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Lot 266: Philipp Otto Runge – Narzisse (Narcissus)

Est: €35,000 EUR - €40,000 EURSold:
Karl & FaberMunich, GermanyJune 16, 2021

Item Overview

Description

Paper cutout in white, mounted on bluish grey paper. 25 x 11 cm (Narcissus). Mount: 39.5 cm x 32.5 cm.

Artist or Maker

Literature

Richter 183 Literatur: Cornelia Richter: Ich weiß eine schöne Blume. Werkverzeichnis der Scherenschnitte, bearbeitet von Cornelia Richter, München 1981, S. 134, Kat. Nr. 183, mit s/w Abb.

Provenance

Nachlass Erwin Speckter, Hamburg; Privatbesitz, München; Karl & Faber, Auktion 150, 28.11.1979, Los 122 (Märzenbecher); Privatbesitz, Süddeutschland.

Notes

Weißer Scherenschnitt, alt montiert auf blaugrauem Papier. 25 x 11 cm (Narzisse), Unterlage: 39,5 cm x 32,5 cm.

Zwischen fünf schmalen, teilweise abgeknickten Blättern sitzt die nach links geneigte, weit geöffnete Blüte auf einem zart ausgebildeten, leicht gebogenen Stengel – das alles ist aus einem weißen Papier virtuos herausgeschnitten. Runge entlockt der weißen Fläche gleichsam den Zauber des Lebendigen, und man möchte denken, dass die Pflanze – hier eine Narzisse - sich jeden Moment vollständig entfaltet und bewegt, ihre Dreidimensionalität und Farbigkeit sichtbar werden im Licht, das aus ihr hervorleuchtet. Die farbige Unterlage tut ihre Wirkung dazu; der Kontrast zum blauen Papier belebt die Pflanze, hebt sie ab und lässt sie im Raum stehen – sie schwebt gleichsam im „Raum ihrer Farbfläche“ (Eggebrecht). Philipp Otto Runge, neben Caspar David Friedrich der Erfinder der Romantik, erkannte ähnlich wie dieser in der Landschaft die Offenbarung Gottes und begründete seine „neue Kunst“ auf dem Studium der Natur. In der einzelnen Pflanze kam für Runge der „lebendige Geist Gottes“ zur Anschauung und die Pflanzenscherenschnitte spiegeln die besondere inhaltliche Bedeutung der Pflanze für Runges gesamtes künstlerisches Schaffen wider. Runge schnitt die Pflanzen der heimischen Flora, die ihm auf zahlreichen Spaziergängen und Wanderungen begegneten, um hernach „häufig die feinsten und zärtesten Theile der Blüthen und Pflanzen mit dem edelsten Geschmack“ nachzubilden „und den Gegenstand bis zur Wurzel“ zu verfolgen, wie Runges Bruder Daniel berichtet. Daniel beschreibt auch, wie leicht seinem Bruder das Herstellen der Schnitte fiel: „Er fertigte dergleichen in den zerstreutesten Momenten, sich dabey über jedes andre unterhaltend und das entscheidende Gebilde schien sich bey dieser gleichsam plastischen Kunstübung fast wie selbstthätig unter der Scheere in seiner Hand zu bewegen“. In den Blumenschnitten vereint Runge botanische Kennerschaft und eine Ökonomie der formalen Mittel, die heute an Ostasien denken lässt, doch was bedeuteten sie für Runge? Waren sie, wie Daniel es nahelegt, ein Nebenprodukt, gleichsam eine Gelegenheitsarbeit zur Begleitung eines geselligen Abends oder nur eine virtuose Fingerübung? Sicher sind sie Zeichen seiner Virtuosität im Ausschneiden von Papier, dem sich Runge seit frühester Kindheit gewidmet hatte und das ihn sein ganzes künstlerisches Leben begleiten sollte, doch dort, wo Runge gewissermaßen zweckfrei aus Papier schneidet, entfaltet sich vor allem sein Kosmos aus Vorgestelltem und Dargestelltem. Seine Scherenschnitte – auch im Faltschnittverfahren, in dem das Papier ein- oder mehrfach gefaltet war (Los xx) - gaben seiner Einbildungskraft Gestalt, um