Los

81

Paul KleeGeister als Akrobaten, 1918, 37Tuschfeder und Aquarell auf Papier, oben und unten ein

In Moderne und Zeitgenössische Kunst - Evening Sa...

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Paul KleeGeister als Akrobaten, 1918, 37Tuschfeder und Aquarell auf Papier, oben und unten ein
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Köln

Paul Klee
Geister als Akrobaten, 1918, 37

Tuschfeder und Aquarell auf Papier, oben und unten ein Goldpapierstreifen angesetzt, auf Karton (31,8 x 18,7 cm) aufgezogen 25,2 x 11,9/12,4 cm Unter Glas gerahmt. Unten rechts innerhalb der Darstellung signiert 'Klee' (stark verblasst). Auf dem Karton mit Randleiste unten links datiert, mit der Werknummer bezeichnet und betitelt '1918 37 Geister als Akrobaten' (verblasst). - Einige wenige Stockfleckchen. Der Karton leicht gebräunt mit Lichtrand.

Cat. Rais. Paul Klee 1884

Wir danken Eva Wiederkehr Sladeczek, Zentrum Paul Klee, Bern, für ergänzende Informationen.

Provenienz
Gesellschaft zur Förderung Deutscher Kunst des 20. Jahrhunderts e.V., Neuss (Ankauf Sept. 1919); Johannes Geller, Neuss (ab 1919); Lempertz Köln, Kunst des 20. Jahrhunderts, Auktion 480, 3. Dezember 1964, Los 340; Privatsammlung Nordrhein-Westfalen/USA; seitdem Familienbesitz Hessen

Literatur
Johannes Geller, Verzeichnis der Sammlung des Rechtsanwalts Johannes Geller in Neuss, o. O. [gedruckt in München], 1943, Nr. 26; Peg DeLamater, Klee and India: Krishna Themes in the Art of Paul Klee, Diss. University of Texas, Austin 1991, S. 217; Christian Rümelin, Klees Umgang mit seinem eigenen Oeuvre, in: Paul Klee, Jahre der Meisterschaft 1917-1933, Ausst. Kat. Stadthalle Balingen 2001, S. 21-37 und 215-222, S. 219 Anm. 69; Max Tauch, Die Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. und Paul Klee, in: Paul Klee im Rheinland. Zeichnungen, Aquarelle, Gouachen, Ausst. Kat. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn 2003, S. 45-52, S. 50-52; Michael Baumgartner, "ein ganz besonderes Schauspiel, die Menge und die unglaubliche Kühnheit auf dem hohen Seil". Paul Klees Faszination für den Zirkus und die Akrobaten, in: Paul Klee. Überall Theater, Ausst. Kat. Zentrum Paul Klee, Bern 2007, S. 227-233, S. 229

Das eminent zeichnerische Ingenium Paul Klees, seine phantastische bildnerische Poesie, heiter und ernst zugleich, entfalten sich auch in dieser kleinen Komposition. Sie entstand 1918 im letzten Kriegsjahr; im September 1919 wurde sie angekauft und gelangte unter Vermittlung des bekannten Neusser Rechtsanwaltes, Kunstsammlers und Mäzens Johannes Geller in den Besitz der von ihm 1915 maßgeblich initiierten "Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. ". Andere Blätter dieser Zeit überließ der Künstler üblicherweise in München seinem neuen Galeristen Hans Goltz. Die aquarellierte Zeichnung Klees zählt zu der Gruppe der zwischen 1915 und 1918 entstandenen Arbeiten, sie situiert sich zwischen den bedeutenden Aquarellen der Tunisreise von 1914 und dem Wirken am Bauhaus, an das Klee im Oktober 1920 berufen wird.
"Motive, die Klee später ausarbeitete, erscheinen hier in provisorischer Gestalt. Symbole, die er später bewußt einsetzte, finden sich hier bereits in einer noch unbestimmten, romantischen Form. Was den Werken dieser Periode an P

Full description on lot-tissimo.com
Paul Klee
Geister als Akrobaten, 1918, 37

Pen and ink and watercolour on paper, a strip of gold paper attached to top and bottom, laid down on card (31.8 x 18.7 cm) 25.2 x 11.9/12.4 cm Framed under glass. Signed 'Klee' (vey faded) lower right within the depiction. Dated, inscribed with the work number and titled '1918 37 Geister als Akrobaten' (faded) on the card lower left with border line. - A few minor foxmarks. The card slightly browned with light-stain.

