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Max Slevogt, Haus in Godramstein - Wolfgang mit Ziege
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Description
Max Slevogt, Haus in Godramstein - Wolfgang mit Ziege
Oil on canvas. 75.6 x 62.1 cm. Framed. Inscribed 'Godramstein 1909' in black lower right. - In very fine condition with fresh colours. Minor marginal rubbing.
Imiela 1968, p. 393 annot. 13
The painting is registered in the arist's handwritten picture list under no. 240.
We would like to thank Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz for supplementary information.
Provenance
In the artist's possession until 1932; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25 Nov.1972, lot 822; Private collection, Rhineland
Exhibitions
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle,Pastelle, Zeichnungen - zu seinem 60. Geburtstage, cat. no. 78 with ill.
Literature
Die Kunst XXVII, 1926, ill. p. 331; Kunst und Künstler XXVII, 1929, ill. p. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, Munich 1991, p. 96, with ill.
We stand in radiant sunlight with the painter Max Slevogt on the driveway to the neoclassicist country house of his parents-in-law in the Palatinate village of Godramstein. To the left we see the magnificent home, the so-called “Little Palace”, which had been commissioned by Slevogt’s father-in-law Peter Finkler, a businessman from the cigar and tobacco industry. The manorial building is depicted from the side, revealing a balcony resting on pillars and the main entrance reached by way of three steps. The park, which can only be recognised through the small detail on the right, encompassed a well-kept vineyard, whose broad path led to the central axis of the building. Slevogt’s son Wolfgang, who was born in 1908, provides an eye-catcher in the driveway, where we find him seated in a handcart and accompanied by a goat. The presence of the two cats playing on the steps is probably due to Slevogt’s own affection for these animals. Here shorter and longer strokes, dabs and, in some places, impasto patches of light pink, gold-shimmering beige and every nuance of green have been used to depict a magnificent summer day in Slevogt’s adoptive homeland of the Palatinate.
From 1909 to 1913 Slevogt regularly spent the summer months in Godramstein, the home town of his wife Antonie. Life in this little village surrounded by a well-kept landscape offered Slevogt a welcome change of pace from the busy bustle of Berlin, where he had lived and also – increasingly successfully – worked since 1901. Slevogt primarily used his summer holidays in the Palatinate to develop his landscape painting, which manifested itself in pictures of the area around the house, the park and nearby locations. It was not until this period around 1909/1910 that he definitively distanced himself from the dark-toned coloration he had originally learned and then developed his intensely colourful and expressive landscapes under the influence of Édouard Manet, whose pictures he knew from Paul Cassirer’s art gallery.
Oil on canvas. 75.6 x 62.1 cm. Framed. Inscribed 'Godramstein 1909' in black lower right. - In very fine condition with fresh colours. Minor marginal rubbing.
Imiela 1968, p. 393 annot. 13
The painting is registered in the arist's handwritten picture list under no. 240.
We would like to thank Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz for supplementary information.
Provenance
In the artist's possession until 1932; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25 Nov.1972, lot 822; Private collection, Rhineland
Exhibitions
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle,Pastelle, Zeichnungen - zu seinem 60. Geburtstage, cat. no. 78 with ill.
Literature
Die Kunst XXVII, 1926, ill. p. 331; Kunst und Künstler XXVII, 1929, ill. p. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, Munich 1991, p. 96, with ill.
We stand in radiant sunlight with the painter Max Slevogt on the driveway to the neoclassicist country house of his parents-in-law in the Palatinate village of Godramstein. To the left we see the magnificent home, the so-called “Little Palace”, which had been commissioned by Slevogt’s father-in-law Peter Finkler, a businessman from the cigar and tobacco industry. The manorial building is depicted from the side, revealing a balcony resting on pillars and the main entrance reached by way of three steps. The park, which can only be recognised through the small detail on the right, encompassed a well-kept vineyard, whose broad path led to the central axis of the building. Slevogt’s son Wolfgang, who was born in 1908, provides an eye-catcher in the driveway, where we find him seated in a handcart and accompanied by a goat. The presence of the two cats playing on the steps is probably due to Slevogt’s own affection for these animals. Here shorter and longer strokes, dabs and, in some places, impasto patches of light pink, gold-shimmering beige and every nuance of green have been used to depict a magnificent summer day in Slevogt’s adoptive homeland of the Palatinate.
