Modern Art

Transcript

Modern Art

Modern Art
Tuesday, 24th November 2015, 6 p.m.
Palais Dorotheum,
1010 Vienna, Dorotheergasse 17
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Price of catalogue € 20
Cover Lot 501
Cover backside Lot 533, 541
Content editors Elke Königseder
Patricia Pálffy
Palais Dorotheum, 1010 Vienna, Dorotheergasse 17
Dorotheum-Katalogproduktion / EDV 38-K151124
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Modern Art
Tuesday, 24th November 2015, 6 p.m.
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Modern Art
The figures placed next to the lot descriptions indicate the estimated selling prices in EURO and
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v.l.n.r.:
Franz von Rassler, Maria Cristina Corsini, Elisabeth Hirschmann-Huemer, Evelyn Müllner,
Eva Königseder, Alessandro Rizzi, Dominique Wedrac
Petra Maria Schäpers, Elke Königseder, Patricia Pálffy, Doris Wagner
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R esale R o y alties
In compliance with directive 2001/84/EC Austrian copyright legislation (Urheberrechtsgesetz-Novelle 2005 as amended)
implemented Artist Resale right in Austria.
As a result, sales of original works of art that are marked with an asterisk (*) in the catalogue will be subject to a non-refundable
royalty payment in the form of a surcharge on the hammer price. This will be used by the Dorotheum to pay the royalty due to
the artist, his legal successor or the artist‘s representatives.
The surcharge is calculated as follows:
4%
3%
1%
0,5%
on
on
on
on
the
the
the
the
first
next
next
next
50.000 EUR, (=
– 50.000 EUR)
150.000 EUR, (= 50.000,01 – 200.000 EUR)
150.000 EUR, (= 200.000,01 – 350.000 EUR)
150.000 EUR, (= 350.000,01 – 500.000 EUR)
0,25% on all subsequent amounts (= over 500.000,01 EUR), based on the hammer price.
The surcharge may not exceed 12,500 EUR and does not apply to purchases under 2,500 EUR.
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Contents
3Viewing
4 Specialists and services
5Specialists
Catalogue
8 Modern Art
184 Conditions of sale by auction
196 Dorotheum locations
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The members of the Secession, ÖNB Wien Pf 31931D3
Famed were his unique paste & marbled papers. He lived as a lonely misfit amongst his 200 rare cacti, incessantly experimenting
with painting techniques. Well-reputed as a caricaturist. Created stucco reliefs (relief ‘Euterpe’) and inlays of chased brass for Klinger’s
‘Beethoven’ exhibition at the Secession (1902).
Thieme-Becker, Künstlerlexikon, vol. XXXII
Berühmt waren seine originellen Kleister- u. Tunkpapiere. Lebte inmitten seiner 200 seltenen Kakteen als einsamer Sonderling,
ständig auf maltechnischem Gebiet experimentierend. Genoß auch als Karikaturist Ansehen. Schuf für die Ausstellung von Klingers
„Beethoven“ in der Sezession (1902) Mörtelschnitte (Relief „Euterpe“) u. Intarsien aus getriebenem Messing…
Thieme-Becker, Künstlerlexikon, Band XXXII
501
Leopold Stolba
(Gaudenzdorf near Vienna 1863–1929)
“Melpomene”, c. 1907, mixed media with tempera, inlaying,
contours partly incised on eternit, 100 x 100 cm, framed
(original frame), (K)
€ 25,000 – 40,000
US$ 27,700 – 44,400
Melpomene- “the singing one”, one of nine muses, daughter of
Zeus and Mnemosyne. She is the muse of tragic poetry and dirge.
Her attributes are: the tragic mask, a wreath of vines and a club in our image a dagger.
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Exhibited with full-page illustration in the catalogue:
XXX. Ausstellung der Vereinigung bildender Künstler Österreichs
Secession Wien - Seiner Majestät Kaiser Franz Josef I. zugeeignet,
Wien 3. April 1908. Am XI. Jahrestage ihrer Gründung, cat. no. 56
Die Kunst für alle, 23/1907- 1908, page 385, ill. and description
“Die Frühjahrsausstellung der Wiener Secession”, page 393: ...
Leopold Stolba’s “Melpomene” (fig. p. 385) is based on stylistic
efforts revealed by technical experiments. Contours are etched
into the eternit ground surface, inlaid with colourful platelets such
as lapis lazuli and mother-of-pearl, the tempera paint is applied
very thinly...
Provenance:
Dr. Ilse Knapitsch-Jaksche Collection (1899–1979),
Vienna- her heirs
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502
Egon Schiele
(Tulln 1890–1918 Vienna)
Portrait of a seated woman, 1909, pencil on paper, sheet
size 35.2 x 30.2 cm, marked with ‘2.’ in the lower right
corner, framed (K)
€ 15,000 – 20,000
US$ 16,600 – 22,200
Jane Kallir, Egon Schiele, The Complete Works, London 1998,
page 377, no. 264- there with the dimensions 37 x 30 cm.
Edgar Hertlein, Frühe Zeichnungen von Egon Schiele, Alte und
moderne Kunst, booklet 95, 1967, page 32
Exhibited:
Galerie Hassfurther, Österreichische Kunst 1880–1945, Vienna
1979, cat. no. 248d, with ill.
Provenance:
Karl Hayd Collection (1882-1945), Linz
Galerie Hassfurther, Wien, 1979
Kunstsalon Peter Kovacek, Wien, 1981
Private Collection, Vienna
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503
Gustav Klimt
(Vienna 1862–1918)
Seated woman turned towards the left, study for Eve
for the painting “Adam and Eve”, 1917/18, unfinished
(Novotny-Dobai Nr. 220), stamp: Gustav Klimt estate
(partially faded), pencil on paper, 55.2 x 35 cm, stamp
on the reverse: Prandi Reggio E. by hand “910” inserted,
framed, (K)
€ 14,000 – 20,000
US$ 15,500 – 22,200
Alice Strobl, Gustav Klimt, Die Zeichnungen 1912–1918, vol. III,
publisher Galerie Welz, Salzburg 1984, page 192, no. 2908 with ill.
Exhibited and published in the catalogue:
Klimt, Disegni (Introduction Giuseppe Marchiori), Galleria Stendhal,
Milano, 28.10.-20.11.1965, no.2 (ill.)
Provenance:
Sale Libreria Prandi, Reggio Emilia, Italy, Christmas 1969, Lot 761
Private Ownership, Italy- purchased at the above mentioned sale
in 1969
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504
Gustav Klimt
(Vienna 1862–1918)
Reclining nude, holding up her right foot, 1905/06, study
for the oil painting ‘Wasserschlangen II’ (Novotny-Dobai
Nr. 140/ Weidinger Nr. 173), stamp: Gustav Klimt
Nachlass, red coloured pencil on paper, 35 x 55 cm,
framed, (K)
€ 8,000 – 12,000
US$ 8,900 – 13,300
Alice Strobl, Gustav Klimt, Die Zeichnungen, 1904–1912, vol II,
publisher Galerie Welz, Salzburg 1982, page 100, no. 1513,
page 101 (ill.)
Provenance:
Gustav Klimt Estate
Private Collection Lower Austria
Private Ownership, Vienna
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505
Carl Moll *
(Vienna 1861–1945)
‘Park bei Neulengbach (Schlosspark Murstetten)’,
c. 1888, monogrammed CM, verso signed (in pencil)
Carl Moll, oil on panel, 36.2 x 26.3 cm, framed, (K)
€ 35,000 – 50,000
US$ 38,800 – 55,400
Label on the reverse:
Sammlung Dr. Josef Weese Wien VI. Getreidemarkt 9, in
handwriting: N 173 Moll Carl Wien aus dem Park von Murstetten
bei Neu Lengbach Nd. Öst. (Studie für Jak. E. Schindler), Öl, Holz...
The current painting will be included in the catalogue raisonné
edited by Dr. Cornelia Cabuk, Belvedere, Vienna.
Illustrated:
Carl Moll, Seine Freunde. Sein Leben. Sein Werk, publisher
Galerie Welz, Salzburg 1985, plate 4 (full-page colour ill.)
Die Schule von Plankenberg, Emil Jakob Schindler und der
österreichische Stimmungsexpressionismus, catalogue of the
Niederösterreichisches Landesmuseum St. Pölten
16.5.-13.10.1991, Graz 1991, p. 13, 84, cat. no 41, with ill.
Carl Moll, Park – near Neulengbach (Murstetten) – 438-55811-6
Provenance:
Josef Weese Collection (1888-1962), Vienna
Friedrich Pfohl Collection (1919-2005), Graz
Sale Dorotheum Vienna, 11 March 1975, Lot 97
Private Collection, Lower Austria
Formerly on loan: Österreichische Galerie Belvedere
(label on the reverse).
Lot description from the Belvedere archive:
Carl Moll painted the view from the castle park of Murstetten near
Neulengbach in c. 1888, as a student of Emil Jakob Schindler. In
1885, Schindler had rented Schloss Neulengbach near
Plankenberg, in order to paint in the vicinity with his group of
students. The intimate landscape motif in the style of Austrian
atmospheric realism depicts the rear view of a statue in a hidden
corner of the castle park of Murstetten. The castle itself is not
preserved, yet the Baroque garden figures on the other hand are
still to be found in the hilly landscape. The poetic view of the
scenery, devoid of people, invites contemplation and reveals Carl
Moll as a follower of his teacher.
In the company of Emil Jakob Schindler...
In spring they travelled out into the Lower Austrian countryside.
Schindler, Olga Wisinger, Maria Egner and Moll ‘the master, two
companions, and an apprentice.’
Moll attached himself closely to the family, whose circle of friends
also included Hugo Wolf, who had just composed his opera ‘Der
Corregidor’, which however only had its debut much later, with
great success, in Mannheim. ‘At the side of Schindler,’ Carl Moll
reminisced, ‘everything that slumbered hidden inside me awoke. I
was granted the privilege of living for ten years in the company of
my master, in the circle of his family, and this decade shaped me,
and pointed the way into life. When experiencing nature, Schindler
never spoke; he didn't need to. When he stood still, where he
stood still, how he looked, how he fashioned things, these said
everything. Since Schindler I know: seeing is the richest of all of the
pleasures capable with the senses.’ Although frequently in material
hardship, Schindler managed to rent Schloss Plankenberg in
Lower Austria, between Neulengbach and Tulln. ‘Here, the week
consisted of seven Sundays,’ Moll recalled.
from the aforementioned literature Carl Moll, Seine Freunde. Sein
Leben. Sein Werk.
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506
Albin Egger-Lienz
(Stribach near Lienz 1868–1926 St. Justina near Bozen)
‘Der letzte zurückschauende Bauer’, fragment III of the first
version ‘Der Totentanz von Anno Neun’, 1906–07 (Kirschl
M 223), signed Egger Lienz inscribed ‘Totentanz’, oil on canvas,
54 x 47.7 cm, framed, (K)
€ 70,000 – 120,000
US$ 77,600 – 133,100
Illustrated and listed:
Wilfried Kirschl, Albin Egger-Lienz, Das Gesamtwerk, Edition Tusch,
Vienna 1977, page 527, M 223/III, full-page illustration page 127.
See illustration page 125 (M223)-‘Totentanz von Anno Neun’,
first version (cut by the artist)
Wilfried Kirschl, Albin Egger-Lienz, Das Gesamtwerk Band I, Christian
Brandstätter Verlagsgesellschaft, Vienna 1996, page 127 (M223/III9)
full-page illustration, see page 125, illustration (M223) ‘Totentanz von
Anno Neun’, first version (cut by the artist). Vol II, page 527, M223/
III, with small illustration. In vol. I, page 128 by Wilfried Kirschl with
regard to: FIRST (CUT) VERSION 1906–1907 (M223) The oil version
painted outdoors before the models was cut by the artist after he used
it as a basis for a casein reproduction (M226). Three fragments of the
original oil painting (cf fig. on p.127 and in CR, p. 527, M 223 I-III) are
preserved. By comparing the pictorial quality of the fragment of the last
figure (p. 127) and the corresponding section of the casein version, the
cutting of the original oil painting appears all the more regrettable.
Provenance:
Franz Hauer (1867-1914) Vienna
Dr. Oskar Winkler (1882-1961) Vienna
1938 as a wedding present to Dr. Wilhelm Buchta (1906-1987)
Vienna his heirs
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507 –
Egon Schiele
(Tulln 1890–1918 Vienna)
‘Haus in Hütteldorf’, indistinctly signed Egon Schiele and
dated 07, oil on cardboard, 49 x 38 cm, framed, (K)
€ 40,000 – 60,000
US$ 44,400 – 66,500
catalogues raisonnés:
Otto Nirenstein, Egon Schiele, Persönlichkeit und Werk, Paul
Zsolnay Verlag, 1930, page 49, no.13-there titled ‘Gartenhaus’,
dimensions: 49,2x 42 cm, ill. plate 10/13
Otto Kallir, Egon Schiele, Oeuvre-Katalog der Gemälde, Paul
Zsolnay, 1964, page 128, no. 25-there titled ‘Haus in Hütteldorf’,
dimensions: 49.1 x 38 cm, ill. page 129/25
Rudolf Leopold, Egon Schiele, Gemälde Aquarelle Zeichnungen,
Residenz Verlag, 1972, catalogue raisonné page 520, no. 15- there
titled ‘Häuser in Hütteldorf’, dimensions 49 x 38 cm with note: the
picture was cut to the side; it was originally 4 cm wider...
The houses depicted in image no. 15 have been demolished. They
stood on the Utendorfgasse in Hütteldorf (Vienna, XIV.)
Jane Kallir, Egon Schiele, The Comlete Works, New York 1998,
page 272, no. 46-there titled ‘Haus in Hütteldorf’, dimensions:
49.1 x 38 cm, with ill.
Exhibited:
Egon Schiele: Gedächtnis-Ausstellung zum 30. Todestag,
Neue Galerie, Vienna 1948, no. 3
Listed in:
Gianfranco Malafarina, L’Opera di Egon Schiele, Milan, Rizzoli
Editore, 1982, no.14, ill. page 49
Provenance:
Marie Schiele Collection (1862-1935, the artist’s mother), Vienna
Melanie Schiele Schuster Collection
(1886-1974, the artist’s sister), Vienna
Otto Kallir Collection (1894-1978), New York
Galerie St. Etienne, New York
Viennese Collection
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508
Carl Moll *
(Vienna 1861–1945)
‘Stiller Weiher mit Holzhütte’ or ‘Aulandschaft im Prater
mit Badehaus’ after 1930, monogrammed CM, oil on panel,
€ 45,000 – 70,000
US$ 49,900 – 77,600
The current painting will be included in the catalogue raisonné
edited by Dr Cornelia Cabuk, Belvedere, Vienna.
Provenance:
Sale Dorotheum Vienna, 15 December 1978, Lot 1436
Formerly on loan: Österreichische Galerie Belvedere
(label on the reverse).
‘It is not the woods which I see, but a wood,
which emanates Schindler’s soul. It is this soul which I feel is
anchored within me, and I feel no inclination to free myself from it
only in order to appear original.’
Carl Moll, Seine Freunde. Sein Leben. Sein Werk, publisher
Galerie Welz, Salzburg 1985.
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509
Konstantin Andreevic Somov
(St. Petersburg 1869–1939 Paris)
‘Jeune femme rêvant’, 1928, signed and dated
C. Somof 1928, titled and signed on the reverse C. Somoff,
watercolour on paper mounted on board, 17 x 14 cm /
29,5 x 24,5 cm, framed, (PP)
€ 40,000 – 60,000
US$ 44,400 – 66,500
Provenance:
European Private Collection (bought directly from the
artist in 1928)
Thence by descent
Exhibited:
Brussels, Palais des Beaux-Arts de Bruxelles, Exposition d’Art Russe
Ancien & Moderne, April - June 1928, exh.-cat. no. 890, without ill.
(label on the reverse)
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Léonard Tsuguharu Foujita
Courtesy Archives artistiques Sylvie Buisson
510 –
Tsuguharu-Leonard Foujita *
(Tokyo 1886–1968 Zurich)
Le bouquet de roses, 1919, signed T. Foujita, signed in
Japanese, oil on canvas, 46 x 38 cm, (PP)
€ 60,000 – 100,000
US$ 66,500 – 110.900
Photo certificate:
Sylvie Buisson, Paris, 15. 12.2014
The work will be included in Vol. 4 of the catalog raisonné, which is
currently being compiled by Sylvie and Dominique Buisson.
Provenance:
Estate of Arturo Bustamante (former Ambassador to France
from El Salvador)
Private Collection, USA
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His name in Japanese means ‘field of wisteria,
heir to peace.’ In the 1920s—known as Fou-Fou
or Mad-Mad—he was the most famous and the
most eccentric artist in Montparnasse.
He had a haircut modeled on an Egyptian statue
and a wristwatch tattoo around his wrist.
He wore earrings, a Greek-style tunic,
a ‘Babylonian’ necklace, and on occasion
a lampshade instead of a hat. (He claimed it was
his national headdress.)
(Jo Durden-Smith: Lost Art, on: departures.com)
The present work was painted a few years after
Foujita arrived in Paris and decided to launch
himself into the Parisian art scene and embrace
this new culture.
However, neither the composition nor the subject
completely distance themselves from Japanese
painting tradition.
Representations of nature, especially in its domesticated form, were very popular in the art of
ukiyo-e ("pictures of the floating world"), a movement that has its origins in the urbanising Edo period (1603–1867). Ukiyo-e was closely associated
with urban pleasures, such as theatres, restaurants,
teahouses, geisha and courtesans, whilst also being
animated by a traditionally Japanese love of nature.
As a result, despite plunging himself into Western
painting tradition and iconography, Foujita does
not entirely forsake his cultural heritage.
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Frantisek Kupka studied at the Academy
of Applied Arts in Prague and subsequently in Vienna. He moved to Paris in 1894,
where he came in contact with the most
modern painting trends of his time. The
present work perfectly represents the
link between tradition and avant-garde.
The protagonist of the painting is the white
body of the female figure, whose stretched arm frames a seascape consisting
entirely of a symphony of blue shades and
white touches.The figure distances herself
from the everyday image of a bather at
the beach (which can be probably identified as the shore of Trégastel in Brittany)
and is reminiscent of a classical Venus.
511
Frantisek Kupka *
(Opocno, Boemia,1871–1957 Puteaux)
Bather, 1904, signed, dated Kupka ‘04, oil on canvas,
56 x 56 cm, framed, (AR)
€ 100,000 – 150,000
US$ 110,900 – 166,300
The authenticity of the work was confirmed by Karl Flinker
(letter to the owner, 13 October 1983)
We are grateful to Pierre Brullé for his kind assistance to the
cataloging of the work.
Provenance:
Artist’s studio (as confirmed by the above letter by Karl Fllinker)
Galleria del Levante, Milan - Munich
sale Finarte Rome, 19 November 1992, Lot 264
European Private Collection
Exhibition:
Lerici, Castello Monumentale, La Nuova Oggettività e altre cose - il mondo
di Emilio Bertonati, 15 July - 17 September 2000, exh. cat. published
by Mazzotta, p. 24 with ill.
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The iconographic reference to the survival of classical heritage coexists with
the modern brushstrokes used to reproduce the figure’s complexion. The artist’s
brushstrokes become yet more determined in his rendering of the sea and the
white borders of the waves.
The red touches to the left of the canvas
contribute to drawing the viewer’s attention to this work, which foreshadows the
artist’s future development towards the
abstract avant-garde movements of the
early twentieth century. The artist begins
to distance himself from Figurativism,
hinting at the presence of cloths left on
the cliff only by means of colours and
brushstrokes.
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Manifesto futurista per il vestito antineutrale Giacomo Balla: ‘studio per vestito antineutrale’, 1914
512
Giacomo Balla *
(Turin 1871–1958 Rome)
Spessori di Spazio + Linee andamentali - Motivo per stoffa,
1913 ca., signed Futur Balla, inscribed Motivo per stoffa
(vestito del Manifesto ‘Vestito antineutrale’) on the reverse,
oil on paper on canvas, 46.5 x 58 cm, framed, (MCC)
€ 80,000 – 120,000
US$ 88,700 – 133,100
Photo certificate:
Archivio Elena Gigli Rome, archive no. 2008–357,
Rome 30 June 2008
Provenance:
Atelier Balla, Rome (listed on the family notebook under the no.
127, label on the reverse)
Salvatore Quasimodo collection (1901-1968), Rome, until 1967
Baron Paolo Sprovieri (1936-2003), Rome
sale Finarte, Milan, 26 October 1995, Lot 184
Galleria Dante Vecchiato, Padova (stamps on the reverse)
sale Finarte, Milan, 18 December 2006, Lot 471
there acquired by the present owner, Private Collection, Italy
Exhibition:
Ferrara, Crinali Palazzo dei Diamanti, (curator Achille Bonito
Oliva), October - November 1988, (label on the reverse),
exh. cat. Nuova Prearo (Ed.), Milan 1988, p. 11 ill.
Venice, Minimalia (travelling exhibition), (curator Achille Bonito
Oliva), Palazzo Querini Dubois, 1997, exh. cat. p. 8 with ill.
and Rome Palazzo delle Esposizioni, 1998, exh. cat. p. 8 with ill.
and on the cover;
Literature:
Maurizio Fagiolo dell’Arco, Futur Balla, La vita e le opere, Electa,
Milano, 1992, p. 138, no. 32 with ill.
Comparative works:
G. Lista, Balla, ediz. Fonte d’Abisso, Modena, 1982, p. 233,
no. 421 with ill. (another study for the same decorative motif)
30
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‘Balla saw a subject where others see nothing’. Thus wrote his friend and pupil, Umberto Boccioni, about Balla in
1915. Around the same period, almost at the same time
as Futurist research focused on movement, Balla also developed new subjects for further research which would
be later theorised in the two manifestos from 1914 and
1915, devoted, respectively, to Antineutral Clothing and
the Futurist Reconstruction of the Universe. In the former,
Balla stresses that ‘Futurist attire will be joyful. Fabrics
with colours of thrilling iridescence. The use of muscular
colours, the most violet violet, the reddest red, the deepest of deep blues, the greenest of greens, brilliant yellows,
oraaaaanges, vermilions’.
In an analysis of artistic research from the years after
World War II until the second half of the 1990s, Achille
Bonito Oliva, curator of the historic ‘Minimalia’ exhibition,
designates Giacomo Balla as the founder of the analyticconceptual line.
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31
From an important Private Collection (Lot 513 - 518)
Russolo, Carrà, Marinetti, Boccioni e Severini at their first exhibition opening, Paris,1912
513
Gino Severini *
(Cortona/Arezzo 1883–1966 Paris)
Sortie Nord - Sud, 1913ca., signed G. Severini, gouache,
pastel and chalk on brown hard paper laid down on
cardboard, 45 x 35 cm, exhibition frame, (AR)
€ 300,000 – 400,000
US$ 332,600 – 443,500
Photo certificate issued by Gina Severini Franchina,
Rome 26 June 1974
Photo certificate with the stamp of Archivio Gino Severini,
Rome, archive no. 88
We are grateful to Romana Severini Brunori for the information
she has kindly provided for this work.
Provenance:
Galerie Zak, Paris
Stephen Mazoh Collection, New York
Earl Leopold Stendhal Collection (1888-1966), Hollywood
Kaufmann Collection, California
sale Christie's, New York, 7 November 1979, Lot 26
Galleria La Medusa, Rome; M. Knoedler & Co., Inc, New York
Molina Collection, Pavia
Private Collection, Milan
Galleria Fonte D'Abisso, Milan
32 MODERN ART
Exhibition:
Christies´s, Impressionist and Modern Drawings and
Watercolors, New York, 7 November 1979, lot 26 with ill.
Milan, Galleria Fonte D’Abisso, Archivi futuristi, 7 April - 14 July
1990, exh. cat. pp. 165, 186 no. 135 with ill.
Naples, Palazzo Reale, 18 July - 31 October 1996, Futurismo
e meridione, exh. cat., p. 165, no. A. 1.5, with ill.
Milan Fondazione Stellline, Wunderkammer. Meraviglie d’arte in
una stanza moderna June - July 1999, exh. cat. no. 63 with ill.
Literature:
Daniela Fonti, Gino Severini. Catalogo ragionato, Mondadori,
Milan 1988, p. 155, no.159 with ill.
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33
Gino Severini, Nord-Sud 1912, Milan, Pinacoteca di Brera,
© Foto Scala, Firenze - courtesy Ministero Beni e Attività Culturali
Futurism was an exquisitely Italian phenomenon that began as a literary movement in
1909 — thanks to the poet Filippo Marinetti
— and then became the very first national
artistic avant-garde.
That was a period of great changes, where
the swift transformations of society, culture
and art were triggered by major factors such
as the world wars, scientific progress and technological advances, from which typical Futurist
principles like simultaneity, interpenetration
and dynamism were directly derived. In such a
world, where young people had to choose between the “old” and the “new”, Futurists decided to fight the past and put forward the idea
of a dynamic and modern present, strengthened by a fresh and positivistic faith in progress.
Marinetti clearly created Futurism as the Italian answer to the French artistic experience
and it was probably for this reason that, in
1909, he published the Manifesto del Futu34
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rismo in the Parisian newspaper, Le Figaro
(whilst the group’s first important exhibition
was held in Paris at the Bernheim-Jeune Gallery in 1912).
It was a result of Marinetti’s extraordinary
tenacity and resources that the movement
found such great success. A year later he
gathered five great artists to sign the Manifesto della Pittura Futurista, proclaiming ideas
such as the abolition of the traditional perspective of Alberti and Brunelleschi in favour
of a new vision based on the simultaneity of
different points of view. The aim was to counter ancient and static art with a new dynamic
way of painting that could convey the sense of
movement and speed, and put the observer
inside it.
The Dorotheum is pleased to auction a beautiful Futurist artwork of such an outstanding
painter as Gino Severini.
A pupil of Giacomo Balla, Severini was certainly more sensitive and less prone to confusion
and provocation than his colleagues.
He began his painting career in 1900 and
in 1906 moved to Paris, where he came in
contact with leading members of the French
avant-garde, such as Dufy,Valadon and his son,
Utrillo, the Cubist painters Braque and Pablo
Picasso and the writer Guillaume Apollinaire.
He was deeply influenced by the pointillisme
style (a technique that entails applying dots of
contrasting colours according to principles of
optical science), and continued to use it in his
own personal approach by combining it with
the Futurist grammar.
Although at that time he claimed to be closer
to his French colleagues, he actually shared
a theme with Marinetti’s group in 1912 and
1913: the vertigo of speed. Over a period of
a few months he worked on a series of paintings and drawings that introduced a new –
simultaneous and accelerated – vision of the
city, which was then portrayed in the chaos
of buses, trams, signs and advertising posters.
All this is also visible in the present work, Sortie Nord – Sud from around 1913, where
what looks like beams of light merges with the
movement of dynamic shapes and a fleeting
glimpse of the words Sortie, Nord and Sud,
clearly inspired by Paris metro stations.
.
Furthermore, as in most of his works, there is
the evident intention of representing motion
and dynamism, which are achieved perfectly but in a mild and more lyrical manner. It
is clear how a deeper exchange with French
avant-gardes led him to a recognisable style
characterised by a more joyful and happy
colour palette and a dynamic yet not violent
composition.
Gino Severini, Impressions simultanées, 1913, GNAM, Rome, photo credits Giuseppe
Schiavinotto – courtesy Ministero Beni e Attività Culturali
Gino Severini, Il treno tra le case, II, 1912-1913, Hamburger Kunsthalle,
© Elke Walfor © Foto Scala Firenze, Bildagentur fuer Kunst, Kultur und Geschichte, Berlin
MODERN ART
35
514
Giacomo Balla *
‘Linea di velocità’, 1914, signed, dated, Balla 1914, titled,
signed, dated Linea di velocità astratta Balla 1914 on the
reverse, tempera on black paper, 18 x 24 cm, framed, (AR)
€ 60,000 – 80,000
US$ 66,500 – 88,700
Photo Certificate:
Galleria Fonte d’Abisso Arte, Milan, 31 May 1991
Provenance:
Casa Balla, Rome, archive no. 39 (label on the reverse)
Barbara Mathes Gallery Inc, New York (label on the reverse)
Galleria Fonte d’Abisso, Milan
Private Collection, Italy (letter from Fagiolo dell’Arco to the owner)
Ehxibition:
Livorno, Galleria d’arte contemporanea Peccolo, Giacomo Balla,
19 June 1971, exh. cat. no. 6 (label on the reverse)
University of Newcastle, Hatton Gallery, 4 November - 9 December
1972, Edimburgh Royal Scottish Academy, 17 December 1972 –
14 January 1973, exhibition of Italian Futurism, exh. cat. no. 11
Paris, Galerie Arts/ Contacts, Dynamique et creativité du Futurisme,
10 October - 10 November 1973 (label on the reverse)
Cortina D’Ampezzo, Galleria Falsetti, Omaggio a Giacomo Balla,
1974 – 1975, exh. cat., Enrico Crispolti (curator), no. V with ill
Milan, Galleria Fonte d’Abisso, Archivi futuristi, 7April - 14 July 1990,
exh. cat. p. 24, no. 3 with ill. (label and stamp on the reverse)
Frankfurt, Schrin Kunsthalle, Occultismo e Avanguardia da Munch
a Mondrian 1900 – 1915, 3 June -27 August 1995, p. 465, no. 373
with ill. (label on the reverse)
Milan, Galleria Fonte D’abisso, Universo meccanico. Il futurismo
attorno a Balla, Depero, Prampolini, 27 March - 31 May 2003,
exh. cat. p. 23, no. 1 with ill. (label on the reverse),
Milan, Palazzo Reale, Balla. La Modernità futurista,
15 February - 2 June 2008, exh. cat. no. II, 43 with ill.
Literature:
M. Drudi Gambillo, T. Fiori, Archivi del Futurismo, vol. II, De Luca
(ed.), Mondadori (ed.), Rome, Milan, 1962, no. 132
G. Lista, Balla. Galleria Fonte d’Abisso Edizioni, Modena 1982, p. 214,
no. 363 with ill.