die Entfaltung der Naturkräfte nachzuvollziehen, und bildeten so die Basis für Runges Form- und Gestaltdenken. Er entwickelte seine Bildideen aus der Fläche und dem Kontrast von Hell und Dunkel und nicht zuletzt ist die Umrisslinie, die dem Scherenschnitt zugrunde liegt, konstituierend für sein gesamtes Werk. Sie sind in gewisser Weise die Essenz seiner Kunst, sie sind reine Konturen- und Flächenkunst, die wesentlich Runges Selbstverständnis als Künstler bestimmt haben. In seinen Scherenschnitten verzichtet Runge auf jede Binnengestaltung, er entwickelt die Pflanze ganz aus der Fläche und dem Kontur, nur durch Überschneidungen schafft er den Eindruck von Raum und Volumen. Er erreicht damit jenen Grad von Abstraktion und Stilisierung, der ihn unabhängig von der Erscheinungsvielfalt der einzelnen Blumen und Blätter das „Charakteristische“ der Pflanze – wie Runge es selbst nannte – herausfiltern lässt, ohne dabei die bildliche Gesamtwirkung zu vernachlässigen. Neben dem „Charakteristischen“ forderte Runge für alle Kunstwerke „Regularität“, die sich durch eine ausgewogene, zur Symmetrie neigende Anordnung der einzelnen Pflanzenelemente ausdrückt. Noch stärker als die Einzelblumen unterliegen die Faltschnitte dem Postulat der „Regularität“ (Los xx), in denen Runge symmetrische, sich auch wiederholende Gestaltungsprinzipien verwirklichen konnte. Dies ist kein unwesentlicher Aspekt, sollten die Scherenschnitte doch auch zu praktischen Zwecken dienen – etwa als Dekoration eines Lampenschirms oder auch als Vorlage für fabrikmäßig hergestellten Wandschmuck im Sinne klassizistischer Friese. Runge wollte auch seine Malerei als monumentale Raumausstattungen verwirklicht sehen, was sein früher Tod jedoch verhinderte. Sein malerisches Werk ist nur als Fragment überliefert, doch hatte es zeitlebens einen tiefen inneren Zusammenhang zu seinen Scherenschnitten. Es war Alfred Lichtwark, erster Direktor der Hamburger Kunsthalle, der in Runges Scherenschnitten nicht nur die „naive Kundgebung seines künstlerischen Wesens“ erkannte, sondern auch schon den „Kern der Anschauungen, die er nachher so beredt verfocht“. Gegenüber seinem Freund Johann Heinrich Besser hatte sich bereits der 20jährige Runge am 25. Dezember 1797 dahingehend geäußert: „Ich wollte doch, daß der Zufall mir statt der Scheere etwas anderes zwischen die Finger gesteckt hätte, denn die Scheere ist bey mir nachgerade weiter nichts mehr als eine Verlängerung meiner Finger geworden, und es kommt mir vor, als wenn bey einem Mahler dies mit dem Pinsel usw. eben der Fall ist, da er denn mit diesem Zuwachs an seinen Fingern seiner Empfindung und den lebhaftesten Bildern seiner Phantasie nur nachzufühlen braucht.“ Zu jenem Zeitpunkt war Runge bereits aus dem mecklenburgischen Wolgast zusammen mit seinem Bruder Daniel nach Hamburg übersiedelt und schickte sich an, Maler zu werden, was nicht ohne innere Konflikte verlief. Die Scherenschnitte blieben aber auch für den Maler Runge eine Konstante seiner Kunst in der Weise, wie er sie 1802 gegenüber dem Verleger und Buchhändler Friedrich Perthes ausdrückte: „[…] ich meine, daß die Figuren, die ich mir denke und zu dem Bilde brauche, in ihrer Kunstwahrheit, in Ansehung dessen, wie sich die Natur in die Idee fügen muß, nur so hinschreiben könne, ohne weiteres großes Studium, eben wie ich mit der Scheere eine Blume ausschneide.“ – Mit vereinzelten winzigen Fleckchen, sonst gut erhalten.