From 1909 to 1913 Slevogt regularly spent the summer months in Godramstein, the home town of his wife Antonie. Life in this little village surrounded by a well-kept landscape offered Slevogt a welcome change of pace from the busy bustle of Berlin, where he had lived and also – increasingly successfully – worked since 1901. Slevogt primarily used his summer holidays in the Palatinate to develop his landscape painting, which manifested itself in pictures of the area around the house, the park and nearby locations. It was not until this period around 1909/1910 that he definitively distanced himself from the dark-toned coloration he had originally learned and then developed his intensely colourful and expressive landscapes under the influence of Édouard Manet, whose pictures he knew from Paul Cassirer’s art gallery.
Max Slevogt, Haus in Godramstein - Wolfgang mit Ziege
Öl auf Leinwand. 75,6 x 62,1 cm. Gerahmt. Unten rechts schwarz bezeichnet 'Godramstein 1909'. - In sehr schöner, farbfrischer Erhaltung. Geringfügige Abreibungen an den Bildrändern.
Imiela 1968, S. 393 Anm. 13
Das Gemälde wird in der handschriftlichen Bilderliste des Künstlers mit der Nummer 240 geführt.
Wir danken Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz für ergänzende Informationen.
Provenienz
Bis 1932 im Besitz des Künstlers; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25.11.1972, Lot 822; Privatsammlung Rheinland
Ausstellungen
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle, Pastelle, Zeichnungen - zu seinem 60. Geburtstage, Kat. Nr. 78 mit Abb.
Literatur
Die Kunst XXVII, 1926, Abb. S. 331; Kunst und Künstler XXVII, 1929, Abb. S. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, München 1991, S. 96, mit Abb.
Bei strahlendem Sonnenschein stehen wir mit dem Maler Max Slevogt auf der Einfahrt zum klassizistischen Landhaus seiner Schwiegereltern im pfälzischen Godramstein. Links wird das prächtige Anwesen, das sogenannte „Schlössl“, sichtbar, das Slevogts Schwiegervater Peter Finkler, ein Unternehmer aus der Zigarren- und Tabakindustrie, hatte bauen lassen. Das herrschaftliche Gebäude ist von der Seite erfasst, so dass der von Pfeilern getragene Balkon und der über drei Stufen zu erreichende Haupteingang sichtbar werden. Der nur angeschnitten erkennbare Park rechts umfasste einen gepflegten Weingarten, dessen breiter Weg auf die Mittelachse des Gebäudes zulief. Als Blickpunkt auf der Einfahrt diente Slevogt sein 1908 geborener Sohn Wolfgang in einem Handkarren und begleitet von einer Ziege. Die zwei spielenden Katzen auf den Stufen dürften Slevogts eigenen Vorlieben für diese Tiere geschuldet sein. Mit kürzeren und längeren Strichen, mit Tupfen und teils pastosen Flecken in hellem Rosé, golden schimmerndem Beige und allen Nuancen von Grün ist hier ein herrlicher Sommertag in Slevogts Wahlheimat der Pfalz wiedergegeben.
