Auktionsbedingungen
Auszug aus der Geschäftsordnung, Stand April 2022
Die Auktionen werden nach der Geschäftsordnung der Widder Auktionen der Kunsthandel Widder GmbH durchgeführt. Diese liegt mit genauem Wortlaut im Auktionshaus auf und kann auf www.widderauktionen.com abgerufen werden.
Schätzpreise, Ausrufpreis, Mindestverkaufspreis, Limit, Zuschlag
Bei Objektbeschreibungen wird ein oberer und unterer Schätzpreis in Euro angegeben. Innerhalb dieser Spanne wird das Meistbot erwartet. Online ist auch der Ausrufpreis angeführt. Der Ausrufpreis ist in der Regel der untere Schätzpreis, er kann jedoch höher oder niedriger angesetzt werden. Gesteigert wird um ca. 10%, wobei davon abgewichen werden kann. Das Meistbot erhält den Zuschlag, sofern der Mindestverkaufspreis erreicht wurde. Bestimmt der Verkäufer/die Verkäuferin das Objekt nicht unter einem festgesetzten Preis zu verkaufen, spricht man von Mindestverkaufspreis oder Limit. Wenn dieses nicht erreicht wird, gilt ein Zuschlag unter Vorbehalt. Meistbietende sind verpflichtet innerhalb von 7 Tagen nach Rechnungslegung den Kaufpreis zu zahlen.
Kaufpreis
Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Das Aufgeld beträgt 28% bei Differenzbesteuerung. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
Bei Normalbesteuerung (im Katalog mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt bei Gemälden, Aquarellen, Zeichnungen sowie Skulpturen die gesetzliche Umsatzsteuer von 13%, für alle anderen Objekte 20% hinzu.
Folgerecht
Mit * gekennzeichnete Objekte unterliegen dem Folgerecht. Dieses wird in Form eines Zuschlags auf das Meistbot verrechnet. Es gilt erst ab einem Meistbot über 2.499,99 € und ist gestaffelt: für die ersten 50.000 € werden 4% verrechnet. Danach je weiterer 150.000 € 3% bzw. 1% und ab 500.000 € 0,25%. Die maximale Folgerechtsabgabe beträgt 12.500 €.
Echtheitsgarantie
Das Auktionshaus steht gegenüber dem Käufer/der Käuferin innerhalb von zwei Jahren für die Echtheit des Objekts ein und garantiert, dass das Objekt tatsächlich von dem genannten Künstler/der genannten Künstlerin stammt.
Katalogangaben und Beschreibung
Angaben von Technik, Signatur, Material, Zustand, Provenienz, etc. erfolgen durch ExpertInnen des Auktionshauses. Es wird jedoch keine Gewähr für die Richtigkeit dieser Angaben geleistet.
Die Beschreibungen der Objekte bedeuten: Vor- und Zuname des Künstlers/der Künstlerin mit Lebensdaten: ein sicheres Werk des Künstlers/der Künstlerin. „signiert“ oder „monogrammiert“: ein eindeutig zuordenbares Werk des Künstlers/der Künstlerin. „Zugeschrieben“: ein wahrscheinliches, aber nicht zwangsläufig authentisches Werk des Künstlers/der Künstlerin. „Umkreis“: ein im Einflussbereich des Künstlers/der Künstlerin entstandenes Werk. „Bezeichnet“: ein wahrscheinliches, aber nicht von der Hand des Künstlers/der Künstlerin signiertes Werk. „Werkstatt“: ein im unmittelbaren Umfeld des Künstlers/der Künstlerin entstandenes Werk. „Schule“: ein in zeitlicher und stilistischer Nähe zum Künstler/zur Künstlerin entstandenes Werk. „Nachfolge“: ein in der Nachfolge entstandenes, stilistisch verwandtes Werk des Künstlers/der Künstlerin.
Kaufaufträge
Interessenten können Kaufaufträge schriftlich und online abgeben oder telefonisch mitbieten. Ein ausgefülltes und unterfertigtes Gebotsformular muss zeitgerecht vor der Auktion eingehen. Das Auktionshaus bietet für schriftliche Gebote bis zum angegebenen Meistbot mit.
Telefonische Gebote
Interessenten haben die Möglichkeit telefonisch mitzubieten. Das Auktionshaus bemüht sich die angegebene Rufnummer zu erreichen. Kommt keine Telefonverbindung zu Stande, kann das Auktionshaus für die Interessenten bis zum unteren Schätzpreis des Objektes bieten. Das Auktionshaus ist in diesem Fall aber nicht verpflichtet, das Gebot auszuführen.