36
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In 1913, Balla put up for auction all
his figurative works, announcing: “Balla is Dead. Here are Sold the Works
of the Late Balla”
(cf. Pontus Hulten (ed.), Futurismo e Futurismi,
Bompiani 1992)
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37
515
Enrico Prampolini *
(Modena 1894–1956 Rome)
9 -Costruzione verticale (Napoli - Posillipo), 1916,
signed, dated E. Proampolini, 1916, Napoli, mixed media
(watercolor, tempera and pencil) on paper, 25.3 x 35.5 cm,
framed, (AR)
€ 25,000 – 35,000
US$ 27,700 – 38,800
Photo certificate:
Galleria Fonte d’Abisso, Modena - Milan 31 May 1991
Provenance:
Private Collection, Modena;
Galleria Fonte d’Abisso, Modena;
Exhibition:
Berlin, Galerie der Futuristen Bewegung, 1921 – 22, no. 95 – 96;
Rome Casa d’arte Bragaglia, 15 October 1922, exh. cat. no. 26
(handwritten on the reverse)
Modena, Galleria Fonte d’Abisso, Futurismo italiano,
6 December 1986 – 19 March 1987, exh. cat. p. 39, no. 17 with ill.
(vertical image)
Modena, Galleria del Palazzo Comunale, ”Arte Moderna tra Otto Novecento, 19 December - 17 January 1989 (label and stamp on the
back);
Rome, Villa Medici, Casa Balla e il Futurismo a Roma, 28 September3 December 1989, exh. cat. (curator E. Crispolti), p. 57, no. C/26
with ill.
Milan, Galleria Fonte d’Abisso, Archivi Futuristi, 7 April - 14 July
1990, exh. cat. Fonte d’Abisso ed., Modena 1990, pp.139 and 184,
no. 107, with ill.
Modena, Galleria Fonte d’Abisso, Prampolini. Verso i polimaterici,
19 October 1989 – 4 february 1990, exh. cat. (curator Guido Ballo),
p. 42 no. 2 with ill. ( vertical image) and 111
Rome, Prampolini. Dal Futurismo all’informale, XII Quadriennale
d’arte, Palazzo delle Esposizioni, 25 March - 25 May 1992,
exh. cat., p. 166, no. 2/P/2 with ill.
Rome, Palazzo delle esposizioni, Dada. L’arte della negazione
30 April - 30 June 1994, exh. cat. p. 220, no. IV/41 with ill.
(label on the back)
Naples, Palazzo reale, Futurismo e Meridione, 18 July - 30 October
1996, exh. cat. p. 38 with ill. (label on the back)
Livorno, Villa Mimbelli, Museo Civico G. Fattori, Il Futurismo
attraverso la Toscana, 23 January - 30 April 2000, exh. cat. p. 60,
no. 2.2.4 with ill. (label on the back)
Hannover, Sprengel Museum Hannover, Il rumore della strada.
Futurismo italiano 1909–1918, 11 March -24 June 2001, p. 214, no.
268 with ill. (label on the back)
Rome, Palazzo delle Esposizioni, Futurismo 1909 – 1944,
6 July - 12 November 2001, exh. cat. p. 296 with ill.
Milan, Galleria Fonte d’Abisso, Universo meccanico. Il futurismo
attorno a Balla, Depero, Prampolini, 27 March - 31 May 2003,
exh. cat. p. 40, no. 17 with ill. (label on the back)
Literature:
Giovanni Lista, Il Futurismo, Jacabook 1985 – 86, p. 45 with ill.
38 MODERN ART
Rivista d'arte futurista, Rome 1924
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39
In this painting, too, the concept of metamorphosis is at the basis of creation.The
worlds of macrocosm and microcosm announce the revelation of a new aesthetics:
bioplastic aesthetics. A mixed media painting where each element of the composition and of the work has been executed
with an adequate technique – tempera, oil,
encaustic painting, enamel, fresco etc.
(Enrico Prampolini, label by the artist’s hand on
the reverse of the work)
516
Enrico Prampolini *
Apparizione Biologica B o Origini, 1941, signed, dated
Prampolini 41, tempera, oil, fresco, encausting painting,
enamel on board, 65 x 50 cm, framed (AR)
€ 35,000 – 50,000
US$ 38,800 – 55,400
On the reverse 2 artist labels with the following inscription: Anche
in questo quadro il concetto di metamorfosi presiede la creazione.
È il mondo del macrocosmo e del microcosmo che denunziano il
rivelarso di una nuova estetica: dell’estetica della bioplastica.
Quadro politecnico dove ogni elemento della composizione e
dell’opera è seguito con una tecnica adeguata - tempera, olio,
encausto, smalto, affresco ecc.”
Provenance:
A. Prampolini Collection, Rome
Private Collection, Milan
Galleria Lorenzelli Arte, Bergamo (stamp on the reverse)
Lorenzelli Arte, Milan (stamp and label on the reverse and
photo certificate available)
40
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Exhibition:
Rome, Galleria di Roma Mostra del pittore Enrico Prampolini,
February - March 1941, p. 23, no. 24
Venice, XXIII Esposizione Biennale Internazionale d’Arte 31 May 31 october 1942, Padiglione del Fututrismo italiano, p. 240, no. 132
(titled “Origini”)
Rome, Palazzo delle Esposizioni, IV Quadriennale d’Arte Nazionale,
May - July 1943
Paris, Galerie Denis René, January - February 1958
Rome, Galleria Nazionale d’arte Moderna e Contemporanea,
Enrico Prampolini, June - July 1961, exh. cat. p. 98, no. 83 with ill.
(with wrong description), (label on the back)
Bergamo, Galleria Lorenzelli, Omaggio a E. Prampolini 1894 -1956,
March - April 1967, exh. cat. no. 10 with ill.
Milan, Galleria San Fedele, Enrico Prampolini, November 1968,
exh. cat. no. 13 with ill.
Rome, Prampolini. dal Futurismo all’informale, XII Quadreinnale
d’arte, Palazzo delle Esposizioni, 25 March - 25 May 1992,
exh. cat. p. 329, no. 4/B/47 with ill.
Milan, Fondazione Stelline, Wunderkammer. Meraviglie d’arte in una
stanza moderna, June - July 1999, exh. cat. no. 64 with ill.
Literature:
Pierre Courthion, Prampolini, De Luca ed., Rome 1957, p. 19, no. 14
with ill. (titled “Origins”);
Filiberto Menna, Enrico Prampolini, De Luca ed., Rome, 1967, p. 245,
no. 184, no. 246 with ill.
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41
517
Enrico Prampolini *
Metamorfosi bioplastiche: Apparizioni bioplastiche, 1954,
signed, dated, E. Prampolini, 54, mixed media (oil and sand)
on board, 80 x 100 cm, framed (AR)
€ 25,000 – 35,000
US$ 27,700 – 38,800
Photo certificate:
Galleria Fonte d’Abisso, Modena archive no. 2151
Provenance:
Emma Reyes Collection, Périgueux
Galleria Fonte d’Abisso, Modena, - Milan (label and stamp
on the reverse)
Exhibition:
Venice, XXVII Esposizione Biennale Internazionale d’arte, 19 June17 October 1954, Sala XXIV, pp. 159 – 161, (labels on the reverse)
Stockholm, Exposition d’Art italienne Moderne a Stuckulm et dans le
nord de l’Europe, 1954
Milan, Galleria del Fiore, Prampolini, 19 April - 4 May 1956;
Venice XXIX Esposizione Biennale Internazionale d’Arte, 14 June 19 October 1958 (label on the back)
Saint Etienne, Musée d’Art e d’Industrie, Peintres et sculptures italiens
du futurisme à nos Jours, 1959, (label on the back; Italian label with
wrong title)
Modena, Galleria Fonte d’Abisso, Prampolini. Verso i Polimaterici,
19 - October 1989 – 4 February 1990, exh. cat., Guido Ballo (curator),
p. 115, no. 36, p. 77 with ill.
Milan, Galleria Fonte d’Abisso, Prampolii e Burri e la materia attiva,
17 October - 20 December 1990. exh. cat. pp. 44 – 45 with ill.;
Rome, Prampolini. Dal Futurismo all’Informale, XXII Quadriennale
d’Arte, Palazzo delle Esposizioni, 25 March - 25 May 1992,
exh. cat. p. 445, no. 6/P/18 with ill.
Mart, Museo di Arte di Trento Rovereto, Trash. Quando rifiuti
diventano arte, 11 September 1997 – 11 January 1998,
exh. cat. Skira 2006,
Literature:
Filiberto Menna, Enrico Prampolini, De Luca ed. Rome 1967, p. 355,
no. 100, cat. 282 with ill.
42
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43
518
Enrico Prampolini *
Ritratto d’uomo I. I:, 1914, signed, dated E. P. 1914,
ink on paper, 31 x 21 cm, framed, (AR)
€ 8,000 – 12,000
US$ 8,900 – 13,300
Provenance:
Private Collection, Rome
Galleria Fonte d’Abisso, Rome (label and stamp on the back)
Photo certificate:
Galleria Fonte d’Abisso, Rome Milan 31 May 1991
44
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Exhibition:
Rome, Galleria Nazionale d’Arte Moderna, Enrico Prampolini,
June - July 1961, exh. cat. no. 12 with ill. (label on the back)
Venice, Galleria del Cavallino, Enrico Prampolini, 28 February 1968
(stamp on the back)
Todi, Palazzi Comunali, Enrico Prampolini - Pittura - Disegno Scenografia, 16 October - 20 November 1983, exh. cat. p. 76
Modena, Galleria Fonte d’Abisso, Prampolini 1913 – 1956,
7 December 1985 – 28 February 1986, Achille Bonito Oliva (Curator),
exh. cat. p. 65, no. 21
Literature:
Filiberto Menna, Enrico Prmapolini, De Luca ed., Rome 1967,
no. 10, p. 349, with ill.
519
Giacomo Balla *
Linee Andamentali, 1926, signed Balla, signed, dated, Balla
26 Balla on the reverse,
oil on cardboard, 13 x 13 cm, framed, (MCC)
€ 12,000 – 15,000
US$ 13,300 – 16,600
Photo certificate:
Archivio Elena Gigli, Rome archive no. 2008 – 274, Rome
8 November 2006
Provenance:
Atelier, Balla, Rome
Contessa Costanza di Prampero Collection, Pordenone Until 1969
Private Collection Italy
In the motif on this tile, the directional lines of the colour yellow,
in a curlicue of colour and light, are well harmonised with the
white and purple. This work belongs to a group of several motifs
for tiles and drink coasters Balla created in the 1920s that were
bought by the Countess Costanza di Prampero di Pordenone
around the 1960s. The family of the countess, who own a rich
collection of modern Italian artists, donated several works to the
Museums of Pordenone and Udine.
Elena Gigli
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45
520
Gino Severini *
Studio per tango argentino, 1913, signed,
dated G. Severini 1913, with dedication signed by the
artist’s wife Jeanne Severini,, black ink on yellow paper,
24 x 15.7 cm, framed, (MCC)
€ 12,000 – 15,000
US$ 13,300 – 16,600
Photo certificate:
Romana Severini Brunori, archive no. 07, 28 June 2015
(in the artist’s Archive the work is recorded on an old glass photo
image by the French photographer Marc Vaux)
Provenance:
Atelier of the artist
Madame Jeanne Severini Collection (1897-1992,
the artist’s wife), Paris
gift to the family of the present owner Private Collection Italy
46
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Severini probably started to think about the subject of Argentinian
tango after he returned to Italy. It was not just the reprise of
dancing themes in which he had already shown an interest; he
drew inspiration from a particular dance, the way he had done
with the “Bear Dance” in the past, so that he could convey the
qualities of its abstract groove without sacrificing to naturalism.
(.......) Severini centres his composition around the two
interconnected bodies, which project the lines of force of their
arms and legs into the environment; however, their shapes are
given a plastic solidity which is usually denied to other dancing
subjects. Arms and legs have a tube-shaped propensity
with metallic glows that reminds of Malevic or Leger’s
‘Nudes in the forest’
(D.Fonti, Gino Severini: catalogue raisonné, 1988)
521
Gino Severini *
La modiste, 1915, signed, dated G. Severini 1915, with a
dedication by the artist’s wife Jeanne Severini, pencil on
paper, 26.4 x 20.2 cm, framed, (MCC)
€ 15,000 – 20,000
US$ 16,600 – 22,200
Photo certificate:
Romana Severini Brunori, archive no. 01, 7 September 2012
Provenance:
Madame Jeanne Severini Collection (1897-1992,
the artist’s wife), Paris
gift to the family of the present owner Private Collection Italy.
Literature:
J. Lassaigne, Les 13 Epis, Gino Severini, album des Dessins, Paris,
1947 tav. 3 with ill.
P. Pacini Gino Severini, disegni e incisioni scelti e annonitati dal
Pacini, La Nuova Italia, Firenze 1977, tav. 20. with ill.
Daniela Fonti, Gino Severini: catalogo ragionato, Mondadori Ed. Philippe Daverio, Milan, 1988, p. 250, no. 263B with ill.
Around 1915, Severini worked on the theme of milliners
(Modiste) and, in 1916, he sent Stieglitz a linocut with that subject.
For such a theme, which he blends with his Femme assise, Severini
chooses a composition with displaced planes that he highlights
with an elegant drawing full of dense shading, interchanged with
round-shaped, ribbed surfaces in a classical execution:
he begins a process of withdrawal from figurative representations
in favour of a geometric abstraction, a common line of research
for several artists in his time
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47
A
522
Giacomo Balla *
(Turin 1871–1958 Rom)
A. study for a landscape (forme di spazio)
B. study for a vase 1914 ca. , pencil on paper,
8 x 12.7 cm, framed, (AR)
€ 3,000 – 4,000
US$ 3,300 – 4,400
We are grateful to Elena Gigli for confirming the authenticity
of this work.
Provenance:
Sprovieri Collection, Rome
Literature:
Maurizio Fagiolo dell’arco, Balla. I taccuini n. 3–4, 1912/1914,
ed. Martano, Turin 1982–85, no. 8–9 with ill.
48
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B
523
Gino Severini *
Fenétre sur Venise, 1949, study for a wall decoration for
a dining room in Paris, signed G. Severini, with dedication by
the artist’s wife Jeanne Severini, tempera on light cardboard,
18 x 33.3 cm (the paper: 31 x 46 cm),
framed, (MCC)
€ 20,000 – 25,000
US$ 22,200 – 27,700
Photo certificate:
Romana Severini Brinori, archive no. 05, 13 July 2015
Provenance:
Madame Jeanne Severini Collection (1897-1992, the artist’s wife), Paris
gift to the family of the present owner - Private Collection Italy
Literature:
Daniela Fonti, Gino Severini: catalogo ragionato, Mondadori ed.
Philippe Daverio, Milan, 1988, p. 515, no. 847 A with ill. the technique
of the work was wrongly described as watercolor.
The mistake has been registered by Archivio Severini and it will be
updated in the forthcoming edition of the catalogue
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49
524
Gino Severini *
Danseuse, 1958, signed G. Severini, tempera on paper
applied on canvas, 65.7 x 50.8 cm, framed, (MCC)
€ 30,000 – 40,000
US$ 33,300 – 44,400
Photo certificate:
Daniela Fonti, Rome 23 September 1994
Romana Severini Brunori, Rome, archive no. 02,
2 July 2015, luglio 2015
Provenance:
Atelier Gino Severini, Paris
there acquired by Alexander Kahan, New York in 1958
sale Sotheby’s Parke Bernet, New York, June 1962, Lot 143
Le Monde Galleries, New York
sale Auction Sotheby’s New York, 12 May 1994, Lot 304
Galleria Proposte d’arte, Legnano, 1997
Private Collection Italy
Comparative works:
D. Fonti, Gino Severini, catalogo ragionato, Mondadori - Daverio,
Milan, 1988, p. 564, no. 968 (a similar work from the same period)
50
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51
525
Enrico Prampolini *
Umanità del nostro tempo, 1945 ca., titled, signed,
dated on the reverse, (original type written label of the
Atelier Prampolini with the artist’s stamped signature and
handwritten label titled, dated ‘Testa, databile 1945’ by
Alessandro Prampolini, brother of the artist), oil on wood,
40 x 50 cm, framed, (MCC)
€ 20,000 – 25,000
US$ 22,200 – 27,700
Photo certificate:
Massimo Prampolini, Rome, 3 October 2008
Provenance:
Auction Finarte, Milan, 20 May 2008, lot 310
Private Collection, Italy
52
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53
‘With leaves and colours I am now flying away from the abstract towards what is
endless and supernatural... no-one will recognise me any more.’
(Osvaldo Licini)
‘Painting is the art of freely-conceived colours and forms, it is also a wilful act of creation
and, unlike architecture, it is an irrational art, where creativity and imagination predominate.
Then I picked two hundred good paintings I had made from life and took them to the attic.’
(Osvaldo Licini)
526
Osvaldo Licini *
(Monte Vidon Corrado 1894–1958)
“Portafortuna”, 1950, titled on the reverse,
with dimension, oil on canvas, 13.1 x 16.5 cm,
(exhibition frame), framed, (AR)
€ 40,000 – 60,000
US$ 44,400 – 66,500
Provenance:
Galleria d’arte Narciso, Turin (label on the reverse)
Private Collection, Turin
Exhibition:
Turin, Galleria Narciso, 1967 – 68, no. 67, p. 47, titled
‘Amalassunte portafortuna’
Turin, Galleria Civica d’Arte Moderna, 1968-1969, no. 138, titled
and dated “Amalassunta, 1950-51”, (label on the reverse)
Bologna, Palazzo dell’Archiginnasio, 2 February – 9 March 1969,
titled and dated “Amalassunta, 1950-51”, (label on the reverse)
Bologna, Palazzo dell’Archiginnasio, 1969, 2 February - 9 March
1969, titled, dated ‘Amalassunta, 1950 – 51’,
Turin, Galleria Narciso, 1971, no. 102, p. 21
Ascoli Piceno, Palazzo dei capitani del popolo, Osvaldo Licini:
dipinti e disegni, 10 September - 5 November 1988,
exh. cat. no. 87 with ill., p.98 (with wrong technique: oil on paper)
Literature:
Giuseppe Marchiori, I cieli segreti di Osvaldo Licini, Alfieri ed.,
Venice 1968, tav. 218 with ill. (with wrong technique: oil on paper
laid down on canvas)
54
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‘The circus is a very interesting subject that has fascinated many
important artists such as Toulouse-Lautrec, Seurat, Picasso, Léger….
Each of them imagined his own circus. I do the same, but with a
different form.That is the way art works’
(Botero)
56
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57
‘I went to the circus. I saw the show. I talked to people.
I saw how I lived and all of a sudden I thought that
I could actually work on that topic’
George Seurat, Le cirque, 1891, Paris, Musee d'Orsay,
© 2015 Foto Scala, Firenze
527
Fernando Botero *
(born in Medellin, Colombia in 1932;
lives and works in Paris and New York)
Man with snake, 2007, signed, dated Botero 07,
oil on canvas, 180 x 115 cm,
framed, (AR)
Photo certificate signed by the artist
Exhibition:
Milan, Palazzo Reale, Botero. Opere 1994 - 2007,
5 July – 9 September 2007, exh. cat. P. 16 with ill.
Venice, Galleria Contini, Gente del Circo, 24 October 2009 5 April 2010, exh. cat. P. 51 with ill.
Provenance:
Galleria d’Arte Contini, Venice
Literature:
C.B. Pepper, Botero. Paintings and Works on paper,
New York, London 2013, p. 144 with ill.
€ 400,000 – 600,000
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US$ 443,500 – 665,300
528
Roberto Sebastian Matta *
(Santiago, Chile 1911–2002 Civitavecchia, Italy)
Untitled, 1967, signed Matta, oil on canvas, 87 x 107 cm,
framed, (MCC)
€ 45,000 – 55,000
US$ 49,900 – 61,000
Photo certificate:
Archives de l’Oeuvre de Matta, Paris, 2014, archive no. 67/82
Provenance:
Galerie Börgesson, Gothenburg
Auction Bukowski, Stockholm, 23 April 2002, lot 304
Galerie Patrick Derom, Bruxelles
Auction Sotheby’s, London 11 February 2005, lot 200
Exhibition:
Gothenburg, Matta, Galerie Börgesson, 1970
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61
529
Victor Brauner *
(Piatra Neamtz, Romania 1903- 1966 Paris)
Untitled, 1954, inscribed Pour Crippa V. B. 1954,
ink, watercolour and pencil on paper and wax on masonite
on board, 24,8 x 19 cm, framed, (AR)
€ 16,000 – 22,000
62
US$ 17,700 – 24,400
We are grateful to Samy Kinge who orally confirmed the
authenticity of the present work.
The wooden panel of the background was originally part of a
non-coeval work by Crippa (his signature, title and the date 66,
are visible upside-down). Brauner’s work had subsequently been
applied on that panel.
The work comes from the collection of the painter Roberto
Crippa (as proved by the inscription of Roberto Crippa Jr.,
son of the artist, visible on the back).
Provenance:
Roberto Crippa Collection;
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530
Roberto Sebastian Matta *
(Santiago, Chile 1911–2002 Civitavecchia, Italy)
“A mon paino, souvenir Panarea”, 1963, titled,
monogrammed and dated, oil on canvas, 42 x 51 cm,
framed, (AR)
€ 15,000 – 20,000
US$ 16,600 – 22,200
Photo certificate:
Archives de l’Oeuvre de Matta, 2 November, 2010
Provenance:
Sotheby’s Milan, December 1994 (lot 122);
Rizziero Arte, Pescara (label on the reverse);
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531
Wols (Alfred Wolfgang Otto Schulze) *
(Berlin 1913–1951 Paris)
Bateau Ivre, 1949, signed Wols, inscribed Fait a l’hotel
Louisiane 60 Rue de Seine 1949, M. Alessandri Fachetti,
on the reverse, India Ink, watercolor, top coat, grattage,
tubes marks 15.4 x 23.2 cm, framed, (AR)
€ 50,000 – 70,000
US$ 55,400 – 77,600
Photo certificate:
Edward Rathke, Frankfurt, 29 February 1988
Provenance:
L. Bourdon Collection, Paris
World House Gallery, New York
Galerie Couturier, Paris, archive no. 653 (label on the back)
Galerie Bonnier, Geneve, archive no. A20406 (label on the back)
Private Collection, Tokyo
Galleria Ippolito Simmonis, Turin, (label and stamp on the back)
Molina Collection, Pavia
Exhibition:
Stuttgard, Kunstkabinett, R. N. Kettener, Modern Art Auction,
3–4 May 1961, exh. cat no. 491 with ill.
Stuttgard, Kunstkabinett, R. N. Ketterer, Modern Art Auction,
3–4 May 1962, exh. cat. no. 477 with ill.
Paris, Michel Couturier Gallery, Wols, cités et navires,
15 May - 30 June 1964, exh. cat. no. 35
Stockholm, Svensk-Frannska Konstgalleriet, Wols 1913 – 1951,
27 February - 21 March 1965, exh. cat. no. 35, (label on the back)
Nancy, Musée des Beaux Arts, Wols, 6 March - 13April 1970,
exh. cat. no. 35
Berlin, National Galerie, Wols 13 September - 5 November 1973,
exh. cat. no. 149
Paris, Musée d’Art Moderne de la Ville de Paris, 19 December
1973 – 5 February 1974, exh. cat. no. 154 (label on the back)
Milan, Galleria Nuova Cadario, Wols acquarelli (18 Werke),
9 October - 1 November 1975, exh. cat. no. 6 with ill.
Tokyo Fuji Television Gallery, Wols, travelling exhibition,
4 -26 April 1977, exh. cat. no. 30 with ill. (label on the back)
Nagoya, Galerie Beaux-Arts 10 – 22 May 1977
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Amagasaki, Kulturzentrum, Wols, Druckgraphik 29 - April - 28 May
1978, exh. cat. no. 22 with ill.
Zurich, Kunsthaus Zurich, Wols. Bilder. Acquarelle. Zeichnungen.
Photographien. Druckgraphik, 24 November 1989 – 11 February
19990, exh. cat. no. 176 (label on the back)
Bolzano, Museion, Musei d’arte Moderna, Il giardino delle delizie,
13 March - 31 May 1998, exh. cat. p. 55 with ill.
Milan, Fondazione Stelline, Wunderkammer. Meraviglie d’arte in
una stanza moderna, June - July 1999, exh. cat. no. 59 with ill.
Mantua, Casa del Mantenga, Il mito della velocità. L’arte del
movimento. Dal Futurismo alla videoarte, 11 May - 28 September
2003, exh. cat., p. 202 with ill. (label on the back)
Literature:
Shigeo Chiba, Wols. Thèse pour le doctorat d’Université de Paris I,
27 November 1974, p. 240
Francoise Le Gris-Bergmann, Composantes plastiques et poles
référentiels dans l’oeuvre de Wols. Thèse pour le doctorat en arts
plastiques et sciences de l’art, Université de Paris I, Panthéon Sorbonne, 1976, no. 409
Shigeo Chiba, Wols dans les collections japonaises. Dessin,
gouache et peinture à l’huile, in ‘L’annuaire du Musée National
d’art Modern de Tokyo’, March 1978, p. 110 (A-10),
p. 113 with ill.
Claire Van Damme, Kunst als catharsis en psychogenese.
Het extreem subjectivistisch kunstscheppen van de Duitse
surrealistische en informele kunstenaar Wols 1913 – 1951, Gent
1985, no. 339, p. 241 and 342 with ill.
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As one of the most important representatives of
abstract painting, Willi Baumeister belongs without doubt to the avant-garde of postwar Europe.
In broad terms, the artist's work reflects the development of abstract painting in Germany. While
his first works remain wholly under the influence
of his academic training under Adolf Hölzel, his
later groups of works reveal a constant search for
new means of artistic expression, an impulse towards abstraction, and concern for the autonomy
of form and colour.
Although the artist was only in his early 60s, his late
work already takes on the character of a legacy.
After 1950, Willi Baumeister combined many currents, developments and ideas from his own œuvre self-referentially into new visual creations, yet
trod entirely new paths of artistic freedom. The
scope of Baumeister's visual invention in his later work stretches wide: it extends from his nonrepresentational 'ideograms', which recall calligraphy, to powerfully expressive relief images. What
is common to them all is the increasingly symbolic
character of his work.
In the work to be auctioned here, too, the reddish-hued forms in the lower part of the picture
seem symbolic, evoking associations of natural
forms or even hieroglyphics; yet they resist decoding. Comparable to his contemporary Max
Ernst in his enjoyment of experimentation, Willi
Baumeister also applies himself intensively to the
treatment of the surface. The autonomous, plastic layers of this work have been applied using
putty, which gives an intentionally matt effect to
the coloured areas, and which he models in relief
or scores with ornamental furrows by means of
his repeatedly used 'combing technique'. In part
further reinforced by a dark outline, this results
in a simple, abstracted space consisting of a visual
foreground and background. Rest and movement
are mutually dependent on one another in this
free play of forms; representation and abstraction
merge to produce a successful symbiosis.
With the azure-blue colour gradations of its painted surface, the picture appears relatively bright
and, in this way, reflects the joyous affirmation of
life that characterises Willi Baumeister's pictures
of the postwar years. It is therefore no surprise
that these colourful compositions from the 1950s
are the artist's most sought-after works on the
international auction market.
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Willi Baumeister in zhe Academy of visual arts,
Foto: Johannes Schubert
Baumeister Archive in the Kunstmuseum Stuttgart.
