3234
LYONEL FEININGER
1/2
Description
LYONEL FEININGER
(1871 New York 1956)
Die kleine Försterei. 1922.
Watercolour and ink on paper.
Signed lower left: Feininger, titled lower centre: die kleine Försterei, and dated lower right: 28. VI. 22.
27.5 × 31.2 cm.
The authenticity of the work has been confirmed by Achim Moeller, Director of the Lyonel Feininger Project LLC, New York/Berlin, New York, 29 March 2016. It is registered in the archive under the number 1379-03-29-16. Provenance: - Artist's studio. - Emma Ritter, Oldenburg, received directly from the artist as a gift. - Karl Schwoon, Oldenburg, received as a gift from the above. - Private collection, USA. - Swiss private collection. The present drawing ‘Die kleine Försterei’ was produced during Lyonel Feininger's time at the Bauhaus in Weimar, where the artist was appointed in 1919 by Walter Gropius as the first master of the newly founded school. The first Bauhaus publication, a portfolio with 12 woodcuts, additionally came from Lyonel Feininger's hand. During his entire Bauhaus period — in Dessau from 1926 onwards — the artist spent considerable time in the Thuringian countryside, studying its localities, architecture and nature. Our drawing ‘Die kleine Försterei’ was also created on one of Feininger's exploratory tours in the Weimar region. With delicate outlines in ink, the artist sketched a clearing framed by large fir trees in which a small forester’s house is located. Characteristic of Feininger's style, the watercolour infilled in his scenes has a soft and reserved appearance, even blurring the edges of the outlines. Regarding his creative practice, Feininger himself explained that in watercolour he could fully express that which he was able to represent (Lyonel Feininger, in: Ruhmer 1961, p. 9). Thus he seldom transferred fully-worked watercolours into oil paintings. In the case of the work offered here, however, a translation of mediums occurred in a different direction. In 1920, two years before our drawing, Feininger had already produced the oil painting ‘Die kleine Försterei’. While the dimensions of the works vary and a few changes in colour can be observed, our drawing is identical in terms of content to the previous painting in oil. As Eberhard Ruhmer explained Feininger's fascination for the watercolour technique: “As there is now a mysterious connection between the technique and the object chosen by the artist, it seems to me that in the delicate, reserved and comparatively undemanding solutions of the watercolours, perhaps the decisive moment of Feininger's artistic intentions found their most adequate and perfect realisation” (Ruhmer 1961, p. 9).
(1871 New York 1956)
Die kleine Försterei. 1922.
Watercolour and ink on paper.
Signed lower left: Feininger, titled lower centre: die kleine Försterei, and dated lower right: 28. VI. 22.
27.5 × 31.2 cm.
The authenticity of the work has been confirmed by Achim Moeller, Director of the Lyonel Feininger Project LLC, New York/Berlin, New York, 29 March 2016. It is registered in the archive under the number 1379-03-29-16. Provenance: - Artist's studio. - Emma Ritter, Oldenburg, received directly from the artist as a gift. - Karl Schwoon, Oldenburg, received as a gift from the above. - Private collection, USA. - Swiss private collection. The present drawing ‘Die kleine Försterei’ was produced during Lyonel Feininger's time at the Bauhaus in Weimar, where the artist was appointed in 1919 by Walter Gropius as the first master of the newly founded school. The first Bauhaus publication, a portfolio with 12 woodcuts, additionally came from Lyonel Feininger's hand. During his entire Bauhaus period — in Dessau from 1926 onwards — the artist spent considerable time in the Thuringian countryside, studying its localities, architecture and nature. Our drawing ‘Die kleine Försterei’ was also created on one of Feininger's exploratory tours in the Weimar region. With delicate outlines in ink, the artist sketched a clearing framed by large fir trees in which a small forester’s house is located. Characteristic of Feininger's style, the watercolour infilled in his scenes has a soft and reserved appearance, even blurring the edges of the outlines. Regarding his creative practice, Feininger himself explained that in watercolour he could fully express that which he was able to represent (Lyonel Feininger, in: Ruhmer 1961, p. 9). Thus he seldom transferred fully-worked watercolours into oil paintings. In the case of the work offered here, however, a translation of mediums occurred in a different direction. In 1920, two years before our drawing, Feininger had already produced the oil painting ‘Die kleine Försterei’. While the dimensions of the works vary and a few changes in colour can be observed, our drawing is identical in terms of content to the previous painting in oil. As Eberhard Ruhmer explained Feininger's fascination for the watercolour technique: “As there is now a mysterious connection between the technique and the object chosen by the artist, it seems to me that in the delicate, reserved and comparatively undemanding solutions of the watercolours, perhaps the decisive moment of Feininger's artistic intentions found their most adequate and perfect realisation” (Ruhmer 1961, p. 9).