Cat. Rais. Paul Klee 1884

We would like to thank Eva Wiederkehr Sladeczek, Zentrum Paul Klee, Bern, for additional information.

Provenance
Gesellschaft zur Förderung Deutscher Kunst des 20. Jahrhunderts e.V., Neuss (acquisition Sept. 1919); Johannes Geller, Neuss (since 1919); Lempertz Cologne, Kunst des 20. Jahrhunderts, Auktion 480, 3 December 1964, Lot 340; Private collection, North Rhine-Westphalia/USA; in family possession, Hesse, since

Literature
Johannes Geller, Verzeichnis der Sammlung des Rechtsanwalts Johannes Geller in Neuss, n. p. [printed in Munich], 1943, no. 26; Peg DeLamater, Klee and India: Krishna Themes in the Art of Paul Klee, Diss. University of Texas, Austin 1991, p. 217; Christian Rümelin, Klees Umgang mit seinem eigenen Oeuvre, in: Paul Klee, Jahre der Meisterschaft 1917-1933, exhib. cat. Stadthalle Balingen 2001, p. 21-37 and 215-222, p. 219 annot. 69; Max Tauch, Die Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. und Paul Klee, in: Paul Klee im Rheinland. Zeichnungen, Aquarelle, Gouachen, exhib. cat. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn 2003, p. 45-52, p. 50-52; Michael Baumgartner, "ein ganz besonderes Schauspiel, die Menge und die unglaubliche Kühnheit auf dem hohen Seil". Paul Klees Faszination für den Zirkus und die Akrobaten, in: Paul Klee. Überall Theater, exhib. cat. Zentrum Paul Klee, Bern 2007, p. 227-233, p. 229

The eminently graphic ingenuity of Paul Klee and his fantastical artistic poetry, simultaneously jovial and serious, also unfold themselves within this little composition. It was created in 1918, the last year of the war; in September 1919 it was purchased and - through the mediation of Johannes Geller, a well-known lawyer, art collector and patron from Neuss - entered the collection of the "Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. " [“Society for the advancement of German art of the 20th century”], in whose initiation Geller had also played a decisive role. Other sheets from this period were usually turned over by the artist to his new gallerist Hans Goltz, in Munich. Klee's drawing tinted with watercolours belongs to the group of works created between 1915 and 1918, situated between the important watercolours from the 1914 journey to Tunisia and his activity at the Bauhaus, where Klee was offered a teaching position in October 1920.
“Motifs which Klee later developed more fully appear in provisional form here. Symbols that he later employed consciously can already be found here in a form that is still indeterminate, romantic. The works of this period make up for what they lack in precision through their rich power of suggestion. They have something open, mysterious and incomplete about them which is almost unique within Klee's oeuvre. The theory of art that Klee developed so systematically in the twenties here appears like a flash of insight within this dark epoch of his life, like the inspiration of an epiphany” (Jim M. Jordan, Garten der Mysterien, Die Ikonographie von Paul Klees expressionistischer Periode, in: Armin Zweite, ed., Paul Klee. Das Frühwerk 1883-1922, exh. cat., Städtische Galerie im Lenbachhaus, München 1980, p. 227).
Perhaps it is no coincidence that the "Geister als Akrobaten" (the main title noted on the card) or, alternatively, “Schwebende Geister Akrobaten” (title from Klee's handwritten oeuvre catalogue) directly follow a watercolour titled “Ostern” in Paul Klee's autograph numbered listing of his works. Mounted with gold leaf by the artist, what unfolds on this sheet is nonetheless a secular “ascension” realised in a sort of gymnastics - five little grotesque acts balance in ludicrous, acrobatic contortions like Baroque putti, ever higher, ever further, ever upwards, stretched along a fine construction thinly unfolding its thread which, on the one hand, is to be read as the supporting element of the acrobatic acts and, on the other hand, optically congeals into a clownish patchwork around the figures. While the void lies in wait below, pennant-like symbols resembling those of a signal-flag alphabet appear above, in the peak, and there are two triangles whose tips stand on top of one another like an hourglass. It evidently threatens a limitation of this

Full description on lot-tissimo.com

Paul Klee
Geister als Akrobaten, 1918, 37

Tuschfeder und Aquarell auf Papier, oben und unten ein Goldpapierstreifen angesetzt, auf Karton (31,8 x 18,7 cm) aufgezogen 25,2 x 11,9/12,4 cm Unter Glas gerahmt. Unten rechts innerhalb der Darstellung signiert 'Klee' (stark verblasst). Auf dem Karton mit Randleiste unten links datiert, mit der Werknummer bezeichnet und betitelt '1918 37 Geister als Akrobaten' (verblasst). - Einige wenige Stockfleckchen. Der Karton leicht gebräunt mit Lichtrand.