532 –
Willi Baumeister *
(Stuttgart 1889–1955)
Lyrik mit Kammzug auf Blau-Grün (Lyric on blue and green
background), signed, dated baumeister 54 (incised),
oil, synthetic resin, filler on masonite, 34 x 47.5 cm,
framed, (PS)
€ 70,000 – 90,000
US$ 77,600 – 99,800
Provenance:
Galleria del Fiore, Milan
Studio d’Arte ‘La Medusa’ Rome, 1957 (gallery label)
Pietro Campilli, Rome
Private Collection, Europe
Literature:
Will Grohmann, Willi Baumeister, Leben und Werk, Köln 1963,
no. 1629, p. 348 (with ill.)
Peter Beye, Felicitas Baumeister, Willi Baumeister Werkkatalog
der Gemälde, Vol II, no. 2090 (with ill.)
Exhibited:
Galleria del Fiore, Willi Baumeister, Milan 1955
Studio d’Arte, ‘La Medusa’ Rome, exh. cat. no. 4 (with ill.)
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533
Serge Poliakoff *
(Moskau 1906–1969 Paris)
Composition abstraite, 1948, signed Serge Poliakoff,
oil on canvas, 46 x 33 cm, framed, (AR)
€ 35,000 – 50,000
US$ 38,800 – 55,400
The work is registered in the Archives Serge Poliakoff under the
archive no. 948014.
Provenance:
Galerie Manuel Barbie, Barcelona, (label on the back)
Literature:
Gérard Durozoi, Alexis Poliakoff, Serge Poliakoff, Serge Poliakoff.
Catalogue Raisonné 1922–1954, Paris, 2004, Vol. I, page 308,
no. 48–58 ill.
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André Lanskoy was one of the foremost abstract
painters of the post-war École de Paris, and in the
words of the influential critic Pierre Guégen: ‘one of
the greatest of all abstract painters’.
[…] Lanskoy’s work from this early period consisted
of bold figurative compositions, but from 1937 he
began to explore abstraction. Striving to disengage
figuration, he achieved his first abstract works in
1940.
[…] Lanskoy’s success as an abstract painter was fully
endorsed when he began a sixteen year collaboration
with Louis Carré, who was already showing Picasso,
Matisse, Hartung and Soulages. In 1948 at Carré’s
eponymous gallery at 10 avenue de Messine, Lanskoy
held an important one-man exhibition titled Lanskoy,
Oeuvres 1944-1948, and furthermore in 1952 and
1957.
His lyrical and dynamic abstract compositions
were a revelation in the climate dominated by
cold geometric abstraction, and although Lanskoy
refused to be categorised, he was undeniably an
important forerunner of Tachisme. It is interesting
to make a distinction here between Lanskoy’s work
and that of the american Abstract Expressionists,
and is best defined by Marcel Brion’s term ‘Abstract
Impressionism’ for Lanskoy’s style is not merely
gestural manifestation of inner emotion, on the
contrary, it is an evocation of exterior sensation.
(www.haninafinearts.com, 13.10.2015)
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534 –
André Lanskoy *
(Moskau 1902–1976 Paris)
“Entièrement gris clair”, to the stretcher titled, signed
Lanskoy, oil on canvas, 41 x 33 cm, framed (PP)
€ 20,000 – 25,000
US$ 22,200 – 27,700
The authenticity of the present work has been confirmend by
André Schoeller, Paris.
Provenance:
Galerie Beyeler, Basel
Private Collection, Paris
Artcurial, Paris, 7 December 2009, lot 4
Private Collection, Canada
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535 –
Roberto Crippa *
(Monza 1921–1972 Milan)
Untitled, 1948, signed, inscribed and dated on the reverse
New York 48, indistinctly inscribed on the stretcher, oil on
canvas, 70,5 x 55,5 cm, framed, (PP)
€ 7,000 – 9,000
US$ 7,800 – 10,000
Provenance:
Sotheby’s, New York, 9 March 2011, Lot 328
Exhibited:
Travelling exhibition: Buenos Aires, MACBA - Museo de Arte
Contemporaneo Buenos Aires, Abstracción geométrica desde
1950 - Intercambio Global/Geometric Abstraction Since 1950 A global exchange, 1 Septemper 2012 – 31 March 2013, exh.-cat.,
page 49, with ill. / Rom, MACRO - Museo d’Arte Contemporanea
Roma, Global Exchange: Astrazione geometrica dal 1950, 7 May 14 September 2014 / Miami, The Patricia & Phillip Frost Art
Museum, A Global Exchange: Geometric Abstraction Since 1950,
8 November 2014 – 4 January 2015 (Curator: Joe Houston)
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536
Robert Marc *
(Auxerre, France 1943- 1993)
Untitled, 1989, signed Robert Marc, signed Robert Marc
on the reverse, oil on canvas, 65 x 100 cm, framed, (PP)
€ 10,000 – 15,000
US$ 11.100 – 16,600
Provenance:
Estate of the artist
Forum Gallery, New York
Barry Friedman Ltd., New York
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537 –
Ferdinando Chevrier *
(Livorno 1920–2005)
Struttura, 1954, signed Chevrier, inscribed Chevrier / via Serristori
8, Livorno/1954/Struttura on the reverse, tempera on canvas,
€ 6,000 – 8,000
Provenance:
Christie’s Milan, 22 November 2004, lot 156
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US$ 6,700 – 8,900
538
Gualtiero Nativi *
(Pistoia 1921–1999 Greve in Chianti)
“Lo scontro”, 1964, titled, signed, dated, G. Nativi, Firenze
1964 on the reverse, tempera on board, 120 x 160 cm,
framed, (AR)
€ 10,000 – 15,000
US$ 11.100 – 16,600
Photo certificate signed by the artist 6 May 1993.
Provenance:
Galleria Giorgi, Florence
Literature:
Bellini, F. Boni “Nativi”, Giorgio Corbelli Editore,
Brescia 1993, p. 42
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As shown in the present work Brusselmans
is noted for his remarkably structured work
and his desire to emphasize forms through
thick contour lines. The almost geometric
structure of his paintings was contrasted by
the sensitivity and delicacy of his colours.
(belart.org, 16.10.2015)
539
Jean Brusselmans *
(Brussels 1884–1953 Dilbeek)
Stilllife with playing cards, signed and dated Jean
Brusselmans 1948, oil on canvas, 125 x 106 cm, (PP)
€ 20,000 – 30,000
US$ 22,200 – 33,300
Provenance:
The Artist
Formerly Maurice Duvivier Collection, Ostende
Dr. Mullier Collection, Leuven
Exhibited:
Brussels, Galerie Giroux, Jean Brusselmans, 1950, exh.-cat. no. 6
Leuven, Gemeentemuseum, La Peinture du XXe siècle dans les
collections privées de Louvain, 1970, exh.-cat. no. 13
Brussels, Société Auxiliaire des Expositions du Palais des BeauxArts, Jean Brusselmans, 29 June - 26 August 1979, exh.-cat. no. 54
Literature:
Robert L. Delvoy, Jean Brusselmans, catalogue raisonné,
Brussels 1972, page 269, no. 564 with ill. page 402
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540
Floris Jespers *
(Antwerp 1889–1965)
Speculoos, signed an dated Jespers 32, oil on canvas,
91 x 66 cm, framed, (PP)
€ 12,000 – 18,000
US$ 13,300 – 20,000
Provenance:
Galeries Apollo, Brussels
Private Collection, Belgium
Exhibited:
Brussels, Galeries Apollo, Les constructeurs, no. 16
Antwerp, Guillaume Campo, Retrospectieve Floris Jespers,1966,
exh.-cat. no. 78 (without reproduction) (titled Mannetje in
Speculoos) (label on the reverse)
Lokeren, Kunstgalerij De Vuyst, October 1984, no. 212
(titled Mannetje in Speculoos) (label on the reverse)
Literature:
Gaston Burssens, Floris Jespers, Antwerp, De Sikkel, 1943,
no. 64 with ill.
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541 –
Fritz Wotruba *
(Vienna 1907–1975)
‘Torso’, 1969, bronze, goldbrown patina, signed Wotruba,
numbered 6/7, 64 x 39.5 x 25.5 cm, (K)
€ 35,000 – 45,000
US$ 38,800 – 49,900
Provenance:
Galerie Ulysses, Vienna
Viennese Collection
Jürg Janett, Fritz Wotruba, catalogue raisonné, Skulpturen/Reliefs/
Bühnen- und Architekturmodelle, publisher Erker, St. Gallen 2002,
page 262, no. 310 (with ill. of the stone) - there with note:
one cast: National Gallery of Art, Washington, DC.
The book with casts of the works lists 7 casts numbered in
Arabic numerals.
Full-page illustrations (marble and bronze):
Otto Breicha, Wotruba. Figur als Widerstand, publisher Galerie
Welz, Salzburg 1977, cover illustration (dust jacket, stone),
page 175 (bronze), page 176 (marble).
SIMPLICITY AND HARMONY
In the implementation of a theme I attempt to arrive at a
minimum of shapes, since I believe that through ruthless
eradication of all formal expressions the artistic statement
becomes more truthful and thus more effective.
Admittedly, I simultaneously believe that even with highest
exertions (to come out of one's self) the ballast of heritage and
memory can never be cast off.
That's why the imagination of a simple, disciplined shape is a
subjective term, different with every person and every race, yet a
first principle of simplicity and harmony must be reached.
From the aforementioned literature
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81
542
Alfred Hrdlicka *
(Vienna 1928–2009)
‘Sitzende weibliche Figur’, 1968/69, field of
topics: ‘academic’ sculptures, gray Karst-marble,
35 x 19 x 24 cm, (K)
€ 15,000 – 22,000
US$ 16,600 – 24,400
Michael Lewin, Alfred Hrdlicka, Das Gesamtwerk Bildhauerei,
Europaverlag, Vienna 1987, catalogue raisonné no. 102,
page 189, full-page ill.
Provenance:
Private Ownership, Vienna- purchased directly from the artist
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83
543
Willy Eisenschitz *
(Vienna 1889–1974)
‘Paysage d’Ibiza’, signed W. Eisenschitz, oil on canvas,
46 x 55 cm, framed, (K)
€ 12,000 – 16,000
US$ 13,300 – 17,700
Illustrated and registered:
Jean Perreau, Willy Eisenschitz, 1889–1974, Edition Schütz, 1999,
catalogue raisonné page 261-H646, there other dimensions
Provenance:
Art trade, Vienna
Private Ownership, Salzburg
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544
Anton Mahringer *
(Neuhausen, Württemberg 1902–1974 Villach)
‘Blumen vor Berg’, monogrammed, dated A. M. 68,
oil on masonite, 59 x 74 cm, framed, (K)
€ 32,000 – 40,000
US$ 35,500 – 44,400
Illustrated and listed in:
Gerbert Frodl/ Elisabeth Brandstötter, publisher Galerie Welz,
Salzburg 2004, page 375/WVAM 1208 - on masonite, not on
canvas as claimed here
Provenance:
Private Ownership, Germany
With works similar to this one, Mahringer came very close to
non-objectivity. Many of these late images demonstrate that he
had for some time already allowed forms of abstraction into his
work, even if until the end specific motifs remain recognisable. For
Mahringer, the motif of the object always played a central role
in his work. He often mentioned which motif he next wished to
paint, saying he absolutely had to paint it, and so on. Grappling
with something artistically was undoubtedly less the result of
abstract, purely intellectual work of the mind than it was a sensual
interrogation of, and before, a specific motif. For Mahringer,
eschewing motifs from the real world would have meant bringing
his artistic work to a standstill, rather than opening it up to a
new stimulus. Throughout his entire oeuvre, perhaps even more
evidently in his late work, Mahringer subjected himself to a regime
of self-mastery and control with the intention of producing multifaceted pieces of work using minimal means. By acknowledging this
radical reduction of artistic means, whilst at the same time giving
precedence to a deep visual complexity in his work, Mahringer
was able to shift seamlessly from post-war modernism to
the contemporary art of our time.
Excerpt from the above mentioned literature
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87
545
Arnold Clementschitsch *
(Villach 1887–1970)
‘Karawanken‘ (Ossiachersee, in the background the
Karawank Mountains), c. 1928, signed Clementschitsch,
65 x 75,5 cm, framed, (K)
€ 18,000 – 28,000
US$ 20,000 – 31,000
This painting will be included in the catalogue raisonné by Museum
Moderner Kunst Carinthia.
Provenance:
Private Ownership, Carinthia
88
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89
546
Werner Berg *
(Wuppertal-Elberfeld 1904–1981Rutarhof/Carinthia)
‘Linden im Schnee’, 1956, monogrammed W. B,
oil on canvas, 84 x 70 cm, framed (K)
€ 80,000 – 120,000
US$ 88,700 – 133,100
Werner Berg/Gemälde, publisher Johannes Heyn, Klagenfurt 1994,
catalogue raisonné page 277, no. 475 (with ill.)
Galerie Belvedere, Vienna, 273. temporary exhibition
(The illustrated book was published on the occasion of the
exhibition ‘Werner Berg zum 100. Geburtstag’), publisher
Johannes Heyn, 2005, page 161 (full-page colour ill.)
‘
The snow falls so densely that you can’t see through it. New snow
is so beautiful. ’My production should be like new fallen snow’, says
Kierkegaard. (...)’
Letter from Werner Berg to Maria Schuler, 21 February 1957 from
the a formentioned-publication
‘(...) Der Schnee geht nieder, dass man nicht durchschauen kann.
Frischer Schnee ist so schön. ’Meine Produktion sei wie frischer
Schnee’, sagte Kierkegaard. (...)’
Brief Werner Berg an Maria Schuler vom 21. Februar 1957aus der oben angeführten Publikation
Provenance:
Private Ownership, Carinthia
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547
Norbertine Bresslern-Roth *
(Graz 1891–1978)
‘Angriff’, 1971, signed B.-Roth, oil on burlap,
€ 18,000 – 25,000
US$ 20,000 – 27,700
Illustrated:
Otto Pascher, Norbertine v. Bresslern-Roth, Leykam-Verlag, GrazVienna, 1974 (full-page colour ill.)
Bresslern Roth, Eine Hommage im St. Veither Schloessl zu Graz,
self-publish Michael Stoff Graz, 2003
Provenance:
Private Ownership, Tyrol
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93
548
Hans Josef Weber-Tyrol *
(Schwaz 1874–1957 Merano)
‘Der Rosengarten’, signed Weber-Tyrol, on the reverse on
stretcher by hand: ‘Der Rosengarten Bozen Weber-Tyrol’,
oil on canvas, 57 x 88 cm, framed, (K)
€ 12,000 – 20,000
US$ 13,300 – 22,200
From Hans J. Weber-Tyrol’s writings
Every image has a dominant element. Within unity there are
changes. Contrast. Something foreign, different, which none the
less finds its way in, leading to a higher life, a higher rhythm.
The unexpected creates a simultaneous effect of intensification,
revitalisation and unification.
Catalogue: Wilfried Kirschl, Malerei und Graphik in Tirol
1900–1940, Innsbruck 1973
Provenance:
94
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95
549
Hans Josef Weber-Tyrol *
(Schwaz 1874–1957 Merano)
‘Die Mendel’ (Southern Tyrol), signed Weber-Tyrol, on the
reverse on the stretcher by hand: ‘Die Mendel Verkauft’,
€ 10,000 – 18,000
US$ 11,100 – 20,000
Mount Mendel is Kaltern’s local mountain.
From Hans J. Weber-Tyrol’s writings ...
Regardless of whether they are warm or cold, bright or dark,
colours must be born out of their natural fire. The precious pure
blood and fire of original colours must not be covered. One has
to guess the crystalline forms amidst erosion configurations. The
pyramids, conical shapes, cubes, struts, prisms, columns, piers, walls
and forces, ridges, slopes, consoles etc., steps, crests. Geometry.
The hunched world sprouting from within, as it were: a landscape.
The gigantic body of this landscape, this burning shell against the
morning sky towards the west. ... 1929.
Catalogue: Wilfried Kirschl, Malerei und Graphik in
Tirol 1900–1940, Innsbruck 1973
Provenance:
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550
Anton Faistauer
(St. Martin/Lofer 1887–1930 Vienna)
Landscape at Maishofen, signed (partially retraced), dated
A. Faistauer 1918, oil on canvas, on canvas, 52 x 66.5 cm,
framed, (K)
€ 40,000 – 60,000
US$ 44,400 – 66,500
Provenance:
Sale Dorotheum Vienna, 5th December 1973, Lot 343
Galerie Magnet, Völkermarkt, Carinthia
Private Collection, Salzburg
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551
Oscar Mulley *
(Klagenfurt 1891–1949 Garmisch)
Homestead in the mountains, c. 1930, signed Mulley,
€ 15,000 – 25,000
US$ 16,600 – 27,700
Provenance:
Private Collection, Germany
In 1929 Mulley participated in the 50th annual exhibition in the
Künstlerhaus in Vienna. There, the Viennese public chose him with
his oil painting ‘An der Dorfkirche’ as the winner of the ‘Wiener
Volkspreis 1929’ founded by the Viennese Association of Visual
Artists. During participation in a further exhibition in the Styrian
Art Club in Graz, Mulley was awarded the silver medal of the city
of Graz. Oskar Mulley’s pastose mountain paintings, executed in
earthy colouring, show him to be an analysing observer of his
living space. In contrasting the landscape of the Kaiser Mountains
and the living conditions of mountain farmers, he condenses the
subjective experience of landscape and architecture in a symbolic
image statement. Nature is landscape, culture is architecture,
always in the totality of the details. Consequently, Mulley
represents the architecture of homesteads and villages in the
mountains in the way nature would build them, if it could build,
namely with protrusions and crevices. Here, man and nature
coexist in harmony.
Günther Moschig, Oskar Mulley, Heimatverlag, Schwarzach 1991
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101
552
Oskar Mulley *
(Klagenfurt 1891–1949 Garmisch)
Winternight, signed, dated Mulley 25, oil on canvas,
€ 6,000 – 9,000
Provenance:
102
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US$ 6,700 – 10,000
553
Max Ritter von Esterle *
(Cortina d’Ampezzo 1870–1947 Bezau, Bregenzer Wald)
Winterlandscape (Arlberg?), signed M. Esterle, tempera on
paper on cardboard, 41.5 x 51.8 cm, framed, (K)
€ 5,000 – 8,000
US$ 5,500 – 8,900
Provenance:
Private Ownership, England
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554
Karl Sterrer *
(Vienna 1885–1972)
‘Das Klagelied’, signed, dated Karl Sterrer 1913 and with
dedication at the upper margin: Herrn Dr. Heinrich
Freiherrn von Haerdtl gewidmet.1914, inscription on
the reverse: Klagelied Karl Sterrer 1913, oil on canvas,
€ 8,000 – 12,000
US$ 8,900 – 13,300
On the reverse remains of labels: Sächsischer Kunstverein
Dresden.986 (1986?)
Künstlerhaus Wien,1913/346. (3464?)
Illustrated:
Arpad Weixlgärtner, Karl Sterrer, Ein Wiener Maler der
Gegenwart, publisher Gesellschaft für vervielfältigende Kunst,
Vienna 1922, page 47, listed on page 212, no. 23
... The success of the exhibition in the Maysedergasse found
expression for the artist in particular in the fact that, in the lawyer
Baron Heinrich von Haerdtl, he had gained a sophisticated and
generous benefactor, whose warm, selfless concern and energetic
assistance would be of the greatest importance for himself and
his family over the coming years... In the summer of 1913 Sterrer
and his family stayed as the guests of Baron von Haerdtl in
green Styria, in Pernegg in the Murtal. There the artist created, in
addition to the beautiful landscape painting ‘Der grüne Acker’, a
highly colourful tempera painting in which the simple example of
nature is writ large, also the ‘Abendlied’ and the ‘Klagelied’... The
other picture, also an oil painting, dedicated to Baron Heinrich von
Haerdtl, in whose possession it is found, and which is illustrated
in colour in ‘Westermanns Monatsheften’, is divided horizontally
into two parts. Below, a nymph bends over to kiss a drowned
man, while above, his wife sits on the riverbank and pours out her
grief for her lost beloved in a song. The Mur is a terrifying, loudly
rushing body of water. The Sterrer family lived close by to its
banks. Dreams often troubled the artist, dreams which seemed to
presage an imminent disaster. The husband of a woman whom the
Sterrer family knew, a raftsman, had recently drowned in the Mur.
These are the elements out of which the painting was created.
As the Mur is broadened into a peaceful lake plied by sailing boats,
so is everything else transformed and idealised...
from the aforementioned literature.
Provenance:
Collection Freiherr Dr. Heinrich Haerdtl (1854-1939), Vienna
his heirs, Potsdam.
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105
555
Karl Truppe *
(Radsberg 1887–1959 Klagenfurt)
Nude seen from behind (with black cat), signed, dated
Truppe 39, oil on canvas, 136 x 172 cm, framed, (K)
€ 30,000 – 40,000
US$ 33,300 – 44,400
Exhibited:
Große Deutsche Kunstausstellung 1939 im Haus der Deutschen
Kunst zu München (label fragment on the frame)
Illustrated:
Felix Zimmermann, Karl Truppe. Sein Werden und Schaffen,
Vienna, 1942
Provenance:
106
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107
556
Ferdinand Brunner *
(Vienna 1870–1945)
‘Bei Grünau 0.0er’, 1929, signed Ferdinand Brunner,
label on the reverse, written by the hand of the artist:
Ferdinand Brunner “Bei Grünau 0.0er”, 1929, oil on canvas,
€ 4,000 – 6,000
Provenance:
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US$ 4,400 – 6,700
557
Ferdinand Brunner *
(Vienna 1870–1945)
‘Aus dem Pfarrergarten in Aflenz’, signed Ferdinand Brunner
as well as on the reverse a label: titled, dated 1937 by the
hand of the artist, oil on canvas, 44 x 35 cm, framed, (K)
€ 7,000 – 9,000
US$ 7,800 – 10,000
Label on the stretcher: Künstlerhaus Wien 1941/2515
Große Deutsche Kunstausstellung im Haus der Deutschen Kunst,
München
Provenance:
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558 –
Adolf Helmberger *
(St. Gilgen 1885–1967)
Early spring morning at Wolfgangsee, signed, dated
A. Helmberger 1946, on the stretcher inscription:
‘Vorfrühlingsmorgen’ von Adolf Helmberger in St. Gilgen
(Salzburg), oil on canvas, 70 x 100 cm, framed, (K)
€ 6,000 – 9,000
US$ 6,700 – 10,000
Label on the stretcher: Künstlerhaus Wien, 1946/0955
Provenance:
Family Estate, Switzerland
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111
559
560
559 –
Josef Dobrowsky *
(Karlsbad 1889–1964 Tullnerbach)
Im Salzkammergut, water colour on paper, on the reverse:
... Brauerei Eggenberg, Post: Vorchdorf O-Ö, 48 x 63 cm,
framed, (K)
560 –
Josef Dobrowsky *
(Karlsbad 1889–1964 Tullnerbach)
St. Margarethen in Burgenland, according to the description
on the reverse, signed, dated J. Dobrowsky 51, gouache,
pastel on paper, 50.5 x 70.5 cm, framed, (K)
€ 3,500 – 5,000
€ 3,000 – 4,000
Provenance:
Viennese Collection
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US$ 3,900 – 5,500
Provenance:
Viennese Collection
US$ 3,300 – 4,400
561 –
Anton Mahringer *
(Neuhausen, Württemberg 1902–1974 Villach)
‘Karpaten’, signed, dated Anton Mahringer 63, watercolour
on paper, 40.5 x 52 cm, framed, (K)
€ 3,000 – 4,000
US$ 3,300 – 4,400
Illustrated and registered:
Gerbert Frodl/ Elisabeth Brandstötter, Anton Mahringer, Verlag
Galerie Welz, Salzburg 2004, page 359/WVAM 1020,
Provenance:
Viennese Collection
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562 –
Kurt Moldovan *
(Vienna 1918–1977)
View in a garden with a red house, signed, dated
Moldovan 73, watercolour on paper, sight area 31 x 47 cm,
framed, (K)
€ 2,500 – 3,500
Provenance:
Viennese Collection
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US$ 2,800 – 3,900
563 –
Kurt Moldovan *
(Vienna 1918–1977)
Trees in late autumn, signed, dated Moldovan 73,
watercolour on paper, sight area 31 x 47 cm, framed, (K)
€ 2,500 – 3,500
US$ 2,800 – 3,900
Provenance:
Viennese Collection
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115
564 –
André Lhote *
(Bordeaux 1885–1962 Paris)
Conversation sur la dune, signed A. Lhote, oil on wooden
panel, 53 x 93 cm, framed, (PP)
€ 36,000 – 45,000
US$ 39.900 – 49,900
The authenticity of the present work was confirmed
by André Schoeller
Provenance:
Galerie M. Mantelet, Paris (label on the reverse)
Private Collection, Japan (c. 1985)
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A
B
565
Alberto Magnelli *
(Florence 1888–1971 Meudon)
A) Drawing No. 88, 1941, signed, dated Magnelli
41, india ink, watercolor and pencil on paper,
21.3 x 26.7 cm, framed
B) Drawing No. A 99, 1941, signed, dated Magnelli
22.2 x 26.7 cm, framed
C) Drawing No. 103, 1941, signed, dated Magnelli
21.3 x 26.7 cm, framed (AR)
€ 9,000 – 12,000
US$ 10,000 – 13,300
We are grateful to Daniel Abadie who orally confirmed the
authenticity of these works
Provenance:
Estate of the artist
Leonard Hutton Galleries, New York (label on the reverse and
photo certificate available)
Exhibition:
New York, Leonard Hutton Galleries, Alberto Magnelli,
12 January -16 February 2006, exh. cat. no. 21,
26 and 29 with ill.
C
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566
Serge Charchoune *
(Buguslan/Ural 1888–1975 Paris)
Nature morte, 1945, signed, dated Charchoune 45, oil on
canvas laid down on board, 15.7 x 23.5 cm, framed, (AR)
€ 5,000 – 7,000
US$ 5,500 – 7,800
Photo certificate:
Galleria Lorenzelli Arte, Milan
Provenance:
Galleria Lorenzelli Arte, Milan
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567
Sonia Delaunay *
(Gradizk, Ukraine, 1885–1979 Paris)
Projet de tissus n. 803, signed, numbered Sonia Delaunay
n. 803, inscribed in pencil F 1928, gouache on paper laid
down on fine cardboard, 27 x 21 cm, framed, (MCC)
€ 6,000 – 8,000
US$ 6,700 – 8,900
Photo certificate from the artist, dated Paris 14 juin 1976, with
Archive no. F 1928 and stamp of the Galleria Rinaldo Rotta,
Genoa
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Provenance:
Galleria Rinaldo Rotta, Genoa (with certificate) - acquired in 1973
directly from the artist’s studio in Paris
Galleria Martano, Turin
Auction Sotheby’s London, 23 March 1994, Lot 49
Galleria In Arco, Turin
568
Francis Picabia *
(Paris 1879–1953)
Transparence, 1932, signed Francis Picabia, pencil, ink, and
charcoal on paper, 35 x 30 cm, framed, (MCC)
€ 15,000 – 20,000
US$ 16,600 – 22,200
The work has been authenticated and certified by the Comité
Picabia and it will be included in the forthcoming catalogue
raisonné de l’oeuvre de Francis Picabia.
Provenance:
Acquired from the artist in Juan les Pins, arond 1936 by Baron
F. M. Scaglione and his wife and thence by the heirs of the buyers
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569
Pablo Picasso *
(Malaga 1881–1973 Mougins)
Untitled, 1966, felt-tip pen and ballpoint on letterpress
printing paper, signed and dated Picasso le 4.8.66,
dedicated: Pour Bohuslav Florian, 20 x 13 cm, (PP)
€ 36,000 – 45,000
US$ 39,900 – 49,900
Drawing on the inner title page of the book:
Antonina Vallentinova, Picasso, Paris, Albin Michel 1957
Provenance:
Florian Bohuslav (1925-1977) Collection, Vienna
The heirs
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570
Jaques Lipchitz *
(Druskeniki/Polen 1891–1973)
Study for Government of the people, 1967 ca., signed,
marked with the artist’s thumbprint and numbered
‘J. Lipchitz 6/7 (along the edge), h. 42.3 cm,
bronze Ed. 6/7, (AR)
€ 12,000 – 16,000
US$ 13,300 – 17,700
Provenance:
Artist’s Studio;
sale Christie’s New York, 12 February 1987, Lot 128
sale Christie’s Amsterdam, 4 December 2001, Lot 168
Literature:
J. Lipchitz, H. H. Arnason, My life in sculpture, London 1972,
page 222, no. 199 (larger version illustrated)
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In the early 1960s Jacques Lipchitz was invited to
Versilia by the Anglo-Italian sculptor Fiore De Henriquez. There he visited the famous art foundries
Tommasi, Del Chiaro and Da Prato. Lipchitz was
immediately struck by the skillfulness and kindness of Tuscan moulders and by the experience of
marble cutters in Carrara.
