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3203

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MAX LIEBERMANN
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Zürich
MAX LIEBERMANN
(1847 Berlin 1935)
Study to Netzflickerinnen. 1887.
Oil on board on panel.
Signed and dated lower right: MLiebermann 87.
70 × 91 cm.

Provenance: - Auction Rudolph Lepke, Berlin, 6–7 November 1898, no. 52. - G. Hempel, Berlin, 1907–15. - Max Böhm, Berlin, 1923–31. - Auction Rudolph Lepke, Berlin, collection Max Böhm, 28 January 1931, no. 32 (work remained unsold). - Dr. Fritz Nathan, Munich, presumably acquired directly from Max Böhm in 1931. - Robert Neumann, Berlin, acquired from the above, until 1936. - Ilse Neumann, Meran, received as a present from the above in 1936. - Auction Galerie Fischer, Lucerne, 20–24 May 1941, no. 953. - Dr. Scherrer, Lucerne, acquired at the above auction. - Auction Galerie Fischer, Lucerne, 25–27 May 1944, no. 768. - Hans Soraperra-Blattmann, Zurich. - Swiss private collection. Exhibited: - Berlin 1907, XIII. Ausstellung der Berliner Secession, no. 130. - Frankfurt am Main 1907, Liebermann, Frankfurter Kunstverein, no. 25. - Leipzig 1907, Max Liebermann, Leipziger Kunstverein, no. 24. - Berlin 1915, Werke deutscher Meister aus Privatbesitz, II. Ausstellung, Galerie Fritz Gurlitt, April 1915, no. 50. - Zurich 1923, Max Liebermann, Kunsthaus Zürich, Nr. 32 (with ill. exhib. cat. p. l XVII). - Berlin 1927, Max Liebermann zum 80. Geburtstag, Preussische Akademie der Künste Berlin, no. 27. - Berlin 1930, Sammlung Max Böhm, Preussische Akademie der Künste Berlin, June–July 1930, no. 33. - Vienna 1937, Max Liebermann, Neue Galerie Wien, no. 16. - Basel 1937, Max Liebermann, Kunsthalle Basel, no. 139. - Bern 1937, Albert Welti - Max Liebermann, Kunsthalle Bern, no. 144 (collection: "St. Gallen", Dr. Fritz Nathan). - St. Gallen 1938, Gemälde - Handzeichnungen, Dr. Fritz Nathan (with ill. exhib. cat. p. 15). - Schaffhausen 1955, Deutsche Impressionisten, Liebermann - Corinth - Slevogt, Museum zu Allerheiligen, 23 April–24 July 1955, no. 12. Literature: - Matthias Eberle: Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien 1900–1935, vol. 1, p. 322/323, no. 1887–28 (with ill.). - Katrin Boskamp: Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866–1889, Hildesheim/Zurich/New York 1994, no. 221. - Günter Busch: Max Liebermann. Maler, Zeichner, Graphiker, Frankfurt am Main 1986, p. 61 (with ill.). - Karl Scheffler: Rückblick auf Max Liebermann, in: Kunst und Volk, y. XII 1950, issue 5, p. 103–113 (with ill. p. 108). - W. D.: Die Liebermann-Ausstellung in der Neuen Galerie, in: Neue Freie Presse, Vienna, 15 January 1937. - Hans Ostwald: Das Liebermann-Buch mit 270 Illustrationen, Berlin 1930. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, p. 235. - N.N.: Von Ausstellungen, Berlin, in: Kunst für Alle, y. XXX, sup. to issue 19/20, July 1915, p. 1. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, p. 235. - Gustav Pauli: Liebermann, eine Auswahl aus dem Lebenswerk des Meisters in 101 Abbildungen, notes p. 245 to p. 80 (g), p. 252. The present large study for Max Liebermann's main work ‘Die Netzflickerinnen’ is both historically and thematically an important key work in the oeuvre of the German Impressionist. Throughout his career, Liebermann was greatly fascinated by ordinary people going about their daily work outdoors. While on his honeymoon in 1884, the genre theme of net menders was pointed out to Liebermann by his friend, the Dutch painter Jozef Israëls . Liebermann was captivated by the sight of the net-mending women working along the coast, waiting for their husbands to return and hoping that they would return home before the impending storm. This duality — of human dependence on fishing as a source of nutrition, on the one hand, and the indomitable violence of nature to which humans are relentlessly exposed, on the other — mesmerised Liebermann. The artist began an intensive examination of the topic, creating a number of sketches and figure studies. The painting offered here immediately precedes the famous ‘Netzflickerinnen’, located at the Hamburger Kunsthalle and considered to be Liebermann's masterpiece. It is the only compositional sketch in oil that already corresponds to the main work and combines various smaller figure studies. Compared to those rather rigid studies, the present work, which is particularly large for a study, is a dynamic and captivating composition through its free and spontaneous handling of the paint. The approaching storm, suggested by the fluttering garments of the standing woman, lends the scene an ominous mood and underscores the drama of the theme. After intensive research, all the heirs to Ilse Neumann were recently found and an amicable solution for the sale of the "Study to Netzflickerinnen" was found with them (cf. text on Robert Neumann p.4).
MAX LIEBERMANN
(1847 Berlin 1935)
Studie zu den Netzflickerinnen. 1887.
Öl auf Karton auf Holz.
Unten rechts signiert und datiert: MLiebermann 87.
70 × 91 cm.