Taxation: differenzbesteuert (VAT: Margin Scheme)

Payment & Shipping

Accepted forms of payment: Wire Transfer

Shipping

Shipping
The Auction House will arrange insured shipment, at buyer's expense.
For information concerning packing and shipping please contact our Shipping Department before bidding.

Auction Details

Old Masters & 19th Century Art

by
Karl & Faber
June 16, 2021, 11:00 AM CET

Amiraplatz 3 – Luitpoldblock, Munich, 80333, DE

Terms

Live bidding may start higher or lower

Buyer's Premium

€0 - 500,000:35.0%
€500,001 - 1,500,000:30.0%
€1,500,001+:25.0%

Bidding Increments

From:To:Increment:
€0€199€10
€200€399€20
€400€999€50
€1,000€1,999€100
€2,000€2,999€200
€3,000€3,299€300
€3,300€3,499€200
€3,500€3,699€200
€3,700€3,999€300
€4,000€4,299€300
€4,300€4,499€200
€4,500€4,699€200
€4,700€4,999€300
€5,000€9,999€500
€10,000€19,999€1,000
€20,000€49,999€2,000
€50,000€52,999€3,000
€53,000€54,999€2,000
€55,000€56,999€2,000
€57,000€59,999€3,000
€60,000€62,999€3,000
€63,000€64,999€2,000
€65,000€66,999€2,000
€67,000€69,999€3,000
€70,000€72,999€3,000
€73,000€74,999€2,000
€75,000€76,999€2,000
€77,000€79,999€3,000
€80,000€99,999€5,000
€100,000€199,999€10,000
€200,000€499,999€20,000
€500,000€529,999€30,000
€530,000€549,999€20,000
€550,000€569,999€20,000
€570,000€599,999€30,000
€600,000€629,999€30,000
€630,000€649,999€20,000
€650,000€669,999€20,000
€670,000€699,999€30,000
€700,000€729,999€30,000
€730,000€749,999€20,000
€750,000€769,999€20,000
€770,000€799,999€30,000
€800,000€849,999€50,000
€850,000€899,999€50,000
€900,000€949,999€50,000
€950,000€999,999€50,000
€1,000,000+€100,000

General Terms&Conditions

§ 1
General

1.
These Terms of Auction are displayed in the auction room; they are published in each auction catalogue, and also on the Internet, if appropriate. By placing an order or making a bid, the buyer expressly acknowledges these Terms of Auction and the validity thereof for the auction.
2.
The auction, which is public as contemplated in §§ 383 III, 474 I 2 BGB, is prepared, held and handled by Karl & Faber Kunstauktionen GmbH (referred to hereinafter as "Karl & Faber"). As a matter of principle, Karl & Faber auctions the works of art as a commission agent, acting in its own name and for the account of the unnamed party supplying the object. An Auctioneer appointed by Karl & Faber holds the auction in the name and for the account of Karl & Faber. Claims pertaining to the auction shall be directed to Karl & Faber, and not to the Auctioneer. Objects which are the property of Karl & Faber (so-called Own Goods) are specially marked with "‡".

