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.
|
LOTE 168:
HERBERT PLOBERGER* (Wels 1902 - 1977 Munich)
más...
|
|
|
Vendido por: €160 000
Precio inicial:
€
130 000
Precio estimado :
€150 000 - €250 000
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
|
HERBERT PLOBERGER*
(Wels 1902 - 1977 Munich)
On the table, under the table
oil/canvas, 89 x 116 cm
signed Ploberger and dated 1925
exhibited and illustrated in the catalogs of the exhibitions Herbert Ploberger, Life and Work, Lebensspuren Wels and NORDICO Linz 2002, p. 60; in Herbert Ploberger, paintings and graphics, 100th birthday, Landesgalerie Linz 2005, p. 86; in Herbert Ploberger, Im Spannungsfeld zwischen bildender und angewandter Kunst, Landesgalerie Linz 2019, p. 112
depicted in Kunstjahrbuch Linz 1979, p. 52, fig. 4
Provenance: private property Austria, Dorotheum Vienna 2001, Gallery Berinson Berlin, private collection Germany, auction im Kinsky 2009 and 2016, Austrian private collection
ESTIMATE € 150.000 - 250.000
Austrian painter and costume and stage designer of the 20th century. Main representative of the New Objectivity. Originally from Wels in Upper Austria, studied at the School of Applied Arts in Vienna under Franz Cizek, Alfred Böhm and Victor Schufinsky. In 1925 for a short time in Paris, from 1927 in Berlin. Worked for the magazines Jugend and Querschnitt and as a stage designer with Ludwig Kainer and Ernst Stern, e.g. in 1930 for the premiere of Weißes Rössl under Max Reinhardt and for Clemens Holzmeister at the Felsenreitschule in Salzburg. In 1945, after Vienna and Linz, works for the Theater in der Josefstadt and the Salzburg Festival, and from 1950 again works for film in Hamburg and Munich. In addition to works for stage and film, mainly oil paintings with self-portraits and still lifes completely committed to the New Objectivity.
However, the life's work of this versatile artist encompasses much more than his unique neo-objective paintings. Ploberger was not only a visual artist, but also an applied artist, working as a costume and set designer for theater, film and television in Linz, Vienna, Berlin, Hamburg and Munich. With his Berlin anti-war paintings, he also made weighty artistic contributions to contemporary history. Among his unique still lifes, hcreated between 1925 and 1929 in Paris, Vienna and Berlin, the painting "On the Table Under the Table" from 1925 presented here is undoubtedly one of the highlights of his painting art. However, the life's work of this versatile artist encompasses much more than his unique neo-objective paintings. Ploberger was not only a visual artist, but also an applied artist, working as a costume and set designer for theater, film and television in Linz, Vienna, Berlin, Hamburg and Munich. With his Berlin anti-war paintings, he also made weighty artistic contributions to contemporary history. Among his unique still lifes, created between 1925 and 1929 in Paris, Vienna and Berlin, the painting "On the Table Under the Table" from 1925 presented here is undoubtedly one of the highlights of his painting art. At the same time, it also marks a decisive turning point in his education. Ploberger received his artistic training at the School of Applied Arts in Vienna, where he studied from 1920 to 1925 under the professors Adolf Böhm, Franz Cižek, Erich Mallina and Viktor Schufinsky, changing classes several times - from the nude class to the "class for signs and forms based on the human figure" and finally to the course in "ornamental form theory". During this period of study, Ploberger explored the creative possibilities of Constructivism as well as Kinetism. In March 1925, Ploberger then left for Paris, "where he painted pictures and, in order to finance his life, painted pavilions for the World's Fair of that time" - according to his marginal note in his later written curriculum vitae. At this "Exposition Internationale des Arts Decorativs et Industriels Modernes, " students of the Vienna School of Applied Arts from the classes of Franz Cižek, Alfred Böhm, and Erich Mallina showed their work. During his four-month stay in Paris, Ploberger probably also painted this still life, which is the only surviving work from 1925 and is thus considered the earliest painting in his oeuvre. Ingrid Radauer-Helm has therefore also paid special attention to this still life in her monograph published in 2019 on the occasion of the exhibition in the Landesgalerie Linz: "Gathered on a table are empty bottles, a coffee pot, a potted plant, tomatoes and citrus fruits, eggs, small boxes and packaging, as well as a hat and a pipe. Below, a crate of limes seems to float above the floor. Crowded on a stool are a full coffee cup, two lemons, and a vase full of tulips. Some of the objects, such as the hat, are partially suspended in mid-air. There is no clear perspective in this depiction; the things seem animated, their arrangement relative to one another seeming to give them a life of their own. Several billowing, undulating scarves add to the restless effect. This work has an almost surreal aura and thus contrasts with the later still lifes, from which a meditative calm emanates throughout." That this work was created during Ploberger's stay in Paris is also confirmed by the French inscriptions on some objects, such as the wine bottles with the label inscription "(...)aumur". It probably refers to the French wine region of Saumur on the lower reaches of the Loire, which is also called the "Rheims of the Loire" in reference to the center of champagne production and in which more than 36 communities still cultivate wine today. The pipe on the table, on the other hand, functions as a personal prop of Ploberger, a pipe and cigarette smoker, which he also prominently places, for example, in the self-portrait of the Wels City Museum, probably painted in 1926/27, in the "Interior with Still Life" or even still in the "Still Life with Sweets, Pearl Necklace and Berlin Daily Paper". Ploberger's painting also reflects in the still life the artistic currents of the time, which at the beginning of the twenties were characterized by a turning away from expressive emotional expression with a simultaneous return to representationalism and clear external forms. The national pioneers of this development were Giorgio de Chirico and Carlo Carrà in Italy with their Pittura Scuola metafisica, Derain, Picasso, Léger, Picabia, and Rousseau in France, and Georg Schrimpf, Carlo Mense, and Alexander Kanoldt in Germany, who responded to the catastrophic consequences of World War I with pictorial indictments in an old-master technique. They were joined by Otto Dix and George Grosz, who processed their apocalyptic war experiences in socially critical paintings. Both of the last-mentioned currents - the magical realism represented especially by Kanoldt and the verism of Otto Dix, which reached the limits of the ugly-grotesque - should subsequently be subsumed under the term "New Objectivity. We first encounter this term in 1925 and thus at the time of the creation of this still life by Ploberger. At that time, not only Gustav Friedrich Hartlaub in Mannheim titled his exhibition "Die neue Sachlichkeit. German Painting since Expressionism, " but also appeared in Leipzig Franz Roh's book "Nach-Expressionismus - Magischer Realismus. Problems of the latest European painting".