Online Bidding, Live Bidding
Bieter/Bieterinnen können auf www.widderauktionen.com sowie auf externen Auktionsplattformen Vorgebote abgeben und live mitbieten.
Versicherung
Kunstobjekte sind bis zum Ende der Abholfrist, in der Höhe des Meistbots, gegen Verlust und Beschädigung versichert. Danach ist das Kunstobjekt nur bis maximal 6 Monate nach Rechnungslegung versichert, wenn kein Zahlungsverzug besteht.
Gerichtsstand, Rechtswahl
Gerichtsstand und Erfüllungsort für alle Rechtsverhältnisse ist 1010 Wien. Es gilt österreichisches materielles Recht.
TERMS OF AUCTION
Extract from the Rules of Procedure, as of April 2022
The auctions are conducted in accordance with the Rules of Procedure of the Widder Auctions of Kunsthandel Widder GmbH. The exact wording of these rules is available at the auction house and can be downloaded from www.widderauktionen.com.
Estimated prices, starting price, minimum sale price, limit, hammer price
In object descriptions, an upper and lower estimated price is stated in euros. The highest bid is expected within this range. The starting price is also stated online. As a rule, the starting price is the lower estimated price, but it
can be set higher or lower. The auctioneer increases the price by steps of approx. 10%, although it is possible to deviate from this. The highest bid wins, provided that the minimum selling price has been reached. If the seller decides not to sell the object below a fixed price, this is called the minimum sale price or limit. If this is not reached, the sale is considered conditional. Highest bidders are obliged to pay the purchase price within 7 days after invoicing.
Purchase price
The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
In the case of normal taxation (marked ° in the catalog), a premium of 24% is added to the highest bid. For paintings, watercolors, drawings and sculptures, the statutory sales tax of 13% is added to the sum of the highest bid and the buyer's premium, for all other objects 20%.
Resale Right
Items marked * are subject to the resale right. This will be charged in the form of a surcharge on the highest bid. It only applies to highest bids over € 2,499.99 and is staggered: for the first € 50,000 4% will be charged. Thereafter, for each additional €150,000, 3% and 1% respectively, and for €500,000 and above, 0.25%. The maximum resale right charge is 12,500 €.
Authenticity guarantee
The auction house vouches for the authenticity of the object to the buyer within two years and guarantees that the object is indeed by the named artist.
Catalog information and description
Details of technique, signature, material, condition, provenance, etc. are provided by experts of the auction house. However, no guarantee is given for the correctness of this information.
The descriptions of the objects mean: first and last name of the artist with life data: an authentic work of the artist. "Signed" or "monogrammed": a clearly attributable work by the artist. "Attributed": a probably, but not necessarily authentic, work by the artist. "Circle": a work created within the artist's sphere of influence. "Inscribed": a probably authentic work, but not signed by the artist's hand. "Workshop": a work created in the artist's immediate environment. "School": a work created in temporal and stylistic proximity to the artist. "Succession": a stylistically related work created in the artist's succession.
Purchase orders
Interested parties may submit purchase orders in writing and online or bid by telephone. A completed and signed bid form must be received in a timely manner prior to the auction. The auction house will bid for written bids up to the stated highest bid.
Telephone Bids
Interested parties have the possibility to bid by telephone. The auction house will make every effort to reach the telephone number provided. If no telephone connection can be established, the auction house can bid for the interested parties up to the lower estimated price of the object. In this case, the auction house is not obliged to execute the bid.
Online Bidding, Live Bidding
Bidders can place pre-bids and bid live on www.widderauktionen.com as well as on external auction platforms.
Insurance
Objects of art are insured against loss and damage until the end of the collection period, up to the amount of the highest bid. Thereafter, the art object is insured only up to a maximum of 6 months after invoicing, if there is no delay in payment.
Place of jurisdiction, choice of law
Place of jurisdiction and place of performance for all legal relationships is 1010 Vienna. Austrian substantive law shall apply.
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LOTE 164:
WILLI KOHL* (Aachen 1888 - 1971 Aachen)
más...