Subsequently, he settled in Pieve di Camaiore and
purchased Villa Bosio, where he would also host
his friend, the sculptor Fiore De Henriquez, for a
short period.
His links to Italy grew stronger in the following years.
In 1966, an exhibition of sculptures titled “Images of
Italy” opened at the Marlborough-Gerson Gallery in
New York. Lipchitz died in Capri in 1973.
The Jacques and Yulla Lipchitz Foundation donated
a series of plaster casts and numerous drawings to
the Palazzo Pretorio Museum in Prato, as desired by
the late Lithuanian sculptor. The National Gallery of
Modern Art in Rome preserves a 4.3 metre-high marble version of the totemic sculpture “Peace on Earth”.
571
Jaques Lipchitz *
(Druskeniki/Poland 1891–1973)
Il Ponte Vecchio, 1967, signed, marked with artist’s
thumbprint and numbered 3/7 J. Lipchitz on the
base,bronze, golden dark patina, 30 x 27 x 26 cm,
ed. 3/7 (MCC)
€ 15,000 – 18,000
US$ 16,600 – 20,000
Provenance:
Atelier Jacques Lipchitz, Villa Bosio, Pieve di Camaiore, there
acquired by Mr. P. Mercuri around 1969
B. Corsi Collection, Rome, acquired from the previous owner in
2013 (written declaration on the photo certificate)
Literature:
Alan G. Wilkinson, The sculpture of Jacques Lipchitz, a catalogue
raisonné, vol. 2, The American years 1941 1973, Thames and
Hudson, 2000, p. 97, no. 657 with ill. and p. 208 with full page ill.
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125
Georg Kolbe (1877–1947) was the most successful
German sculptor of the first half of the twentieth
century. His expressive sculptures dating from the
nineteen teens and twenties reflect the spirit of
the times in the European art metropolis Berlin,
conveying a vivid image of the era they were
produced in. Their close ties to now iconic examples
of modern architecture is particularly enlightening for
an understanding of their historical significance. Mies
van der Rohe, for example, placed Kolbe’s sculpture
‘Morning,’ a female nude with arms outstretched
upwards, in the reflecting pool of his Barcelona
Pavilion built on the occasion of the 1929
World Exposition.
Georg Kolbe's main theme was the autonomous
nude figure, with which his generation distanced
itself from the commissioned sculpture of the
19th century.
[...] Kolbe primarily created female figures, while
male figures increasingly appeared only after the
late 1920s. His sculptures, which eschew narrative
or allegorical content, shed light on the perceptions
and ideals regarding the human figure that were
contemporary at the time.
Georg Kolbe in his studio, 1921
© Archiv GKM
© Georg Kolbe Museum, Berlin
572 –
Georg Kolbe *
(Waldheim/Sachsen 1877–1947 Berlin)
Bathing Girl, conceived in 1926, monogrammed GK on the
base, bronze with brown patina, with foundry stamp
H. Noack Berlin Friedenau, cast in bronze in a known
edition of at least 2, hight 46,5 cm, (PP)
€ 60,000 – 80,000
US$ 66,500 – 88,700
The authenticity of the work has been confirmed by
Dr. Ursel Berger, former director of the
Georg Kolbe Museum, Berlin.
Provenance:
Buchholz Gallery, New York (1939) (label on the base)
Phylis and Erwin Kalla (1925-2005) Collection, USA
their estate with Concept Art Gallery, USA
Private collection, USA (2013)
Exhibited:
San Francisco, San Francisco Museum of Art, Modern German
Sculpture, 1939 (label on the base)
An example of this bronze was probably first shown at the
Venice Art Biennale in 1926.
Literature:
Ursel Berger, Georg Kolbe - Leben und Werk (Life and Work),
with the catalog of the Kolbe-sculptures in the Georg-KolbeMuseum, second edition, Berlin 1990, no. 95, page 297
(ill. of another cast)
An example of this work is included in the collection of the
Georg Kolbe Museum, Berlin.
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127
Zinaida Serebriakova painted the pastels ‘Moroccan Playing
the Rabab’ (lot 574) and ‘Seated Girl with Bracelets’
(lot 573) in Morocco in late 1928.
After moving to Paris in 1924, Serebriakova worked
as a portraitist and painter of landscapes, still lifes, and
domestic scenes. In May and June 1928, thirteen of her
works were shown at the ‘Exhibition of Old and New
Russian Art’ in Brussels, whose opening was attended by
the Belgian King Albert I. Many Belgian critics, art historians,
art lovers, collectors, and patrons became interested in
Zinaida Serebriakova's art. One such patron, Baron Jean
de Brouwer, commissioned the artist to paint a portrait of
his family, and he also invited her on a trip to Morocco,
where he owned a citrus plantation. A condition of the trip
was that de Brouwer could choose any paintings resulting
from the trip that he liked. After some thought and
correspondence with relatives, Serebriakova decided to
go to Morocco.
In early December 1928, after she crossed Spain and the
Straits of Gibraltar, she arrived in Africa for the first time.
In Morocco, Zinaida Serebriakova lived mainly in Marrakesh,
where she was immediately enthralled by the details of her
new environment. In a letter dated December 24 to her
brother E. Lanceray, who was living in Tiflis, she wrote:
‘I have been extremely amazed by everything here:
the costumes representing the widest variety of colors, the
diversity of human races who mix here, including blacks,
Arabs, Mongols, Jews (of the most biblical variety), etc.
Life in Marrakesh is also fantastic: everything is done in an
artisanal way, as it should be, and as it was done 1,000
years ago ... I've been here a total of two weeks now, but
I have been so bowled over by the novel experiences that
I cannot focus on what I should paint and how. As soon as
I sit down to paint, the women leave.’
Nevertheless, the artist managed to create a large number
of works in pastel depicting genre scenes, portraits, and
landscapes. She was interested in people in national
costumes, women with children, and musicians. These
works are striking for their richness of color, light touch,
and skillful composition.
After returning in January 1929 to Paris, Zinaida
Serebriakova had already managed to arrange an exhibition
of her Moroccan works in February at the gallery of
Bernheim Jeune.
A. Benois wrote the following about his niece's exhibition
on May 17:
‘She has dazzled everyone with her Morocco collection,
which was completed during just a six-week stay:
such freshness, simplicity, accuracy, liveliness, and so
much light!’
Works from the 1928-1929 Moroccan series were shown
at other exhibitions, including in December 1931 at
La Petite Galerie in Brussels.
Serebryakova's series of Marrakesh paintings from
1928-29, together with the second Moroccan cycle from
1932, represents one of the pinnacles of the Paris period
of her work.
© Pavel Pavlinov, art historian, member of AICA,
and expert at the Zinaida Serebriakova Foundation
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128
573
Zinaida Serebriakova *
(Neskutchnoje 1884–1967 Paris)
Seated girl with bracelets, 1928, signed and dated
Z. Serebriakova 1928, Marrakech, pastel on paper,
€ 80,000 – 120,000
US$ 88,700 – 133,100
We are grateful to Mr. Pavel Pavlinov, expert of the Zinaida
Serebriakova Foundation, Moscow, for confirming the authenticity
of the work.
Provenance:
- bought directly from the artist in 1928
Thence by descent
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129
Пастели Зинаиды Серебряковой «Марокканец
играющий на рабабе» и «Сидящая девушка с
браслетами» созданы художницей в Марокко в конце
1928 года.
Переехав в Париж в 1924 году Серебрякова работала
как портретист, мастер пейзажа, натюрморта,
бытовых зарисовок. В мае-июне 1928 года тринадцать
ее работ были показаны на «Выставке старого и
нового русского искусства» в Брюсселе, на открытии
которой присутствовал бельгийский король
Альберт I. Творчеством Зинаиды Серебряковой
заинтересовались многие бельгийские критики,
искусствоведы, ценители искусства, собиратели и
меценаты, в том числе барон Жан де Броуэр [Jean
de Brouwer], заказавший художнице портреты своей
семьи, а также предложивший ей поездку в Марокко,
где у него были плантации цитрусовых. Условием
поездки был выбор де Броуэром понравившихся
работ. После некоторых раздумий и переписки с
родственниками Серебрякова решилась на поездку.
В начале декабря 1928 года через Испанию и
Гибралтарский пролив она впервые попала в
Африку. В Марокко Зинаида Серебрякова жила
преимущественно в Марракеше, где сразу была
увлечена особенностями окружающей жизни. В
письме брату Е.Е. Лансере [E.Lanceray] в Тифлис
24 декабря она писала: «Меня поразило все здесь
до крайности – и костюмы самых разнообразных
цветов, и все расы человеческие, перемешанные
здесь – негры, арабы, монголы, евреи (совсем
библейские) и т.д. Жизнь в Марракеше тоже
фантастическая – все делается кустарным образом,
как должно быть было и 1000 лет тому назад... Я
вот уже две недели как здесь, но так одурела от
новизны впечатлений, что ничего не могу сообразить,
что и как рисовать. Как только сядешь рисовать, так
женщины уходят». Тем не менее, художнице удалось
создать большое количество работ пастелью с
изображением жанровых сцен, портретов и пейзажей.
Ее интересовали люди в национальных одеждах,
женщины с детьми, музыканты. Эти работы поражают
сочностью цвета, легкостью линии и мастерством
композиции.
После возвращения в январе 1929 года в Париж
Зинаида Серебрякова уже в феврале устроила
выставку своих марокканских работ в галерее
Бернхейма Младшего [Bernheim Jeune]. Вот как писал
о выставке своей племянницы А.Н. Бенуа [A.Benois]
17 мая: «Своей коллекцией Марокко, созданной в
течение всего только шестинедельного пребывания,
она просто всех поразила: такая свежесть, простота,
меткость, живость, столько света!» Работы
марокканской серии 1928–29 годов выставлялись и на
других выставках, в том числе в декабре 1931 года в
“La Petite Galerie” в Брюсселе.
Вместе со вторым марокканским циклом 1932 года,
созданная в 1928–29 годах серия марракешских работ
Серебряковой является одной из вершин парижского
периода ее творчества.
© Павел Павлинов,
историк искусства, член AICA,
эксперт Фонда Зинаиды Серебряковой
130
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574
Zinaida Serebriakova *
(Neskutchnoje 1884–1967 Paris)
Maroccan playing the rabat, 1928, signed and dated
Z. Serebriakova 1928 Marrakech, pastel on paper,
€ 80,000 – 120,000
US$ 88,700 – 133,100
We are grateful to Mr. Pavel Pavlinov, expert of the Zinaida
Serebriakova Foundation, Moscow, for confirming the authenticity
of the work.
Provenance:
- bought directly from the artist in 1928
Thence by descent
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131
575
Giorgio de Chirico *
(Volos, Greece 1888–1978 Rome)
Battaglia, 1940 ca., signed G. de Chirico, oil on canvas,
€ 50,000 – 70,000
US$ 55,400 – 77,600
Photo certificate:
Fondazione Giorgio e Isa de Chirico, Rome,
archive no. 099/10/15/OT, 12 October 2015
Provenance:
Galleria Rinaldo Rotta, Genoa
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133
576
Il Guado, 1940 ca., signed G. de Chirico, oil on canvas,
35 x 55 cm, (AR)
€ 40,000 – 60,000
US$ 44,400 – 66,500
Photo certificate:
Fondazione Giorgio e Isa de Chirico, Rome, archive no. 098/10/15/
OT, 12 October 2015
Provenance:
Antichità Zamberlan, Venice
Exhibition:
Venice, Società Bucintoro, Mostra personale Giorgio de Chirico,
2 August - 15 September 1952
134
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135
‘Comparative works, which Rosso produced partly
from his imagination and partly based on antique
precedents, or rather on works of the Renaissance,
served the artist as opportunities to compare with
his own artistic production in order to make
apparent thåe ‘higher truths’ conveyed by them.’
In his preoccupation with the Renaissance, Rosso
arrived at his own innovative vision of a new, future
sculpture. (exh. cat. Medardo Rosso, Frankfurt am
Main 1984, page 188)
The correspondence between Medardo Rosso and
Auguste Artaria dated April 1904 (Wienbibliothek,
Artaria Archive, manuscript box 22.4) outlines the
sculptor’s interest in antiquising sculpture which
served as the basis for his works.
The bust, ‘Niccolò da Uzzano’ belongs to this series;
Uzzano (Florence 1359–1431) was an Italian
politician and a standard bearer for Florentine
righteousness/justice.
577
Medardo Rosso
(Turin 1858–1928 Milan)
Niccolò da Uzzano, 1902–1903, bronze with a dark
patina (lost wax technique), signed M Rosso, height
47,7 cm, (PP)
€ 40,000 – 60,000
US$ 44,400 – 66,500
Photo certificate:
Paola Mola, Milan, 4 February 2011
Provenance:
Collection Gottfried Eissler (1862-1924), Vienna - acquired from
the artist in 1903 (label inside bust)
Private Collection, Austria
sale Dorotheum Vienna, 18 May 2011, Lot 959
136
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137
578
Cavallo, 1960, signed, G. De Chirico, titled, signed,
G. de Chirico on the reverse, oil on canvas, 42 x 52 cm,
framed, (AR)
€ 34,000 – 42,000
US$ 37,700 – 46,600
Photo Cerificate:
Claudio Bruni Sakraischik, Rome, 26 June 1978,
certificate no. 45/78
Provenance:
Lo Scalino, Rome (stamp on the reverse and on the stretcher)
Galleria La Barcaccia, Rome (stamp on the reverse)
Galleria d’Arte Il Portico, Santa Magherita (label on the reverse)
La Piccola Galleria, Diano Marina (label on the reverse)
Exhibition:
Cherasco, Palazzo Salmatoris, I fratelli De Chirico. Giorgio
e Alberto Savinio, 9 October - 19 December 2004,
exh. cat. pp. 104 – 105 with ill. (label on the reverse)
Literature:
C. Bruni Sakraischick, Giorgio de Chirico. Catalogo Generale,
Electa, Milan 1974, vol. VII, no. 1111 with ill.
On the reverse a notary inscription certificates the authenticity of
the artist’s signature, Rome, 17 December 1962
138
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139
579
Gino Severini *
Natura morta con fruttiera blu, carciofi e pipa, 1939,
signed G. Severini, oil on wood panel, 50.5 x 61 cm,
framed, (MCC)
€ 40,000 – 50,000
US$ 44,400 – 55,400
Photo certificate:
Romana Severini Brunori,
archive no. 01, Rome, 14 January 2014
Provenance:
V. M. Angelini Collection, Italy
Comparative works:
D. Fonti, Gino Severini, Catalogo ragionato, Mondadori - Daverio,
Milan, 1988, p. 452, no. 644 A Still Life with similar objects in
the composition
140
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141
580
581
580
Zoran Antonio Music *
(Görz 1909–2005 Venice)
Paesaggio dalmata, 1959, signed, dated Music 1959,
mixed media on paper laid down on canvas, 56 x 62 cm,
framed, (AR)
€ 5,000 – 7,000
581
Arnaldo Badodi
(Milan 1913–1943 Kamenskoye)
Natura morta, 1939, signed, dated Badodi 39,
oil on canvas, 48 x 65 cm, framed, (AR)
US$ 5,500 – 7,800
€ 3,000 – 4,000
Provenance:
Galleria d’arte Il Traghetto, Venice (iscribed on the reverse)
Sale Finarte Milan, 9 November 1982, lot 63
142
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US$ 3,300 – 4,400
Provenance:
Galleria Genova, Genoa (label on the reverse, dated 1940)
582
Filippo de Pisis *
(Ferrara 1896–1956 Milan)
Le cheval blanc, 1928, signed De Pisis, oil on cardboard,
34,1 x 23,2 cm, framed, (PP)
€ 8,000 – 12,000
US$ 8,900 – 13,300
The work is archived by the Associazione per Filippo de Pisis,
Milan, under the no. 04563 (letter available)
Provenance:
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143
583
Francesco Messina
(Lingualossa/Catania 1915–1995 Milan)
San Sebastiano, 1928 ca., signed F. Messina on the
base, bronze, 65 x 18 x 18 cm (without marble
base), 75 x 19.5 x 20 cm (with marble base), (AR)
€ 20,000 – 30,000
US$ 22,200 – 33,300
Photo certificate:
Fondazione Francesco Messina, Milan
Provenance:
Huber Collection Rome
(written on the label on the reverse)
Exhibition:
Linz, Mostra d’Arte Italiana Contemporanea Linz,
exhibition promoted by Ministero della cultura popolare
e dell’educazione nazionale, Governo del Reich, in
collaboration with Biennale d’Arte di Venezia, October November 1942 (label on the marble base)
Literature:
‘Francesco Messina. Sculture, disegni e poesie
1916-1993’, Mazzotta ed.2003, no. 26 with ill.
(another example illustrated)
Three examples of San Sebastiano are known to the
Fondazione Francesco Messina.
The present work is the first one realized by the artist.
144
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145
584
Max Peiffer Watenphul *
(Werferlingen, Sachsen 1896–1976 Rome)
Venice – View on San Marco, 1950, signed with
monogram and dated M.P.W. 50, oil on board,
44,5 x 35,5 cm, framed, (PP)
€ 9,000 – 12,000
Provenance:
146
MODERN ART
US$ 10,000 – 13,300
Exhibited:
Munich, Deutscher Maler Italiens. Max Pfeiffer Watenphul, Galerie
Seifert-Binder, 1.3. – 31.3.1984
Literature:
Grace Watenphul Pasqualucci, Alessandra Pasqualucci: Max Peiffer
Watenphul, Catalog raisonné, Vol. I paintings – watercolors,
DuMont Buchverlag, Cologne 1989, page 224 with ill.
585
Max Peiffer Watenphul *
(Werferlingen, Sachsen 1896–1976 Rome)
Venice – Lagune with sailing boats, 1957,
signed with monogram M.P.W., oil on canvas,
49,5 x 96,5 cm, framed, (PP)
€ 16,000 – 22,000
Provenance:
US$ 17,700 – 24,400
Exhibited:
Kiel, Max Peiffer Watenphul. Gemälde, Aquarelle, Graphik,
Kunsthalle, 8.1. – 12.2.1961, traveled to: Flensburg, Städtisches
Museum, 11.6. – 9.7.1961 / Kassel, Kunstverein, 6.8. – 3.9.1961 /
Hamm, Städtisches Gustav-Lübcke Museum, 10.9. – 1.10.1961 /
Erlangen, Kunstverein, 20.10. – 26.11.1961, no. 18
Solingen, Max Pfeiffer Watenphul. Gemälde, Aquarelle, Graphik,
Deutsches Klingenmuseum, 7.1 – 18.2.1962, no. 18
Aachen, Max Peiffer Watenphul, Gemälde, Aquarelle, Graphik,
Suermondt-Museum, 3.6. – 24.7.1962
Munich, Deutscher Maler Italiens. Max Pfeiffer Watenphul, Galerie
Seifert-Binder, 1.3. – 31.3.1984
Literature:
Grace Watenphul Pasqualucci, Alessandra Pasqualucci: Max Peiffer
Watenphul, Catalog raisonné, Vol. I paintings – watercolors,
DuMont Buchverlag, Cologne 1989, page 275 with ill.
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147
586
János Vaszary
(Kaposvar 1867–1939 Budapest)
Camel ride, signed Vaszary J., tempera on wood,
40.3 x 48.8 cm, framed, (PS)
€ 8,500 – 9,000
Provenance
Gallery Kieselbach, Budapest
148
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US$ 9,400 – 10,000
587
Vilmos Perlrott-Csaba *
(Bekescsaba 1880–1955 Budapest)
Felsöbanya in Winter, 1918, signed, inscribed Perlrott
Csaba N. B. 918, oil on canvas, 49 x 67 cm, framed, (PS)
€ 20,000 – 25,000
US$ 22,200 – 27,700
Provenance
Gallery Kieselbach, Budapest
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149
This is one of the few known landscape paintings by Mondrian from a Brabant farmland
without the inclusion of cattle. In mood and
time of the day this painting foreshadows
the later “late evening landscapes” which
gradually came to dominate Mondrian’s
landscape production in the three or four
years to follow
(Welsh, 1989)
588
Piet Mondrian *
(Amersfoort 1872–1944 New York)
A landscape near Uden, 1904–5 ca.,
signed P. Mondrian, oil on canvas laid down on board,
44.5 x 52.5 cm, framed, (AR)
€ 40,000 – 60,000
US$ 44,400 – 66,500
Provenance:
Mr. Borgts Collection
J.P. Smid, Amsterdam (label on the reverse)
Christie’s Amsterdam, Twentieth Century Art - The Lindeboom
Collection of early works by Piet Mondrian and from various
sources, 1 December 1999, lot 182
Exhibition:
Regina, Norman MacKenzie Art Gallery Edmonton,
Edmonton Art Gallery, Piet Mondrian and the Hague School of
landscape painting, October - December 1969,
exh. cat. no 65.
‘S-Hertogenbosch, Noordbrabants Museum, Piet Mondrian, Een
jaar in Brabant 1904–05, 11 November 1989- 14 January 1990,
exh. cat. no. 33
Madrid, Sala de Exposiciones de la Fundacion La Caixa, KandinskyMondrian. Dos caminos hacia la Abstraccion, 16 September 199413 November 1994, exh. cat. no. 10; travelling exhibition
to Barcelona, (label on the reverse)
Literature:
Robert Welsh, ‘Piet Mondrian. landscape before mid 1908’,
in the exh. cat.: Piet Mondrian and the Hague School, Regina 1965,
p. 43 with ill.
M. Tappeniers, ‘Best, daar maak ik een ding van’ in the exh. cat.:
Mondrian Werk in Brabant,’s- Hertogenbosch 1989, p. 6, no. 33
with ill.
Albert van den Briel, Piet Mondrian/’t is alles een groote eenheid,
Bert, Haarlem 1988, p. 99 with ill.
Robert Welsh, Joop Joosten, Piet Mondrian. catalogue raisonné,
Vol I, Blaricum, 1998, p. 303, no. A. 378 with ill.
150
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151
589
Albert Charles Lebourg
(Montfort-sur-Risle 1849–1928 Rouen)
La Seine à Rouen, signed A. Lebourg, oil on canvas,
€ 5,500 – 7,500
Photo certificate:
Robert Martin, Paris, 19 March 1979
Provenance:
152
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US$ 6,100 – 8,300
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153
590
Henri Lebasque
(Champigne 1865–1937 Cannet)
Girl in an Orchard, signed H. Lebasque, oil on canvas on
wood, 20.5 x 33.5 cm, framed, (PP)
€ 15,000 – 20,000
US$ 16,600 – 22,200
The work will be included in the Supplément du Catalogue
raisonné de l’oeuvre d’Henri Lebasque, currently being compiled
by Denise Bazetoux, Paris.
Provenance:
154
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155
“The sublime landscapes surrounding Montecalvello,
the castle Balthus purchased and brought back to
life in the superb Etruscan region near Viterbo, where
the feudal tower surmounts hallucinating rocks and
the plain below, emanated a spectral force, a strange
Chinese grandeur”
(Jean Leymarie, Académie de France, Rome, 1990)
591
Balthus (Balthasar Klossowski de Rola) *
(Paris 1908–2001)
Paysage de Montecalvello,
on the reverse n° 20.19.43 written by an another hand,
watercolor on paper, 24.5 x 32.5 cm, framed, (MCC)
€ 8,000 – 12,000
US$ 8,900 – 13,300
Provenance:
Acquired from the artist in 1991 by the present owner
Collection A. Maineiro, Rome
Exhibition:
Rome, Balthus, peintures, aquarelles, dessins, Villa Medici,
Académie de France, 1990, exh. cat., p. 176 with ill.
156
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157
592
Joszef Rippl-Ronai
(Kaposvar 1861–1927)
Dolls, 1902, signed Ronai, pastel on cardboard,
47,5 x 36,5 cm, framed, (PP)
€ 20,000 – 30,000
US$ 22,200 – 33,300
Provenance:
Zsigmond Székely Collection
Kieselbach Auctions, 11.10.2005, lot 134
acquired at the above sale by the present owner Private Collection, Germany
Exhibited:
Budapest, Merkur Palace, Exhibition of collected works by RipplRónai József, 1902
Budapest, Salon Könyves Kálmán, 150. Exhibition of collected works
Rippl-Rónai József, 1906
Published in:
Dezsö Malonyai: A youth, Budapest, 1906, page 180-220;
Elek Petrovics, Rippl-Rónai József, in: Art, 1906, no. 2, page 107-117;
János Horváth, Memorial book Rippl-Rónai, with memories by Paris
Anella of Rippl-Rónai, Kaposvár, 1995;
Mária Bernáth, The programm of ‘nationalistic art’ from interieur
in-picture of Rippl-Rónai József, in: Art History Studies to the 60th
birthday of Mojzer Miklós, Yearbook of the Hungarian National Gallery, 1991, page 283-286;
Erzsébet Király, The pictures of the small-town and the home. The
interieur-epoche of Rippl-Rónai in Kaposvár, in: Ed. Bernáth Mária,
Nagy Ildikó, Exhibition of collected works by Rippl-Rónai, Hungarian
National Gallery, 1998, exh.-cat., page 71-78
158
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159
593
Henri de Toulouse-Lautrec
(Albi 1864–1901 Malrose)
Les deux extrémes, 1881 ca., on the reverse stamp with
the inscription: Dessin de mon cousin germain, Henri de
Toulouse Lautrec, légué par sa mere, ma tante Alphonse De
Toulouse Lautrec, décédée en 1930, Mordelles, le 5–2–1963
and signed by Robert Toulouse Lautrec
(cousin of the artist) on the reverse,
pencil on paper, 22.5x 17.5 cm, framed, (MCC)
€ 8,000 – 10,000
US$ 8,900 – 11.100
Certificate of the Comité Toulouse-Lautrec, Paris,
19 December 2012
Provenance:
Galerie Rouillac, Tours
Private Collection, France
Literature:
M. me G. Dortu, catalogue raisonné de l’Oeuvre de ToulouseLautrec, Collectors ed., New York, 1971, vol. V, rif. D. 2382, pp.
388 – 389 with ill.
160
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594
Henri de Toulouse-Lautrec
(Albi 1864–1901 Malrose)
Jeanne Granier, pen and ink on paper, 25,2 x 20,4 cm,
framed, (PP)
€ 20,000 – 30,000
Portrait of Jeanne Granier
US$ 22,200 – 33,300
Provenance:
Hôtel Drouot, Paris, 11 March 1949, lot 192
L. Bloch, Paris (purchased at the above sale)
Sotheby’s, Olympia, 23 March 2005, lot 74
Private Collection (purchased at the above sale)
Sotheby’s London, 26 June 2008, lot 185
European Private Collection (purchased at the above sale)
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161
595 –
Tsuguharu-Léonard Foujita *
(Tokyo 1886–1968 Zurich)
Sleeping cat, signed Foujita, another sketch of a cat,
signed Foujita on the reverse, pencil and ink on paper,
23.3 x 24.8 cm, framed, (PS)
€ 5,000 – 5,500
Provenance:
The estate of the artist
162
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US$ 5,500 – 6,100
596
Alfons Mucha
(Eibenschütz 1860–1939 Prague)
Ritratto di ragazza, 1888, signed, dated Mucha, pencil on
brown paper 58 x 36.5 cm, (AR)
€ 5,000 – 7,000
US$ 5,500 – 7,800
Provenance:
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163
597
Raoul Dufy *
(Le Havre 1877–1953 Forcalquier)
A bord de la flotte, 1939, signed Raoul Dufy, pencil on
paper, 44 x 55 cm, framed, (AR)
€ 4,000 – 6,000
Provenance:
Sotheby’s, Milan, 28 May 1996
164
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US$ 4,400 – 6,700
598
Candido Portinari *
(Brodowski 1903–1962 Rio de Janeiro)
Portrait of Sofia Cantalupo, 1934, graphite on light yellow
paper, 35.5 x 30.5 cm, framed, (MCC)
€ 15,000 – 18,000
US$ 16,600 – 20,000
The drawing is registered in the Cultural Association Projeto
Portinari, Rio de Janeiro, under the archive no. CR 496 (FCO
3736) This work is a study for an oil painting with the same
subject.
Provenance:
Claudio Bruni Sakraischick Collection, acquired around 1960
in Rio de Janeiro
S. J. Allen Collection, Italy
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165
599
Oskar Kokoschka *
(Pöchlarn 1886–1980 Villeneuve)
‘Mutter mit Kind’ (Trudl mit No-Maske), c. 1932/1934,
monogrammed OK, dedication: Lieber Giovanni ein
freundlicher Händedruck, mir tut der Gedanke so wohl,
daß in Rom wer an mich denkt Dein Oskar, red chalk on
paper, 52 x 69 cm, on the reverse by another hand: diese
Studie Oskar Kokoschkas ‘Mutter und Kind’, ungefähr 1934,
ist nach meiner Meinung ein Original ...
(the rest and the signature illegible), (K)
€ 10,000 – 15,000
US$ 11.100 – 16,600
This drawing will be included in the catalogue raisonné of drawings
and watercolours by Dr. Alfred Weidinger.