Provenienz: - Auktion Rudolph Lepke, Berlin, 6./7. November 1898, Nr. 52. - G. Hempel, Berlin, 1907–15. - Max Böhm, Berlin, 1923–31. - Auktion Rudolph Lepke, Berlin, Sammlung Max Böhm, 28. Januar 1931, Nr. 32 (Werk blieb unverkauft). - Dr. Fritz Nathan, München, 1931 wohl direkt von Max Böhm erworben. - Robert Neumann, Berlin, von Obigem erworben, bis 1936. - Ilse Neumann, Meran, 1936 durch Schenkung von Obigem erhalten. - Auktion Galerie Fischer, Luzern 20.–24. Mai 1941, Nr. 953. - Dr. Scherrer, Luzern, an obiger Auktion erworben. - Auktion Galerie Fischer, Luzern, 25.–27. Mai 1944, Nr. 768. - Hans Soraperra-Blattmann, Zürich. - Schweizer Privatbesitz. Ausstellungen: - Berlin 1907, XIII. Ausstellung der Berliner Secession, Nr. 130. - Frankfurt am Main 1907, Liebermann, Frankfurter Kunstverein, Nr. 25. - Leipzig 1907, Max Liebermann, Leipziger Kunstverein, Nr. 24. - Berlin 1915, Werke deutscher Meister aus Privatbesitz, II. Ausstellung, Galerie Fritz Gurlitt, April 1915, Nr. 50. - Zürich 1923, Max Liebermann, Kunsthaus Zürich, Nr. 32 (mit Abb. im Ausst. Kat. Tafel XVII). - Berlin 1927, Max Liebermann zum 80. Geburtstag, Preussische Akademie der Künste Berlin, Nr. 27. - Berlin 1930, Sammlung Max Böhm, Preussische Akademie der Künste Berlin, Juni–Juli 1930, Nr. 33. - Wien 1937, Max Liebermann, Neue Galerie Wien, Nr. 16. - Basel 1937, Max Liebermann, Kunsthalle Basel, Nr. 139. - Bern 1937, Albert Welti - Max Liebermann, Kunsthalle Bern, Nr. 144 (Besitz: "St. Gallen", Dr. Fritz Nathan). - St. Gallen 1938, Gemälde - Handzeichnungen, Dr. Fritz Nathan (mit Abb. im Ausst. Kat. S. 15). - Schaffhausen 1955, Deutsche Impressionisten, Liebermann - Corinth - Slevogt, Museum zu Allerheiligen, 23. April–24. Juli 1955, Nr. 12. Literatur: - Matthias Eberle: Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien 1900–1935, Bd. 1, S. 322/323, Nr. 1887/28 (mit Abb.). - Katrin Boskamp: Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866–1889, Hildesheim/Zürich/New York 1994, Nr. 221. - Günter Busch: Max Liebermann. Maler, Zeichner, Graphiker, Frankfurt am Main 1986, S. 61 (mit Abb.). - Karl Scheffler: Rückblick auf Max Liebermann, in: Kunst und Volk, Jg. XII 1950, Heft 5, S. 103–113 (mit Abb. S. 108). - W. D.: Die Liebermann-Ausstellung in der Neuen Galerie, in: Neue Freie Presse, Wien 15. Januar 1937. - Hans Ostwald: Das Liebermann-Buch mit 270 Illustrationen, Berlin 1930. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, S. 235. - N.N.: Von Ausstellungen, Berlin, in: Kunst für Alle, Jg. XXX, Beilage zu Heft 19/20, Juli 1915, S. 1. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, S. 235. - Gustav Pauli: Liebermann, eine Auswahl aus dem Lebenswerk des Meisters in 101 Abbildungen, Anm. auf S. 245 zu S. 80 (d), S. 252. Die vorliegende, grossformatige Studie zu Max Liebermanns Hauptwerk "die Netzflickerinnen" ist sowohl historisch als auch thematisch ein wichtiges Schlüsselwerk im Œuvre des deutschen Impressionisten. Liebermann hegt zeit seines Schaffens eine grosse Faszination für die einfache Bevölkerung, die ihrer täglichen Arbeit im Freien nachgeht. Während seiner Hochzeitsreise 1884 wird er von seinem niederländischen Malerfreund Jozef Israëls auf das Genrethema der Netzflickerinnen hingewiesen. Liebermann ist gefesselt von dem Anblick der netzflickenden Frauen, die an der Küste arbeitend, auf die Rückkehr ihrer Männer warten und darauf hoffen, dass diese noch vor dem Sturm heimkehren. Diese Dualität der menschlichen Abhängigkeit vom Fischfang als Ernährungsquelle einerseits, und der unbezwingbaren Gewalt der Natur, der der Mensch schonungslos ausgeliefert ist andererseits, fesselt Liebermann. Es beginnt eine intensive Auseinandersetzung mit dem Thema und etliche Skizzen und Figurenstudien entstehen. Das von uns angebotene Gemälde ist den berühmten "Netzflickerinnen", das sich als Hauptwerk Liebermanns heute in der Kunsthalle Hamburg befindet, unmittelbar vorangehend. Es ist der einzige Kompositionsentwurf in Öl, der bereits dem Hauptwerk entspricht und kombiniert verschiedene kleinere Figurenstudien. Im Vergleich zu diesen eher starren Studien, ist das vorliegende, für eine Studie besonders grosse Gemälde, eine bewegte Komposition, die durch einen freien und spontanen Farbauftrag besticht. Der herannahende Sturm wird bereits durch das flatternde Gewand der stehenden Frau angedeutet und verleiht dem Gemälde eine bedrohliche Stimmung, die die Dramatik des Themas nochmals unterstreicht. Nach intensiven Recherchen konnten kürzlich alle Erben nach Ilse Neumann ausfindig gemacht und eine einvernehmliche Lösung für den Verkauf der "Studie zu den Netzflickerinnen" gefunden werden (vgl. Text zur Sammlung Neumann S. 4).
MAX LIEBERMANN
(1847 Berlin 1935)
Study to Netzflickerinnen. 1887.
Oil on board on panel.
Signed and dated lower right: MLiebermann 87.
70 × 91 cm.

