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 69:
ERNST LICHTBLAU* (Vienna 1883 - 1963 Vienna)
más...
|
|
|
Precio inicial:
€
1 000
Precio estimado :
€1 000 - €2 000
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
|
ERNST LICHTBLAU*
(Vienna 1883 - 1963 Vienna)
Dancer, 1920
pencil and colored pencil/paper, 25,6 x 24 cm
signed E. Lichtblau and dated 1920
Provenance: Siebers auctions Stuttgart 2013, private collection Vienna
ESTIMATE € 1.000 - 2.000
Austrian architect and artist of the 20th century. Came from a Jewish family. His father was the managing director of the largest meerschaum pipe factory in the Danube monarchy, located in Hermanngasse in Vienna. Studied architecture at the Academy of Fine Arts under Otto Wagner from 1902 to 1905. From 1912 member of the Deutscher Werkbund, 1914 founding member of the Österreichischer Werkbund. Freelance architect and freelancer for the Wiener Werkstätte. 1938 emigration to the USA, from 1947 lectureship in interior design at the School of Design in Rhode Island. 1961 return to Vienna. Created costume and stage designs, among others.
Ernst Lichtblau grew up as the youngest of three brothers in a well-to-do Jewish family in Vienna. His father, Johann Lichtblau, was managing director of what was then the largest meerschaum pipe factory in the Danube monarchy, which was owned by his relatives and had its headquarters in Hermanngasse on Vienna's Spittelberg. With support from an early age, Ernst Lichtblau graduated from the state trade school in 1902 and from 1902 to 1905 attended Otto Wagner's master class at the Vienna Academy of Fine Arts. After completing his studies, he returned to the state trade school, where he taught technical drawing for furniture making until 1914. From 1912 Ernst Lichtblau was a member of the "Deutscher Werkbund" and in 1914 a founding member of the "Österreichischer Werkbund". In addition, Lichtblau worked as a freelancer at the Wiener Werkstätte and as a freelance architect. His most important buildings include the "Chocolate House" in Vienna Hietzing and a semi-detached house in the Vienna Werkbundsiedlung. In 1922/1923, as an architect, he also oversaw the renovation and re-facade of the house "Zum Schwarzen Mohr", a business building belonging to his relatives. In 1939 Lichtblau had to emigrate via England to the USA, where he accepted a teaching position for interior design at the School of Design in Rhode Island in 1947 and taught until his retirement. Two years before his death, Ernst Lichtblau returned to Vienna in 1961 to resume his work as a freelance architect. To call the present picture a rarity is certainly not an exaggeration. It is true that Ernst Lichtblau is an important and well-known figure of the interwar period, but in his capacity as an architect and not as a painter. Pictures from his hand are hard to find on the art market. Lichtblau studied at the Vienna Academy of Fine Arts; he is one of the few students of the great Otto Wagner who turned away from the monumental orientation of their teacher and turned to contemporary modernism. In Vienna, Lichtblau designed a whole series of residential, commercial and public buildings, most of which are listed as monuments to the extent that they are still intact. He also stands out as an interior and furniture designer. Lichtblau already demonstrated his artistic independence in early commissions. Perhaps his most famous building is the “Chocolate House” from 1914, an apartment building on Wattmanngasse in Vienna-Hietzing. In contrast to the flat facade design that was common at the time, he provided the cubic building with a ceramic decor that was emphatically sculpted throughout. His shape of the ribbon windows, with which Lichtblau anticipates criteria of the architecture of the 1920s, also proves to be groundbreaking. In 1923/1924 Ernst Lichtblau remodeled the house "Zum Schwarzen Mohr", the headquarters of the meerschaum pipe factory and tobacco import company Adolf Lichtblau & Co., owned by his relatives, in Hermanngasse on Spittelberg and redesigned the facade. The surreal figures, with their voluminous, cloud-like quality, bear a striking resemblance to the ceramic figures on the facade of the “Chocolate House” and the house “Zum Schwarzen Mohr”. A woman, wrapped in a flowing white robe, with an enraptured facial expression, lunges and steps onto a kind of theater stage flanked by heavy curtains. In her hand she holds a bowl full of flowers, which she hardly seems to touch. She throws her head back in a theatrical gesture and underscores this movement with her right arm. To the side in front of her, Lichtblau builds a filigree framework in the form of a censer, which smokes heavily and is blown aside by a strong wind. Curiously, this does not come from the same direction as the wind that moves the robe. A putto hovers in a cloud above the woman and in front of the theater curtain. Equipped with a bow and arrow, he has already set his sights on his target and acts as if embedded in a halo, protective of this scenery. Behind the stage, a landscape opens up almost imperceptibly. As a mountain formation rises out of the water to the left, a pair of gondoliers appear to push off from the edge of the stage with an oar and embark on an unknown journey. The ultimately unfathomable scene is reminiscent of esoteric, life-reforming or anthroposophical influences, as well as a playful examination of a play, such as Shakespeare's "The Merchant of Venice". It also seems a bit like an archaic sacrificial ritual. The viewer is left in the dark about what or who is being sacrificed to whom, why and for what purpose. It is quite possible that the picture also depicts a dream world. Other Austrian artists of the time, such as Alfred Kubin and Franz Sedlacek, also took up the theme of dreams in a fascinating way. Ernst Lichtblau, with his visual language influenced by Otto Wagner's Art Nouveau, contributes in an idiosyncratic manner to the contemporary art or even dream discourse.