Photo certificate:
by Prof. Dr. Heinz Spielmann, Hamburg, 27.7.2014:...
The background:
on his journey back from Tunisia, Kokoschka stopped off in Rome
after 22 May 1930 (he stayed in the Hotel Flora); after a few
days he travelled on from there to Anticoli in the Sabine Hills.
It is not clear from the letters of this period whom he met in
Rome, yet, based on the dedication on the drawing, he must have
met a Germanspeaking Italian with the first name of Giovanni.
In September, Kokoschka returned to Paris via Annecy. Due
to the growing financial crisis, his financial situation increasingly
deteriorated, so that he moved in with his mother and brother
into the house that he had given to them, at first from September
1931 until March 1932, and then (with interruptions) from August
1932 until the end of September 1934.
The Trudl paintings
In Vienna, Kokoschka painted a view of the city commissioned
by the city government; after that, he hardly had any income.
At home, a naive, childlike girl named Gertrud Bandera (Trudl)
cheered him up. He drew and painted her repeatedly from
the spring of 1932 onwards (cf. the paintings in the catalogue
raisonné of Hans M. Wingler, no. 281–283). To this group of
paintings belongs the painting ‘Mutter und Kind’, closely related
to the drawing, and also known by the titles ‘Im Garten’ and
‘Trudl mit No Maske’ (Cat. Zurich 1986, No. 79, colour plate).
The Kunsthalle Emden possesses another version of the theme.
Kokoschka informed Hans M. Wingler in 1955 that he had painted
the image in 1934, as one of the last in Vienna before he travelled
to Prague. He indicated that preparatory sketches for it were
already created some time previously; Wingler cites as examples
two red chalk drawings in the possession of the collector Victor
Wallerstein. The question of whether one of these drawings
is identical with the present sheet cannot be answered. It can
nevertheless be assumed that Kokoschka made many drawings
with this motif, and the present sheet belongs to this group. The
style of the drawing and the dedication written by Kokoschka
himself provide evidence of its authenticity; this is supported by
the Roman provenance. The date of the creation of the work can
be limited to a period of time from, at the earliest, early spring/
early summer 1932 until September 1934 at the latest. The motif
reveals that Kokoschka gladly played dressing-up, as with other
children; in this case he put a No-mask on the young girl and
placed her doll in her hand, yet drew her in such a fashion that
one receives the impression of an image ‘drawn from life.’
Provenance:
Galleria del Secolo, Rome (end of the 1940s)
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167
600
601
600 –
Oskar Kokoschka *
Ullapool (Scotland), signed, dated O Kokoschka 44, on the
reverse titled and dated Ullapool July 44, coloured pencil
on paper, 25 x 35.5 cm, framed, (K)
601 –
Oskar Kokoschka *
‘Elrig’ (Scotland), monogrammed, dated OK 44, on the
reverse titled and dated Elrig Aug 42, coloured pencil on
paper, 25.1 x 35.5 cm, framed, (K)
€ 4,000 – 6,000
€ 4,000 – 6,000
Provenance:
Galerie Welz, Salzburg
Private Property, Switzerland
168
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US$ 4,400 – 6,700
Provenance:
Galerie Welz, Salzburg
Private Property, Switzerland
US$ 4,400 – 6,700
602
Oskar Kokoschka *
Mountain landscape at Villeneuve, signed,
dated O. Kokoschka 58, watercolour on paper,
44 x 58 cm, passe-partout, framed, (K)
€ 6,000 – 10,000
US$ 6,700 – 11.100
This watercolour will be included in the catalogue raisonné of
drawings and watercolours by Dr. Alfred Weidinger.
Provenance:
Collection Willy Schmitt-Weidler (student and friend of the artist)
Private Ownership, Germany
MODERN ART
169
603
George Grosz *
(Berlin 1893–1959)
At the beach in Ahrenshoop, 1930, signed, dated Grosz 30,
stamped George Grosz Nachlass 5.202.5 on the reverse,
pencil on paper, 60 x 51 cm, framed, (AR)
€ 7,000 – 10,000
US$ 7,800 – 11,100
Provenance:
Sale Finarte, Milan, 14 October 1997
Note: the the sheet displays an original addition made by the artist
on the right side
170
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604
Otto Dix *
(Gera 1891–1969 Singen)
Sitzende im Hemd, 1927 ca., signed Dix and numbered
218, pencil on paper, 59 x 46.2 cm, framed, (AR)
€ 8,000 – 12,000
US$ 8,900 – 13,300
Provenance:
Galerie Nierendorf, Berlin
Galleria del Milione, Milan, no. 14531 (stamp on the reverse)
Fondazione A. Mazzotta, Milan
Exhibition:
Milan, Fondazione Antonio Mazzotta, Il Disegno del nostro secolo.
Da Klimt a Wols, 11 April - 10 July 1994, exh. cat. (eds. JeanJaques Label, Gabriele Mazzotta and Edward Rathke), p. 240,
no. 150 with ill.
Barcelona, Centre Cultural Santa Tecla, Palau de la Virreira,
El Jardin de Eros, 9 July - 7 November 1999
Literature:
Ulrike Lonrenz, Otto Dix. Das Werkwerzeichnis der Zeichnungen
und Pastelle. Herausgeben von der Otto Dix Stiftung Vaduz, VDG,
Weimar 2003, vol. III, p. 1056 with ill. NSk 4.2.14
MODERN ART
171
605
Louis Soutter
(Morges, Switzerland 1871–1942Ballaigues)
Sans Dieu nous sommes trop mais Sublimes, 1930–37,
Indian ink on paper, 25,1 x 34,3 cm, framed, (PP)
€ 12,000 – 16,000
US$ 13,300 – 17,700
Provenance:
Galerie M. Knoedler, Zürich AG, Zurich
(label on the reverse, cat. no. 179)
Galerie Würthle, Vienna (label on the reverse)
172
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173
606
Paul Klee
(Münchenbuchsee bei Bern 1879–1940 Muralto)
‘Mannfischmannesser’, (Man fish man eater), 1920,
signed, dated and titled Klee 1920, 99, pen on paper on
cardboard, 32 x 26 cm (total dimension),
19 x 15 cm ( painted part), framed, (AR)
€ 15,000 – 20,000
US$ 16,600 – 22,200
Photo certificate:
Zentrum Paul Klee, Bern, 20 April 2015, archive no. 1503/4
Provenance:
Werner Allenbarch Collection (1903-1975) Bern, bis 1959
Berggruen & Cie, Paris, 1959
Eugene Victor Thaw & Co., New York
Robert M. Light & Co. Inc., Santa Barbara - Boston
Galerie Kornfeld, Bern, 1971
Galerie Transart, Milan, 1971
Exhibition:
St. Gallen, Historisches Museum, Paul Klee Handzeichnungen,
16 January - 28 February 1971, no. 28
Literature:
Jean Cassou, Paul Klee in ‘Les Feuilles libres’, no. 48
May -June 1928, p. 130
Peter Neagoc, Dreams in ‘Transition’,
no. 18 November 1929, pp. 64 – 65 with ill.
Jurg Spiller, Paul Klee. Unendliches Naturgeschichte. Prinzipielle
Ordnung der Bildnerischen Mittel verbunden mit Naturstudium,
und konstruktive Kompositionswege. Form und Gestaltungslehre,
vol. 2, Basel / Stuttgart 1970, with ill.
Richard Verdi, Paul Klee´s Fish Magic. An interpretation in:
‘The Burlington Magazine’, vol. 116, no. 852, March 1974, p. 152
Anderheinz Mösser, Pfeife bei Paul Klee, in “Wall-RichartzJahrbuch”, vol. 39, 1977, p. 229 with ill.
Richard Verdi, Klee and Nature, London 1984, p. 182 with ill.
Paul Klee. catalogue raisonné, 1919 – 1922, ed. Paul Klee
Foundation, Museum of fine arts, Berne, Thames and Hudson,
London 1999, vol. 3, p. 210, no. 2444 with ill.
Martha Schneider Brody, Paul Klee: A painter and hos objects,
Dissertation, The San Francisco School of Psicology, San Francisco
1998, p. 125 with ill.
Jonathan Perkins, Klee and Eros, Dissertation, University of
Michigan, Ann Arbor 2000, p. 57 annotation 5
Vivian Endicott Barnett, From both sides of the Atlantic to the
Pacific: Klee and America in the twenties, exh. cat. New York /
Washington / Houston 2006 / 07, p. 40 with ill.
Nicolas Fox Weber, The Bauhous Group. Six master of
modernism, New York 2009, p. 157 with ill.
174
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175
607 –
Maurits Cornelis Escher *
(Leeuwarden 1898–1972 Laren)
“Treppauf, Treppab”, 1960, signed M C Escher, lithograph
on Holland vellum, numbered 49/50 II, image size
35.5 x 28.5 cm, sheet size 47.7 x 39 cm, Bool/Locher/
Wierda 435, framed, (PS)
€ 18,000 – 20,000
176
MODERN ART
US$ 20,000 – 22,200
608
Giorgio Morandi *
(Bologna 1890–1964)
“Grande natura morta con la lampada a petrolio”, etching,
on Chine appliqué, signed by hand Morandi, in the plate
signed, dated Morandi 1930, no. 21 of an edition of
40 numbered copies, plate size 30.5 x 36.2 cm, sheet size
38.7 x 51.2 cm, passe-partout, Vitali 75/Marchiori 75, (EH)
€ 20,000 – 26,000
US$ 22,200 – 28,800
Photo Certificate:
Marilena Pasquali, Rome, June 5, 2015
Provenance:
Exhibitions:
Morandi. L’opera grafica. Rispondenze e variazioni,
Calcografia Nazionale, Rome, December 1990 - February 1991
(Exh. cat. page 86, n. 1930.8)
Licini. Morandi. Divergenze parallele, Palazzo dei Priori and Monte
Vidon Corrado, Centro Studi Osvaldo Licini, Fermo,
June - September 2011
(Exh. cat. page 174, ill. mirror-image)
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177
609 –
Pablo Picasso *
(Málaga 1881–1973 Mougins)
Les Faunes et la Centauresse, signed Picasso, lithograph
on vellum, dated in the plate Dimanche 26.1.47,
50 x 65 cm, no. 13 from the edition of 50,
Bloch 413/Mourlot 59, framed, (PS)
€ 9,000 – 9,500
178
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US$ 10,000 – 10,500
610 –
Henri Matisse * AFTER
(Cateau-Cambresis 1869–1954 Nice)
L’Espagnole a la Mantille, 1925, signed Henri Matisse,
inscribed on the plate ‘gravé par Jacques Villon 1925’
with engraved address of the publishers ‘Bernheim Jeune
Editeurs D’Art 83 F69 St. Honoré, Paris’, aquatint and
polychrome etching on Arches vellum, sheet size 61.5
x 42.7 cm, image size 39.8 x 27.5 cm, no. 105 from the
edition of 200, Edition Bernheim-Jeune, Paris, Duthuit II, p.
354, Ginestet/ Poullon E 645, framed (PS)
€ 16,000 – 18,000
US$ 17,700 – 20,000
Print after the painting from 1922.
MODERN ART
179
611 –
Marc Chagall *
(Witebsk 1887–1985 Saint-Paul de Vence)
Le Grand Bouquet, 1963, signed Marc Chagall, lithograph
in colours on BFK Rives, image size 67.5 x 51 cm,
sheet size 80.2 x 58.5 cm, ex. épreuve d’artiste VII/XXV
(aside from the edition of 50), M 384, framed, (PS)
€ 25,000 – 28,000
180
MODERN ART
US$ 27,700 – 31,000
612 –
Marc Chagall *
(Witebsk 1887–1985 Saint-Paul de Vence)
The Bay of Angels (La Baie des Anges), 1962, signed
Marc Chagall, lithograph in colours on Arches, no. 18
from the edition of 50 (plus 25 artist’s proofs),
image size 77.5 x 57.5 cm, sheet size 94.5 x 65.5 cm,
M 350, framed, (PS)
€ 28,000 – 30,000
US$ 31,000 – 33,300
MODERN ART
181
613 –
Pablo Picasso * AFTER
(Málaga 1881–1973 Mougins)
Bouquet de Fleurs, 1958, signed Picasso, offset lithograph
on BFK Rives, sheet size 64.3 x 48.5 cm, no. 75 from the
edition of 100, Zervos, 1958–1959, vol. 18, no. 55,
framed, (PS)
€ 10,000 – 11,000
182
MODERN ART
US$ 11,100 – 12,200
614 –
Serge Poliakoff *
(Moscow 1906–1969 Paris)
Composition in blue, red and black, 1969, signed Poliakoff,
lithograph in colours on vellum, image size 87.5 x 64.5 cm,
no. 41 from the edition of 80, print Erker-Presse St. Gallen
(blind stamp), publisher Galerie im Erker, St. Gallen, framed,
Schneider 75, (PS)
€ 9,000 – 9,500
US$ 10,000 – 10,500
MODERN ART
183
DEUTSCH
VERSTEIGERUNGSBEDINGUNGEN / AUSZUG AUS DEN ALLGEMEINEN GESCHäFTSBEDINGUNGEN VERSTEIGERUNG
Die Versteigerung erfolgt nach den Bestimmungen der Allgemeinen Geschäftsbedingungen
Versteigerung samt dem einen integrierenden Bestandteil bildenden Gebührentarif (siehe
http://www.dorotheum.at/footer/agb.html) der Dorotheum GmbH & Co KG (im
folgenden kurz Dorotheum genannt).
Die Versteigerung kann im eigenen Namen, kommissionsweise oder vermittlungsweise
(im Namen und auf Rechnung des Einbringers) erfolgen. Das DOROTHEUM behält sich
das Recht vor, aus wichtigen Gründen jedes Objekt von der Versteigerung bis zur Erteilung
des Zuschlages zurückzuziehen oder Beschreibungen und Preise zu ändern.
Kaufinteressenten können vor der Auktion einen Zustandsbericht anfordern. Leitet das
DOROTHEUM Zustandsberichte dritter Sachverständiger weiter, ist jede Haftung für die
Richtigkeit ausgeschlossen.
Der Auktionsleiter ist berechtigt, ausnahmsweise Lose zu trennen, zu vereinigen, in einem
zweiaktigen Bietvorgang auszubieten, zurückzuziehen oder die Versteigerung abweichend
von der vorgesehenen Reihenfolge vorzunehmen. Im Fall eines zweiaktigen Bietvorganges
werden die betroffenen Objekte ausdrücklich genannt und zunächst einzeln ausgeboten,
die Meistbote und jeweiligen Meistbieter notiert und zunächst noch kein Zuschlag erteilt.
Sodann werden sie unter ein Los zusammengezogen und unter Berücksichtigung der
bereits erzielten Meistbote und Limite von allenfalls unbebotenen Objekten als Sammlung
angeboten. Die Zuschlagserteilung erfolgt sodann zu dem für die Sammlung gebotenen
Meistbot oder zu den Einzelmeistboten, je nachdem, wodurch unter Einbeziehung der
Limite für allenfalls unbebotene Objekte ein höherer Preis erzielt wird.
Bei den Beschreibungen wird entweder der Ausrufpreis oder die vom Sachverständigen
als Orientierungshilfe angenommene Preisspanne, innerhalb derer von ihm das Meistbot
erwartet wird, jeweils in EURO, angegeben.
Die Ausbietung beginnt in der Regel bei der Hälfte des unteren Schätzwertes, wobei sich
dieser Rufpreis bis hin zum unteren Schätzwert bewegen kann. Gesteigert wird in der
Regel um ca. 10% des Ausrufpreises bzw. des letzten Angebotes. Zuschläge sind auch
unter der Meistboterwartung des Experten möglich und erfolgen an den Meistbietenden,
es sei denn, dass ein mit dem Einbringer vereinbarter Mindestpreis nicht erreicht wurde.
Erfolgt anlässlich der Ausbietung eine sukzessive Herabsetzung des Ausrufpreises, beginnt
der Steigerungsvorgang mit dem ersten gültigen Gebot. Wird lediglich von einem Bieter
ein Gebot abgegeben, erhält dieser Bieter den Zuschlag. Die Zuschlagserteilung kann vom
Eintritt von Bedingungen abhängig gemacht werden.
Die Entscheidung über die Annahme eines Gebotes, bei Meinungsverschiedenheiten, bei
behaupteten Mehrfachangeboten, wenn ein Gebot übersehen oder nicht wahrgenommen
wurde oder sonst unbeachtet blieb oder der Auktionsleiter sich über das Vorliegen
oder Nichtvorliegen eines Gebotes in einem Irrtum befand, obliegt ausschließlich dem
DOROTHEUM. Das DOROTHEUM ist aus diesen Gründen berechtigt, einen schon
erteilten Zuschlag in der Auktion oder innerhalb von 3 Werktagen danach aufzuheben
und den Gegenstand in derselben oder einer späteren Auktion neuerlich auszubieten.
Bei allen Objekten werden zum Zuschlagspreis (Meistbot) noch hinzugerechnet:
- Käufergebühr (Aufgeld)
- Umsatzsteuer
- eventuell anfallende Folgerechtsumlage (im Katalog mit einem * gekennzeichnet)
Die Käufergebühr beträgt bei:
a) differenzbesteuerten Objekten (keine besondere Kennzeichnung im Katalog/in der
Beschreibung) sowie Vermittlung (im Katalog/in der Beschreibung mit „V“ gekennzeichnet):
bis zu einem Betrag von EUR 100.000:
25% vom Meistbot
für den EUR 100.000 übersteigenden Betrag:
22%
15%
In diesen Fällen enthält die Käufergebühr bereits die gesetzliche Umsatzsteuer
(Beispiel am Seitenende1)
b) vollbesteuerten Objekten (im Katalog/in der Beschreibung mit einem „+“ für 20% USt.
oder „–“ für 10% USt gekennzeichnet):
bis zu einem Betrag von EUR 100.000:
20,84% vom Meistbot
18,34%
12,5%
In diesem Fall (b) wird die gesetzliche Umsatzsteuer vom Gesamtpreis (Meistbot
zuzüglich Käufergebühr und evtl. Folgerechtszuschlag) berechnet und dem Gesamtpreis
hinzugerechnet. (Beispiel am Seitenende2)
Bei Objekten, die durch Vermittlung („V“) verkauft werden, ist die Rückvergütung der
Umsatzsteuer für Lieferungen in Drittländer nicht möglich.
Nur bei Verkäufen von nichtbezeichneten Objekten und von Objekten, die mit „+”
oder „–” bezeichnet sind, wird die Umsatzsteuer rückerstattet, wenn der Verkauf in
ein Nichtmitgliedsland der Europäischen Union (Drittland) erfolgt und die gesetzlichen
Voraussetzungen vorliegen sowie der Ausfuhrnachweis erbracht wird.
Lieferungen an umsatzsteuerpflichtige Unternehmen mit Sitz in einem Mitgliedsland
der Europäischen Union (ausgenommen Lieferungen an in Österreich ansässige
Unternehmen und differenzbesteuerte Objekte) unterliegen der Erwerbsteuer im
jeweiligen Bestimmungsland. In diesem Fall ist die Lieferung der mit „+” und der mit „–”
gekennzeichneten Objekte in Österreich umsatzsteuerfrei, wenn uns vor dem Zuschlag
die gültige Umsatzsteueridentifikationsnummer (UID) des Käufers bekanntgegeben wird.
Bitte beachten Sie, dass für Nachverkäufe eine um 2 % erhöhte Käufergebühr verrechnet
wird.
Der Käufer ist verpflichtet, den Kaufpreis (Meistbot zuzüglich Käufergebühr und
Umsatzsteuer sowie einen eventuell anfallenden Folgerechtszuschlag) sofort nach dem
Zuschlag bar zu bezahlen. Die Zahlung kann ausnahmsweise vom Dorotheum gestundet
werden.
Die Stundung kann von einer angemessenen Anzahlung abhängig gemacht werden.
Wird eine Stundung abgelehnt, kann der Zuschlag auch nachträglich aufgehoben und
der Gegenstand neuerlich in derselben oder einer späteren Auktion ausgeboten werden.
Bei Aufhebung des Zuschlages ist das DOROTHEUM auch berechtigt, den Zuschlag
nachträglich dem Zweitbestbieter zu dessen letztem Gebot zu erteilen. Wird ein
gestundeter
Kaufpreis nicht innerhalb der festgesetzten Frist bezahlt, so ist das Dorotheum berechtigt,
dem Käufer Verzugszinsen vom Rückstand tageweise berechnet, vierteljährlich angelastet
6 % pro Jahr über der für das letzte Kalenderquartal verlautbarten, auf Viertelprozentsätze
gerundeten „European Interbank Offered Rate (EURIBOR)/ 3 Monate“ zu verrechnen. Der
Käufer haftet nach Zuschlagserteilung für die vollständige und rechtzeitige Kaufpreiszahlung
auch im Fall der Bekanntgabe nach Zuschlagserteilung, dass er für eine dritte Person
mitgeboten hat. Stellt das DOROTHEUM auf Wunsch des Käufers eine Rechnung an
die namhaft gemachte dritte Person aus, erklärt das DOROTHEUM damit ausschließlich
die Akzeptanz einer schlichten (zusätzlichen) Erfüllungsverpflichtung durch die namhaft
gemachte dritte Person, ohne ihr weitere Rechte wie insbesondere Aufrechnungs- oder
Zurückbehaltungsansprüche, etc. einzuräumen, sowie unter Aufrechterhaltung der
vollständigen Haftung des Käufers.
Erfüllt der Käufer seine Verpflichtungen aus dem mit ihm geschlossenen Kaufvertrag
trotz einer Zahlungsaufforderung innerhalb der ihm eingeräumten Frist nicht oder nicht
vollständig, ist das DOROTHEUM unbeschadet allfälliger anderer Rechte berechtigt, für
sich und/oder den Einbringer
1. entweder weiter auf der Erfüllung des Kaufvertrages zu bestehen und den Käufer
neben der Kaufpreiszahlung zur Bezahlung aller Zinsen, Kosten und Aufwendungen,
einschließlich der Kosten rechtsfreundlicher Vertretung zur Durchsetzung der
Erfüllung des Kaufvertrages, heranzuziehen, oder
2. vom Kaufvertrag zurückzutreten. In diesem Fall behält sich das DOROTHEUM für
sich und/oder den Einbringer vor, vom Käufer den Ersatz des gesamten von ihm
verursachten Schadens, der sich nach einem Deckungsverkauf insbesondere aus
angefallenen Gebühren, Spesen, Aufwendungen und Ausfällen an geringeren
Kaufpreisen einschließlich aller Kosten und Aufwendungen sowie der Kosten rechtsfreundlicher Vertretung, etc., ergeben kann, zu verlangen, oder
3. den Gegenstand für Rechnung des Käufers wiederzuversteigern.
Im Falle eines Deckungsverkaufes oder der Wiederversteigerung für den Käufer
wird der Käufer hinsichtlich der dabei zur Anwendung gelangenden Gebühren wie
ein Einbringer behandelt. Wird durch das Ergebnis des Deckungsverkaufes oder der
Wiederversteigerung die Forderung des Dorotheums nicht gedeckt, so haftet der säumige
Käufer für den Ausfall.
Die Ausfolgung und der Eigentumsübergang hinsichtlich der ersteigerten Objekte erfolgt
erst nach vollständiger Zahlung des Kaufpreises einschließlich aller Zinsen, Gebühren,
Kosten und Spesen.
Ersteigerte Objekte sind sofort zu übernehmen. Die bei der Versteigerung zugeschlagenen
und bezahlten Gegenstände geringeren Umfanges werden sofort, größere Objekte jedoch
erst am nächstfolgenden Werktag ausgefolgt. Sie lagern ab Zuschlag bis zur Übernahme
auf Gefahr des Käufers. Die Verpackung und jeder Versand erfolgt auf alleinige Gefahr
und Kosten des Käufers.
Werden ersteigerte Objekte nicht innerhalb einer Frist von 14 Tagen nach Zuschlagserteilung abgeholt, ist das DOROTHEUM berechtigt, Kosten für die Lagerung in Rechnung
zu stellen (1% vom Meistbot pro Monat, soferne nichts anderes im Katalog oder bei
der Versteigerung angekündigt wird) oder sie auf Kosten und Gefahr des Käufers bei
einem Lagerhalter einzulagern. Wird die Abholung durch den Käufer oder einen von ihm
beauftragten Frachtführer/Spediteur nicht innerhalb einer Frist von 90 Tagen nach dem
Tag der Zuschlagserteilung bewirkt, ist das DOROTHEUM berechtigt, das ersteigerte
Objekt auf alleinige Kosten und Gefahr des Käufers der Wiederversteigerung zuzuführen.
Dabei wird der säumige Käufer hinsichtlich der Gebühren wie ein Einbringer behandelt.
Die Beschreibung der Versteigerungsobjekte beruht auf subjektiven Überzeugungen
der Experten und sie nehmen dementsprechend die Ausrufpreise an. Ihre Angaben
stellen keine Zusicherung einer bestimmten Eigenschaft oder eines bestimmten Wertes
dar. Das Dorotheum übernimmt für Angaben in diesem Zusammenhang keine
Haftung, insbesondere auch nicht nach den Maßstäben der §§ 1299f ABGB. Auch
sofern die Beschreibung und/oder Preisfestsetzung nicht durch das DOROTHEUM
erfolgt, sondern durch den Einbringer selbst oder durch externe Sachverständige
sowie bei Vermittlungsverkäufen übernimmt das DOROTHEUM keinerlei Haftung. Bei
Kunstgegenständen, insbesondere bei Bildern und bei antiken Gegenständen, werden
nur solche Fehler und Beschädigungen angeführt, die den künstlerischen Wert wesentlich
beeinträchtigen.
Das DOROTHEUM garantiert bei Verkäufen im eigenen Namen Käufern die Richtigkeit
seiner Angaben über die Urheberschaft (Künstlerbezeichnung), über den Hersteller, über
den Herstellungszeitpunkt, über den Ursprung, das Alter, über die Epoche, über den
Kulturkreis der Herstellung oder Verwendung sowie über Materialien, aus welchen die
Gegenstände hergestellt sind unter folgenden Voraussetzungen:
Unrichtig sind solche Angaben dann, wenn sie nicht den allgemein zugänglichen
wissenschaftlichen Erkenntnissen und den Meinungen allgemein anerkannter
Sachverständiger entsprechen. Als wesentlich unrichtig gelten solche Angaben dann, wenn
ein durchschnittlicher Normkäufer den Kauf bei Nichtzutreffen der jeweiligen Angaben
nicht geschlossen hätte.
Weist der Käufer innerhalb von drei Jahren ab dem Tag der Zuschlagserteilung nach, dass
solche Angaben des DOROTHEUMS wesentlich unrichtig sind, erhält der Käufer Zug
um Zug gegen Rückstellung des unveränderten Gegenstandes den Kaufpreis zurück. Bei
Käufern, für die der abgeschlossene Kauf zum Geschäftsbetrieb ihres Unternehmens
gehört, ist weiters vorausgesetzt, dass sie das DOROTHEUM unverzüglich nach Entstehen
erster begründeter Zweifel an der Richtigkeit hievon verständigen.
Beispiel für Differenzbesteuerung oder Vermittlung:
Verkauf zu Meistbot 3.000 Euro, mit Folgerechtszuschlag  Der Bruttopreis beträgt 3.870 Euro (3.000 Euro Meistbot + 750 Euro Käufergebühr + 120 Euro Folgerechtszuschlag)
2 Beispiel für Vollbesteuerung mit 20% USt:
Verkauf zu Meistbot 3.000 Euro mit Folgerechtszuschlag  Der Bruttopreis beträgt 4.494 Euro (3.000 Euro Meistbot + 625 Euro Käufergebühr + 120 Euro Folgerechtszuschlag + 749 Euro USt)
1
184
MODERN ART
DEUTSCH
ändern sich die allgemein zugänglichen wissenschaftlichen Erkenntnisse und die
Meinungen allgemein anerkannter Sachverständiger bis zum Zeitpunkt der Reklamation
durch den Käufer und deren Abwicklung, ist das DOROTHEUM nach seinem ausschließlichen Ermessen berechtigt, den Ankauf entweder zu Lasten des Einbringers zu stornieren
oder die Reklamation abzulehnen.
Weist der zurückgegebene Gegenstand eine Beschädigung oder Abnützung auf, die zum
Zeitpunkt des Vertragsabschlusses noch nicht vorhanden war, ist das DOROTHEUM
berechtigt, angemessene Reparaturkosten und/oder eine allfällige Wertminderung vom
Kaufpreis in Abzug zu bringen. Hat der Käufer den zurückgesendeten Gegenstand bereits
genutzt, steht dem DOROTHEUM überdies ein angemessenes Nutzungsentgelt zu.