LYONEL FEININGER
(1871 New York 1956)
Die kleine Försterei. 1922.
Aquarell und Tusche auf Papier.
Unten links signiert: Feininger, unten mittig betitelt: die kleine Försterei, und unten rechts datiert: 28. VI. 22.
27,5 × 31,2 cm.
Die Authentizität des Werks wurde von Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York/Berlin, bestätigt, New York, 29. März 2016. Es ist im Archiv unter der Nummer 1379-03-29-16 registriert. Provenienz: - Atelier des Künstlers. - Emma Ritter, Oldenburg, direkt vom Künstler als Geschenk erhalten. - Karl Schwoon, Oldenburg, als Geschenk von Obiger erhalten. - Privatsammlung USA. - Schweizer Privatsammlung. Die hier angebotene Zeichnung "Die kleine Försterei" entsteht in Lyonel Feiningers Zeit am Bauhaus in Weimar. Dort war der Künstler 1919 von Walter Gropius als erster Meister der neugegründeten Schule berufen worden. Zudem stammt die erste Veröffentlichung des Bauhauses, eine Mappe mit 12 Holzschnitten, ebenfalls aus Lyonel Feiningers Hand. Während seiner gesamten Bauhauszeit – ab 1926 dann in Dessau – verbringt der Künstler viel Zeit auf dem Thüringer Land, studiert die dortigen Ortschaften, die Architektur und die Natur. Unsere Zeichnung "Die kleine Försterei" wird ebenfalls auf einer der Erkundungstouren Feiningers im Weimarer Umland entstanden sein. Mit zarten Konturen aus Tusche skizziert der Künstler eine Lichtung umrahmt von grossen Tannen, auf der sich eine kleine Försterei befindet. Charakteristisch für Feiningers Stil wirkt das Aquarell als Füllfarbe seiner Darstellungen weich und zaghaft und die Ränder der Umrisse verschwimmen gar. Feininger selbst erklärt über seine Arbeitsweise, dass er in Aquarell vollkommen das ausdrücken könne, was er darzustellen vermöge (Lyonel Feininger, in: Ruhmer 1961, S. 9). Selten überträgt er deshalb bereits vollendete Aquarellarbeiten in die Ölmalerei. Im Fall des hier angebotenen Werks hat jedoch eine mediale Übersetzung in anderer Reihenfolge stattgefunden. So fertigt Feininger bereits 1920, zwei Jahre vor unserer Zeichnung, das Ölbild "Die kleine Försterei" an. Während die Masse des Gemäldes variieren und einige wenige farbliche Veränderungen zu beobachten sind, ist unsere Zeichnung mit dem Vorgängerbild in Ölfarbe auf inhaltlicher Ebene identisch. Eberhard Ruhmer erklärt hinsichtlich Feiningers Faszination für die Aquarelltechnik: "Da nun ein geheimnisvoller Zusammenhang besteht zwischen der Technik und dem vom Künstler gewählten Gegenstand, scheint mir in den zarten, zurückhaltenden und vergleichsweise anspruchslosen Lösungen der Aquarelle das vielleicht entscheidende Moment Feiningerscher Kunstabsichten seine adäquateste und vollkommenste Realisierung gefunden zu haben" (Ruhmer 1961, S. 9).
(1871 New York 1956)
Die kleine Försterei. 1922.
Aquarell und Tusche auf Papier.
Unten links signiert: Feininger, unten mittig betitelt: die kleine Försterei, und unten rechts datiert: 28. VI. 22.
27,5 × 31,2 cm.