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Precio inicial:
€
13 000
Precio estimado :
€15 000 - €25 000
Comisión de la casa de subasta: 24%
Más detalles
IVA: 20%
IVA sobre el precio total del lote y la comisión
Los usuarios de países extranjeros pueden estar exentos de pagar impuestos, de acuerdo con la normativa fiscal de su país
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WILLI KOHL*
(Aachen 1888 - 1971 Aachen)
Lot and his Daughters, 1919
oil/canvas, 120 x 112 cm
signed W. Kohl and dated 19
depicted in Expressiver Realismus in Deutschland, Vienna 2017, S. 21
Provenance: private collection Germany, Gallery Elisengarten Aachen (Germany), Fine Arts Widder
ESTIMATE °€ 15.000 - 25.000
German painter of the 20th century. Attended the Aachen School of Arts and Crafts and studied at the Academy in Munich and Stuttgart. From 1926 in Berlin, worked as a graphic artist mainly as studio manager of the Berliner Tagesblatt. Member of the Verein der Berlinder Künste and the Munich Secession. 1928 Returned to Aachen, head of the class for commercial art at the Werkkunstschule. Together with the dialect poet and newspaper scholar Will Hermanns, the sculptor Alfred Pieper, the decorator Hein Lentzen and the engineer Joseph Lausberg, founded the Aachen Marionette Plays. Created landscapes, still lifes and cityscapes, but also biblical scenes such as the scene from the Old Testament. Taken from the Book of Genesis, Lot and his daughters flee from Sodom and Gomorrah.
Aachen-born student of the local School of Applied Arts and student of the art academies in Munich and Stuttgart Willi Kohl deals here with one of the most famous episodes from the Book of Genesis of the Old Testament. The fall of Sodom and Gomorrah. Immediately before this catastrophe, Lot was commanded by two messengers of God to leave the city quickly with his family, "without looking behind him." But because Lot hesitated for the time being, the messengers of God brought him to safety along with his wife and two daughters. They were told to retreat to the mountains, but Lot did not want to do so, so he asked his companions if they could seek refuge in the city of Zoar instead, which Lot was now allowed to do. At sunrise, the Lord rained down sulfur and fire from heaven on Sodom and Gomorrah. But because Lot's wife turned around against the instruction of the angels, she froze to a pillar of salt, with which only Lot and his daughters should remain alive in the course of this rescue action. Kohl compresses the decisive moments of this parable about the depravity of mankind, the wrath of God and his protective hand over the God-fearing in a simultaneous depiction. In the somber foreground Lot flees with his two daughters from the city, which is already sinking in fire and brimstone. Despite stylization in the details and the drawing of the figures, the painter describes the togetherness and juxtaposition of the figures. Lot's daughters have shouldered their most necessary belongings and flank their father. The father is leaning with his right hand on a walking stick, while he grasps his forehead with his left hand. With it he expresses probably his incomprehension for his wife, who separated from the group, in order to throw a view of the burning city. In the middle ground on the left Lot's wife, who did not know how to restrain her curiosity and negated the divine instruction, has frozen to a pillar of salt. If one takes into account the time when this painting was created, the year 1919 as the first year of peace after the end of the First World War, which plunged the old Europe into ruins and, because of the necessary reconstruction work, did not allow a glorified look back to the old times, then perhaps a second level of meaning resonates here. In this composition, Kohl works with prismatic and rhythmic forms and relies on motivic repetition as well as on a cubist-based abstraction. Kohl positions the main group in the foreground, which is moving in shadowy unison to safety from the inferno over the godless city, in front of a landscape brightly illuminated in the firelight, whose degree of abstraction seems to be heightened even further in the direction of the background. One could almost speak of a rupture that emerges here in the choice of means of abstraction in the foreground and background design. The spatial stage of the foreground is characterized by originality in form and content. Kohl organizes it from stylized rock formations that owe their plastic effect to color-shaded edges and vertical surfaces. With variegated faceted cones of color fanning out broadly over the staccato roofscape, Kohl hints at the burning down of the city in the background. What at first seems like a chaotic architectural etude nevertheless follows an orderly structure. Kohl refers stylistically to the Russian pioneer of abstract painting, to the Russian painter Wassily Kandinsky, whose theory of abstraction defined the field of reference between reality and abstraction: "Abstract art creates a new world alongside the "real" world, which from the outside has nothing to do with "reality". Inside it follows general laws of "the cosmic world". Thus, next to "the world of nature" appears the new "world of art" - a very real, concrete world. That is why I prefer to call the so-called "abstract art" the concrete art". In addition to Kandinsky, there are echoes in Kohl's paintings of the colorful abstract compositions of Adolf Hölzel, who was also one of the early pioneers of Classical Modernist painting. Hölzel and his constant desire to experimentally expand artistic means and sensitively reflect on the laws of pictorial creation obviously also encouraged Kohl to quickly switch between the different modes of abstraction and to apply them even within a single painting. Kohl, who moved to Berlin in 1926, subsequently benefited from this ability when, as studio manager of the Berliner Tagblatt, he turned increasingly to artistic commercial art. From 1948, as director of the Werkkunstschule in his hometown of Aachen, he was to make it his subject of instruction as well.