Das DOROTHEUM gewährt diese Garantie oder sonstige mit gesonderter Erklärung
eingeräumte Garantien neben den gesetzlichen Gewährleistungs- und Irrtumsrechten der
Konsumenten, die durch diese Garantien nicht eingeschränkt werden. Bei gebrauchten
Gegenständen beträgt die Frist für die gesetzliche Gewährleistung gegenüber Konsumenten
1 Jahr.
Sonstige Reklamationen und Ansprüche welcher Art auch immer betreffend den
Preis, die Beschaffenheit und den Zustand der ersteigerten Gegenstände oder
Schadensersatzansprüche, soweit sie nicht ohnehin von der Echtheitsgarantie umfasst
sind, sind gegenüber dem DOROTHEUM und jenen Personen, für die es ohne den
Haftungsausschluss einzustehen hätte, ausgeschlossen, sofern bei Kaufverträgen mit
Konsumenten im Sinne des Konsumentenschutzgesetzes darüber hinaus gehende
Ansprüche nicht in grobfahrlässigem, oder vorsätzlichem Verhalten von Mitarbeitern des
DOROTHEUMS begründet sind.
Bei exekutiv versteigerten Objekten ist jede Reklamation gesetzlich ausgeschlossen.
Bei Vermittlungsverkäufen übernimmt das DOROTHEUM keinerlei Gewährleistung oder
sonstige Haftung.
Das DOROTHEUM behält sich das Recht vor, die von den eingebrachten Gegenständen
über eigenen Auftrag hergestellten Lichtbilder und gegebenenfalls Videoaufnahmen
auch zur allgemeinen Bewerbung der Geschäftstätigkeit des DOROTHEUM in
elektronischer wie in gedruckter Form zu verwenden, ohne dass dem Kunden hieraus
ein Anspruch auf finanzielle Abgeltung entsteht. DOROTHEUM ist berechtigt, die
Lichtbilder und Videoaufnahmen durch Veröffentlichung z.B. in Katalogen, Zeitschriften,
Foldern, Kalendern, Werkverzeichnissen, Büchern, Illustrationen sowie Werbe- und
Merchandiseartikeln jeder Art, ohne mediale, räumliche oder zeitliche oder mengenmäßige
Einschränkung - auch ohne jeden Bezug auf den ursprünglichen Verwertungsakt oder die
Herkunft - zu verwenden, zu vervielfältigen, zu verbreiten und der Öffentlichkeit zur
Verfügung zu stellen. Kaufaufträge von Kunden, die der Versteigerung nicht persönlich
beiwohnen, werden von Sensalen oder von der zuständigen Abteilung des Dorotheums
übernommen. Das DOROTHEUM übernimmt schriftliche, telefonische, mit Telefax
oder im automationsunterstützten Datenverkehr erteilte Kaufaufträge bis auf weiteres
unentgeltlich als Serviceleistung. Das DOROTHEUM wird für den Auftraggeber bis zu
seinem Ankaufslimit bei der Versteigerung mitbieten. Es behält sich das Recht vor, die
Annahme von Kaufaufträgen ohne Angabe von Gründen abzulehnen oder eingelangte
Kaufaufträge nicht zu berücksichtigen. Das DOROTHEUM übernimmt in diesem Rahmen
keinerlei Haftung für die fehlerfreie Abwicklung von Kaufaufträgen. Kaufaufträge, die
keine eindeutige Bezeichnung des Gegenstandes oder des Versteigerungstermines oder
keine ziffernmäßig bestimmte Höhe des Ankaufslimits in EURO enthalten, werden nicht
angenommen. Aufträge wie „günstig”, „bestens”, „unbedingt kaufen” usw. können daher
nicht berücksichtigt werden. Kaufaufträge mit gleich hohen Ankaufslimiten werden in der
Reihenfolge ihres Einlangens berücksichtigt.
Kann bei einem telefonischen Gebot die Telefonverbindung aus welchem Grund
immer nicht rechtzeitig hergestellt werden, beträgt das Ankaufslimit 75 % des unteren
Schätzwertes (150 % des Rufpreises bei Rufpreisauktionen). Das Dorotheum ist
berechtigt, das Limit auf die nächste Steigerungsstufe aufzurunden.
Der Bieter ist an sein Gebot im Nachverkauf bis zum Ablauf des dritten Werktages nach
dem Auktionstag oder nach dem Tag des Einlangens gebunden. Die Annahmeerklärung
durch das Dorotheum im Nachverkauf ist rechtzeitig erfolgt, wenn sie bis zum Ablauf des
dritten Werktages nach dem Auktionstag oder nach dem Tag des Einlangens, je nachdem
welcher Zeitpunkt später eintritt, zur Post gegeben oder telefonisch oder via Telefax
vorgenommen wird.
Das DOROTHEUM und jene Personen, für die es ohne den Haftungsausschluss
einzustehen hätte, können nicht zum Ersatz leicht fahrlässig herbeigeführten Schadens
herangezogen werden und haften gegenüber Unternehmern auch nicht für schlichte
grobe Fahrlässigkeit. Für Schäden, die durch Naturereignisse oder höhere Gewalt
entstehen, für Schäden die sich als Folge längerer Lagerung ergeben oder entgangenen
Gewinn übernimmt das DOROTHEUM keine Haftung. Das DOROTHEUM haftet dem
Käufer eines Gegenstandes für den Verlust oder die Beschädigung desselben bei grobem
Verschulden, gegenüber Unternehmern jedoch nur bei mindestens krasser grober
Fahrlässigkeit seiner Bediensteten bis zur Höhe des bezahlten Kaufpreises.
Erfüllungsort ist der Geschäftssitz jener Filiale/Abteilung, in welcher das jeweilige Rechtsgeschäft abgeschlossen wurde. Vertragssprache ist Deutsch. Sämtliche entstehende
Rechtsstreitigkeiten unterliegen ausschließlich österreichischem materiellen Recht. Das
UN-Abkommen über Verträge des internationalen Warenkaufs (CISG) findet keine
Anwendung. Als Gerichtsstand für alle sich mittelbar oder unmittelbar aus einem
Versteigerungsgeschäft ergebenden Streitigkeiten wird ausschließlich das für 1010 Wien
örtlich und sachlich zuständige österreichische Gericht vereinbart. Für Konsumenten im
Sinne des Konsumentenschutzgesetzes gilt diese Vereinbarung nur, sofern sie weder einen
Wohnsitz noch einen gewöhnlichen Aufenthalt in Österreich haben und auch nicht im
Inland beschäftigt sind und dem nicht andere Regelungen dagegenstehen.
COPYRIGHTVERMERK
Alle Informationen (Texte, Beschreibungen, Abbildungen, Illustrationen, etc.) und Werbemittel des DOROTHEUM unterliegen dem Urheberrechtsschutz und dem Schutz des geistigen
Eigentums. Sie dürfen – außerhalb der gesetzlichen Schranken - ohne ausdrückliche vorherige schriftliche Zustimmung des DOROTHEUM nicht verarbeitet, verbreitet, vervielfältigt
oder bearbeitet oder in Datenbanken eingespeichert werden. Darüber hinaus unterliegt auch der Name DOROTHEUM national und international eingetragenem Markenschutz. Bei
Zuwiderhandlungen behält sich das DOROTHEUM die Ergreifung entsprechender zivil- und strafrechtlicher Schritte zum Schutze des eigenen geistigen Eigentums vor. Der Erwerb eines
Versteigerungsgegenstandes ist nicht mit einem über das Eigentumsrecht hinausgehenden Erwerb eines urheberrechtlichen Nutzungs- oder Verwertungsrechtes verbunden.
HINWEISE
Alle Gegenstände sind gebraucht und ihrem jeweiligen Alter entsprechenden Abnutzungen unterlegen. Werterhöhende Restaurierungen, speziell bei Antiquitäten, finden in der
Beschreibung keinen Niederschlag. In der Beschreibung werden solche Beschädigungen oder Mängel nicht angegeben, die offenkundig (durch bloße Besichtigung festgestellt werden
können) oder für die Wertbestimmung unwesentlich sind. Bei solchen Mängeln ist jede Reklamation des Käufers gesetzlich ausgeschlossen.
Es besteht kein Fern- und Auswärtsgeschäfte-Rücktrittsrecht. Im Falle eines Versandes fallen Transport- und Versicherungskosten, je nach Entfernung, Größe und Beschaffenheit, in derzeit
nicht berechenbarer Höhe an.
NACH DER MEINUNG UNSERER ExPERTEN BEDEUTET
signiert, monogrammiert: von der Hand des Künstlers; bezeichnet: möglicherweise von fremder Hand; zugeschrieben: ein wahrscheinlich, aber nicht zwangsläufig authentisches Werk des
Künstlers; Street Art (Urban Art): aufgrund der spezifischen (Sub)Kultur dieser Kunstrichtung ein wahrscheinlich, aber nicht zwangsläufig authentisches Werk (ausgenommen eindeutiges
Zertifikat liegt vor) eines oder mehrerer Künstler bzw. Personen, häufig aber nicht zwangsläufig überarbeitet, bearbeitet oder schabloniert; Werkstatt: ein Werk, das wahrscheinlich in der
Werkstatt, d. h. in der unmittelbaren Umgebung des Künstlers, entstanden ist; Schule: ein Werk, unbestimmten Datums, das in stilistischer Nähe zum Künstler oder zu einer regionalen
Gruppe von Künstlern entstanden ist; Umkreis: ein Werk, das im weiten örtlichen oder zeitlichen Einflussbereich des Künstlers entstanden ist; Nachfolger: ein Werk, das im Stil des
Künstlers, aber eventuell später entstanden ist; Nachahmer: Nachempfindung oder Wiederholung eines Werkes unbestimmten Datums nach einem Werk des Künstlers; Vor- und
Zuname des Künstlers mit Daten und Ortsangabe: ein sicheres Werk des Künstlers.
Jeder Einbringer ist grundsätzlich berechtigt, die zur Versteigerung übergebenen Gegenstände bis zum Beginn der Auktion zurückzuziehen. Für die tatsächliche Ausbietung kann daher keine
Haftung oder Gewähr übernommen werden. Gegenstände, die mit „AS...“ gekennzeichnet sind, werden in Übereinstimmung mit den artenschutzgesetzlichen Regelungen ausgeboten. Die
Mitarbeiter des Dorotheums werden die Käufer bei der Beschaffung der notwendigen Exportgenehmigungen und Bescheinigungen beraten und unterstützen. Der Export aus Österreich
und der Import in Nichtmitgliedsländer der EU von Gegenständen, die im Versteigerungstext mit ASA (oder Artenschutz A) gekennzeichnet sind, zu kommerziellen Zwecken wird von der
Artenschutzbehörde nicht genehmigt. Irrtums- und Druckfehlerberichtigungen bleiben vorbehalten. Ebenso behält sich das Dorotheum das Recht vor, Berichtigungen der Beschreibung bis
zur Versteigerung vorzunehmen.
HAFTUNGSAUSSCHLUSS FÜR VERSTEIGERUNGSBEDINGUNGEN UND KATALOGTExTE
Versteigerungsbedingungen, Informationen und Katalogtexte in englischer, französischer, italienischer oder einer sonstigen Sprache stellen lediglich unverbindliche Hilfsübersetzungen
dar. Die Gesellschaft kann für die Richtigkeit der Übersetzung keine Haftung übernehmen. Für die Auslegung von etwaigen Auffassungsunterschieden zwischen den Interessenten,
Käufern und der Gesellschaft sind ausschließlich die in der deutschen Sprache verfassten Versteigerungsbedingungen, Informationen und Katalogtexte maßgeblich und bindend. Ebenso
sind alle Währungsangaben in fremden Währungen sowohl im Katalog als auch auf der Währungsumrechnungsanzeige nur als unverbindliche Richt-(Leit-)linien zu verstehen. Für die
Durchführung der Versteigerung wird ausschließlich die in Österreich alleine gültige Währung (EURO) herangezogen.
INFORMATION
Aufgrund der Bestimmungen der Europäischen Union zur Verhinderung und Bekämpfung der Geldwäsche (Richtlinie 91/308/EWG idF 2001/97EG des Rates und des Parlamentes der
Europäischen Union) besteht eine gesetzliche Legitimationsverpflichtung bei Barzahlung von Kaufpreisen ab EUR 15.000,–. Wir ersuchen Sie daher um Verständnis, dass wir Sie in
einem solchen Fall um die Vorlage eines amtlichen Lichtbildausweises ersuchen müssen.
Bei Kaufaufträgen mit Barzahlungswunsch senden Sie bitte vorab bis längstens 48 Stunden vor Auktionsbeginn neben dem Kaufauftragsformular auch eine Kopie eines solchen
Ausweises zu, speziell jedenfalls auch dann, wenn Sie - z.B. bei beabsichtigter Nachnahmezahlung bei Objekten mit Ruf- oder unteren Schätzpreisen ab EUR 15.000,–, - die Zahlung
oder Abholung nicht persönlich vornehmen werden.
Hinweis: Die gesetzliche Legitimationsverpflichtung entfällt auch bei Barzahlung, wenn zuvor eine (erste) Teilzahlung in Form einer Überweisung von einem auf Ihren Namen lautenden
Bankkonto eines von der EU anerkannten Bankinstitutes im Bereich der EU erfolgt, auch dann, wenn die Auftragserteilung notariell beglaubigt oder mit einer sicheren e-mail-Signatur im
Sinne des Signaturgesetzes erfolgt.
MODERN ART
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ENGLISH
CONDITIONS OF SALE BY AUCTION / ExTRACT FROM THE GENERAL TERMS AND CONDITIONS - AUCTION SALES
The auction is conducted according to the terms of the General Terms and Conditions Auction Sales http://www.dorotheum.at/footer/agb.html of the Dorotheum GmbH & Co KG,
(hereinafter called „the DOROTHEUM“) and the pertaining Tariff, which forms an integral
part thereof.
The auction may be conducted by the DOROTHEUM in its own name, on a
commission basis or as an agent (in the name and for the account of the Consignor). The
DOROTHEUM reserves the right to withdraw any lot or lots from the auction until the
acceptance of a bid or change descriptions and prices, if there are important reasons to
do so.
Potential Buyers may request a condition report prior to the auction. If the
DOROTHEUM forwards condition reports drawn up by third-party experts, any liability
for correctness is excluded.
The Auctioneer has the right to exceptionally divide or combine any lot or lots, offer
any lot or lots in a two-step bidding process or withdraw any lot or lots from the sale or
conduct the auction disregarding the scheduled sequence. In the event of a two-step
bidding process, the items concerned will be expressly announced and, in a first step,
offered individually. The highest bids and the respective highest bidders will be noted
down but no bid will be accepted as yet. The individual items will then be combined into
a single lot and offered as a collection, taking into account the highest bids already received
as well as the reserves fixed for any items for which no bids have been placed. The lot will
then be awarded at the highest bid placed for the collection or the highest bids placed for
the individual items, whichever results in a higher price being realized taking into account
the reserves fixed for any lots for which no bids have been placed.
In the descriptions, either the starting price will be stated or the price range that the
expert assumes as a rough guide without binding force and within which he or she
expects the highest bid (hammer price) will be placed, in each case in euros.
Usually, bidding starts at half the lower estimate, but the starting price can range from half
the lower estimate to the lower estimate itself. Usually, bidding takes place by increasing
the starting price or the preceding bid by about 10%. Bids can be accepted as final even
if they are lower than the highest bids expected by the expert. The highest bidder shall
be the successful bidder, provided that the amount of a reserve price agreed with the
Consignor has been reached. If, on the occasion of the bidding, the bidding price is
gradually reduced, the bidding process will start with the first valid offer. If only one bidder
places a bid, such bid will be accepted. The acceptance of a bid may be made conditional
on the fulfillment of conditions.
The decision as to whether a bid is accepted in case of a dispute, in case of alleged
matching bids, if a bid was overlooked or went unnoticed or was otherwise disregarded,
or if the Auctioneer was mistaken about whether or not a bid had been placed, shall lie
exclusively with the DOROTHEUM. The DOROTHEUM shall have the right to cancel the
acceptance of a bid either during the auction or within 3 working days thereafter for such
reasons and to re-offer the item during the same or a subsequent auction.
For all items, the following shall be charged in addition to the highest bid (hammer price):
- buyer‘s premium (surcharge)
- Value-added Tax
- any resale right royalty that may arise (marked with the symbol * in the catalogue)
The buyer‘s premium shall be as follows:
a) for items subject to margin tax (not specially marked in the catalogue/in the description)
or for sales where the Dorotheum acts as an agent (marked with a “V” [“Vermittlung” =
agent sale] in the catalogue/in the description):
up to an amount of EUR 100,000:
25% of the hammer price
for the amount exceeding EUR 100,000:
22%
15%
In these cases the buyer‘s premium includes the statutory VAT
1
(Example at the end of the page )
b) for fully taxable items (marked in the catalogue/in the description with the symbol „+“
for 20% VAT or with „-“ for 10% VAT):
up to a hammer price of EUR 100,000:
20,84% of the hammer price
18,34%
12,5%
In the case under (b), the statutory VAT is calculated based on the total price (hammer
price plus buyer‘s premium and a possible resale right royalty) and is added to the total
price. (Example at the end of the page2)
For items for which the Dorotheum acts as an agent in the sale (“V” for “Vermittlung” =
agent sale), VAT cannot be refunded in case of export to non-EU countries.
VAT may only be reclaimed in the case of lots which are not specially marked or
are marked with either of the symbols „+“ and „-“, provided the sale is made to
a country which is not a member of the European Union (third country), the legal
requirements are satisfied and proof of export is supplied.
Delivery to companies which are subject to VAT and have their registered seat in a
member state of the European Union (except for delivery to companies domiciled in
Austria and lots subject to margin tax) is subject to the acquisition tax applicable in the
respective country of destination. In such case, the delivery of lots marked with either of
the symbols „+“ and „-“ within Austria is exempt from VAT, provided the DOROTHEUM
is informed of the Buyer‘s applicable VAT registration number prior to the acceptance
of the bid.
Please note: For lots sold after the auction, the buyer‘s premium will be increased by 2%.
The Buyer is obligated to pay the purchase price (hammer price plus buyer‘s premium
and VAT as well as any applicable resale royalty surcharge) in cash immediately after the
lot has been awarded. At the discretion of the DOROTHEUM, payment can be deferred
by way of exception. Deferral of payment may be made conditional on an appropriate
deposit. If deferral of payment is denied, the acceptance of a bid may even be
subsequently revoked and the item re-offered for sale during the same or a subsequent
auction. If the acceptance of a bid is revoked, the DOROTHEUM shall also have the
right to subsequently accept the last bid of the bidder who placed the second highest
bid. If a deferred purchase price is not paid within the stipulated period, the Dorotheum
shall be entitled to charge the purchaser interest on the arrears calculated daily from the
beginning of the delay and charged quarterly. This interest shall be at the rate of 6 % per
annum above the applicable “European Interbank Offered Rate (EURIBOR) / 3 months”
for the preceding calendar quarter rounded to the nearest quarter percentage point.
After a bid has been accepted, the Buyer shall be liable for the full and timely payment
of the purchase price even if after the acceptance of the bid the Buyer informs the
DOROTHEUM that he/she participated in the bidding process for a third party. If, at
the Buyer‘s request, the DOROTHEUM issues an invoice to the designated third party,
the DOROTHEUM thereby exclusively declares acceptance of a simple (additional)
performance obligation of the designated third party without, however, granting such
party any further rights such as claims to perform a set-off or retention rights, etc., and it
is understood that the Buyer continues to be fully liable.
If, despite a reminder, the Buyer fails to discharge or fully discharge within the grace period
granted to him/her the obligations incumbent on such Buyer under the purchase contract
entered into with him/her, the DOROTHEUM shall, without prejudice to any other rights
it may have, be entitled to do either of the following for itself and/or the Consignor:
1. continue to insist on the performance of the purchase contract and demand from
the Buyer payment not only of the purchase price but also of any interest, costs and
expenses, including the costs of legal counsel required to enforce performance of the
purchase contract, or
2. withdraw from the purchase contract. In such case, the DOROTHEUM reserves the
right, for itself and/or the Consignor, to demand from the Buyer compensation for
the entire loss or damage caused by him/her, which after a substitute transaction in
the form of a resale by seller (substitute sale) may be comprised in particular of fees,
expenses and expenditure incurred and losses suffered on account of lower purchase
prices, including all costs and expenses as well as the costs of legal counsel, etc., or
3. resell the item by auction for the account of the Buyer.
In the event of a substitute sale or resale by auction for the Buyer, the Buyer will be
considered a Consignor with regard to the charges, premiums and commissions applicable
to such transaction.
If the claim of the DOROTHEUM is not covered by the result of the substitute sale or
resale by auction, the defaulting Buyer is liable for the loss.
The items purchased in the auction shall not be delivered and title thereto will not pass
until the purchase price including all interest, charges, premiums, commissions, costs and
expenses has been paid in full. All items purchased must be collected immediately. Smallsize lots purchased in the auction and fully paid for shall be delivered immediately, but
larger items may be collected on the following working day only. As from the acceptance
of the bid until their collection, such lots shall be stored at the Buyer‘s risk. Packaging and
shipping, if any, shall be at the sole risk and expense of the Buyer.
If items purchased in an auction are not collected within a period of 14 days after the
acceptance of the bid, the DOROTHEUM is entitled to charge storage costs (1% of the
hammer price per month if not indicated otherwise in the catalogue or during the sale) or
store the item with a warehouse keeper at the risk and expense of the Buyer. If the Buyer
or a carrier/forwarding agent commissioned by the Buyer fails to effect collection within a
period of 90 days as from the date on which the bid was accepted, the DOROTHEUM
is entitled to re-sell the purchased item by auction at the sole risk and expense of the
Buyer and will consider the Buyer a Consignor with regard to the charges, premiums and
commissions connected with such re-sale.
The description of the items to be sold by auction is based on subjective convictions of
the experts, who will determine the starting prices accordingly. The statements made by
the experts in such descriptions shall not create any warranty with respect to a particular
quality or a specific value. The DOROTHEUM assumes no liability for any statements
made in this connection, and in particular no liability in accordance with the criteria
set forth in section 1299 et seq. of the (Austrian) „ABGB“ (General Civil Code). The
DOROTHEUM also assumes no liability whatsoever in cases where the description
was prepared and/or the price determined by the Consignor himself/herself or by nonDOROTHEUM experts and not by the DOROTHEUM, and in case of sales where it
acts as an agent.
Where works of art, especially paintings and antique items are concerned, only such flaws
and defects will be mentioned which significantly affect the artistic value.
Where the DOROTHEUM sells items in its own name, it warrants to Buyers that the
information provided by the DOROTHEUM concerning authorship (designation of the
artist), maker, time of making, origin, age, period, concerning the culture area where the
object was made or used as well as materials of which the items are made, is correct
subject to the following conditions: Such information will be deemed incorrect if it does
not correspond to the commonly available scientific findings and the opinions of generally
recognized experts. Such information will be deemed materially incorrect if an average
standard buyer would not have made the purchase had the respective statements been
untrue. If, within a period of three years as from the date of the acceptance of the bid, the
Buyer furnishes proof that such information provided by the DOROTHEUM is materially
incorrect, the Buyer shall have the purchase price refunded concurrently with the return
of the unchanged object.
For Buyers for which the transacted purchase forms part of their company‘s business
activities, a further requirement is that immediately after the first legitimate doubts
regarding the correctness arise they shall inform the DOROTHEUM accordingly.
If the commonly available scientific findings and the opinions of generally recognized
experts change up to the time of the Buyer‘s complaint and the handling thereof, the
DOROTHEUM shall have the right in its sole discretion to either cancel the purchase at
the Consignor‘s expense or reject the complaint.
1 Example for margin tax or agent sales:
Sale of an object at the hammer price of EUR 3,000, with resale right royalty  The gross price amounts to EUR 3,870 (hammer price of EUR 3000 + buyer‘s premium of EUR 750 +
resale right royalty of EUR 120)
2 Example for a fully taxable item subject to 20% VAT:
Sale of an object at the hammer price of EUR 3,000, with resale right royalty  The gross price amounts to EUR 4,494 (hammer price of EUR 3,000 + buyer‘s premium of EUR 625 +
resale right royalty of EUR 120 + VAT of EUR 749)
186
MODERN ART
ENGLISH
If the item returned shows signs of damage or wear and tear that were not present at
the time when the contract was entered into, the DOROTHEUM shall have the right to
deduct reasonable repair costs and/or any reduction in value from the purchase price.
If the Buyer has already used the item returned, the DOROTHEUM will, in addition, be
entitled to receive a reasonable user fee.
Such warranty, or any other warranty made by separate declaration, is made by the
DOROTHEUM in addition to the consumer‘s statutory warranty rights and rights in case
of error and shall not limit such rights in any way. In case of used items, the period of
statutory warranty for consumers is 1 year. Any other complaints and claims whatsoever
concerning the price, quality and condition of the objects purchased at auction or claims
for damages, to the extent that such claims are not already covered by the guarantee of
authenticity, vis-à-vis the DOROTHEUM and the persons for whom it would have to
guarantee in the absence of this disclaimer of warranty are excluded. The sole exception
to this rule are claims in excess thereof arising under purchase contracts with consumers
as defined by the (Austrian) „Konsumentenschutzgesetz“ (Consumer Protection Act),
provided that such claims are based on gross negligence or deliberate acts of
DOROTHEUM employees. In auctions of objects against which execution was levied
any and all complaints are excluded by law. The DOROTHEUM assumes no warranty or
other liability in case of sales where it acts as an agent.
The Dorotheum reserves the right to use, in printed or electronic form, also for the purpose of generally advertising the business activities of the DOROTHEUM, any photographs
and if applicable video recordings it may have produced on its own behalf of the consigned
objects, without any right arising for the client to receive financial compensation therefrom.
The DOROTHEUM shall be entitled to use, reproduce, distribute and make publicly available the photographs and video recordings by publishing them, for instance, in catalogues,
magazines, folders, calendars, catalogues raisonnés, books, illustrations as well as promotional items and merchandising products of whatever kind, etc., without any restriction as to
medium, territory, time or quantity - also without any relation or reference to the original
act of realization or to provenance.
Absentee bids from clients unable to attend the auction in person are accepted by
the competent departments of the DOROTHEUM or the brokers authorized by the
DOROTHEUM.
Until further notice, the DOROTHEUM will accept absentee bids submitted in writing, by
telephone, fax or electronically as a free service. At the auction, the DOROTHEUM shall
bid for the client by increments, not exceeding, however, the bid top limit stated on the
absentee bid. The DOROTHEUM reserves the right to refuse to accept absentee bids
without having to disclose the reasons or to disregard absentee bids received by it. In this
connection, the DOROTHEUM assumes no liability whatsoever for the correct handling
and execution of absentee bids.
Absentee bids which do not clearly designate the item, the date of the auction or your
exact maximum bid in figures (in euros) will not be accepted.
„Buy favorably“, „buy at best price“, „buy unconditionally“, etc. bids will therefore not be
taken into consideration. In the event of two or more bids specifying the same limit, the
earliest received will take precedence.
If in case of a telephone bid the telephone connection cannot be established in time,
for whatever reason, the bid top limit shall be 75% of the lower estimate (150% of the
starting price in the case of „starting price auctions“). The DOROTHEUM is entitled to
round up the limit to the next highest bidding increment. The absentee bid is binding in a
sale after the auction until the end of the third working day after the auction or after the
date of receipt. In a sale after the auction, the DOROTHEUM will be deemed to have
accepted a bid in due time if the declaration of acceptance has been posted, faxed or
given by telephone by the end of the third working day after the auction date or after the
date of receipt, whichever is later.
The DOROTHEUM and the persons for whom it would have to guarantee in the
absence of this disclaimer of warranty cannot be called upon to make up for loss or
damage caused by slight negligence and are furthermore not liable to entrepreneurs for
simple gross negligence. The DOROTHEUM assumes no liability for loss or damage
caused by natural occurrence or force majeure, for loss or damage caused by prolonged
storage times or for loss of profit. The DOROTHEUM shall be liable to the Buyer of
any item for the loss thereof or any damage thereto in case of gross negligence but to
entrepreneurs only in case of at least blatantly gross negligence of its employees and only
up to the amount of the purchase price paid.
The place of performance shall be the business address of the branch / department
where the legal transaction was entered into. The language of contract shall be German.
All disputes arising shall exclusively be subject to Austrian substantive law. The UN
Convention on Contracts for the International Sale of Goods (CISG) shall not apply.
All disputes arising directly or indirectly from an auction shall be referred exclusively to
the Austrian court having local and subject-matter jurisdiction for Vienna 1st District.
Consumers as defined by the Consumer Protection Act are subject to this agreement
only if they have neither a residence nor a habitual place of abode in Austria and do not
work in Austria and provided that this provision does not conflict with other regulations.