Von 1909 bis 1913 verbrachte Slevogt die Sommermonate regelmäßig in Godramstein, der Heimat seiner Frau Antonie. Das Leben in der kleinen Ortschaft in gepflegter landschaftlicher Umgebung bot Slevogt eine willkommene Abwechslung zum geschäftigen Treiben in Berlin, wo er seit 1901 lebte und mit zunehmendem Erfolg auch arbeitete. In erster Linie nutzte Slevogt die pfälzische Sommerfrische zur Entwicklung seiner Landschaftsmalerei, die in Bildern der Umgebung des Hauses, des Parks und der angrenzenden Orte ihren Niederschlag fand. Erst in dieser Zeitspanne um 1909/1910 löste er sich endgültig von der erlernten, dunkeltonigen Farbigkeit und entwickelte unter dem Eindruck von Édouard Manet, dessen Bilder er aus dem Kunstsalon von Paul Cassirer kannte, eine farbintensive und expressive Landschaftskunst.
Öl auf Leinwand. 75,6 x 62,1 cm. Gerahmt. Unten rechts schwarz bezeichnet 'Godramstein 1909'. - In sehr schöner, farbfrischer Erhaltung. Geringfügige Abreibungen an den Bildrändern.
Imiela 1968, S. 393 Anm. 13
Das Gemälde wird in der handschriftlichen Bilderliste des Künstlers mit der Nummer 240 geführt.
Wir danken Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz für ergänzende Informationen.
Provenienz
Bis 1932 im Besitz des Künstlers; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25.11.1972, Lot 822; Privatsammlung Rheinland
Ausstellungen
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle, Pastelle, Zeichnungen - zu seinem 60. Geburtstage, Kat. Nr. 78 mit Abb.
Literatur
Die Kunst XXVII, 1926, Abb. S. 331; Kunst und Künstler XXVII, 1929, Abb. S. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, München 1991, S. 96, mit Abb.
Bei strahlendem Sonnenschein stehen wir mit dem Maler Max Slevogt auf der Einfahrt zum klassizistischen Landhaus seiner Schwiegereltern im pfälzischen Godramstein. Links wird das prächtige Anwesen, das sogenannte „Schlössl“, sichtbar, das Slevogts Schwiegervater Peter Finkler, ein Unternehmer aus der Zigarren- und Tabakindustrie, hatte bauen lassen. Das herrschaftliche Gebäude ist von der Seite erfasst, so dass der von Pfeilern getragene Balkon und der über drei Stufen zu erreichende Haupteingang sichtbar werden. Der nur angeschnitten erkennbare Park rechts umfasste einen gepflegten Weingarten, dessen breiter Weg auf die Mittelachse des Gebäudes zulief. Als Blickpunkt auf der Einfahrt diente Slevogt sein 1908 geborener Sohn Wolfgang in einem Handkarren und begleitet von einer Ziege. Die zwei spielenden Katzen auf den Stufen dürften Slevogts eigenen Vorlieben für diese Tiere geschuldet sein. Mit kürzeren und längeren Strichen, mit Tupfen und teils pastosen Flecken in hellem Rosé, golden schimmerndem Beige und allen Nuancen von Grün ist hier ein herrlicher Sommertag in Slevogts Wahlheimat der Pfalz wiedergegeben.
Von 1909 bis 1913 verbrachte Slevogt die Sommermonate regelmäßig in Godramstein, der Heimat seiner Frau Antonie. Das Leben in der kleinen Ortschaft in gepflegter landschaftlicher Umgebung bot Slevogt eine willkommene Abwechslung zum geschäftigen Treiben in Berlin, wo er seit 1901 lebte und mit zunehmendem Erfolg auch arbeitete. In erster Linie nutzte Slevogt die pfälzische Sommerfrische zur Entwicklung seiner Landschaftsmalerei, die in Bildern der Umgebung des Hauses, des Parks und der angrenzenden Orte ihren Niederschlag fand. Erst in dieser Zeitspanne um 1909/1910 löste er sich endgültig von der erlernten, dunkeltonigen Farbigkeit und entwickelte unter dem Eindruck von Édouard Manet, dessen Bilder er aus dem Kunstsalon von Paul Cassirer kannte, eine farbintensive und expressive Landschaftskunst.