Provenance: - Auction Rudolph Lepke, Berlin, 6–7 November 1898, no. 52. - G. Hempel, Berlin, 1907–15. - Max Böhm, Berlin, 1923–31. - Auction Rudolph Lepke, Berlin, collection Max Böhm, 28 January 1931, no. 32 (work remained unsold). - Dr. Fritz Nathan, Munich, presumably acquired directly from Max Böhm in 1931. - Robert Neumann, Berlin, acquired from the above, until 1936. - Ilse Neumann, Meran, received as a present from the above in 1936. - Auction Galerie Fischer, Lucerne, 20–24 May 1941, no. 953. - Dr. Scherrer, Lucerne, acquired at the above auction. - Auction Galerie Fischer, Lucerne, 25–27 May 1944, no. 768. - Hans Soraperra-Blattmann, Zurich. - Swiss private collection. Exhibited: - Berlin 1907, XIII. Ausstellung der Berliner Secession, no. 130. - Frankfurt am Main 1907, Liebermann, Frankfurter Kunstverein, no. 25. - Leipzig 1907, Max Liebermann, Leipziger Kunstverein, no. 24. - Berlin 1915, Werke deutscher Meister aus Privatbesitz, II. Ausstellung, Galerie Fritz Gurlitt, April 1915, no. 50. - Zurich 1923, Max Liebermann, Kunsthaus Zürich, Nr. 32 (with ill. exhib. cat. p. l XVII). - Berlin 1927, Max Liebermann zum 80. Geburtstag, Preussische Akademie der Künste Berlin, no. 27. - Berlin 1930, Sammlung Max Böhm, Preussische Akademie der Künste Berlin, June–July 1930, no. 33. - Vienna 1937, Max Liebermann, Neue Galerie Wien, no. 16. - Basel 1937, Max Liebermann, Kunsthalle Basel, no. 139. - Bern 1937, Albert Welti - Max Liebermann, Kunsthalle Bern, no. 144 (collection: "St. Gallen", Dr. Fritz Nathan). - St. Gallen 1938, Gemälde - Handzeichnungen, Dr. Fritz Nathan (with ill. exhib. cat. p. 15). - Schaffhausen 1955, Deutsche Impressionisten, Liebermann - Corinth - Slevogt, Museum zu Allerheiligen, 23 April–24 July 1955, no. 12. Literature: - Matthias Eberle: Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien 1900–1935, vol. 1, p. 322/323, no. 1887–28 (with ill.). - Katrin Boskamp: Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866–1889, Hildesheim/Zurich/New York 1994, no. 221. - Günter Busch: Max Liebermann. Maler, Zeichner, Graphiker, Frankfurt am Main 1986, p. 61 (with ill.). - Karl Scheffler: Rückblick auf Max Liebermann, in: Kunst und Volk, y. XII 1950, issue 5, p. 103–113 (with ill. p. 108). - W. D.: Die Liebermann-Ausstellung in der Neuen Galerie, in: Neue Freie Presse, Vienna, 15 January 1937. - Hans Ostwald: Das Liebermann-Buch mit 270 Illustrationen, Berlin 1930. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, p. 235. - N.N.: Von Ausstellungen, Berlin, in: Kunst für Alle, y. XXX, sup. to issue 19/20, July 1915, p. 1. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, p. 235. - Gustav Pauli: Liebermann, eine Auswahl aus dem Lebenswerk des Meisters in 101 Abbildungen, notes p. 245 to p. 80 (g), p. 252. The present large study for Max Liebermann's main work ‘Die Netzflickerinnen’ is both historically and thematically an important key work in the oeuvre of the German Impressionist. Throughout his career, Liebermann was greatly fascinated by ordinary people going about their daily work outdoors. While on his honeymoon in 1884, the genre theme of net menders was pointed out to Liebermann by his friend, the Dutch painter Jozef Israëls . Liebermann was captivated by the sight of the net-mending women working along the coast, waiting for their husbands to return and hoping that they would return home before the impending storm. This duality — of human dependence on fishing as a source of nutrition, on the one hand, and the indomitable violence of nature to which humans are relentlessly exposed, on the other — mesmerised Liebermann. The artist began an intensive examination of the topic, creating a number of sketches and figure studies. The painting offered here immediately precedes the famous ‘Netzflickerinnen’, located at the Hamburger Kunsthalle and considered to be Liebermann's masterpiece. It is the only compositional sketch in oil that already corresponds to the main work and combines various smaller figure studies. Compared to those rather rigid studies, the present work, which is particularly large for a study, is a dynamic and captivating composition through its free and spontaneous handling of the paint. The approaching storm, suggested by the fluttering garments of the standing woman, lends the scene an ominous mood and underscores the drama of the theme. After intensive research, all the heirs to Ilse Neumann were recently found and an amicable solution for the sale of the "Study to Netzflickerinnen" was found with them (cf. text on Robert Neumann p.4).
MAX LIEBERMANN
(1847 Berlin 1935)
Studie zu den Netzflickerinnen. 1887.
Öl auf Karton auf Holz.
Unten rechts signiert und datiert: MLiebermann 87.
70 × 91 cm.