COPYRIGHT
All information (texts, descriptions, pictures, illustrations, etc.) and all advertising media of the DOROTHEUM are protected by copyright and are subject to intellectual property
protection. Outside the limits of the law, they may not be treated, distributed, reproduced or processed or stored in databases unless with the express prior written consent of the
DOROTHEUM. Moreover, the name DOROTHEUM is also protected by trademark rights registered at national and international levels. In case of infringement, the DOROTHEUM
reserves the right to take corresponding action under civil law or penal law to protect its intellectual property. By acquiring an item at auction the purchaser shall not acquire exclusive
license or exploitation rights under copyright law over and above title to the item purchased.
PLEASE NOTE
All items are used and subject to age-related wear and tear. Value-enhancing restoration - especially in the case of antiques - is not mentioned in the description.
The description of the object does not indicate defects which are obvious (can be determined by mere viewing) or which are irrelevant for valuation. Any claims of the Buyer
concerning such defects are excluded by law.
There is no right of withdrawal in long-distance and off-premises sales (Fern- und Auswärtsgeschäfte-Rücktrittsrecht). Please note that the total amount of applicable transportation costs
resulting from distance, size and content cannot be calculated at present.
THE FOLLOWING DEFINITIONS REPRESENT THE OPINION OF OUR ExPERTS:
„signiert“, „monogrammiert“ (signed, monogrammed): a work signed or monogrammed by the artist; „bezeichnet“ (bears a signature): the artist‘s signature has probably been added
by another hand; „zugeschrieben“ (attributed to): probably but not necessarily an authentic work by the artist; Street Art (Urban Art): due to the specific (sub)culture of this genre
probably but not necessarily an authentic work by one or several artists or persons (except where a specific certificate of authenticity exists), often but not necessarily reworked, adapted or stenciled; „Werkstatt“ (studio): a work probably produced in the artist‘s studio or workshop, i.e. in the artist‘s immediate surroundings; „Schule“ (school): a work of uncertain
date, executed in the style of an artist or a regional group of artists; „Umkreis“ (circle): a work created within the artist‘s wide regional and temporal sphere of influence; „Nachfolger“
(follower): a work in the artist‘s style, but possibly of a later period; „Nachahmer“ (in the manner of): imitation or copy of a work by the artist, of an uncertain date; First name and
surname of the artist, date and location: undoubtedly a work by the artist.
In principle, all Consignors are entitled to withdraw the items they have submitted for auctioning at any time up until the auction commences. Consequently, the Dorotheum makes no
warranty and assumes no responsibility that the lots listed in the catalogue will be actually offered for sale by auction. Lots marked with AS...” are offered in accordance with the legal
provisions governing the protection of species. The Dorotheum staff will advise and assist Buyers in obtaining the necessary export licenses and certificates. The export from Austria and
the import into non-EU countries, for commercial reasons, of items marked “ASA” (or “Artenschutz A” [protection of species A]) will not be permitted by the competent authorities.
Errors and omissions excepted. The Dorotheum also reserves the right to correct lot descriptions up until the beginning of the sale.
DISCLAIMER CONCERNING THE CONDITIONS OF SALE BY AUCTION AND CATALOGUE TExTS
Conditions of Sale by Auction, information and catalogue texts in English, French, Italian or any other language, as the case may be, are for the sake of convenience only and shall in no
way be considered binding. The DOROTHEUM is unable to assume any liability for the correctness of translations. In the event of diverging interpretations by interested parties, Buyers
and the DOROTHEUM, the German versions of the Conditions of Sale by Auction, information and catalogue texts shall exclusively be authoritative and binding. Equally, any and all
amounts stated in foreign currencies in the catalogue as well as on the currency converter shall be deemed to be non-binding indications only. In auctions, the sole legal tender of Austria
(EURO) will be used exclusively.
INFORMATION
Pursuant to EU rules for the prevention of and the fight against money laundering (Directive 91/308/EEC as amended by Directive 2001/97/EC of the European Parliament and of the
Council), we are under a statutory obligation to ask for an identity document when purchase prices of EUR 15,000.00 and above are paid in cash. Thank you for understanding that we
have to require an official identity document from you in such case.
When submitting an absentee bid form stating that you wish to pay cash, please also send us a photocopy of your official photo ID card not later than 48 hours prior to the auction,
and in particular also if you will not pay or collect the item(s) personally, for example if you want any item(s) with a starting price or lower estimated selling price of EUR 15,000.00 and
above to be mailed to you C.O.D.
Please note: The statutory ID obligation does not apply to cash payments if a (first) installment was transferred from a bank account maintained in your name with a banking institution
recognized by the EU and located within the European Union, or if the bid order was notarized or was submitted with a secure e-mail signature within the meaning of the (Austrian)
„Signaturgesetz“ (Electronic Signature Act).
MODERN ART
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ITALIANO
CONDIZIONI DI VENDITA ALL‘ASTA / ESTRATTO DELLE CONDIZIONI GENERALI DI VENDITA ALL ASTA
La vendita all‘asta si svolge secondo le disposizioni delle condizioni generali di vendita
all‘asta e la Tariffa della compagnia http://www.dorotheum.at/footer/agb.html
Dorotheum GmbH & Co KG (riferita in seguito come „la DOROTHEUM „), che ne
costituisce una parte integrante.
La vendita all‘asta può essere effettuata in nome proprio, a titolo di commissione o di
mediazione (in nome e per conto del mandante). La DOROTHEUM si riserva il diritto
di ritirare per giusta causa qualsiasi oggetto dalla vendita all‘asta, fino al momento dell‘
aggiudicazione, o di modificare descrizioni e prezzi.
Prima della vendita all‘asta gli interessati all‘acquisto potranno richiedere un rapporto sullo
stato. Se la DOROTHEUM inoltra rapporti sullo stato redatti da esperti terzi, è esclusa
qualsiasi responsabilità per la correttezza di tali rapporti.
In casi eccezionali il banditore ha la facoltà di separare, abbinare, offrire in un
procedimento d‘offerta bifase, ritirare i lotti o di svolgere l‘asta in deroga all‘ordine
previsto. In caso di procedimento d‘offerta bifase, i rispettivi oggetti vengono annunciati
espressamente e offerti in un primo momento separatamente, le offerte massime e i
rispettivi offerenti massimi vengono annotati e non si procede ancora all‘aggiudicazione.
Poi vengono riuniti in un unico lotto e offerti come collezione, tenuto conto delle offerte
massime già raggiunte e dei limiti di eventuali oggetti rimasti senza offerta. L‘aggiudicazione
avverrà all‘offerta massima presentata per la collezione o le singole offerte massime, a
seconda di quello che permetterà di raggiungere un prezzo maggiore, tenuto conto dei
limiti previsti per eventuali oggetti rimasti senza offerta.
Nelle descrizioni viene indicato o il prezzo di partenza o il margine di prezzo, indicato
dall‘esperto a titolo indicativo ed espresso sempre in EURO, entro il quale l‘esperto si
aspetta di ricevere l‘offerta massima.
Le offerte partono generalmente dalla metà della stima inferiore e proseguono di regola
con aumenti del 10% circa rispetto al prezzo di partenza e/o all‘offerta precedente,
tenendo conto che il prezzo di partenza potrebbe variare tra la metà della stima inferiore
e la stima inferiore stessa. L‘oggetto potrà essere aggiudicato senza aver raggiunto la
stima superiore. Il lotto viene aggiudicato al maggior offerente, a meno che non sia stato
pattuito un prezzo minimo con il mandante. Se, in occasione dell‘offerta all‘asta, avviene
una riduzione graduale del prezzo di partenza, il procedimento di ricevimento delle
offerte avviene con la prima offerta valida. Se è soltanto un unico offerente a fare
un‘offerta, tale offerente avrà l‘aggiudicazione. L‘aggiudicazione potrà essere fatta
dipendere dal verificarsi di eventuali condizioni.
In caso di contestazione, di affermate offerte plurime, se un‘offerta non è stata accolta
o non è stata percepita o comunque è rimasta inosservata o se il banditore era
colto da un errore, in relazione all‘esistenza o meno di un‘offerta, la decisione relativa
all‘accettazione dell‘offerta spetterà esclusivamente alla DOROTHEUM. Per questi motivi la
DOROTHEUM avrà la facoltà di annullare l‘aggiudicazione già data, nel corso della
vendita all‘asta stessa o entro 3 giorni feriali dopo la fine della stessa, e di rimettere in asta
l‘oggetto disputato nella stessa vendita all‘asta o in una vendita all‘asta successiva.
Al prezzo di aggiudicazione (offerta massima) si aggiungono per tutti gli articoli inoltre:
- la tassa d’acquisto (diritto d‘asta)
- l’imposta sul valore aggiunto
- la tassa per il diritto di seguito (diritto sulle successive vendite) eventualmente dovuta
(contraddistinta nel catalogo con *)
Tassa d’acquisto:
a) Per gli articoli soggetti alla tassazione sul margine (nessun contrassegno particolare nel
catalogo/nelle descrizioni) nonché per gli articoli venduti per mediazione (contraddistinti
nel catalogo con “V” = „Vermittlung“), la tassa d’acquisto ammonta
fino ad un importo pari a EUR 100.000:
al 25% dell’offerta massima
per l’importo che supera EUR 100.000:
al 22%
al 15%
In questi casi la tassa d’acquisto è già comprensiva dell’IVA applicabile.
1
(Vedi esempio in fondo alla pagina )
b) Per gli articoli soggetti alla tassazione completa (nel catalogo/nelle descrizioni contraddistinti con “+“ per l’IVA del 20% ovvero “–“ per l’IVA del 10%) la tassa d’acquisto
ammonta
fino ad un importo pari a EUR 100.000:
al 20,84% dell’offerta massima
al 18,34%
al 12,5%
In questo caso (b) l’IVA applicabile viene calcolata sul prezzo complessivo (offerta
massima più tassa d’acquisto ed eventuale supplemento per il diritto di seguito) ed
aggiunta al prezzo complessivo. (Vedi esempio in fondo alla pagina2)
In caso di articoli venduti su mediazione (“V”), non è possibile alcun rimborso dell’IVA per
forniture a paesi terzi.
L‘IVA verrà rimborsata soltanto in caso di vendita di oggetti non contrassegnati e di
oggetti marcati con il simbolo „+“ o „–“ qualora la vendita sia destinata a un paese non
appartenente all‘Unione Europea (paese terzo), e qualora esistano i presupposti giuridici
all‘esportazione e questa sia debitamente comprovata.
Le forniture destinate ad imprese tenute al versamento dell‘IVA ed aventi sede in uno
stato membro dell‘Unione Europea (eccezion fatta per le forniture destinate ad
imprese con sede in Austria e oggetti sottoposti all‘imposizione sul margine) sono
soggette al versamento della tassa d‘acquisto dovuta nel rispettivo paese di destinazione. In
questo caso la consegna di oggetti marcati con il simbolo „+“ e „–“ all‘interno dell‘Austria
sarà esente dall‘IVA se prima dell‘aggiudicazione ci verrà comunicata la valida partita IVA
dell‘acquirente.
Si prega di tener conto del fatto che in caso di lotti acquistati dopo-vendita verrà messo
in conto un diritto d‘asta, aumentato del 2%, a carico dell‘acquirente.
L‘acquirente è tenuto a pagare il prezzo d‘acquisto (corrispondente alla maggior offerta,
1 Esempio
diritti d‘asta e IVA più l‘eventuale supplemento per il diritto sulle successive vendite) in
contanti all‘atto dell‘aggiudicazione. In casi eccezionali la DOROTHEUM potrà concedere
una dilazione del pagamento. La dilazione del pagamento potrà essere fatta dipendere da
un acconto adeguato. Se viene rifiutato un pagamento dilazionato, l‘aggiudicazione potrà
altresì essere tolta a posteriori e l‘oggetto potrà essere offerto di nuovo, nella stessa
vendita all‘asta o in una vendita all‘asta successiva. Se l‘aggiudicazione viene tolta, la
DOROTHEUM avrà altresì il diritto di dare l‘aggiudicazione a posteriori al secondo
maggior offerente, all‘ultima offerta fatta da quest‘ultimo. Se un prezzo di acquisto
dilazionato non viene corrisposto entro il termine stabilito, Dorotheum è autorizzata
a conteggiare all‘acquirente interessi di mora calcolati in arretrato su base giornaliera e
imputati trimestralmente al 6% annuo sull‘“European Interbank Offered Rate
(EURIBOR)/3 mesi“, arrotondato alla percentuale trimestrale, comunicato per l‘ultimo
trimestre civile. Dopo l‘aggiudicazione l‘acquirente risponderà del pagamento completo e
tempestivo del prezzo d‘acquisto, anche se rende noto, dopo l‘aggiudicazione, di avere
partecipato alle offerte per conto di una persona terza. Se la DOROTHEUM emette una
fattura alla persona terza nominata, a richiesta dell‘acquirente, con ciò la DOROTHEUM
dichiara semplicemente di accettare un semplice obbligo d‘adempimento (supplementare)
a carico della persona terza nominata, senza concedere a quest‘ultima ulteriori diritti quali
in particolare il diritto di compensazione o di ritenzione ecc., nonché nel mantenimento
della piena responsabilità incombente all‘acquirente. Se l‘acquirente non dovesse
adempiere ai propri obblighi derivanti dal contratto d‘acquisto con lui stipulato, entro il
termine concessogli, nonostante ingiunzione di pagamento, o non dovesse adempiere
agli stessi in piena misura, la DOROTHEUM avrà il diritto – fermi restando eventuali altri
diritti – di agire per sé e/o per il mandante
1. o insistendo ulteriormente sull‘adempimento del contratto d‘acquisto e escutendo
l‘acquirente, oltre che per quanto riguarda il prezzo d‘acquisto, anche per quanto
riguarda il pagamento di tutti gli interessi, spese e costi, ivi comprese le spese legali
connesse con l‘attuazione dell‘adempimento del contratto d‘acquisto,
2. o recedendo dal contratto d‘acquisto. In tal caso la DOROTHEUM si riserva per sé
e/o per il mandante di richiedere all‘acquirente il rimborso dell‘intero danno da
questi cagionato che dopo una vendita sostitutiva può derivare in particolare da
diritti, costi, oneri e deficit dovuti a prezzi d‘acquisto inferiori, ivi comprese tutte le
spese e tutti gli oneri nonché le spese legali ecc.,
3. ovvero rimettendo l‘oggetto all‘asta, per conto dell‘acquirente.
In caso di vendita sostitutiva o di rimessa all‘asta per conto dell‘acquirente, l‘acquirente è
sottoposto alle stesse regole valide per il mandante, per quanto riguarda i diritti e le tasse.
Se il risultato della vendita sostitutiva o della nuova vendita all‘asta non coprisse il credito
della DOROTHEUM, l‘acquirente moroso sarà ritenuto responsabile per la perdita.
La consegna e il passaggio di proprietà relativo agli oggetti comprati all‘asta avverrà
soltanto dopo il pagamento completo del prezzo d‘acquisto, ivi compresi tutti gli interessi,
diritti, costi ed oneri.
Gli oggetti aggiudicati dovranno essere presi in consegna immediatamente. Gli oggetti
di piccole dimensioni aggiudicati e pagati saranno consegnati subito dopo la vendita; gli
oggetti ingombranti potranno essere ritirati solo il giorno feriale successivo. Tali oggetti
saranno custoditi a rischio dell‘acquirente dal momento dell‘aggiudicazione fino alla presa
in consegna. L‘imballaggio ed ciascuna spedizione avverranno a rischio esclusivo e spese
esclusive dell‘acquirente.
Se gli oggetti comprati all‘asta non vengono ritirati entro un termine di 14 giorni dall‘
aggiudicazione, la DOROTHEUM avrà il diritto di mettere in conto le spese di
magazzinaggio (pari all‘1% del prezzo d‘aggiudicazione per ogni mese, salvo non vi siano
cambiamenti specificati nel catalogo o annunciati all’asta) o di metterli a deposito presso
un magazziniere, a spese e rischio dell‘acquirente. Se il ritiro da parte dell‘acquirente o di
un vettore/spedizioniere da questi incaricato non avviene entro un termine di 90 giorni
dalla data dell‘aggiudicazione, la DOROTHEUM avrà il diritto di procedere alla rimessa
all‘asta dell‘oggetto aggiudicato, a spese esclusive e rischio esclusivo dell‘acquirente. A tale
proposito l‘acquirente moroso è sottoposto alle stesse regole valide per il mandante, per
quanto riguarda i diritti e le tasse.
La descrizione degli oggetti da vendere all‘asta si basa sulle convinzioni soggettive degli
esperti che stabiliscono i prezzi di partenza in corrispondenza ad esse. Le loro indicazioni
non costituiscono nessuna garanzia di una determinata qualità o di un determinato valore.
La DOROTHEUM non si assume nessuna responsabilità delle indicazioni fatte a questo
proposito, in particolare neppure secondo i criteri di cui agli artt. 1299 e s. del Codice
Civile austriaco („ABGB“). Anche se la descrizione e/o la determinazione del prezzo non
avviene ad opera della DOROTHEUM, ma da parte del mandante stesso o di esperti
esterni, nonché in caso di vendite su mediazione, la DOROTHEUM non si assume
nessuna responsabilità.
Nel caso di oggetti d‘arte, specialmente quadri ed antichità, verranno indicati solo i difetti
ed i danni che ne compromettano sostanzialmente il valore artistico.
In caso di vendite in nome proprio la DOROTHEUM garantisce agli acquirenti l‘esattezza
delle sue indicazioni relative alla paternità (indicazione dell‘artista), al produttore, al
momento di fabbricazione, all‘origine, all‘età, all‘epoca, alla cultura della fabbricazione o
dell‘uso nonché ai materiali di cui sono fatti gli oggetti, nelle seguenti condizioni:
Tali indicazioni sono scorrette se non corrispondono alle conoscenze scientifiche
generalmente accessibili e alle opinioni espresse da esperti generalmente riconosciuti. Tali
indicazioni saranno considerate essenzialmente scorrette qualora un acquirente standard
non avesse stipulato la compravendita in caso di scorrettezza delle rispettive indicazioni.
Se l‘acquirente dimostra, entro tre anni dal giorno dell‘aggiudicazione, che tali indicazioni
fatte dalla DOROTHEUM sono sostanzialmente scorrette, gli sarà rimborsato il prezzo
d‘acquisto contestualmente alla restituzione dell‘oggetto invariato. In caso di acquirenti per
i quali la compravendita compiuta fa parte dell‘esercizio della loro impresa, si presupporrà
inoltre che avviseranno la DOROTHEUM immediatamente dei primi dubbi motivati che
sorgessero a proposito della correttezza.
di tassazione sul margine o di mediazione
Vendita all’offerta massima 3.000 euro, con supplemento per il diritto di seguito  Il prezzo lordo ammonta a 3.870 euro (3000 euro offerta massima + 750 euro tassa d’acquisto + 120 euro
supplemento per il diritto di seguito)
2 Esempio di tassazione completa con il 20% di IVA:
Vendita all’offerta massima 3.000 euro con supplemento per il diritto di seguito  Il prezzo lordo ammonta a 4.494 euro (3.000 euro offerta massima + 625 euro tassa d’acquisto + 120 euro
supplemento per il diritto di seguito + 749 euro IVA)
188
MODERN ART
ITALIANO
Se le cognizioni scientifiche generalmente accessibili e le opinioni di esperti generalmente
riconosciuti dovessero cambiare fino al momento del reclamo mosso dall‘acquirente e il
trattamento dello stesso, la DOROTHEUM avrà il diritto o di stornare l‘acquisto a carico
del mandante o di rifiutare il reclamo, a suo insindacabile giudizio.
Se l‘oggetto restituito presenta un danno o un‘usura che non erano ancora esistenti
al momento della stipula del contratto, la DOROTHEUM avrà il diritto di detrarre dal
prezzo d‘acquisto le spese adeguate di riparazione e/o un‘eventuale riduzione di
valore. Se l‘acquirente ha già usato l‘oggetto rispedito, spetterà alla DOROTHEUM
inoltre un adeguato corrispettivo per l‘uso. La DOROTHEUM rilascia questa garanzia
o altre garanzie concesse con dichiarazione separata, oltre ai diritti di garanzia
e di errore per legge spettanti ai consumatori, che quindi non risultano in alcun modo
compromessi dalle precedenti garanzie. In caso di oggetti usati il termine legale di garanzia
nei confronti dei consumatori è di un anno.
Sono esclusi ulteriori reclami e pretese di qualsiasi genere riguardanti il prezzo, la natura
e lo stato degli oggetti acquistati all‘asta, o diritti al risarcimento del danno, nella misura
in cui non siano comunque coperte dalla garanzia d‘autenticità, sporti nei confronti della
DOROTHEUM e di quelle persone per le quali, senza esclusione della responsabilità,
la DOROTHEUM stesso dovrebbe rispondere. Tali reclami possono essere considerati
accettabili solo nel caso di contratti d‘acquisto con consumatori ai sensi della Legge
austriaca sulla protezione del consumatore („Konsumentenschutzgesetz“), per quanto
riguarda eventuali pretese maggiori, dove sia rintracciabile un comportamento gravemente
colposo o doloso di collaboratori della DOROTHEUM. In caso di oggetti venduti all‘asta
a titolo d‘esecuzione sarà escluso per legge qualsiasi reclamo.
In caso di vendite su mediazione la DOROTHEUM non si assume nessuna garanzia né
altri tipi di responsabilità.
La DOROTHEUM si riserva il diritto di usare, in forma elettronica e stampata, le fotografie
ed eventuali videoregistrazioni realizzate per conto proprio degli oggetti conferiti, anche
ai fini della pubblicizzazione generale delle attività della DOROTHEUM, senza che il
cliente possa vantare alcun diritto di compenso finanziario. La DOROTHEUM ha il
diritto di usare, riprodurre, divulgare e mettere a disposizione del pubblico le fotografie
e videoregistrazioni attraverso pubblicazioni, ad esempio in cataloghi, riviste, opuscoli,
calendari, cataloghi di opere, libri, illustrazioni nonché tramite articoli pubblicitari e di
merchandising di ogni genere, senza alcuna restrizione in termini mediali, spaziali, temporali
o quantitativi, anche senza alcun riferimento all’attività di utilizzo iniziale o alla provenienza.
I clienti impossibilitati a partecipare personalmente alla vendita potranno rilasciare mandati
d‘acquisto ai sensali o alle sezioni competenti della DOROTHEUM. Come servizio
gratuito ai clienti e fino a nuovo ordine la DOROTHEUM accetta mandati scritti,
telefonici, mandati conferiti per telefax o elettronicamente. La DOROTHEUM parteciperà
all‘asta, per conto del mandante, fino al limite d‘acquisto da quest‘ultimo indicato e si
riserva di rifiutare l‘accettazione di mandati d‘acquisto, senza fornirne i motivi, o di non
prendere in considerazione mandati d‘acquisto pervenuti. A tale proposito la
DOROTHEUM non si assume nessuna responsabilità per la perfetta esecuzione di
mandati d‘acquisto. Non sono accettati mandati d‘acquisto senza l‘indicazione esatta
dell‘oggetto, della data della vendita o del limite superiore d‘offerta in Euro,
espresso in cifre. Di conseguenza, termini non specifici come „occasione“, „ad ottimo
prezzo“, „comprare ad ogni costo“ ecc. non potranno essere presi in considerazione.
Nel caso di due o più mandati d‘acquisto con limiti d‘acquisto uguali si procederà secondo
la data e l‘ora d‘arrivo. Se, nel caso di un‘offerta telefonica, il collegamento telefonico non
si potesse per qualsiasi ragione realizzare tempestivamente, il limite d‘acquisto sarebbe
automaticamente posto al 75% della stima minima (al 150% del prezzo di partenza nel
caso di „vendite a prezzo di partenza“). La DOROTHEUM avrà il diritto d‘arrotondare il
limite al rilancio seguente.
Per quanto riguarda gli acquisti dopo-vendita, i mandati d‘acquisto rimarranno impegnativi
per l‘offerente fino alla fine del terzo giorno feriale dopo l‘asta o fino alla fine del terzo
giorno feriale dopo l‘arrivo. La dichiarazione d‘accettazione da parte della DOROTHEUM
riguardante gli acquisti dopo-vendita sarà considerata tempestiva se fatta per posta (fa fede
la data di spedizione), fax o telefono, fino alla fine del terzo giorno feriale dopo l‘asta o fino
alla fine del terzo giorno feriale dopo l‘arrivo, a seconda del momento che si verifica più tardi.
La DOROTHEUM e le persone per le quali sarebbe responsabile senza esclusione della
responsabilità non potranno essere escusse ai fini del risarcimento di un danno cagionato
per colpa lieve. Nei confronti di imprenditori essi non rispondono neanche per semplice
colpa grave. Per i danni cagionati da cataclismi o forza maggiore, per i danni che si
verificano in seguito a magazzinaggio prolungato o guadagno sfuggito, la DOROTHEUM
non si assume nessuna responsabilità. La DOROTHEUM sarà responsabile nei confronti
dell‘acquirente di un oggetto per la perdita o per il danneggiamento dello stesso, in caso
di colpa grave, nei confronti degli imprenditori invece soltanto in caso di colpa almeno
gravissima del suo personale, fino a concorrenza del prezzo d‘acquisto pagato.
Luogo d‘adempimento è la sede commerciale della succursale/della sezione in cui il
rispettivo negozio giuridico è stato stipulato. Lingua contrattuale è il tedesco. Tutte le
controversie sorgenti soggiacciono esclusivamente al diritto sostanziale austriaco.
Non si applica la Convenzione delle Nazioni Unite relativa ai contratti sull‘acquisto
internazionale di merci (CISG). Come foro competente per tutte le controversie derivanti
indirettamente o direttamente da un negozio di vendita all‘asta si conviene esclusivamente
il tribunale austriaco territorialmente e materialmente competente di A-1010
Vienna. Ai consumatori ai sensi della Legge austriaca sulla protezione del consumatore tale
pattuizione si applica soltanto se non hanno né un domicilio né una residenza abituale in
Austria e non lavorano in Austria e se non ci sono altre discipline contrastanti.
COPYRIGHT
Tutte le informazioni (testi, descrizioni, rappresentazioni, illustrazioni ecc.) e tutti i mezzi pubblicitari della DOROTHEUM sono soggetti al diritto d’autore e alla tutela delle opere
dell’ingegno. Oltre i limiti previsti dalla legge, esse non potranno essere elaborate, divulgate, riprodotte, modificate o salvate in banche dati senza l’esplicita previa autorizzazione per iscritto
da parte della DOROTHEUM. Il nome DOROTHEUM è inoltre tutelato come marchio registrato a livello nazionale e internazionale. Per il caso di trasgressioni la DOROTHEUM si
riserva di intraprendere ogni opportuna azione civile e penale per tutelare le sue opere dell’ingegno. L’acquisto di un oggetto d’asta non comporta l’acquisto di un diritto di utilizzo e di
sfruttamento del diritto d’autore esulante il contesto del diritto di proprietà.
AVVISI
Tutti gli oggetti sono usati e potrebbero portare tracce d‘usura condizionata dall‘età. I restauri che incrementano il valore dell‘oggetto, soprattutto nel caso di antichità, non vengono
menzionati nella descrizione. La descrizione non indica difetti evidenti (visibili) o quelli non rilevanti per la valutazione. Per legge nessuna contestazione relativa a tali difetti sarà ammessa.
Non è inoltre applicabile un diritto di recesso per i contratti conclusi a distanza o fuori dei locali commerciali (Fern- und Auswärtsgeschäfte-Rücktrittsrecht). Si fa gentilmente presente che i costi
applicabili relativi al trasporto, risultanti dalla distanza, dalle dimensioni e dal contenuto, costituiscono un ammontare attualmente non calcolabile.
NELL’OPINIONE DEI PERITI DEL DOROTHEUM I TERMINI USATI HANNO IL SEGUENTE SIGNIFICATO:
„signiert“, „monogrammiert“ (firmato, monogrammato): dalla mano dell‘artista; „bezeichnet“ (contrassegnato): forse d‘altra mano; „zugeschrieben“ (attribuito a): opera
probabilmente ma non sicuramente autentica dell’artista; Street Art (Urban Art): data la specifica (sub)cultura di questa corrente artistica, un‘opera probabilmente ma non sicuramente
autentica (a meno che non sia accompagnata dal relativo certificato) di un artista o di vari artisti o persone – spesso, ma non necessariamente, ritoccata, trasformata o firmata a stencil;
„Werkstatt“ (bottega di): opera probabilmente prodotta nella bottega, cioè nell‘ambiente stesso dell‘artista; „Schule“ (scuola di): opera di data incerta, nata nelle vicinanze stilistiche di
un‘artista o di un gruppo regionale di artisti; „Umkreis“ (cerchia di): opera nata nell‘estesa sfera d‘influenza dell‘ artista riguardo al tempo o al luogo; „Nachfolger“ (seguace di): opera
che rispecchia lo stile dell‘artista, ma data probabilmente di un periodo posteriore; „Nachahmer“ (maniera di): imitazione o riproduzione di un‘opera dell‘artista eseguita in data indefinita;
nome e cognome dell‘artista con indicazione delle date e dei luoghi: opera autentica dell‘artista.