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Max Slevogt, Haus in Godramstein - Wolfgang mit Ziege
Oil on canvas. 75.6 x 62.1 cm. Framed. Inscribed 'Godramstein 1909' in black lower right. - In very fine condition with fresh colours. Minor marginal rubbing.
Imiela 1968, p. 393 annot. 13
The painting is registered in the arist's handwritten picture list under no. 240.
We would like to thank Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz for supplementary information.
Provenance
In the artist's possession until 1932; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25 Nov.1972, lot 822; Private collection, Rhineland
Exhibitions
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle,Pastelle, Zeichnungen - zu seinem 60. Geburtstage, cat. no. 78 with ill.
Literature
Die Kunst XXVII, 1926, ill. p. 331; Kunst und Künstler XXVII, 1929, ill. p. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, Munich 1991, p. 96, with ill.
We stand in radiant sunlight with the painter Max Slevogt on the driveway to the neoclassicist country house of his parents-in-law in the Palatinate village of Godramstein. To the left we see the magnificent home, the so-called “Little Palace”, which had been commissioned by Slevogt’s father-in-law Peter Finkler, a businessman from the cigar and tobacco industry. The manorial building is depicted from the side, revealing a balcony resting on pillars and the main entrance reached by way of three steps. The park, which can only be recognised through the small detail on the right, encompassed a well-kept vineyard, whose broad path led to the central axis of the building. Slevogt’s son Wolfgang, who was born in 1908, provides an eye-catcher in the driveway, where we find him seated in a handcart and accompanied by a goat. The presence of the two cats playing on the steps is probably due to Slevogt’s own affection for these animals. Here shorter and longer strokes, dabs and, in some places, impasto patches of light pink, gold-shimmering beige and every nuance of green have been used to depict a magnificent summer day in Slevogt’s adoptive homeland of the Palatinate.
From 1909 to 1913 Slevogt regularly spent the summer months in Godramstein, the home town of his wife Antonie. Life in this little village surrounded by a well-kept landscape offered Slevogt a welcome change of pace from the busy bustle of Berlin, where he had lived and also – increasingly successfully – worked since 1901. Slevogt primarily used his summer holidays in the Palatinate to develop his landscape painting, which manifested itself in pictures of the area around the house, the park and nearby locations. It was not until this period around 1909/1910 that he definitively distanced himself from the dark-toned coloration he had originally learned and then developed his intensely colourful and expressive landscapes under the influence of Édouard Manet, whose pictures he knew from Paul Cassirer’s art gallery.
Oil on canvas. 75.6 x 62.1 cm. Framed. Inscribed 'Godramstein 1909' in black lower right. - In very fine condition with fresh colours. Minor marginal rubbing.
Imiela 1968, p. 393 annot. 13
The painting is registered in the arist's handwritten picture list under no. 240.
We would like to thank Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz for supplementary information.
Provenance
In the artist's possession until 1932; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25 Nov.1972, lot 822; Private collection, Rhineland
Exhibitions
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle,Pastelle, Zeichnungen - zu seinem 60. Geburtstage, cat. no. 78 with ill.
Literature
Die Kunst XXVII, 1926, ill. p. 331; Kunst und Künstler XXVII, 1929, ill. p. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, Munich 1991, p. 96, with ill.
We stand in radiant sunlight with the painter Max Slevogt on the driveway to the neoclassicist country house of his parents-in-law in the Palatinate village of Godramstein. To the left we see the magnificent home, the so-called “Little Palace”, which had been commissioned by Slevogt’s father-in-law Peter Finkler, a businessman from the cigar and tobacco industry. The manorial building is depicted from the side, revealing a balcony resting on pillars and the main entrance reached by way of three steps. The park, which can only be recognised through the small detail on the right, encompassed a well-kept vineyard, whose broad path led to the central axis of the building. Slevogt’s son Wolfgang, who was born in 1908, provides an eye-catcher in the driveway, where we find him seated in a handcart and accompanied by a goat. The presence of the two cats playing on the steps is probably due to Slevogt’s own affection for these animals. Here shorter and longer strokes, dabs and, in some places, impasto patches of light pink, gold-shimmering beige and every nuance of green have been used to depict a magnificent summer day in Slevogt’s adoptive homeland of the Palatinate.