Provenienz: - Auktion Rudolph Lepke, Berlin, 6./7. November 1898, Nr. 52. - G. Hempel, Berlin, 1907–15. - Max Böhm, Berlin, 1923–31. - Auktion Rudolph Lepke, Berlin, Sammlung Max Böhm, 28. Januar 1931, Nr. 32 (Werk blieb unverkauft). - Dr. Fritz Nathan, München, 1931 wohl direkt von Max Böhm erworben. - Robert Neumann, Berlin, von Obigem erworben, bis 1936. - Ilse Neumann, Meran, 1936 durch Schenkung von Obigem erhalten. - Auktion Galerie Fischer, Luzern 20.–24. Mai 1941, Nr. 953. - Dr. Scherrer, Luzern, an obiger Auktion erworben. - Auktion Galerie Fischer, Luzern, 25.–27. Mai 1944, Nr. 768. - Hans Soraperra-Blattmann, Zürich. - Schweizer Privatbesitz. Ausstellungen: - Berlin 1907, XIII. Ausstellung der Berliner Secession, Nr. 130. - Frankfurt am Main 1907, Liebermann, Frankfurter Kunstverein, Nr. 25. - Leipzig 1907, Max Liebermann, Leipziger Kunstverein, Nr. 24. - Berlin 1915, Werke deutscher Meister aus Privatbesitz, II. Ausstellung, Galerie Fritz Gurlitt, April 1915, Nr. 50. - Zürich 1923, Max Liebermann, Kunsthaus Zürich, Nr. 32 (mit Abb. im Ausst. Kat. Tafel XVII). - Berlin 1927, Max Liebermann zum 80. Geburtstag, Preussische Akademie der Künste Berlin, Nr. 27. - Berlin 1930, Sammlung Max Böhm, Preussische Akademie der Künste Berlin, Juni–Juli 1930, Nr. 33. - Wien 1937, Max Liebermann, Neue Galerie Wien, Nr. 16. - Basel 1937, Max Liebermann, Kunsthalle Basel, Nr. 139. - Bern 1937, Albert Welti - Max Liebermann, Kunsthalle Bern, Nr. 144 (Besitz: "St. Gallen", Dr. Fritz Nathan). - St. Gallen 1938, Gemälde - Handzeichnungen, Dr. Fritz Nathan (mit Abb. im Ausst. Kat. S. 15). - Schaffhausen 1955, Deutsche Impressionisten, Liebermann - Corinth - Slevogt, Museum zu Allerheiligen, 23. April–24. Juli 1955, Nr. 12. Literatur: - Matthias Eberle: Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien 1900–1935, Bd. 1, S. 322/323, Nr. 1887/28 (mit Abb.). - Katrin Boskamp: Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866–1889, Hildesheim/Zürich/New York 1994, Nr. 221. - Günter Busch: Max Liebermann. Maler, Zeichner, Graphiker, Frankfurt am Main 1986, S. 61 (mit Abb.). - Karl Scheffler: Rückblick auf Max Liebermann, in: Kunst und Volk, Jg. XII 1950, Heft 5, S. 103–113 (mit Abb. S. 108). - W. D.: Die Liebermann-Ausstellung in der Neuen Galerie, in: Neue Freie Presse, Wien 15. Januar 1937. - Hans Ostwald: Das Liebermann-Buch mit 270 Illustrationen, Berlin 1930. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, S. 235. - N.N.: Von Ausstellungen, Berlin, in: Kunst für Alle, Jg. XXX, Beilage zu Heft 19/20, Juli 1915, S. 1. - Erich Hancke: Max Liebermann. Sein Leben und seine Werke, Berlin 1923, S. 235. - Gustav Pauli: Liebermann, eine Auswahl aus dem Lebenswerk des Meisters in 101 Abbildungen, Anm. auf S. 245 zu S. 80 (d), S. 252. Die vorliegende, grossformatige Studie zu Max Liebermanns Hauptwerk "die Netzflickerinnen" ist sowohl historisch als auch thematisch ein wichtiges Schlüsselwerk im Œuvre des deutschen Impressionisten. Liebermann hegt zeit seines Schaffens eine grosse Faszination für die einfache Bevölkerung, die ihrer täglichen Arbeit im Freien nachgeht. Während seiner Hochzeitsreise 1884 wird er von seinem niederländischen Malerfreund Jozef Israëls auf das Genrethema der Netzflickerinnen hingewiesen. Liebermann ist gefesselt von dem Anblick der netzflickenden Frauen, die an der Küste arbeitend, auf die Rückkehr ihrer Männer warten und darauf hoffen, dass diese noch vor dem Sturm heimkehren. Diese Dualität der menschlichen Abhängigkeit vom Fischfang als Ernährungsquelle einerseits, und der unbezwingbaren Gewalt der Natur, der der Mensch schonungslos ausgeliefert ist andererseits, fesselt Liebermann. Es beginnt eine intensive Auseinandersetzung mit dem Thema und etliche Skizzen und Figurenstudien entstehen. Das von uns angebotene Gemälde ist den berühmten "Netzflickerinnen", das sich als Hauptwerk Liebermanns heute in der Kunsthalle Hamburg befindet, unmittelbar vorangehend. Es ist der einzige Kompositionsentwurf in Öl, der bereits dem Hauptwerk entspricht und kombiniert verschiedene kleinere Figurenstudien. Im Vergleich zu diesen eher starren Studien, ist das vorliegende, für eine Studie besonders grosse Gemälde, eine bewegte Komposition, die durch einen freien und spontanen Farbauftrag besticht. Der herannahende Sturm wird bereits durch das flatternde Gewand der stehenden Frau angedeutet und verleiht dem Gemälde eine bedrohliche Stimmung, die die Dramatik des Themas nochmals unterstreicht. Nach intensiven Recherchen konnten kürzlich alle Erben nach Ilse Neumann ausfindig gemacht und eine einvernehmliche Lösung für den Verkauf der "Studie zu den Netzflickerinnen" gefunden werden (vgl. Text zur Sammlung Neumann S. 4).