Ogni venditore ha, in linea di principio, il diritto di ritirare i propri oggetti fino al momento dell‘inizio della vendita. Di conseguenza non è possibile garantire o assicurare che tutti gli
oggetti vengano effettivamente messi in vendita. Gli oggetti marcati „AS...“ saranno offerti in conformità alle disposizioni vigenti in materia di protezione delle specie. Il personale della
DOROTHEUM consiglierà ed assisterà i clienti nell‘ottenere i certificati e le autorizzazioni necessarie per l‘esportazione. Le autorità competenti non concederanno l‘esportazione
all‘Austria e l‘importazione in un paese non-membro della UE, a scopi commerciali, di oggetti marcati nella descrizione con „ASA“ (o „Artenschutz A“ [= „protezione delle specie A“]).
La DOROTHEUM si riserva la correzione di errori, anche di stampa, e il diritto di rettificare le descrizioni dei lotti fino al momento della vendita.
ESCLUSIONE DELLA RESPONSABILITà IN RELAZIONE ALLE CONDIZIONI DI VENDITA ALL‘ASTA E TESTI CONTENUTI NEI CATALOGHI
Le condizioni di vendita all‘asta, le informazioni ed i testi dei cataloghi in lingua inglese, francese, italiana o altra lingua rappresentano soltanto traduzioni ausiliari senza effetto vincolante.
La DOROTHEUM non può assumersi nessuna responsabilità per la correttezza della traduzione. Ai fini dell‘interpretazione di eventuali punti di vista diversi tra il pubblico, gli acquirenti
ed la DOROTHEUM faranno fede e saranno vincolanti esclusivamente le Condizioni di vendita all‘asta, le informazioni e testi contenuti nei cataloghi redatti in lingua tedesca. Inoltre tutte
le indicazioni di valuta estera sia nel catalogo che sulla visualizzazione di conversione monetaria s‘intendono soltanto come cenni d‘orientamento non vincolanti. Per l‘esecuzione della
vendita all‘asta si applica esclusivamente la moneta esclusivamente valida in Austria (EURO).
INFORMAZIONE
In base alle disposizioni dell‘Unione Europea relative alla prevenzione del riciclaggio di denaro e alla lotta contro lo stesso (direttiva 91/308/CEE nella versione 2001/97/CE del
Consiglio e del Parlamento dell‘Unione Europea) esiste un obbligo legale di legittimazione in caso di pagamento in contanti di prezzi d‘acquisto da EUR 15.000,- in su. Per questo motivo
La preghiamo di comprendere che in tal caso dobbiamo pregarLa di esibire un documento ufficiale munito di foto.
In caso di mandati d‘acquisto che intende pagare in contanti, La preghiamo di inviare in precedenza, non più tardi di 48 ore prima dell‘inizio della vendita all‘asta, oltre al modulo di
mandato d‘acquisto, anche copia di un documento del genere, in particolare e comunque se non intende effettuare personalmente il pagamento o il ritiro, p.es. in caso di spedizione
contro assegno di oggetti il cui prezzo di partenza o la cui stima inferiore sia di EUR 15.000,- o di più.
Avviso: L‘obbligo legale di legittimazione verrà meno anche per il pagamento in contanti se in anticipo si effettua un (primo) pagamento parziale sotto forma di rimessa che parte da
un conto bancario di cui Lei è intestatario, acceso presso un istituto bancario riconosciuto dall‘UE nel territorio dell‘UE; tale obbligo verrà meno anche qualora il mandato fosse stato
autenticato da un notaio o munito di firma e-mail sicura ai sensi della Legge austriaca sulle firme elettroniche („Signaturgesetz“).
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CONDITIONS DE VENTE AUx ENCHèRES / ExTRAIT DES CONDITIONS GéNéRALES DE VENTE AUx ENCHèRES
La vente aux enchères se déroule selon les dispositions des Conditions générales de vente
aux enchères et de la Tarification de l‘entreprise http://www.dorotheum.at/footer/agb.html
Dorotheum GmbH & Co KG (ci-après nommée «le DOROTHEUM»), qui est partie
intégrante.
La vente aux enchères peut être effectuée par le DOROTHEUM en nom propre, à
titre de commission ou à titre de courtage (au nom et pour le compte du vendeur). Le
DOROTHEUM se réserve le droit, pour des motifs pertinents, soit de retirer tout objet
de la vente aux enchères aussi longtemps que l‘adjudication n‘a pas été prononcée, soit
de modifier descriptions et prix.
Préalablement à la vente aux enchères, des acheteurs potentiels peuvent demander un
rapport d‘état. Si le DOROTHEUM transmet des rapports d‘état émanant d‘experts
externes, il exclut toute responsabilité pour l‘exactitude de ces rapports.
Le commissaire-priseur pourra, à titre exceptionnel, séparer, réunir, présenter des lots à
la vente en un procédé à deux temps, les retirer, ou bien s‘écarter de l‘ordre prévu. Dans
le cas d‘une vente en un procédé à deux temps, les objets en question sont nommés
expressément et, dans un premier temps, présentés un par un, les plus fortes enchères
et les plus offrants correspondants sont notés, d‘abord toutefois sans adjuger. Dans un
deuxième temps, les objets sont ensuite réunis en un lot unique et présentés aux
enchères comme lot collectif, en tenant compte des plus fortes enchères déjà obtenues
et des limites indiquées pour des objets pour lesquels il n‘y a éventuellement pas eu
d‘offres. Enfin, l‘adjudication est prononcée soit pour la plus forte enchère offerte pour le
lot collectif, soit pour les plus fortes enchères individuelles, en retenant le prix plus élevé
pouvant être obtenu, compte tenu des limites indiquées pour des objets pour lesquels il
n‘y a éventuellement pas eu d‘offres.
Dans les descriptions figure soit la mise à prix soit la gamme des plus fortes enchères
attendues par l‘expert et avancée à titre indicatif, à chaque fois en euros.
En général, les enchères partent de la moitié de l‘estimation inférieure, cette mise à prix
pouvant varier entre la moitié de l‘estimation inférieure et l‘estimation inférieure même.
En général, les enchères montent à chaque fois par paliers de 10 % de la mise à prix
ou de l‘offre précédente. L‘adjudication pourra être prononcée même si l‘estimation
supérieure de l‘expert n‘a pas été atteinte. En tout cas, l‘objet sera adjugé au plus offrant,
à moins que le prix minimum convenu avec le vendeur n‘ait pas été obtenu. Si l‘on
procède, au cours de la vente aux enchères, à une réduction successive de la mise à prix,
les enchères commencent avec la première offre valable. S‘il n‘y a qu‘un seul offrant, l‘objet
lui est adjugé. L‘adjudication peut être soumise à la réalisation de conditions préalables.
Il incombe exclusivement au DOROTHEUM de décider de l‘acceptation d‘une offre
en cas de divergences d‘opinion, d‘offres identiques alléguées pour un même objet ou
lorsqu‘une offre est passée inaperçue, n‘a pas été remarquée ou a été omise de quelque
autre manière ou lorsque le commissaire-priseur a commis une erreur concernant
l‘existence ou non d‘une offre. Pour de tels motifs, le DOROTHEUM est en droit de
résoudre l‘adjudication, soit encore dans la vente en cours, soit à l‘intérieur d‘un délai de
3 jours ouvrables après la vente et de remettre l‘objet aux enchères dans la vente en cours
ou dans une vente ultérieure.
Pour tous les objets s’ajoutent au prix d’adjudication (plus forte enchère):
- la taxe d’achat (supplément)
- la TVA
- l’éventuel supplément de droit de suite (repéré dans le catalogue par un astérisque *)
La taxe d’achat est fixée comme suit:
a) pour les objets à fiscalité différenciée (qui ne sont pas particulièrement signalés dans le
catalogue/dans la description) ainsi que pour les objets vendus en qualité d’intermédiaire
(repérés dans le catalogue/dans la description par un «V») (Vermittlung = Intermédiaire):
jusqu’à un montant de 100.000 euros:
25% de la plus forte enchère
pour les montants supérieurs à 100.000 euros: 22%
pour les montants supérieurs à 600.000 euros: 15%
Dans ces cas, la TVA en vigueur est déjà inclue dans la taxe d’achat
(voir l’exemple au bas de la page1)
b) pour les objets entièrement soumis à la TVA (signalés dans le catalogue/dans la
description par un «+»“ pour une TVA de 20% ou par un «-» pour une TVA de 10%):
jusqu’à un montant de 100.000 euros:
20,84% de la plus forte
enchère
pour les montants supérieurs à 100.000 euros: 18,34%
pour les montants supérieurs à 600.000 euros: 12,5%
Dans ce cas (b), la TVA en vigueur est calculée à partir du prix total (plus forte enchère
avec en sus la taxe d’achat et un éventuel supplément de droit de suite) et vient s’ajouter
au prix total (voir l’exemple au bas de la page2).
Pour des objets vendus en qualité d’intermédiaire («V»), le remboursement de la TVA
pour une vente effectuée vers un tiers pays n’est pas possible.
Le remboursement de la TVA ne peut avoir lieu que sur des objets non marqués
spécialement ou sur des objets marqués des symboles «+» et «–», lorsque la vente
s‘effectue vers un pays non-membre de l‘Union Européenne (tiers pays), pourvu que les
exigences légales soient satisfaites et que l‘exportation ait été authentifiée. Les livraisons
à des entreprises soumises à l‘imposition de la TVA dans un état membre de l‘Union
Européenne (à l‘exception des livraisons à des entreprises ayant leur siège sur le territoire
autrichien et à l‘exception des objets soumis à la TVA sur la marge) sont imposables sur
leur lieu de destination.
Dans ce cas particulier, la livraison des objets marqués des symboles «+» et «–» n‘est
pas imposable en Autriche, lorsque, avant l‘adjudication, l‘acheteur a communiqué au
DOROTHEUM son numéro d‘identification de TVA.
Avis : En cas d‘objets vendus après la vente aux enchères, la taxe d‘achat sera majorée de 2 %.
Immédiatement après l‘adjudication, l‘acheteur est tenu de s‘acquitter en espèces du
montant de l‘achat (plus forte enchère à laquelle s‘ajoutent la taxe d‘achat et la TVA ainsi
que l‘éventuel supplément de droit de suite). A titre exceptionnel, le DOROTHEUM
1 Exemple
pourra accorder un sursis de paiement. Le sursis de paiement pourra être soumis à la
condition du versement d‘un acompte adéquat. En cas de refus d‘un sursis de paiement,
l‘adjudication pourra aussi être résolue rétrospectivement et l‘objet remis en vente dans
la vente en cours ou dans une vente ultérieure. Lorsque l‘adjudication a été résolue, le
DOROTHEUM est également en droit d‘adjuger l‘objet en question au plus offrant
venant en deuxième, à la dernière enchère de celui-ci. Si le montant d’un prix d’achat n’est
pas payé durant la période fixée, le DOROTHEUM est habilité à facturer à l’acheteur des
intérêts de retard calculés trimestriellement depuis le jour du retard de paiement, d’un
taux de 6% l’an au-dessus du taux de l’EURIBOR / 3 mois (Euro Interbank Offered Rate)
communiqué pour le dernier trimestre, arrondi au quart de pour cent supérieur.
Après l‘adjudication, l‘acheteur est responsable d‘acquitter dans les délais le prix
d‘achat intégral, même s‘il déclare, après l‘adjudication, avoir enchéri pour un tiers. Si le
DOROTHEUM établit, à la demande de l‘acheteur, une facture libellée au nom du tiers
qui lui a été désigné, le DOROTHEUM déclare par là uniquement accepter une simple
obligation d‘exécution (supplémentaire) de la part du tiers désigné par l‘acheteur, sans
pour autant concéder à cette personne des droits plus étendus tels que notamment
un droit de compensation ou de rétention, etc., et tout en maintenant la responsabilité
intégrale de l‘acheteur.
Si, en dépit d‘un rappel de paiement, l‘acheteur manque, dans le délai imparti,
totalement ou en partie à ses obligations découlant du contrat d‘achat conclu avec lui, le
DOROTHEUM pourra, pour le DOROTHEUM même et/ou pour le vendeur et
nonobstant d‘autres droits éventuels
1. soit persister à exiger l‘exécution du contrat d‘achat et à réclamer de l‘acheteur, outre
l‘acquittement du prix d‘achat, le paiement de tous les intérêts, frais et débours, y inclus
les honoraires de conseil juridique, en vue d‘obtenir l‘exécution du contrat,
2. soit résilier le contrat d‘achat. Dans ce cas, le DOROTHEUM se réserve le droit,
pour le DOROTHEUM même et/ou pour le vendeur, d‘exiger de l‘acheteur de le
tenir indemne pour la totalité des dommages causés par l‘acheteur et pouvant
résulter, après une vente compensatoire, notamment des taxes, coûts, débours et
pertes dues aux prix de vente réduits, y inclus tous les frais et débours ainsi que les
honoraires de conseil juridique, etc.,
3. soit remettre l‘objet aux enchères aux frais de l‘acheteur.
Au cas d‘une vente compensatoire ou d‘une nouvelle vente aux enchères pour l‘acheteur,
celui-ci est, en ce qui concerne les taxes appliquées à cette opération, soumis au même
régime qu‘un vendeur. Si le résultat de la vente compensatoire ou de la nouvelle vente
aux enchères ne suffit pas à couvrir la créance du DOROTHEUM, l‘acheteur défaillant
devra répondre de cette perte.
La remise et le transfert de propriété des objets adjugés n‘auront lieu qu‘après le
paiement intégral du prix d‘achat y compris tous les intérêts, taxes, frais et coûts.
Les objets adjugés doivent être pris en possession immédiatement. Les objets de petite
taille adjugés et payés peuvent être enlevés immédiatement, les objets plus encombrants
seulement le jour ouvrable suivant. Ils sont entreposés à compter de l‘adjudication
jusqu‘à la prise en possession par l‘acheteur à ses risques et périls. L‘emballage et toute
expédition sont aux seuls risques et frais de l‘acheteur.
Si des objets adjugés ne sont pas enlevés à l‘intérieur d‘un délai de 14 jours après
l‘adjudication, le DOROTHEUM pourra soit facturer des frais d‘entreposage (1 % de
la plus forte enchère par mois, dans la mesure où aucune indication contraire ne figure
dans le catalogue ou n’a été communiqué lors des enchères), soit les entreposer auprès
d‘un entreposeur, aux risques et frais de l‘acheteur. Si l‘acheteur ne procède pas, soit en
personne soit en se servant d‘un transporteur/commissionnaire de transport qu‘il aura
mandaté à cet effet, à l‘enlèvement de l‘objet adjugé, et ce à l‘intérieur d‘un délai de 90
jours après le jour de l‘adjudication, le DOROTHEUM pourra remettre aux enchères
l‘objet adjugé, aux seuls risques et frais de l‘acheteur. En ce qui concerne les taxes
appliquées à cette opération, l‘acheteur défaillant est soumis au même régime qu‘un
vendeur. La description des objets destinés à la vente aux enchères est basée sur les
convictions subjectives des experts qui déterminent les mises à prix en conséquence.
Leurs indications ne constituent la promesse ni d‘une qualité ni d‘une valeur définies. Le
DOROTHEUM n‘assume aucune responsabilité pour les indications faites dans ce contexte,
notamment pas non plus selon les critères des articles 1299 et suiv. du Code civil autrichien
(« ABGB »). Le DOROTHEUM n‘assume aucune responsabilité non plus dans le cas où ce
n‘est pas le DOROTHEUM mais le vendeur lui-même ou un expert externe qui procède
à la description et/ou à la fixation du prix, ainsi qu‘en cas de ventes à titre de courtage.
En ce qui concerne les objets d‘art, spécialement les tableaux et les antiquités, la
description ne mentionne que les défauts et les dommages susceptibles de réduire
sensiblement la valeur artistique de l‘objet.
En cas de ventes en nom propre, le DOROTHEUM garantit aux acheteurs l‘exactitude
de ses indications concernant l‘auteur (désignation de l‘artiste), le fabricant, le moment de
fabrication, l‘origine, l‘âge, l‘époque, le milieu culturel de la fabrication ou de l‘utilisation ainsi
que les matériaux ayant servi à la fabrication, ceci dans les conditions suivantes: De telles
indications sont inexactes, si elles ne correspondent pas aux connaissances scientifiques
généralement accessibles et aux avis d‘experts généralement reconnus. De telles
indications seront considérées comme substantiellement inexactes si, en connaissance de
l‘inexactitude des indications en question, un acheteur moyen normal se serait abstenu de
l‘achat. Si l‘acheteur prouve, à l‘intérieur d‘un délai de trois ans à compter de l‘adjudication,
que de telles indications du DOROTHEUM sont substantiellement inexactes, le prix
d‘achat lui est remboursé contre restitution simultanée de l‘objet inchangé. A l‘égard
d‘acheteurs pour lesquels l‘achat conclu fait partie de l‘activité commerciale de leur
entreprise, le DOROTHEUM présuppose en outre que ces acheteurs l‘informeront
immédiatement dès leurs premiers doutes fondés concernant l‘exactitude des indications.
En cas de changement touchant les connaissances scientifiques généralement accessibles
et les avis d‘experts généralement reconnus et intervenant jusqu‘au moment de la
réclamation élevée par l‘acheteur et du règlement de cette réclamation, le DOROTHEUM
pourra, à sa discrétion exclusive, soit annuler l‘achat aux frais du vendeur soit refuser la
réclamation. Si l‘objet restitué présente un dommage ou une détérioration qui n‘existait
pour un objet à fiscalité différenciée ou vendu en qualité d’intermédiaire:
vente à la plus forte enchère de 3.000 euros, avec supplément de droit de suite  le prix brut est de 3.870 euros (plus forte enchère de 3000 euros + taxe d’achat de 750 euros +
supplément de droit de suite de 120 euros)
2 Exemple pour un objet entièrement soumis à la TVA de 20%:
vente à la plus forte enchère de 3.000 euros avec supplément de droit de suite  le prix brut est de 4.494 euros (plus forte enchère de 3.000 euros + taxe d’achat de 625 euros +
supplément de droit de suite de 120 euros + TVA de 749 euros)
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pas encore au moment de la conclusion du contrat, le DOROTHEUM pourra déduire du
prix d‘achat les frais de réparations adéquats et/ou une éventuelle diminution de valeur.
Si l‘acheteur a déjà utilisé l‘objet restitué, le DOROTHEUM a de surcroît droit à une
indemnité d‘utilisation adéquate. Le DOROTHEUM accorde cette garantie ou bien
d‘autres garanties concédées dans des déclarations séparées, outre les droits de garantie
légale et droits revenant aux consommateurs pour erreur, ces droits n‘étant pas restreints
par ces garanties. Pour des objets usagés, le délai de garantie légale revenant aux
consommateurs est de 1 an. Toutes autres réclamations et prétentions quelles qu‘elles
soient et concernant le prix, la nature et l‘état de l‘objet acheté aux enchères ou bien des
prétentions en dommages-intérêts, dans la mesure où celles-ci ne tombent pas de toute
façon sous la garantie d‘authenticité, sont exclues de la responsabilité du DOROTHEUM
et de celle des personnes pour lesquelles il devrait répondre s‘il n‘y avait pas la présente
clause d‘exclusion de responsabilité, à moins que, dans les cas de contrats de vente
conclus avec des consommateurs au sens de la loi autrichienne sur la protection des
consommateurs («Konsumentenschutzgesetz»), des prétentions plus étendues ne soient
fondées en raison d‘une négligence grossière ou d‘un acte intentionnel commis par des
employés du DOROTHEUM. Dans le cas d‘objets vendus aux enchères suite à une saisie,
toute réclamation est exclue par la loi.
Dans le cas de ventes à titre de courtage, le DOROTHEUM n‘assume aucune garantie
ni autre responsabilité.
Le DOROTHEUM se réserve le droit d’utiliser les photographies et, le cas échéant, les
enregistrements vidéo produits sur ordre du DOROTHEUM à partir des objets remis,
ceci aussi aux fins d’une promotion générale de l’activité d’affaires du DOROTHEUM, sous
forme électronique ainsi que sous forme imprimée, sans qu’il s’en suive pour le client un
quelconque droit à un dédommagement financier. Le DOROTHEUM est en droit d’utiliser,
de reproduire, de divulguer et de mettre à la disposition du public les photographies et
enregistrements vidéo, en les publiant par exemple dans des catalogues, des magazines, des
dépliants, des calendriers, des registres d’œuvres, des livres, des illustrations ainsi que pour
des articles de publicité et de marchandisage de toute sorte, ceci sans aucune restriction
concernant médias, lieux, temps ou quantités – et même sans faire référence à l’acte initial
d’exploitation de l’objet ou à sa provenance.
Les ordres d‘achat de clients n‘assistant pas personnellement à la vente aux enchères
sont acceptés par les courtiers autorisés ou les services compétents du DOROTHEUM.
Jusqu‘à nouvel ordre, le DOROTHEUM accepte comme service gratuit des ordres d‘achat
par écrit, par téléphone, par fax ou par voie électronique. Le DOROTHEUM participera
aux enchères pour le donneur d‘ordre jusqu‘à la limite à l‘enchère que celui-ci aura
indiquée. Le DOROTHEUM se réserve le droit soit de refuser d‘accepter des ordres
d‘achat sans fournir de motifs soit de ne pas tenir compte d‘ordres d‘achat qui lui sont
parvenus. Dans ce cadre, le DOROTHEUM n‘assume aucune responsabilité pour une
exécution correcte d‘ordres d‘achat.
Les ordres d‘achat ne comportant pas d‘indication claire de l‘objet ou du jour de vente
ou n‘indiquant pas de limite à l‘enchère en euros ne sont pas acceptés. Les ordres d‘achat
tels que «achetez à meilleur marché», «au meilleur prix», «à tout prix» etc. ne peuvent
donc pas être pris en considération. Des ordres d‘achat présentant des limites identiques
à l‘enchère sont traités dans l‘ordre de leur entrée.
Si en cas d‘une offre téléphonique la liaison téléphonique ne peut pas se faire à temps pour
une raison quelconque, la limite à l‘enchère sera de 75 % du prix d‘estimation inférieur
(150 % de la mise à prix en cas des «ventes mise à prix»). Le DOROTHEUM est en droit
d‘arrondir la limite jusqu‘à l‘enchère suivante.
Les offres resteront valables obligatoirement après-vente jusqu‘au terme du troisième jour
ouvrable après le jour de la vente aux enchères ou après le jour de la réception.
Des déclarations d‘acceptation du DOROTHEUM en après-vente seront considérées
dans les délais, si elles sont remises à la poste ou effectuées par fax ou téléphone jusqu‘au
terme du troisième jour ouvrable après le jour de la vente aux enchères ou après le jour
de la réception, en prenant celle des deux dates qui sera postérieure à l‘autre.
Ni le DOROTHEUM ni les personnes pour lesquelles le DOROTHEUM serait
responsable sans exclusion de la responsabilité ne pourront être tenues responsables de
l‘indemnisation de dommages causés par une négligence légère ; à l‘égard d‘entrepreneurs
ils ne répondent pas non plus de simple négligence grossière. Le DOROTHEUM ne
répond pas de dommages causés par des événements naturels ou des cas de force
majeure, de dommages résultant d‘un entreposage pendant une période plus longue ou
d‘un manque à gagner. A l‘égard de l‘acheteur d‘un objet, le DOROTHEUM répond de
la perte ou de l‘endommagement d‘un objet s‘il y a faute grave, à l‘égard d‘entrepreneurs
toutefois uniquement s‘il y a manifestement au moins négligence grossière de la part de
ses employés, ceci à concurrence du prix d‘achat versé.
Le lieu d‘exécution est le siège commercial de la succursale /des services où l‘acte juridique
en question a été conclu. La langue du contrat est l‘allemand. Tous les différends qui
en découlent sont soumis exclusivement au droit matériel autrichien. La Convention
des Nations Unies sur les contrats de vente internationale de marchandises (CISG)
n‘est pas d‘application. Il est convenu que tous les différends découlant directement ou
indirectement d‘une vente aux enchères seront portés exclusivement devant le tribunal
autrichien ayant la compétence territoriale pour 1010 Vienne, et compétent a raison de
matière. Pour les consommateurs au sens de la loi autrichienne sur la protection des
consommateurs, cette clause d‘attribution de compétence est uniquement applicable
à condition que ces personnes n‘aient ni leur domicile ni leur résidence habituelle en
Autriche et n‘aient pas non plus d‘emploi en Autriche et à condition qu‘il n‘existe pas de
dispositions contraires.
COPYRIGHT
Toutes les informations (textes, descriptions, représentations, illustrations, etc.) et instruments publicitaires du DOROTHEUM tombent sous la protection des droits d’auteur et sous
la protection de la propriété intellectuelle. Il est interdit – en dehors des limites légales – de les traiter, divulguer, reproduire ou remanier ou de les entrer dans des bancs de données
sans un accord exprès émis préalablement par le DOROTHEUM sous forme écrite. Outre ceci, le nom DOROTHEUM lui-même tombe sous la protection des marques nationales et
internationales déposées. En cas de non-observation, le DOROTHEUM se réserve les démarches appropriées sur le plan du droit civil et du droit pénal, afin de protéger sa propriété
intellectuelle. L’achat d’un objet lors d’une vente aux enchères n’est pas lié à l’acquisition d’un droit de jouissance ou d’exploitation de droits d’auteur allant au-delà du droit de propriété.
AVIS
Tous les objets sont usés et pourraient porter des traces d‘usure dues à leur âge. Des restaurations qui augmentent la valeur, spécialement dans le cas d‘antiquités, ne sont pas
mentionnées dans la description de l‘objet. Celle-ci n‘indique pas des dommages ou défauts évidents (visibles) ou qui sont peu importants pour l‘évaluation. A propos de tels défauts,
toute réclamation de la part de l‘acheteur est exclue en vertu des dispositions légales.
Le droit de rétractation pour les contrats conclus à distance ou hors établissement (Fern- und Auswärtsgeschäfte-Rücktrittsrecht) n‘est pas applicable. Il convient de noter que les frais de
transport engagés en fonction de la distance, des dimensions et de la qualité des objets, ne sont pas calculables maintenant.
LES TERMES INDIqUéS CI-APRèS REPRéSENTENT SUIVANT NOS ExPERTS:
« signiert », « monogrammiert » (signé, pourvu de monogramme): de la main de l‘artiste; « bezeichnet » (porte une signature): signature probablement rajoutée par une autre main; «
zugeschrieben » (attribué à): œuvre probablement, mais non forcément authentique de l‘artiste; « Street Art (Urban Art) » (art urbain): œuvre qui en vue de la (sous-) culture de cette
tendance de l‘art, est probablement, mais non forcément authentique d‘un ou plusieurs artistes ou personnes (sauf présence d‘un certificat d’authenticité) et qui a été souvent mais non
forcément retouché, travaillé ou patronné; « Waerkstatt » (atelier de): œuvre ressortissant probablement de l‘atelier de l‘artiste, c‘est à dire de l‘entourage immédiat de l‘artiste; « Schule »
(école de): œuvre d‘une date incertaine, émanant de la proximité stylistique de l‘artiste ou d‘un groupe régional d‘artistes; « Umkreis » (entourage de): œuvre exécutée sous l‘influence de
l‘artiste au sens large du terme (dans le temps et dans l‘espace); « Nachfolger » (suiveur de): œuvre exécutée dans le style de l‘artiste, mais peut-être de date postérieure; « Nachahmer »
(dans le goût de): imitation ou copie d‘une œuvre de l‘artiste de date indéterminée; nom et prénom de l‘artiste, date et lieu: œuvre authentique de l‘artiste.
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intercommunautaire à partir d‘un compte en banque libellé à votre nom auprès d‘un établissement bancaire reconnu par l‘UE, également dans le cas où l‘ordre d‘achat a été légalisé sous
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Dorotheum
Dorotheum
SE IT 17 0 7
SE I T 1 7 0 7
Contemporary Art, Part I
Contemporary
Part
Wednesday 25th Art,
November
2015 I
Wednesday
25th 14th
November
Viewing from Saturday
November 2015
2015
Palais Dorotheum, Dorotheergasse 17, 1010 Wien
Viewing from Saturday 14th November 2015
Palais Dorotheum,
Dorotheergasse
17, 1010 Wien
Catalogue:
[email protected]
Catalogue online: www.dorotheum.com
Catalogue: [email protected]
Catalogue online: www.dorotheum.com
Paolo Scheggi * (Florence 1940–1971 Rome) Per una situazione, 1962, titled, signed, dated P. Scheggi
Paolo Scheggi * (Florence 1940–1971 Rome) Per una situazione, 1962, titled, signed, dated P. Scheggi
192
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Modern Art

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