From 1909 to 1913 Slevogt regularly spent the summer months in Godramstein, the home town of his wife Antonie. Life in this little village surrounded by a well-kept landscape offered Slevogt a welcome change of pace from the busy bustle of Berlin, where he had lived and also – increasingly successfully – worked since 1901. Slevogt primarily used his summer holidays in the Palatinate to develop his landscape painting, which manifested itself in pictures of the area around the house, the park and nearby locations. It was not until this period around 1909/1910 that he definitively distanced himself from the dark-toned coloration he had originally learned and then developed his intensely colourful and expressive landscapes under the influence of Édouard Manet, whose pictures he knew from Paul Cassirer’s art gallery.
Max Slevogt, Haus in Godramstein - Wolfgang mit Ziege
Öl auf Leinwand. 75,6 x 62,1 cm. Gerahmt. Unten rechts schwarz bezeichnet 'Godramstein 1909'. - In sehr schöner, farbfrischer Erhaltung. Geringfügige Abreibungen an den Bildrändern.
Imiela 1968, S. 393 Anm. 13
Das Gemälde wird in der handschriftlichen Bilderliste des Künstlers mit der Nummer 240 geführt.
Wir danken Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz für ergänzende Informationen.
Provenienz
Bis 1932 im Besitz des Künstlers; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25.11.1972, Lot 822; Privatsammlung Rheinland
Ausstellungen
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle, Pastelle, Zeichnungen - zu seinem 60. Geburtstage, Kat. Nr. 78 mit Abb.
Literatur
Die Kunst XXVII, 1926, Abb. S. 331; Kunst und Künstler XXVII, 1929, Abb. S. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, München 1991, S. 96, mit Abb.
Bei strahlendem Sonnenschein stehen wir mit dem Maler Max Slevogt auf der Einfahrt zum klassizistischen Landhaus seiner Schwiegereltern im pfälzischen Godramstein. Links wird das prächtige Anwesen, das sogenannte „Schlössl“, sichtbar, das Slevogts Schwiegervater Peter Finkler, ein Unternehmer aus der Zigarren- und Tabakindustrie, hatte bauen lassen. Das herrschaftliche Gebäude ist von der Seite erfasst, so dass der von Pfeilern getragene Balkon und der über drei Stufen zu erreichende Haupteingang sichtbar werden. Der nur angeschnitten erkennbare Park rechts umfasste einen gepflegten Weingarten, dessen breiter Weg auf die Mittelachse des Gebäudes zulief. Als Blickpunkt auf der Einfahrt diente Slevogt sein 1908 geborener Sohn Wolfgang in einem Handkarren und begleitet von einer Ziege. Die zwei spielenden Katzen auf den Stufen dürften Slevogts eigenen Vorlieben für diese Tiere geschuldet sein. Mit kürzeren und längeren Strichen, mit Tupfen und teils pastosen Flecken in hellem Rosé, golden schimmerndem Beige und allen Nuancen von Grün ist hier ein herrlicher Sommertag in Slevogts Wahlheimat der Pfalz wiedergegeben.