Cat. Rais. Paul Klee 1884

Wir danken Eva Wiederkehr Sladeczek, Zentrum Paul Klee, Bern, für ergänzende Informationen.

Provenienz
Gesellschaft zur Förderung Deutscher Kunst des 20. Jahrhunderts e.V., Neuss (Ankauf Sept. 1919); Johannes Geller, Neuss (ab 1919); Lempertz Köln, Kunst des 20. Jahrhunderts, Auktion 480, 3. Dezember 1964, Los 340; Privatsammlung Nordrhein-Westfalen/USA; seitdem Familienbesitz Hessen

Literatur
Johannes Geller, Verzeichnis der Sammlung des Rechtsanwalts Johannes Geller in Neuss, o. O. [gedruckt in München], 1943, Nr. 26; Peg DeLamater, Klee and India: Krishna Themes in the Art of Paul Klee, Diss. University of Texas, Austin 1991, S. 217; Christian Rümelin, Klees Umgang mit seinem eigenen Oeuvre, in: Paul Klee, Jahre der Meisterschaft 1917-1933, Ausst. Kat. Stadthalle Balingen 2001, S. 21-37 und 215-222, S. 219 Anm. 69; Max Tauch, Die Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. und Paul Klee, in: Paul Klee im Rheinland. Zeichnungen, Aquarelle, Gouachen, Ausst. Kat. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn 2003, S. 45-52, S. 50-52; Michael Baumgartner, "ein ganz besonderes Schauspiel, die Menge und die unglaubliche Kühnheit auf dem hohen Seil". Paul Klees Faszination für den Zirkus und die Akrobaten, in: Paul Klee. Überall Theater, Ausst. Kat. Zentrum Paul Klee, Bern 2007, S. 227-233, S. 229

Das eminent zeichnerische Ingenium Paul Klees, seine phantastische bildnerische Poesie, heiter und ernst zugleich, entfalten sich auch in dieser kleinen Komposition. Sie entstand 1918 im letzten Kriegsjahr; im September 1919 wurde sie angekauft und gelangte unter Vermittlung des bekannten Neusser Rechtsanwaltes, Kunstsammlers und Mäzens Johannes Geller in den Besitz der von ihm 1915 maßgeblich initiierten "Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. ". Andere Blätter dieser Zeit überließ der Künstler üblicherweise in München seinem neuen Galeristen Hans Goltz. Die aquarellierte Zeichnung Klees zählt zu der Gruppe der zwischen 1915 und 1918 entstandenen Arbeiten, sie situiert sich zwischen den bedeutenden Aquarellen der Tunisreise von 1914 und dem Wirken am Bauhaus, an das Klee im Oktober 1920 berufen wird.
"Motive, die Klee später ausarbeitete, erscheinen hier in provisorischer Gestalt. Symbole, die er später bewußt einsetzte, finden sich hier bereits in einer noch unbestimmten, romantischen Form. Was den Werken dieser Periode an P

Full description on lot-tissimo.com
Paul Klee
Geister als Akrobaten, 1918, 37

Pen and ink and watercolour on paper, a strip of gold paper attached to top and bottom, laid down on card (31.8 x 18.7 cm) 25.2 x 11.9/12.4 cm Framed under glass. Signed 'Klee' (vey faded) lower right within the depiction. Dated, inscribed with the work number and titled '1918 37 Geister als Akrobaten' (faded) on the card lower left with border line. - A few minor foxmarks. The card slightly browned with light-stain.

Cat. Rais. Paul Klee 1884

We would like to thank Eva Wiederkehr Sladeczek, Zentrum Paul Klee, Bern, for additional information.