§ 2
Bidding and Auction

1.
All bidders shall communicate their name and address in a timely manner before the auction. Pursuant to statutory obligations, Karl & Faber reserves the right to request economic beneficiaries to present a valid identity card, passport, or similar identifying documentation and, if necessary, any additional information in order to ascertain their identity and to make copies thereof for their records and to keep them for 30 years. Bidder numbers shall be issued, if appropriate. If a bidder wants to make bids in the name of a third party, then he must give notice to this effect before the auction begins, stating the name and address of the party he is representing and submitting a written proxy. The sales contract shall otherwise, upon the fall of the hammer, be brought about with the bidder.
2.
The estimate prices specified in the catalogue of Karl & Faber (where appropriate, the upper and lower estimated value) are stated in Euros. They serve as a guide for the market value of the object being auctioned. The starting price is fixed by the Auctioneer; bids shall be placed at the Auctioneer's discretion, each price shall, as a rule, be 10 % above the preceding bid. Karl & Faber reserves the right to combine or to split catalogue numbers, or - if there is special reason for doing so - to call them in an order other than that given in the catalogue or to withdraw them.
3.
Bids may also be made in writing (by letter, fax, scan or via the website of Karl & Faber) or by telephone. For these purposes bidders must, in all cases, first register, using the forms provided by Karl & Faber. Bidding over the Internet (so-called 'live bidding') is only permissible if done via the online services and platforms provided by or approved by Karl & Faber. An additional fee of 3 % of the hammer price plus VAT if applicable will be charged for Live-Bidding via external online platforms. In accordance with the Conditions of Sale, this fee is added to the buyers premium. The bidder must bear the costs thereof. Bids made in writing or by telephone shall be only admitted if the bidder has submitted an application for the admission of such bids to Karl & Faber at least 24 hours before commencement of the auction. The request must stipulate the work of art, stating the catalogue number and the catalogue name, and must be signed. If there is any doubt, the catalogue number shall be decisive; any uncertainties shall be for the detriment of the bidder. As a rule, telephone bids shall be accepted only as of an estimated price of € 1,500. With the requesting of permission to make bids by telephone, the bidder agrees to telephone calls being recorded. Karl & Faber shall not assume any guarantee for the handling of written or internet based bids or bids made by telephone. Karl & Faber shall, in particular, not be liable for errors in transmission or for the establishment and for maintaining telephone or internet connections. This shall not apply if Karl & Faber is responsible for a mistake due to intent or gross negligence. When using a currency converter (e.g. during a live auction), no liability is assumed for the accuracy of the currency conversion.
4.
The hammer shall fall, after a bid has been called three times, if no higher bid is made. If several persons make the same bid and no higher bid is made after it has been called three times, the decision will be made in favour of the first bid made or received. A bid may be accepted subject to reservation in individual cases, which the Auctioneer shall point out in each case. Any such acceptance of a bid shall only take effect if Karl & Faber confirms the bid in writing by presenting a statement of account within 8 weeks of the date of the auction; the bidder shall be bound by his bid for the duration of this period of time. Karl & Faber may withdraw its acceptance of a bid during an auction and call for new bids for the work of art at the same auction, if a higher bid made in good time has been overlooked by mistake and the relevant bidder has objected to such immediately, or if there is doubt of any other nature regarding the acceptance of a bid. If Karl & Faber exercises this right, then the acceptance of the original bid shall cease to be effective. Karl & Faber shall have the right to bid for the consignor up to the limit of a work of art. Karl & Faber shall be entitled to refuse the acceptance of a bid or to reject a bid if there is special reason on hand for doing so. A special reason shall be on hand in particular, if a bidder is unknown to Karl & Faber and has not provided security at the latest, by the time the auction begins. If a bid is rejected, then the preceding bid shall remain in effect. The acceptance of a bid shall oblige the bidder to acceptance and payment.
5.
Written bids shall be deemed bids already made at the auction. If Karl & Faber receives several written bids to the same amount for one and the same work of art, then the bid received first shall be accepted, if no higher bid has been submitted or is made. Karl & Faber shall only avail itself of each written bid up to the amount which is necessary in order to outbid an other bid which has been made. A written bid, which is to be submitted using the form sheet provided for such purpose, must be signed by the bidder and stipulate the hammer price (without premium, droit de suite fee, and value-added tax due) offered for the work of art.
6.
Pursuant to sec. 312 (g) (2) (10) of the German Civil Code, the bidder has no right of cancellation under sec. 355 German Civil Code after the bid is awarded.