Von 1909 bis 1913 verbrachte Slevogt die Sommermonate regelmäßig in Godramstein, der Heimat seiner Frau Antonie. Das Leben in der kleinen Ortschaft in gepflegter landschaftlicher Umgebung bot Slevogt eine willkommene Abwechslung zum geschäftigen Treiben in Berlin, wo er seit 1901 lebte und mit zunehmendem Erfolg auch arbeitete. In erster Linie nutzte Slevogt die pfälzische Sommerfrische zur Entwicklung seiner Landschaftsmalerei, die in Bildern der Umgebung des Hauses, des Parks und der angrenzenden Orte ihren Niederschlag fand. Erst in dieser Zeitspanne um 1909/1910 löste er sich endgültig von der erlernten, dunkeltonigen Farbigkeit und entwickelte unter dem Eindruck von Édouard Manet, dessen Bilder er aus dem Kunstsalon von Paul Cassirer kannte, eine farbintensive und expressive Landschaftskunst.
Öl auf Leinwand. 75,6 x 62,1 cm. Gerahmt. Unten rechts schwarz bezeichnet 'Godramstein 1909'. - In sehr schöner, farbfrischer Erhaltung. Geringfügige Abreibungen an den Bildrändern.
Imiela 1968, S. 393 Anm. 13
Das Gemälde wird in der handschriftlichen Bilderliste des Künstlers mit der Nummer 240 geführt.
Wir danken Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz für ergänzende Informationen.
Provenienz
Bis 1932 im Besitz des Künstlers; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25.11.1972, Lot 822; Privatsammlung Rheinland
Ausstellungen
Berlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle, Pastelle, Zeichnungen - zu seinem 60. Geburtstage, Kat. Nr. 78 mit Abb.
Literatur
Die Kunst XXVII, 1926, Abb. S. 331; Kunst und Künstler XXVII, 1929, Abb. S. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, München 1991, S. 96, mit Abb.
Bei strahlendem Sonnenschein stehen wir mit dem Maler Max Slevogt auf der Einfahrt zum klassizistischen Landhaus seiner Schwiegereltern im pfälzischen Godramstein. Links wird das prächtige Anwesen, das sogenannte „Schlössl“, sichtbar, das Slevogts Schwiegervater Peter Finkler, ein Unternehmer aus der Zigarren- und Tabakindustrie, hatte bauen lassen. Das herrschaftliche Gebäude ist von der Seite erfasst, so dass der von Pfeilern getragene Balkon und der über drei Stufen zu erreichende Haupteingang sichtbar werden. Der nur angeschnitten erkennbare Park rechts umfasste einen gepflegten Weingarten, dessen breiter Weg auf die Mittelachse des Gebäudes zulief. Als Blickpunkt auf der Einfahrt diente Slevogt sein 1908 geborener Sohn Wolfgang in einem Handkarren und begleitet von einer Ziege. Die zwei spielenden Katzen auf den Stufen dürften Slevogts eigenen Vorlieben für diese Tiere geschuldet sein. Mit kürzeren und längeren Strichen, mit Tupfen und teils pastosen Flecken in hellem Rosé, golden schimmerndem Beige und allen Nuancen von Grün ist hier ein herrlicher Sommertag in Slevogts Wahlheimat der Pfalz wiedergegeben.
Von 1909 bis 1913 verbrachte Slevogt die Sommermonate regelmäßig in Godramstein, der Heimat seiner Frau Antonie. Das Leben in der kleinen Ortschaft in gepflegter landschaftlicher Umgebung bot Slevogt eine willkommene Abwechslung zum geschäftigen Treiben in Berlin, wo er seit 1901 lebte und mit zunehmendem Erfolg auch arbeitete. In erster Linie nutzte Slevogt die pfälzische Sommerfrische zur Entwicklung seiner Landschaftsmalerei, die in Bildern der Umgebung des Hauses, des Parks und der angrenzenden Orte ihren Niederschlag fand. Erst in dieser Zeitspanne um 1909/1910 löste er sich endgültig von der erlernten, dunkeltonigen Farbigkeit und entwickelte unter dem Eindruck von Édouard Manet, dessen Bilder er aus dem Kunstsalon von Paul Cassirer kannte, eine farbintensive und expressive Landschaftskunst.
Evening Sale - Modern and Contemporary Art
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Lots: 98
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Köln
50667
Germany
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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.