Provenance
Gesellschaft zur Förderung Deutscher Kunst des 20. Jahrhunderts e.V., Neuss (acquisition Sept. 1919); Johannes Geller, Neuss (since 1919); Lempertz Cologne, Kunst des 20. Jahrhunderts, Auktion 480, 3 December 1964, Lot 340; Private collection, North Rhine-Westphalia/USA; in family possession, Hesse, since

Literature
Johannes Geller, Verzeichnis der Sammlung des Rechtsanwalts Johannes Geller in Neuss, n. p. [printed in Munich], 1943, no. 26; Peg DeLamater, Klee and India: Krishna Themes in the Art of Paul Klee, Diss. University of Texas, Austin 1991, p. 217; Christian Rümelin, Klees Umgang mit seinem eigenen Oeuvre, in: Paul Klee, Jahre der Meisterschaft 1917-1933, exhib. cat. Stadthalle Balingen 2001, p. 21-37 and 215-222, p. 219 annot. 69; Max Tauch, Die Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. und Paul Klee, in: Paul Klee im Rheinland. Zeichnungen, Aquarelle, Gouachen, exhib. cat. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn 2003, p. 45-52, p. 50-52; Michael Baumgartner, "ein ganz besonderes Schauspiel, die Menge und die unglaubliche Kühnheit auf dem hohen Seil". Paul Klees Faszination für den Zirkus und die Akrobaten, in: Paul Klee. Überall Theater, exhib. cat. Zentrum Paul Klee, Bern 2007, p. 227-233, p. 229

The eminently graphic ingenuity of Paul Klee and his fantastical artistic poetry, simultaneously jovial and serious, also unfold themselves within this little composition. It was created in 1918, the last year of the war; in September 1919 it was purchased and - through the mediation of Johannes Geller, a well-known lawyer, art collector and patron from Neuss - entered the collection of the "Gesellschaft zur Förderung deutscher Kunst des 20. Jahrhunderts e.V. " [“Society for the advancement of German art of the 20th century”], in whose initiation Geller had also played a decisive role. Other sheets from this period were usually turned over by the artist to his new gallerist Hans Goltz, in Munich. Klee's drawing tinted with watercolours belongs to the group of works created between 1915 and 1918, situated between the important watercolours from the 1914 journey to Tunisia and his activity at the Bauhaus, where Klee was offered a teaching position in October 1920.
“Motifs which Klee later developed more fully appear in provisional form here. Symbols that he later employed consciously can already be found here in a form that is still indeterminate, romantic. The works of this period make up for what they lack in precision through their rich power of suggestion. They have something open, mysterious and incomplete about them which is almost unique within Klee's oeuvre. The theory of art that Klee developed so systematically in the twenties here appears like a flash of insight within this dark epoch of his life, like the inspiration of an epiphany” (Jim M. Jordan, Garten der Mysterien, Die Ikonographie von Paul Klees expressionistischer Periode, in: Armin Zweite, ed., Paul Klee. Das Frühwerk 1883-1922, exh. cat., Städtische Galerie im Lenbachhaus, München 1980, p. 227).
Perhaps it is no coincidence that the "Geister als Akrobaten" (the main title noted on the card) or, alternatively, “Schwebende Geister Akrobaten” (title from Klee's handwritten oeuvre catalogue) directly follow a watercolour titled “Ostern” in Paul Klee's autograph numbered listing of his works. Mounted with gold leaf by the artist, what unfolds on this sheet is nonetheless a secular “ascension” realised in a sort of gymnastics - five little grotesque acts balance in ludicrous, acrobatic contortions like Baroque putti, ever higher, ever further, ever upwards, stretched along a fine construction thinly unfolding its thread which, on the one hand, is to be read as the supporting element of the acrobatic acts and, on the other hand, optically congeals into a clownish patchwork around the figures. While the void lies in wait below, pennant-like symbols resembling those of a signal-flag alphabet appear above, in the peak, and there are two triangles whose tips stand on top of one another like an hourglass. It evidently threatens a limitation of this

Full description on lot-tissimo.com

Moderne und Zeitgenössische Kunst - Evening Sale

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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Conditions of Sale

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 Civil 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.

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6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. 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. 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.

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 € 400,000 a premium of 24 % 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 € 400,000 (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 D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). 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 died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. 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 attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice 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.

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 for non-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.

Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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