§ 3
Payment, Obligations of the buyer to cooperate in adherence to the money laundering regulations

1.
The purchase price consists of the hammer price plus premium. In addition for works of art by living artists or artists who died no more than seventy years ago a fee of 1.5 % of the sum of the hammer price and the net premium, plus statutory turnover tax thereon, shall be charged to compensate for droit de suite pursuant to Copyright Act § 26.
2.
As regards VAT, sales are made subject to the gross margin scheme or subject to regular taxation, depending on the consignor's specifications to be provided in a timely fashion before the invoice is issued.
a) Artworks subject to regular taxation are marked "R" after the catalogue number. In these cases, the buyer shall be charged a premium for each individual object as follows: 25 % on a hammer price up to and including 500,000 EUR; 23 % on the amount exceeding a hammer price of over 500,000 EUR and up to and including 1,500,000 EUR; and 18 % on the amount exceeding 1,500,000 EUR. Statutory turnover tax shall be added to the hammer price, the premium and any further costs which may be charged, and shall be separately shown on the invoice.
b) When applying § 25a Value Added Tax Act (differential taxation), the premium as well as any further costs are subject to the value added tax not shown separately, currently amounting to 16 %. The premium, taking into account the scale stipulated in the provisions of § 3 Item 2 a), shall then amount to 31,2 %, 26,32 % and 21,45 %. An "N" behind the catalogue number indicates differential taxation on works of art which originate from a country outside of the EU. For such objects, the advanced import tax will be charged at a rate of 5 % of the hammer price in addition to the premium.
3.
The rates of turnover tax given above and the objects on which it is incurred, comply with the current state of legislation and the current practice applied for financial accounting. Changes may therefore arise in this respect, which will then be passed on to the buyer. If buyers resident outside the EU take the work of art they have bought by auction with them to countries outside the EU by themselves, they must provide security amounting to the statutory value-added tax. This will be refunded if the buyer submits the export- and purchase certificate issued by the German customs authorities to Karl & Faber within one month of receiving the work of art. (Import) sales tax and customs due abroad are in any event payable by the buyer. Invoices issued during or immediately after an auction are issued subject to review.
4.
Karl & Faber shall, in as far as the buyer is committed by these Terms of Auction or by legal prescription to reimburse costs and / or interest, be entitled to liquidate such in addition to the amounts as stipulated in Item § 3, Item 1, 2 a, b, 3. The purchase price shall fall due for payment upon the fall of the hammer. Default of payment shall commence two weeks after a bid has been accepted, also in the case of absent buyers, at the earliest, however, one week after the date of in-voice. The purchase price shall, upon the occurrence of default of payment and notwithstanding any further claims for damages, bear monthly interest at a rate of 1 % per commenced month. Four weeks after the occurrence of default of payment, Karl & Faber shall be entitled to disclose the name and the address of the buyer to the Consignor.
5.
The buyer may only offset such claims with respect to Karl & Faber, which are undisputed or have been finally determined by a court of law.
6.
Non-cash payments shall be accepted as conditional payment. If payments are effected in foreign currencies, then any exchange rate losses shall be borne by the buyer. All taxes, costs and fees for non-cash payments (including the bank charges charged to Karl & Faber) shall be borne by the buyer, insofar as this is legally permissible and the prohibition of Section 270a Civil Code (BGB) does not apply. Karl & Faber is under no obligation to hand over the work of art which has been bought at an auction until all the amounts owed by the buyer have been paid in full.
7.
Billing change requests (address, taxation) cannot be accepted after the auction.
8.
Karl & Faber has the right, in accordance with legal obligations, to ask the purchaser to present a valid identity card, passport, similar identity document and, if necessary, further information to establish the identity of the beneficial owner, to make copies of these for its records and to keep them for 30 years. The buyer undertakes to cooperate in the fulfilment of this legal obligation.