Die Authentizität des Werks wurde von Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York/Berlin, bestätigt, New York, 29. März 2016. Es ist im Archiv unter der Nummer 1379-03-29-16 registriert. Provenienz: - Atelier des Künstlers. - Emma Ritter, Oldenburg, direkt vom Künstler als Geschenk erhalten. - Karl Schwoon, Oldenburg, als Geschenk von Obiger erhalten. - Privatsammlung USA. - Schweizer Privatsammlung. Die hier angebotene Zeichnung "Die kleine Försterei" entsteht in Lyonel Feiningers Zeit am Bauhaus in Weimar. Dort war der Künstler 1919 von Walter Gropius als erster Meister der neugegründeten Schule berufen worden. Zudem stammt die erste Veröffentlichung des Bauhauses, eine Mappe mit 12 Holzschnitten, ebenfalls aus Lyonel Feiningers Hand. Während seiner gesamten Bauhauszeit – ab 1926 dann in Dessau – verbringt der Künstler viel Zeit auf dem Thüringer Land, studiert die dortigen Ortschaften, die Architektur und die Natur. Unsere Zeichnung "Die kleine Försterei" wird ebenfalls auf einer der Erkundungstouren Feiningers im Weimarer Umland entstanden sein. Mit zarten Konturen aus Tusche skizziert der Künstler eine Lichtung umrahmt von grossen Tannen, auf der sich eine kleine Försterei befindet. Charakteristisch für Feiningers Stil wirkt das Aquarell als Füllfarbe seiner Darstellungen weich und zaghaft und die Ränder der Umrisse verschwimmen gar. Feininger selbst erklärt über seine Arbeitsweise, dass er in Aquarell vollkommen das ausdrücken könne, was er darzustellen vermöge (Lyonel Feininger, in: Ruhmer 1961, S. 9). Selten überträgt er deshalb bereits vollendete Aquarellarbeiten in die Ölmalerei. Im Fall des hier angebotenen Werks hat jedoch eine mediale Übersetzung in anderer Reihenfolge stattgefunden. So fertigt Feininger bereits 1920, zwei Jahre vor unserer Zeichnung, das Ölbild "Die kleine Försterei" an. Während die Masse des Gemäldes variieren und einige wenige farbliche Veränderungen zu beobachten sind, ist unsere Zeichnung mit dem Vorgängerbild in Ölfarbe auf inhaltlicher Ebene identisch. Eberhard Ruhmer erklärt hinsichtlich Feiningers Faszination für die Aquarelltechnik: "Da nun ein geheimnisvoller Zusammenhang besteht zwischen der Technik und dem vom Künstler gewählten Gegenstand, scheint mir in den zarten, zurückhaltenden und vergleichsweise anspruchslosen Lösungen der Aquarelle das vielleicht entscheidende Moment Feiningerscher Kunstabsichten seine adäquateste und vollkommenste Realisierung gefunden zu haben" (Ruhmer 1961, S. 9).
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LYONEL FEININGER
(1871 New York 1956)
Die kleine Försterei. 1922.
Watercolour and ink on paper.
Signed lower left: Feininger, titled lower centre: die kleine Försterei, and dated lower right: 28. VI. 22.
27.5 × 31.2 cm.
The authenticity of the work has been confirmed by Achim Moeller, Director of the Lyonel Feininger Project LLC, New York/Berlin, New York, 29 March 2016. It is registered in the archive under the number 1379-03-29-16. Provenance: - Artist's studio. - Emma Ritter, Oldenburg, received directly from the artist as a gift. - Karl Schwoon, Oldenburg, received as a gift from the above. - Private collection, USA. - Swiss private collection. The present drawing ‘Die kleine Försterei’ was produced during Lyonel Feininger's time at the Bauhaus in Weimar, where the artist was appointed in 1919 by Walter Gropius as the first master of the newly founded school. The first Bauhaus publication, a portfolio with 12 woodcuts, additionally came from Lyonel Feininger's hand. During his entire Bauhaus period — in Dessau from 1926 onwards — the artist spent considerable time in the Thuringian countryside, studying its localities, architecture and nature. Our drawing ‘Die kleine Försterei’ was also created on one of Feininger's exploratory tours in the Weimar region. With delicate outlines in ink, the artist sketched a clearing framed by large fir trees in which a small forester’s house is located. Characteristic of Feininger's style, the watercolour infilled in his scenes has a soft and reserved appearance, even blurring the edges of the outlines. Regarding his creative practice, Feininger himself explained that in watercolour he could fully express that which he was able to represent (Lyonel Feininger, in: Ruhmer 1961, p. 9). Thus he seldom transferred fully-worked watercolours into oil paintings. In the case of the work offered here, however, a translation of mediums occurred in a different direction. In 1920, two years before our drawing, Feininger had already produced the oil painting ‘Die kleine Försterei’. While the dimensions of the works vary and a few changes in colour can be observed, our drawing is identical in terms of content to the previous painting in oil. As Eberhard Ruhmer explained Feininger's fascination for the watercolour technique: “As there is now a mysterious connection between the technique and the object chosen by the artist, it seems to me that in the delicate, reserved and comparatively undemanding solutions of the watercolours, perhaps the decisive moment of Feininger's artistic intentions found their most adequate and perfect realisation” (Ruhmer 1961, p. 9).
