmet 'Für Eugen Gomringer JA'. - Mit geringfügigen Altersspuren.

Die vorliegende Arbeit ist in The Anni and Josef Albers Foundation, Bethany, Connecticut, registriert. Wir danken Jeannette Redensek für weiterführende Informationen.

Provenienz
Eugen Gomringer (Geschenk des Künstler, ca. 1955-1960); Privatsammlung, Schweiz (ca. 1960)

Ausstellungen
Le Cateau-Cambrésis 2008 (Musée Matisse), Josef Albers, Vitraux, Dessins, Gravures, Typographies, Meubles, Ausst.Kat.Nr.30, S.149 mit Farbabb.
London 2006 (Tate Modern), Bielefeld (Kunsthalle), New York (Whitney Museum of American Art), Albers and Moholy-Nagy, From the Bauhaus to the New World, Ausst.Kat., S.42 mit Abb.53
New York 1994 (Solomon R. Guggenheim Museum), Josef Albers, Glass, Color, and Light, Ausst.Kat.Nr.32, o.S. mit Farbabb.
Amsterdam 1961 (Stedelijk Museum), Josef Albers
Hagen 1957 (Karl-Ernst-Osthaus-Museum), Josef Albers, Ausst.Kat.Nr.19
Basel 1929 (Kunstgewerbemuseum), Dresden (Kunstgenossenschaft), Breslau (Sonderabteilung der Werkbundausstellung), Dessau 1929/1930 (Bauhaus), Essen 1930 (Folkwang Museum), Mannheim (Städtische Kunsthalle), Zürich (Kunsthalle und Kunstgewerbemuseum), Bauhaus Dessau, 10 Jahre Bauhaus

Literatur
Irving Leonard Finkelstein, The Life and Art of Josef Albers, Ann Arbor 1979
Will Grohmann, Josef Albers, in: Museum Journal, Otterlo 1961, Nr. 9-10, S.212 ff., S.232f.

Das Medium Glas begleitet Josef Albers Zeit seines Lebens und steht im Zentrum seines künstlerischen Schaffens bis zu seiner Emigration in die USA. Seiner Ansicht nach wirkt in der Glasmalerei die Farbe als direktes Licht. Bereits während seiner Kindheit in einem streng katholischen Elternhaus ist er fasziniert von der Lichtfülle farbiger Kirchenfenster. Von seinem Vater, einem vielseitig tätigen Malermeister, erlernt er als Jugendlicher die technische Fertigkeit, Glas zu ätzen und zu bemalen. Diese Grundlagen bringt Albers mit, als er 1920 Student des Bauhauses wird; beide Aspekte - die visuelle Qualität von Farbe und Licht und die Wertschätzung handwerklicher Prozesse – werden bestimmend für sein künstlerisches Schaffen. Am Bauhaus befasst er sich mit dem Medium Glas im Eigenstudium. Noch als Geselle wird er Werkmeister in der Glasmalereiwerkstatt, 1923 Lehrer für den obligatorischen Vorkurs und 1926 von Walter Gropius zum Meister berufen.
Albers strebt stets danach, eine universale, von subjektiven und emotionalen Gehalten befreite Bildsprache zu nutzen, um zu einer höheren geistigen Aussagekraft zu gelangen. Klarheit und Leuchtkraft sollen die Kunst beherrschen. Seine sandgestrahlten Glasarbeiten, die ab 1925 in der Dessauer Bauhaus-Zeit entstehen, entsprechen diesen Anforderungen vollkommen. Mit dieser innovativen, selbstentwickelten Technik schafft der Künstler einen völlig neuen Typus von Glasbildern.
Bei der Umsetzung greift Albers auf das Können der Meisterhandwerker der Vereinigten Werkstätten für Mosaik und Glasmalerei Puhl & Wagner – Gottfried Heinersdorff, Berlin-Rixdorf, zurück. Genutzt wird dabei ein Sandstrahlgerät als Werkzeug, um die durch Schablonen vorbereitete Darstellung in opakes farbiges Überfangglas einzugravieren. Durch die unterschiedliche Dauer und Intensität der Sandbestrahlung wird der glänzende farbige Glasüberfang entweder vollständig entfernt, so dass das darunterliegende weiße Milchglas zum Vorschein kommt, oder die Oberfläche nur leicht mattiert. „Durch die Verwendung von opakem Glas und nur einer Scheibe habe ich die Beweglichkeit eines kleinen Staffeleibildes erreicht, das man an eine Wand hängen oder als festen Bestandteil der Architektur in eine Wand, im Innen- wie im Außenraum, einbauen kann. […] Doch die ungewöhnliche Farbintensität, das reinste Weiß und tiefste Schwarz, und die erforderliche Präzision und die Flächigkeit der Gestaltungselemente bieten eine ungewöhnliche und besondere Material- und Formwirkung“, so erläutert Josef Albers selbst (zit. nach: Josef Albers, Interaction, Ausst.Kat. Villa Hügel, Essen 2018, S.88).
Aus den zumeist von Gitterstrukturen bestimmten Sandstrahlarbeiten der späten 1920er Jahre, die oft zusätzlich mit Glasmalfarbe mehrfarbig gestaltet sind, tritt das hier angebotene „Becher (Beaker)“ durch seine puristische und harmonische Farb- und Formgebung hervor. Der kühle Farbkontrast aus Blau und Weiß erzeugt eine außergewöhnliche Leuchtkraft und Frische und bringt die Rundungen der stilisiert dargestellten Becherwandungen prägnant zur Geltung.
Das eindrucksvolle Glasbild wird von Josef Albers in Deutschland zurückgelassen, als er gemeinsam mit seiner Frau 1933 in die USA emigriert, und zunächst bei Trunck & Co. in Berlin, der Möbelwerkstatt von Siegfried Fleischmann, dem Vater von Anni Albers, eingelagert. Vor Siegfried Fleischmanns eigener Emigration wird es zusammen mit anderen eingelagerten Werke 1936-37 von Berlin in das Bottroper Haus von Lorenz Albers, dem Vater von Josef Albers, gebracht. Nach dessen Tod im Jahr 1944 gelangen die Werke in das Bottroper Haus von Elisabeth und Rudolf Marx, Albers' Schwester und Schwager. Der Künstler übereignet es später dem Schriftsteller Eugen Gomringer, mit dem er seit Mitte der 1950er Jahre befreundet ist und der 1968 die umfangreiche Monographie „Josef Albers, Das Werk des Malers und Bauhausmeisters als Beitrag zur visuellen Gestaltung im 20. Jahrhundert“ veröffentlicht.
„Becher“ ist das einzige erhaltene Werk mit farbigem Überfangglas in der Sandstrahl-Technik, die Albers in der Zeit zwischen 1929 und 1931 ansonsten nur für Glasarbeiten in Schwarz, Weiß und Grau verwendete.

Evening Sale - Modern and Contemporary Art

Sale Date(s)
Lots: 98
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Köln
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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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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.

See Full Terms And Conditions