§ 4
Collection and Transportation; Passing of Risk; Export licence

1.
The buyer shall collect his acquisition without delay, or at the latest, two weeks after having paid his liabilities in full amount; he shall, after such time, be in default even if no reminder is conveyed. As of this date, or in any event as of the time when the work of art is handed over to the buyer, the risk of accidental destruction or of accidental deterioration of the work of art shall pass on to the buyer.
2.
Karl & Faber shall, notwithstanding the provisions of § 4 Item 1 above, store the work of art and insure it (at its purchase price) for a period of one month as of the date of the auction. Thereafter, Karl & Faber shall be entitled but not obliged to store the work of art at an art forwarding agency and to have it insured in the name and for the account of the buyer. If the buyer wishes to have the transportation of the work of art carried out, then he shall notify Karl & Faber thereof in writing. Karl & Faber shall organize suitable means of transportation to transfer the work of art to the buyer, and also appropriate insurance at the latter's expense and - insofar at the buyer is acting as an entrepreneur - at the latter's risk. Karl & Faber may request an adequate advance payment for such purpose.
3.
Generally speaking, the buyer is obliged to obtain any export licence that may be required in accordance with the statutory provisions. The purchaser can instruct Karl & Faber to take over the procedure necessary for the granting of an export licence. For this purpose, the purchaser must grant Karl & Faber a corresponding power of attorney for presentation to the authorities. This service is subject to a charge for the buyer and will be invoiced separately, plus any third-party costs incurred. If an export licence is not granted, the buyer is not entitled to withdraw from the contract for this reason.

§ 5
Passing of Title, Consequences of Withdrawal on Default of Payment; Right of withdrawal in the event of suspected money laundering

1.
The ownership to the acquired work of art shall only pass on to the buyer after the complete payment of all amounts owed to Karl & Faber.
2.
If the buyer is in default of payment, then Karl & Faber may rescind the contract after having granted an additional period of respite; if such right is exercised, then all the rights of the buyer in respect of the work of art bought by auction shall expire and become void. Karl & Faber shall in such case be entitled to claim compensation of damages from the buyer in the amount of lost remuneration for the work of art (seller's commission and buyer's premium), and any costs incurred for catalogue illustrations. The buyer shall, in addition, be liable for transportation-, storage- and insurance costs until the work of art is returned or - as Karl & Faber may select - is put up for renewed auction. If the work of art is sold at the next auction or at the auction following next thereupon, then the buyer shall furthermore also be liable for any shortfall in proceeds. He shall not be entitled to any surplus in proceeds. Karl & Faber shall have the right to exclude the buyer from making further bids at the auction.
3.
If, within the framework of the usual checks, a suspicion of money laundering is found to exist on the part of the purchaser, Karl & Faber is entitled to withdraw from the contract. In this case, the buyer has no right to execute the purchase contract.

§ 6
Preliminary Viewing, Catalogue Details, Liability of the Auction House

1.
All the works of art put up for auction may be inspected and viewed in the context of the preliminary viewing. They are altogether used, and the condition they are in, particularly their state of preservation, corresponds with their age and provenance. The actual condition of the work of art at the time of the fall of the hammer shall in all cases be the agreed quality as defined by statutory regulations, cf. Section 6 Item 2. Frames, passe-partouts, picture glass, pedestals and similar presentation aids do not belong to the work of art and are not part of the purchase contract. Although the buyer has no claim to them, they will be provided unless instructed otherwise (except for picture glass on shipment).
2.
All the details given in the catalogue or in a corresponding Internet presentation are merely expressions of opinion made in accordance with best of knowledge and belief. These details do not constitute a legally binding confirmatory commitment regarding quality and nature, nor any such guarantee or an agreement on quality and characteristics. The same applies for the illustrations in the catalogue; these illustrations serve for the purpose of giving interested customers an impression of the work of art; they are not part of an agreement regarding quality and nature and do not constitute an integral part of a guarantee or an integral part of an agreement on quality and characteristics. Karl & Faber reserves the right to correct catalogue details regarding the works of art to be sold by auction before the auction. Such correction may be made by way of a written notice displayed at the place where the auction is held, or it may be given verbally by the Auctioneer immediately before the work of art is sold by auction. The corrected details shall, in any such case, apply in lieu of the description in the catalogue. All claims against Karl & Faber shall be excluded with and by these provisions, particularly all claims for damage compensation due to defects of quality and of title, as well as for other reasons [loss / damage]. This shall not apply, in as far as such claims are based on intentional or grossly negligent actions of Karl & Faber [including its vicarious agents], or if they are based on the infringement or breach of essential contractual duties, or if they concern damages due to the injury of life, body or health.
3.
Karl & Faber undertakes, upon the timely request of the buyer (cf. § 6 Item 4), to assert the rights and claims provided for under the internal relationship with the Consignor against such Consignor - also before court if necessary - if the buyer has proven that the details given in the catalogue regarding the origination and the technique of the work of art bought at the auction are incorrect were also not in agreement with a generally recognised expert (or the creator of the catalogue of works, the declaration of the artist him/herself or the artist's trust) on the date of the auction. If claims are successfully asserted against the Consignor, then Karl & Faber shall refund the purchase price to the buyer if there are no third-party rights on hand to the work of art, and if the work of art is returned in unchanged condition at the registered headquarters of Karl & Faber.
4.
Any and all claims asserted against Karl & Faber shall become statute-barred one year after the work of art has been handed over to the buyer. This shall not apply for the claims regulated by the provisions stipulated in § 6 Item 2., last sentence; these shall become statute-barred within the periods as provided for by law.