(1871 New York 1956)
Die kleine Försterei. 1922.
Watercolour and ink on paper.
Signed lower left: Feininger, titled lower centre: die kleine Försterei, and dated lower right: 28. VI. 22.
27.5 × 31.2 cm.
The authenticity of the work has been confirmed by Achim Moeller, Director of the Lyonel Feininger Project LLC, New York/Berlin, New York, 29 March 2016. It is registered in the archive under the number 1379-03-29-16. Provenance: - Artist's studio. - Emma Ritter, Oldenburg, received directly from the artist as a gift. - Karl Schwoon, Oldenburg, received as a gift from the above. - Private collection, USA. - Swiss private collection. The present drawing ‘Die kleine Försterei’ was produced during Lyonel Feininger's time at the Bauhaus in Weimar, where the artist was appointed in 1919 by Walter Gropius as the first master of the newly founded school. The first Bauhaus publication, a portfolio with 12 woodcuts, additionally came from Lyonel Feininger's hand. During his entire Bauhaus period — in Dessau from 1926 onwards — the artist spent considerable time in the Thuringian countryside, studying its localities, architecture and nature. Our drawing ‘Die kleine Försterei’ was also created on one of Feininger's exploratory tours in the Weimar region. With delicate outlines in ink, the artist sketched a clearing framed by large fir trees in which a small forester’s house is located. Characteristic of Feininger's style, the watercolour infilled in his scenes has a soft and reserved appearance, even blurring the edges of the outlines. Regarding his creative practice, Feininger himself explained that in watercolour he could fully express that which he was able to represent (Lyonel Feininger, in: Ruhmer 1961, p. 9). Thus he seldom transferred fully-worked watercolours into oil paintings. In the case of the work offered here, however, a translation of mediums occurred in a different direction. In 1920, two years before our drawing, Feininger had already produced the oil painting ‘Die kleine Försterei’. While the dimensions of the works vary and a few changes in colour can be observed, our drawing is identical in terms of content to the previous painting in oil. As Eberhard Ruhmer explained Feininger's fascination for the watercolour technique: “As there is now a mysterious connection between the technique and the object chosen by the artist, it seems to me that in the delicate, reserved and comparatively undemanding solutions of the watercolours, perhaps the decisive moment of Feininger's artistic intentions found their most adequate and perfect realisation” (Ruhmer 1961, p. 9).
LYONEL FEININGER
(1871 New York 1956)
Die kleine Försterei. 1922.
Aquarell und Tusche auf Papier.
Unten links signiert: Feininger, unten mittig betitelt: die kleine Försterei, und unten rechts datiert: 28. VI. 22.
27,5 × 31,2 cm.
Die Authentizität des Werks wurde von Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York/Berlin, bestätigt, New York, 29. März 2016. Es ist im Archiv unter der Nummer 1379-03-29-16 registriert. Provenienz: - Atelier des Künstlers. - Emma Ritter, Oldenburg, direkt vom Künstler als Geschenk erhalten. - Karl Schwoon, Oldenburg, als Geschenk von Obiger erhalten. - Privatsammlung USA. - Schweizer Privatsammlung. Die hier angebotene Zeichnung "Die kleine Försterei" entsteht in Lyonel Feiningers Zeit am Bauhaus in Weimar. Dort war der Künstler 1919 von Walter Gropius als erster Meister der neugegründeten Schule berufen worden. Zudem stammt die erste Veröffentlichung des Bauhauses, eine Mappe mit 12 Holzschnitten, ebenfalls aus Lyonel Feiningers Hand. Während seiner gesamten Bauhauszeit – ab 1926 dann in Dessau – verbringt der Künstler viel Zeit auf dem Thüringer Land, studiert die dortigen Ortschaften, die Architektur und die Natur. Unsere Zeichnung "Die kleine Försterei" wird ebenfalls auf einer der Erkundungstouren Feiningers im Weimarer Umland entstanden sein. Mit zarten Konturen aus Tusche skizziert der Künstler eine Lichtung umrahmt von grossen Tannen, auf der sich eine kleine Försterei befindet. Charakteristisch für Feiningers Stil wirkt das Aquarell als Füllfarbe seiner Darstellungen weich und zaghaft und die Ränder der Umrisse verschwimmen gar. Feininger selbst erklärt über seine Arbeitsweise, dass er in Aquarell vollkommen das ausdrücken könne, was er darzustellen vermöge (Lyonel Feininger, in: Ruhmer 1961, S. 9). Selten überträgt er deshalb bereits vollendete Aquarellarbeiten in die Ölmalerei. Im Fall des hier angebotenen Werks hat jedoch eine mediale Übersetzung in anderer Reihenfolge stattgefunden. So fertigt Feininger bereits 1920, zwei Jahre vor unserer Zeichnung, das Ölbild "Die kleine Försterei" an. Während die Masse des Gemäldes variieren und einige wenige farbliche Veränderungen zu beobachten sind, ist unsere Zeichnung mit dem Vorgängerbild in Ölfarbe auf inhaltlicher Ebene identisch. Eberhard Ruhmer erklärt hinsichtlich Feiningers Faszination für die Aquarelltechnik: "Da nun ein geheimnisvoller Zusammenhang besteht zwischen der Technik und dem vom Künstler gewählten Gegenstand, scheint mir in den zarten, zurückhaltenden und vergleichsweise anspruchslosen Lösungen der Aquarelle das vielleicht entscheidende Moment Feiningerscher Kunstabsichten seine adäquateste und vollkommenste Realisierung gefunden zu haben" (Ruhmer 1961, S. 9).