Impressionist & Modern Art (A197)

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5.1 Any party may participate in an auction as a Purchaser. However, Koller reserves the right at its complete discretion to prevent any person entering its premises or attending or participating in its auctions.

5.2 Purchasers who are not personally known to Koller must register at least 48 hours before the auction, using the form provided for this purpose. A copy of the passport of the Purchaser must be enclosed with registration, signed with legal effect. In the event of every payment default of the Purchaser, Koller shall be entitled to charge the credit card of the Purchaser in accordance with the details provided on the registration form up to the level of the owed sum plus the expenses of the card provider.

5.3 If a Purchaser who is unknown to Koller is planning to bid for items with upper estimated values of more than CHF 15 000, he shall be required to present to Koller in advance a certificate of creditworthiness issued by a bank approved by Koller.

5.4 In the case of bids for items with upper estimated values of more than CHF 30 000, Koller may demand that the Purchaser first remits 20 % of the lower estimated value as security. Following the auction, Koller will offset this sum against its claims and the claims of the Seller, and will reimburse any possible surpluses to the Purchaser without delay.

6. Auction

6.1 Koller may initiate the auctioning of an item below the minimum selling price agreed upon with the Seller. A bid placed at an auction is a binding offer. The bidder shall remain bound by his bid until this is either outbid or rejected by Koller. Double bids shall immediately be called once again; in case of doubt, the auction management shall decide.

6.2 Koller may refuse a bid either without giving reasons or if a Purchaser fails to fulfil the conditions for participation in an auction pursuant to the above Clauses 5.2 to 5.4. Koller may also knock down or withdraw auctioned items without a sale even if this is not apparent to the auction participants.

6.3 Koller reserves the right to combine, separate or omit numbered lots in the catalogue or to offer them out of sequence. Koller reserves the right to sell lots “conditionally” at its sole discretion, in which event the hammer price will be considered as conditional and the highest bidder will remain bound by his bid for 14 days following the auction. The highest bidder will be released from all obligations if he does not receive a statement from Koller within this period declaring the hammer price as final.

6.4 Written bids from potential Purchasers who cannot attend the auction in person are accepted up to 48 hours before the bidding begins.

6.5 Potential Purchasers may bid by telephone if they have given written notice at least 48 hours before the auction starts. Koller does not accept telephone bids for amounts under CHF 500 and Purchasers are requested to leave a written bid or participate in the salesroom.

6.6 Potential Purchasers who intend to place their bids in the course of an Online Auction via the internet may participate in the auction once their registration applications have been approved by Koller. Koller reserves the right to decline registration applications at its discretion.

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.

See Full Terms And Conditions