§ 7
Post-Auction Sale

These Terms of Auction shall also apply mutatis mutandis for the subsequent off-hand sale of works of art (so-called After or Post Auction Sale) on the open market. Karl & Faber may, for such sales, particularly impose and charge the considerations and allocations regulated in § 3. For this off-hand sale, which is part of the auction, the Distance Selling Regulations according to §§ 312 b) et seqq. BGB does not apply.

§ 8
Final Provisions

The laws of the Federal Republic of Germany shall apply exclusively. The United Nations Convention on the International Sale of Goods (CISG) shall not apply. Munich shall be the place of performance and venue, insofar as the same may be admissibly agreed. If one or several provisions of these Terms of Auction should be or become invalid, then the validity of the remaining other provisions shall not be affected thereof. These Terms of Auction shall govern all relations between the buyer and Karl & Faber. General terms and conditions of business of the buyer shall not apply. No verbal ancillary agreements have been concluded. Amendments to these Terms of Auction are to be made in writing; this shall also apply for the relinquishment and waiver of this writing requirement. If the Conditions of Sale are available in several languages, the German version shall always prevail.

Revised: November 2020

Shipping Terms

Shipping
The Auction House will arrange insured shipment, at buyer's expense.
For information concerning packing and shipping please contact our Shipping Department before bidding.

Payment by Wire Transfer

Payment can be made by credit or debit card and will incur an additional 3% transaction fee.

Fees & Taxes

General

The purchase price consists of the hammer price plus premium (see below for further information). For works of art whose author died less than 70 years ago, a fee of 1.5% on the purchase price will be levied for droit de suite pursuant to Copyright Act § 26.
Additionally, a live bidding fee of 3% of the hammer price becomes due. Premium as well as additional fees are subject to VAT.

Premium & Taxes

Margin scheme:
The buyers premium of 31,2% on a hammer price up to and including 500,000 EUR; 26,32 % on the amount exceeding a hammer price of over 500,000 EUR and up to and including 1,500,000 EUR; 21,45 % on the amount exceeding 1,500,000 EUR on the hammer price is charged. VAT is included in these rates and is not indicated separately.

Margin scheme (non EU):
Additionally to the premium as stated under "Margin scheme", an advanced import tax will be charged at a rate of 5% of the hammer price.

Regular Taxation:
A premium for each individual object will be added on the hammer price as follows:
25 % on a hammer price up to and including 500,000 EUR;
23 % on the amount exceeding a hammer price of over 500,000 EUR and up to and including 1,500,000 EUR;
18 % on the amount exceeding 1,500,000 EUR.
Hammer price, premium and any further fees which may be charged are subject to VAT will be added and shown separately on the invoice.