(1871 New York 1956)
Die kleine Försterei. 1922.
Aquarell und Tusche auf Papier.
Unten links signiert: Feininger, unten mittig betitelt: die kleine Försterei, und unten rechts datiert: 28. VI. 22.
27,5 × 31,2 cm.
Die Authentizität des Werks wurde von Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York/Berlin, bestätigt, New York, 29. März 2016. Es ist im Archiv unter der Nummer 1379-03-29-16 registriert. Provenienz: - Atelier des Künstlers. - Emma Ritter, Oldenburg, direkt vom Künstler als Geschenk erhalten. - Karl Schwoon, Oldenburg, als Geschenk von Obiger erhalten. - Privatsammlung USA. - Schweizer Privatsammlung. Die hier angebotene Zeichnung "Die kleine Försterei" entsteht in Lyonel Feiningers Zeit am Bauhaus in Weimar. Dort war der Künstler 1919 von Walter Gropius als erster Meister der neugegründeten Schule berufen worden. Zudem stammt die erste Veröffentlichung des Bauhauses, eine Mappe mit 12 Holzschnitten, ebenfalls aus Lyonel Feiningers Hand. Während seiner gesamten Bauhauszeit – ab 1926 dann in Dessau – verbringt der Künstler viel Zeit auf dem Thüringer Land, studiert die dortigen Ortschaften, die Architektur und die Natur. Unsere Zeichnung "Die kleine Försterei" wird ebenfalls auf einer der Erkundungstouren Feiningers im Weimarer Umland entstanden sein. Mit zarten Konturen aus Tusche skizziert der Künstler eine Lichtung umrahmt von grossen Tannen, auf der sich eine kleine Försterei befindet. Charakteristisch für Feiningers Stil wirkt das Aquarell als Füllfarbe seiner Darstellungen weich und zaghaft und die Ränder der Umrisse verschwimmen gar. Feininger selbst erklärt über seine Arbeitsweise, dass er in Aquarell vollkommen das ausdrücken könne, was er darzustellen vermöge (Lyonel Feininger, in: Ruhmer 1961, S. 9). Selten überträgt er deshalb bereits vollendete Aquarellarbeiten in die Ölmalerei. Im Fall des hier angebotenen Werks hat jedoch eine mediale Übersetzung in anderer Reihenfolge stattgefunden. So fertigt Feininger bereits 1920, zwei Jahre vor unserer Zeichnung, das Ölbild "Die kleine Försterei" an. Während die Masse des Gemäldes variieren und einige wenige farbliche Veränderungen zu beobachten sind, ist unsere Zeichnung mit dem Vorgängerbild in Ölfarbe auf inhaltlicher Ebene identisch. Eberhard Ruhmer erklärt hinsichtlich Feiningers Faszination für die Aquarelltechnik: "Da nun ein geheimnisvoller Zusammenhang besteht zwischen der Technik und dem vom Künstler gewählten Gegenstand, scheint mir in den zarten, zurückhaltenden und vergleichsweise anspruchslosen Lösungen der Aquarelle das vielleicht entscheidende Moment Feiningerscher Kunstabsichten seine adäquateste und vollkommenste Realisierung gefunden zu haben" (Ruhmer 1961, S. 9).
Impressionist & Modern Art (A197)
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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.
